{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=4","prev":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=3","next":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=5","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1925\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=9"},"meta":{"pages":{"current_page":4,"next_page":5,"prev_page":3,"total_pages":9,"limit_value":10,"offset_value":30,"total_count":81,"first_page?":false,"last_page?":false}},"data":[{"id":"virmu_repositories_2_resources_198_c01_c02_c19","type":"Item","attributes":{"title":"Letter, 1921/1932","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c19#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c19#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_198_c01_c02_c19","ref_ssm":["virmu_repositories_2_resources_198_c01_c02_c19"],"id":"virmu_repositories_2_resources_198_c01_c02_c19","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198_c01_c02","parent_ssi":"virmu_repositories_2_resources_198_c01_c02","parent_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"parent_ids_ssim":["virmu_repositories_2_resources_198","virmu_repositories_2_resources_198_c01","virmu_repositories_2_resources_198_c01_c02"],"title_filing_ssi":"Letter","title_ssm":["Letter"],"title_tesim":["Letter"],"normalized_title_ssm":["Letter, 1921/1932"],"text":["Letter, 1921/1932","John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence","Paper","box SC-31 Box 1","folder Folder 2","Item SC31.01.F02.019","Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)","Payne, John Barton, 1855-1935","English","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"parent_unittitles_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"parent_unittitles_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"normalized_date_ssm":["1921/1932"],"unitdate_inclusive_ssm":["Jan. 27, 1921-Feb. 19, 1932, undated"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":44,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"physdesc_tesim":["Paper"],"extent_ssm":["1 item"],"extent_tesim":["1 item"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-31 Box 1","folder Folder 2","Item SC31.01.F02.019"],"creator_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"persname_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"names_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"geogname_ssim":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"geogname_ssm":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"places_ssim":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"access_subjects_ssim":["Payne, John Barton, 1855-1935"],"access_subjects_ssm":["Payne, John Barton, 1855-1935"],"acqinfo_ssim":["Transferred from the Curatorial Division."],"language_ssim":["English"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities."],"userestrict_html_tesm":["\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"_nest_path_":"/components#0/components#1/components#18","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c19"}},{"id":"virmu_repositories_2_resources_198_c01_c02_c20","type":"Item","attributes":{"title":"Letter, 1921/1932","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c20#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c20#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_198_c01_c02_c20","ref_ssm":["virmu_repositories_2_resources_198_c01_c02_c20"],"id":"virmu_repositories_2_resources_198_c01_c02_c20","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198_c01_c02","parent_ssi":"virmu_repositories_2_resources_198_c01_c02","parent_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"parent_ids_ssim":["virmu_repositories_2_resources_198","virmu_repositories_2_resources_198_c01","virmu_repositories_2_resources_198_c01_c02"],"title_filing_ssi":"Letter","title_ssm":["Letter"],"title_tesim":["Letter"],"normalized_title_ssm":["Letter, 1921/1932"],"text":["Letter, 1921/1932","John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence","Paper","box SC-31 Box 1","folder Folder 2","Item SC31.01.F02.020","Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)","Payne, John Barton, 1855-1935","English","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"parent_unittitles_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"parent_unittitles_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"normalized_date_ssm":["1921/1932"],"unitdate_inclusive_ssm":["Jan. 27, 1921-Feb. 19, 1932, undated"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":45,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"physdesc_tesim":["Paper"],"extent_ssm":["1 item"],"extent_tesim":["1 item"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-31 Box 1","folder Folder 2","Item SC31.01.F02.020"],"creator_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"persname_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"names_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"geogname_ssim":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"geogname_ssm":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"places_ssim":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"access_subjects_ssim":["Payne, John Barton, 1855-1935"],"access_subjects_ssm":["Payne, John Barton, 1855-1935"],"acqinfo_ssim":["Transferred from the Curatorial Division."],"language_ssim":["English"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities."],"userestrict_html_tesm":["\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"_nest_path_":"/components#0/components#1/components#19","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c20"}},{"id":"virmu_repositories_2_resources_198_c01_c02_c21","type":"Item","attributes":{"title":"Letter, 1921/1932","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c21#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c21#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_198_c01_c02_c21","ref_ssm":["virmu_repositories_2_resources_198_c01_c02_c21"],"id":"virmu_repositories_2_resources_198_c01_c02_c21","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198_c01_c02","parent_ssi":"virmu_repositories_2_resources_198_c01_c02","parent_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"parent_ids_ssim":["virmu_repositories_2_resources_198","virmu_repositories_2_resources_198_c01","virmu_repositories_2_resources_198_c01_c02"],"title_filing_ssi":"Letter","title_ssm":["Letter"],"title_tesim":["Letter"],"normalized_title_ssm":["Letter, 1921/1932"],"text":["Letter, 1921/1932","John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence","Paper","box SC-31 Box 1","folder Folder 2","Item SC31.01.F02.021","Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)","Payne, John Barton, 1855-1935","English","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"parent_unittitles_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"parent_unittitles_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938","Series 1: Correspondence, 1904/1920","Folder 2: Correspondence"],"normalized_date_ssm":["1921/1932"],"unitdate_inclusive_ssm":["Jan. 27, 1921-Feb. 19, 1932, undated"],"level_ssm":["Item"],"level_ssim":["Item"],"component_level_isim":[3],"sort_isi":46,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"physdesc_tesim":["Paper"],"extent_ssm":["1 item"],"extent_tesim":["1 item"],"physfacet_tesim":["Correspondence"],"containers_ssim":["box SC-31 Box 1","folder Folder 2","Item SC31.01.F02.021"],"creator_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"persname_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"names_ssim":["Wilson, Woodrow, 1856-1924","Pollard, John Garland, 1871-1937","Daniels, Josephus, 1862-1948","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944"],"geogname_ssim":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"geogname_ssm":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"places_ssim":["Washington (D.C.)","Chicago (Ill.)","Richmond (Va.)"],"access_subjects_ssim":["Payne, John Barton, 1855-1935"],"access_subjects_ssm":["Payne, John Barton, 1855-1935"],"acqinfo_ssim":["Transferred from the Curatorial Division."],"language_ssim":["English"],"date_range_isim":[1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities."],"userestrict_html_tesm":["\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"_nest_path_":"/components#0/components#1/components#20","timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198_c01_c02_c21"}},{"id":"virmu_repositories_2_resources_8","type":"collection","attributes":{"title":"Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8#creator","type":"document_value","attributes":{"value":"Pratt, Lillian Thomas, 1876?","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"normalized_date_ssm":["1901/1947"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"text":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","SC-07","/repositories/2/resources/8","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English\n."],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e\n    ","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e\n    ","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e\n    ","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e\n  ","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e\n    ","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e\n  ","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e\n    ","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine Arts\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English\n."],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:42:01.770Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"normalized_date_ssm":["1901/1947"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"text":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","SC-07","/repositories/2/resources/8","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English\n."],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e\n    ","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e\n    ","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e\n    ","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e\n  ","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e\n    ","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e\n  ","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e\n    ","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine Arts\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English\n."],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:42:01.770Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8"}},{"id":"virmu_repositories_2_resources_272_c06_c03","type":"File","attributes":{"title":"Miscellaneous Publications, 1924/1978","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_272_c06_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_272_c06_c03","ref_ssm":["virmu_repositories_2_resources_272_c06_c03"],"id":"virmu_repositories_2_resources_272_c06_c03","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272_c06","parent_ssi":"virmu_repositories_2_resources_272_c06","parent_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007"],"parent_ids_ssim":["virmu_repositories_2_resources_272","virmu_repositories_2_resources_272_c06"],"title_filing_ssi":"Miscellaneous Publications","title_ssm":["Miscellaneous Publications"],"title_tesim":["Miscellaneous Publications"],"normalized_title_ssm":["Miscellaneous Publications, 1924/1978"],"text":["Miscellaneous Publications, 1924/1978","Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007","box SC-23 Box 2","folder Folder 22","Item SC23.06.0.003","English"],"parent_unittitles_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007"],"parent_unittitles_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007"],"normalized_date_ssm":["1924/1978"],"unitdate_other_ssim":["1924-1978, undated"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":70,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"containers_ssim":["box SC-23 Box 2","folder Folder 22","Item SC23.06.0.003"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"language_ssim":["English"],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"_nest_path_":"/components#5/components#2","timestamp":"2026-08-14T22:40:24.249Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_272","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_272.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/272","title_filing_ssi":"Home for Needy Confederate Women (SC-23)","title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"unitdate_ssm":["1898-2007"],"unitdate_inclusive_ssm":["1898-2007"],"normalized_date_ssm":["1898/2007"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"text":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","SC-23","/repositories/2/resources/272","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.","The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated","Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418","The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds","The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.","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.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 2 boxes; 68 folders"],"extent_tesim":["2.5 Linear Feet 2 boxes; 68 folders"],"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series. Correspondence files are arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1924-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAdministrative Files, 1898-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eResident and Application Files, 1914-1998\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eFinancial Records, 1908-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eProperty Files, 1924-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eOther Records, 1910-2007, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e\n    ","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e\n    ","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - Library of Virginia"],"bibliography_tesim":["Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418"],"bioghist_html_tesm":["\u003cp\u003eThe monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.\u003c/p\u003e","\u003cp\u003eFunded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Home for Needy Confederate Women (SC-23). 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."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_990af6858b4c3924898d87f60438ef91\"\u003eThe collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":74,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:24.249Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_272_c06_c03"}},{"id":"virmu_repositories_2_resources_272_c06_c04","type":"File","attributes":{"title":"Newspaper articles, 1910/1946","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_272_c06_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_272_c06_c04","ref_ssm":["virmu_repositories_2_resources_272_c06_c04"],"id":"virmu_repositories_2_resources_272_c06_c04","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272_c06","parent_ssi":"virmu_repositories_2_resources_272_c06","parent_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007"],"parent_ids_ssim":["virmu_repositories_2_resources_272","virmu_repositories_2_resources_272_c06"],"title_filing_ssi":"Newspaper articles","title_ssm":["Newspaper articles"],"title_tesim":["Newspaper articles"],"normalized_title_ssm":["Newspaper articles, 1910/1946"],"text":["Newspaper articles, 1910/1946","Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007","box SC-23 Box 2","folder Folder 23","Item SC23.06.0.004","English"],"parent_unittitles_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007"],"parent_unittitles_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 6: Other Records, 1910/2007"],"normalized_date_ssm":["1910/1946"],"unitdate_other_ssim":["1910-1946, undated"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":71,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"containers_ssim":["box SC-23 Box 2","folder Folder 23","Item SC23.06.0.004"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"language_ssim":["English"],"date_range_isim":[1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946],"_nest_path_":"/components#5/components#3","timestamp":"2026-08-14T22:40:24.249Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_272","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_272.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/272","title_filing_ssi":"Home for Needy Confederate Women (SC-23)","title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"unitdate_ssm":["1898-2007"],"unitdate_inclusive_ssm":["1898-2007"],"normalized_date_ssm":["1898/2007"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"text":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","SC-23","/repositories/2/resources/272","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.","The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated","Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418","The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds","The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.","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.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 2 boxes; 68 folders"],"extent_tesim":["2.5 Linear Feet 2 boxes; 68 folders"],"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series. Correspondence files are arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1924-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAdministrative Files, 1898-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eResident and Application Files, 1914-1998\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eFinancial Records, 1908-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eProperty Files, 1924-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eOther Records, 1910-2007, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e\n    ","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e\n    ","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - Library of Virginia"],"bibliography_tesim":["Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418"],"bioghist_html_tesm":["\u003cp\u003eThe monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.\u003c/p\u003e","\u003cp\u003eFunded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Home for Needy Confederate Women (SC-23). 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."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_990af6858b4c3924898d87f60438ef91\"\u003eThe collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":74,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:24.249Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_272_c06_c04"}},{"id":"virmu_repositories_2_resources_38","type":"collection","attributes":{"title":"Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_38#creator","type":"document_value","attributes":{"value":"Sanchez, Pierre, 1963-","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_38#abstract_or_scope","type":"document_value","attributes":{"value":"The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_38#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_38","ead_ssi":"virmu_repositories_2_resources_38","_root_":"virmu_repositories_2_resources_38","_nest_parent_":"virmu_repositories_2_resources_38","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_38.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/38","title_filing_ssi":"Vernet, Horace (SC-28)","title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"unitdate_ssm":["1816-1838, 1996"],"unitdate_inclusive_ssm":["1816-1838, 1996"],"normalized_date_ssm":["1816/1996"],"normalized_title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"text":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","SC-28","/repositories/2/resources/38","Lithography, French -- 19th century","The collection is open for research.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated","Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet","Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)","Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.","The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","French\n."],"collection_title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"collection_ssim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-28","/repositories/2/resources/38"],"unitid_tesim":["SC-28","/repositories/2/resources/38"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_ssim":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"creators_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Lithography, French -- 19th century"],"access_subjects_ssm":["Lithography, French -- 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"extent_tesim":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"date_range_isim":[1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePrints, 1816-1838\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePosters, 1996\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated"],"bibliography_html_tesm":["\u003cbibref\u003eQuelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)\u003c/bibref\u003e\n    ","\u003cbibref\u003eSylla: tragédie en cinq actes / par E. Jouy (1822)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)\u003c/bibref\u003e\n  ","\u003cbibref\u003eHorace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHorace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)\u003c/bibref\u003e\n    ","\u003cbibref\u003eLes Vernet: Joseph, Carle, Horace (1898)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist File: Horace Vernet\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pierre Sanchez Collection","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet"],"bioghist_html_tesm":["\u003cp\u003ePierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings. \u003c/p\u003e","\u003cp\u003eThe son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.\u003c/p\u003e","\u003cp\u003e(The above information was taken from \u003ca href=\"https://www.dessinoriginal.com/en/catalogues-raisonnes/7869-horace-vernet-dessinateur-lithographe-catalogue-raisonne-de-son-oeuvre-lithographie-9782359680737.html\"\u003eDessin Original\u003c/a\u003e and \u003ca href=\"https://www.nga.gov/content/ngaweb/Collection/artist-info.3284.html\"\u003eHorace Vernet\u003c/a\u003e.)\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)"],"custodhist_html_tesm":["\u003cp\u003eOriginally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017."],"prefercite_html_tesm":["\u003cp\u003ePierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cde71f482c2213258ca9bcc8dafeaa33\"\u003eThe collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"names_coll_ssim":["Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863"],"persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"names_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"language_ssim":["French\n."],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:29.647Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_38","ead_ssi":"virmu_repositories_2_resources_38","_root_":"virmu_repositories_2_resources_38","_nest_parent_":"virmu_repositories_2_resources_38","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_38.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/38","title_filing_ssi":"Vernet, Horace (SC-28)","title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"unitdate_ssm":["1816-1838, 1996"],"unitdate_inclusive_ssm":["1816-1838, 1996"],"normalized_date_ssm":["1816/1996"],"normalized_title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"text":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","SC-28","/repositories/2/resources/38","Lithography, French -- 19th century","The collection is open for research.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated","Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet","Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)","Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.","The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","French\n."],"collection_title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"collection_ssim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-28","/repositories/2/resources/38"],"unitid_tesim":["SC-28","/repositories/2/resources/38"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_ssim":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"creators_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Lithography, French -- 19th century"],"access_subjects_ssm":["Lithography, French -- 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"extent_tesim":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"date_range_isim":[1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePrints, 1816-1838\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePosters, 1996\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated"],"bibliography_html_tesm":["\u003cbibref\u003eQuelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)\u003c/bibref\u003e\n    ","\u003cbibref\u003eSylla: tragédie en cinq actes / par E. Jouy (1822)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)\u003c/bibref\u003e\n  ","\u003cbibref\u003eHorace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHorace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)\u003c/bibref\u003e\n    ","\u003cbibref\u003eLes Vernet: Joseph, Carle, Horace (1898)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist File: Horace Vernet\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pierre Sanchez Collection","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet"],"bioghist_html_tesm":["\u003cp\u003ePierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings. \u003c/p\u003e","\u003cp\u003eThe son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.\u003c/p\u003e","\u003cp\u003e(The above information was taken from \u003ca href=\"https://www.dessinoriginal.com/en/catalogues-raisonnes/7869-horace-vernet-dessinateur-lithographe-catalogue-raisonne-de-son-oeuvre-lithographie-9782359680737.html\"\u003eDessin Original\u003c/a\u003e and \u003ca href=\"https://www.nga.gov/content/ngaweb/Collection/artist-info.3284.html\"\u003eHorace Vernet\u003c/a\u003e.)\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)"],"custodhist_html_tesm":["\u003cp\u003eOriginally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017."],"prefercite_html_tesm":["\u003cp\u003ePierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cde71f482c2213258ca9bcc8dafeaa33\"\u003eThe collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"names_coll_ssim":["Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863"],"persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"names_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"language_ssim":["French\n."],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:29.647Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_38"}},{"id":"virmu_repositories_2_resources_15984","type":"collection","attributes":{"title":"Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_15984#creator","type":"document_value","attributes":{"value":"Near, Pinkney L., 1927-1990","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_15984#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_15984#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_15984","ead_ssi":"virmu_repositories_2_resources_15984","_root_":"virmu_repositories_2_resources_15984","_nest_parent_":"virmu_repositories_2_resources_15984","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_15984.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/15984","title_filing_ssi":"Near, Pinkney and Henrietta (SC-42)","title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"unitdate_ssm":["1873-2020"],"unitdate_inclusive_ssm":["1873-2020"],"normalized_date_ssm":["1873/2020"],"normalized_title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"text":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","SC-42","/repositories/2/resources/15984","Art museum curators.","Women artists.","Artists -- Virginia","The collection is open for research.","The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011","Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections.","The collection was packed and donated by Henrietta's estate in August 2023.","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.","The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.","Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta.","English\n,       Latin\n."],"collection_title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-42","/repositories/2/resources/15984"],"unitid_tesim":["SC-42","/repositories/2/resources/15984"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art museum curators.","Women artists.","Artists -- Virginia"],"access_subjects_ssm":["Art museum curators.","Women artists.","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 4 boxes; 27 folders"],"extent_tesim":["2.5 Linear Feet 4 boxes; 27 folders"],"date_range_isim":[1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePinkney Near, 1916-2002\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHenrietta Near, 1873-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePinkney and Henrietta Near, 1962-1966\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eArtist Research Files, 1969-2011\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011"],"bioghist_html_tesm":["\u003cp\u003ePinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.\u003c/p\u003e","\u003cp\u003eHenrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections."],"custodhist_html_tesm":["\u003cp\u003eThe collection was packed and donated by Henrietta's estate in August 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was packed and donated by Henrietta's estate in August 2023."],"prefercite_html_tesm":["\u003cp\u003ePinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. 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\u003eThe collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families."],"userestrict_html_tesm":["\u003cp\u003eTransmission or reproduction of materials 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":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1cd6e60b6a6093df572b3bc99a2beed1\"\u003eThis collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"names_coll_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"names_ssim":["Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta."],"language_ssim":["English\n,       Latin\n."],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_15984","ead_ssi":"virmu_repositories_2_resources_15984","_root_":"virmu_repositories_2_resources_15984","_nest_parent_":"virmu_repositories_2_resources_15984","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_15984.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/15984","title_filing_ssi":"Near, Pinkney and Henrietta (SC-42)","title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"unitdate_ssm":["1873-2020"],"unitdate_inclusive_ssm":["1873-2020"],"normalized_date_ssm":["1873/2020"],"normalized_title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"text":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","SC-42","/repositories/2/resources/15984","Art museum curators.","Women artists.","Artists -- Virginia","The collection is open for research.","The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011","Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections.","The collection was packed and donated by Henrietta's estate in August 2023.","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.","The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.","Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta.","English\n,       Latin\n."],"collection_title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-42","/repositories/2/resources/15984"],"unitid_tesim":["SC-42","/repositories/2/resources/15984"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art museum curators.","Women artists.","Artists -- Virginia"],"access_subjects_ssm":["Art museum curators.","Women artists.","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 4 boxes; 27 folders"],"extent_tesim":["2.5 Linear Feet 4 boxes; 27 folders"],"date_range_isim":[1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePinkney Near, 1916-2002\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHenrietta Near, 1873-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePinkney and Henrietta Near, 1962-1966\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eArtist Research Files, 1969-2011\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011"],"bioghist_html_tesm":["\u003cp\u003ePinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.\u003c/p\u003e","\u003cp\u003eHenrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections."],"custodhist_html_tesm":["\u003cp\u003eThe collection was packed and donated by Henrietta's estate in August 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was packed and donated by Henrietta's estate in August 2023."],"prefercite_html_tesm":["\u003cp\u003ePinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. 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\u003eThe collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families."],"userestrict_html_tesm":["\u003cp\u003eTransmission or reproduction of materials 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":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1cd6e60b6a6093df572b3bc99a2beed1\"\u003eThis collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"names_coll_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"names_ssim":["Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta."],"language_ssim":["English\n,       Latin\n."],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:21.394Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_15984"}},{"id":"virmu_repositories_2_resources_436","type":"collection","attributes":{"title":"Records of the Aaron Siskind Foundation (SC-38), 1920/2020","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_436#creator","type":"document_value","attributes":{"value":"Aaron Siskind Foundation","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_436#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_436#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_436","ead_ssi":"virmu_repositories_2_resources_436","_root_":"virmu_repositories_2_resources_436","_nest_parent_":"virmu_repositories_2_resources_436","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_436.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/436","title_filing_ssi":"Aaron Siskind Foundation (SC-38)","title_ssm":["Records of the Aaron Siskind Foundation (SC-38)"],"title_tesim":["Records of the Aaron Siskind Foundation (SC-38)"],"unitdate_ssm":["1920-2020"],"unitdate_inclusive_ssm":["1920-2020"],"normalized_date_ssm":["1920/2020"],"normalized_title_ssm":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020"],"text":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020","SC-38","/repositories/2/resources/436","Nonprofit organizations","Photography, Abstract","The collection is open for research.","The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1\n        Aaron Siskind, 1920-2020\n      \n      \n        Series 2\n        Aaron Siskind Foundation, 1983-2019","The VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on Pandora. A sample of titles from this collection can be found below.","Aaron Siskind : mid-century modern First edition","Aaron Siskind : another photographic reality First edition.","Aaron Siskind","Aaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.","Aaron Siskind : order with the tensions continuing","Interior drama : Aaron Siskind's photographs of the 1940s","Aaron Siskind 100 1st ed.","Aaron Siskind : the fragmentation of language","Aaron Siskind : toward a personal vision 1935-1955","Harlem photographs, 1932-1940","Bucks County : photographs of early architecture","Exhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material","Exhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material","Artist file : miscellaneous uncataloged material","Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.","Source: Aaron Siskind Foundation collection by the Center for Creative Photography at The University of Arizona","The collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022.","The Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's press release.","Originals of photocopied print materials are located at the Center for Creative Photography at the University of Arizona.","Original folder titles were retained when provided.","Aaron Siskind Foundation collection at the Center for Creative Photography at The University of Arizona","Aaron Siskind archive at the Center for Creative Photography at The University of Arizona","Aaron Siskind papers, 1967-1977 at the Smithsonian Archives of American Art","Aaron Siskind photographs of Harlem, circa 1932-1941 at the David M. Rubenstein Rare Book and Manuscript Library, Duke University","Guide to the Aaron Siskind photographs M2582 at the Online Archive of California","The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the Center for Creative Photography and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.","Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991","English\n."],"collection_title_tesim":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020"],"collection_ssim":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-38","/repositories/2/resources/436"],"unitid_tesim":["SC-38","/repositories/2/resources/436"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creator_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creator_persname_ssim":["Siskind, Aaron, 1903-1991"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"creators_ssim":["Siskind, Aaron, 1903-1991","Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Nonprofit organizations","Photography, Abstract"],"access_subjects_ssm":["Nonprofit organizations","Photography, Abstract"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 4 boxes; 16 folders"],"extent_tesim":["1.5 Linear Feet 4 boxes; 16 folders"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eAaron Siskind, 1920-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAaron Siskind Foundation, 1983-2019\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1\n        Aaron Siskind, 1920-2020\n      \n      \n        Series 2\n        Aaron Siskind Foundation, 1983-2019"],"bibliography_html_tesm":["\u003cp\u003eThe VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=q5AbaJh7Tb/VMFA_LIB/X/60/502/X\"\u003ePandora\u003c/a\u003e. A sample of titles from this collection can be found below.\u003c/p\u003e    ","\u003cbibref\u003eAaron Siskind : mid-century modern First edition\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : another photographic reality First edition.\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : order with the tensions continuing\u003c/bibref\u003e\n    ","\u003cbibref\u003eInterior drama : Aaron Siskind's photographs of the 1940s\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind 100 1st ed.\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : the fragmentation of language\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : toward a personal vision 1935-1955\u003c/bibref\u003e\n    ","\u003cbibref\u003eHarlem photographs, 1932-1940\u003c/bibref\u003e\n    ","\u003cbibref\u003eBucks County : photographs of early architecture\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material\u003c/bibref\u003e\n    ","\u003cbibref\u003eExhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist file : miscellaneous uncataloged material\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["The VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on Pandora. A sample of titles from this collection can be found below.","Aaron Siskind : mid-century modern First edition","Aaron Siskind : another photographic reality First edition.","Aaron Siskind","Aaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.","Aaron Siskind : order with the tensions continuing","Interior drama : Aaron Siskind's photographs of the 1940s","Aaron Siskind 100 1st ed.","Aaron Siskind : the fragmentation of language","Aaron Siskind : toward a personal vision 1935-1955","Harlem photographs, 1932-1940","Bucks County : photographs of early architecture","Exhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material","Exhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material","Artist file : miscellaneous uncataloged material"],"bioghist_html_tesm":["\u003cp\u003eAaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eAaron Siskind Foundation collection\u003c/a\u003e by the Center for Creative Photography at The University of Arizona\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.","Source: Aaron Siskind Foundation collection by the Center for Creative Photography at The University of Arizona"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022."],"odd_html_tesm":["\u003cp\u003eThe Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's \u003ca href=\"https://vmfa.museum/pressroom/news/vmfa-receives-8000-photographs-aaron-siskind-foundation/\"\u003epress release\u003c/a\u003e.\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["The Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's press release."],"originalsloc_html_tesm":["\u003cp\u003eOriginals of photocopied print materials are located at the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography\u003c/a\u003e at the University of Arizona.\u003c/p\u003e  "],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Originals of photocopied print materials are located at the Center for Creative Photography at the University of Arizona."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eOriginal folder titles were retained when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Original folder titles were retained when provided."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eAaron Siskind Foundation collection\u003c/a\u003e at the Center for Creative Photography at The University of Arizona\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329?_gl=1*zhh2b*_ga*MjExODE1NTc0OC4xNjY4NzAwODU2*_ga_7PV3540XS3*MTY2ODcwMDg1Ni4xLjAuMTY2ODcwMDg1Ni42MC4wLjA.\"\u003eAaron Siskind archive\u003c/a\u003e at the Center for Creative Photography at The University of Arizona\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://www.aaa.si.edu/collections/aaron-siskind-papers-8470\"\u003eAaron Siskind papers, 1967-1977\u003c/a\u003e at the Smithsonian Archives of American Art\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://archives.lib.duke.edu/catalog/siskindaaron\"\u003eAaron Siskind photographs of Harlem, circa 1932-1941\u003c/a\u003e at the David M. Rubenstein Rare Book and Manuscript Library, Duke University\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8n01dz9/\"\u003eGuide to the Aaron Siskind photographs M2582\u003c/a\u003e at the Online Archive of California\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Aaron Siskind Foundation collection at the Center for Creative Photography at The University of Arizona","Aaron Siskind archive at the Center for Creative Photography at The University of Arizona","Aaron Siskind papers, 1967-1977 at the Smithsonian Archives of American Art","Aaron Siskind photographs of Harlem, circa 1932-1941 at the David M. Rubenstein Rare Book and Manuscript Library, Duke University","Guide to the Aaron Siskind photographs M2582 at the Online Archive of California"],"scopecontent_html_tesm":["\u003cp\u003eThe collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the \u003ca href=\"https://ccp.arizona.edu/\"\u003eCenter for Creative Photography\u003c/a\u003e and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the Center for Creative Photography and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ad819fe67e8c4e98b4f28169b54e76c6\"\u003eThe collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"names_coll_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"persname_ssim":["Siskind, Aaron, 1903-1991"],"names_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991"],"language_ssim":["English\n."],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:29.647Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_436","ead_ssi":"virmu_repositories_2_resources_436","_root_":"virmu_repositories_2_resources_436","_nest_parent_":"virmu_repositories_2_resources_436","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_436.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/436","title_filing_ssi":"Aaron Siskind Foundation (SC-38)","title_ssm":["Records of the Aaron Siskind Foundation (SC-38)"],"title_tesim":["Records of the Aaron Siskind Foundation (SC-38)"],"unitdate_ssm":["1920-2020"],"unitdate_inclusive_ssm":["1920-2020"],"normalized_date_ssm":["1920/2020"],"normalized_title_ssm":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020"],"text":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020","SC-38","/repositories/2/resources/436","Nonprofit organizations","Photography, Abstract","The collection is open for research.","The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1\n        Aaron Siskind, 1920-2020\n      \n      \n        Series 2\n        Aaron Siskind Foundation, 1983-2019","The VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on Pandora. A sample of titles from this collection can be found below.","Aaron Siskind : mid-century modern First edition","Aaron Siskind : another photographic reality First edition.","Aaron Siskind","Aaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.","Aaron Siskind : order with the tensions continuing","Interior drama : Aaron Siskind's photographs of the 1940s","Aaron Siskind 100 1st ed.","Aaron Siskind : the fragmentation of language","Aaron Siskind : toward a personal vision 1935-1955","Harlem photographs, 1932-1940","Bucks County : photographs of early architecture","Exhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material","Exhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material","Artist file : miscellaneous uncataloged material","Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.","Source: Aaron Siskind Foundation collection by the Center for Creative Photography at The University of Arizona","The collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022.","The Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's press release.","Originals of photocopied print materials are located at the Center for Creative Photography at the University of Arizona.","Original folder titles were retained when provided.","Aaron Siskind Foundation collection at the Center for Creative Photography at The University of Arizona","Aaron Siskind archive at the Center for Creative Photography at The University of Arizona","Aaron Siskind papers, 1967-1977 at the Smithsonian Archives of American Art","Aaron Siskind photographs of Harlem, circa 1932-1941 at the David M. Rubenstein Rare Book and Manuscript Library, Duke University","Guide to the Aaron Siskind photographs M2582 at the Online Archive of California","The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the Center for Creative Photography and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.","Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991","English\n."],"collection_title_tesim":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020"],"collection_ssim":["Records of the Aaron Siskind Foundation (SC-38), 1920/2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-38","/repositories/2/resources/436"],"unitid_tesim":["SC-38","/repositories/2/resources/436"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creator_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creator_persname_ssim":["Siskind, Aaron, 1903-1991"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"creators_ssim":["Siskind, Aaron, 1903-1991","Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Nonprofit organizations","Photography, Abstract"],"access_subjects_ssm":["Nonprofit organizations","Photography, Abstract"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 4 boxes; 16 folders"],"extent_tesim":["1.5 Linear Feet 4 boxes; 16 folders"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eAaron Siskind, 1920-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAaron Siskind Foundation, 1983-2019\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1\n        Aaron Siskind, 1920-2020\n      \n      \n        Series 2\n        Aaron Siskind Foundation, 1983-2019"],"bibliography_html_tesm":["\u003cp\u003eThe VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=q5AbaJh7Tb/VMFA_LIB/X/60/502/X\"\u003ePandora\u003c/a\u003e. A sample of titles from this collection can be found below.\u003c/p\u003e    ","\u003cbibref\u003eAaron Siskind : mid-century modern First edition\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : another photographic reality First edition.\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : order with the tensions continuing\u003c/bibref\u003e\n    ","\u003cbibref\u003eInterior drama : Aaron Siskind's photographs of the 1940s\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind 100 1st ed.\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : the fragmentation of language\u003c/bibref\u003e\n    ","\u003cbibref\u003eAaron Siskind : toward a personal vision 1935-1955\u003c/bibref\u003e\n    ","\u003cbibref\u003eHarlem photographs, 1932-1940\u003c/bibref\u003e\n    ","\u003cbibref\u003eBucks County : photographs of early architecture\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material\u003c/bibref\u003e\n    ","\u003cbibref\u003eExhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist file : miscellaneous uncataloged material\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["The VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on Pandora. A sample of titles from this collection can be found below.","Aaron Siskind : mid-century modern First edition","Aaron Siskind : another photographic reality First edition.","Aaron Siskind","Aaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.","Aaron Siskind : order with the tensions continuing","Interior drama : Aaron Siskind's photographs of the 1940s","Aaron Siskind 100 1st ed.","Aaron Siskind : the fragmentation of language","Aaron Siskind : toward a personal vision 1935-1955","Harlem photographs, 1932-1940","Bucks County : photographs of early architecture","Exhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material","Exhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material","Artist file : miscellaneous uncataloged material"],"bioghist_html_tesm":["\u003cp\u003eAaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eAaron Siskind Foundation collection\u003c/a\u003e by the Center for Creative Photography at The University of Arizona\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.","Source: Aaron Siskind Foundation collection by the Center for Creative Photography at The University of Arizona"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022."],"odd_html_tesm":["\u003cp\u003eThe Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's \u003ca href=\"https://vmfa.museum/pressroom/news/vmfa-receives-8000-photographs-aaron-siskind-foundation/\"\u003epress release\u003c/a\u003e.\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["The Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's press release."],"originalsloc_html_tesm":["\u003cp\u003eOriginals of photocopied print materials are located at the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography\u003c/a\u003e at the University of Arizona.\u003c/p\u003e  "],"originalsloc_heading_ssm":["Existence and Location of Originals"],"originalsloc_tesim":["Originals of photocopied print materials are located at the Center for Creative Photography at the University of Arizona."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eOriginal folder titles were retained when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Original folder titles were retained when provided."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eAaron Siskind Foundation collection\u003c/a\u003e at the Center for Creative Photography at The University of Arizona\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329?_gl=1*zhh2b*_ga*MjExODE1NTc0OC4xNjY4NzAwODU2*_ga_7PV3540XS3*MTY2ODcwMDg1Ni4xLjAuMTY2ODcwMDg1Ni42MC4wLjA.\"\u003eAaron Siskind archive\u003c/a\u003e at the Center for Creative Photography at The University of Arizona\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://www.aaa.si.edu/collections/aaron-siskind-papers-8470\"\u003eAaron Siskind papers, 1967-1977\u003c/a\u003e at the Smithsonian Archives of American Art\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://archives.lib.duke.edu/catalog/siskindaaron\"\u003eAaron Siskind photographs of Harlem, circa 1932-1941\u003c/a\u003e at the David M. Rubenstein Rare Book and Manuscript Library, Duke University\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8n01dz9/\"\u003eGuide to the Aaron Siskind photographs M2582\u003c/a\u003e at the Online Archive of California\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Aaron Siskind Foundation collection at the Center for Creative Photography at The University of Arizona","Aaron Siskind archive at the Center for Creative Photography at The University of Arizona","Aaron Siskind papers, 1967-1977 at the Smithsonian Archives of American Art","Aaron Siskind photographs of Harlem, circa 1932-1941 at the David M. Rubenstein Rare Book and Manuscript Library, Duke University","Guide to the Aaron Siskind photographs M2582 at the Online Archive of California"],"scopecontent_html_tesm":["\u003cp\u003eThe collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the \u003ca href=\"https://ccp.arizona.edu/\"\u003eCenter for Creative Photography\u003c/a\u003e and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the Center for Creative Photography and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ad819fe67e8c4e98b4f28169b54e76c6\"\u003eThe collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"names_coll_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"persname_ssim":["Siskind, Aaron, 1903-1991"],"names_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991"],"language_ssim":["English\n."],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:29.647Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_436"}},{"id":"virmu_repositories_2_resources_271","type":"collection","attributes":{"title":"Records of the Camera Club of Richmond (SC-22), 1920/1972","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_271#abstract_or_scope","type":"document_value","attributes":{"value":"The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_271#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_271","ead_ssi":"virmu_repositories_2_resources_271","_root_":"virmu_repositories_2_resources_271","_nest_parent_":"virmu_repositories_2_resources_271","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_271.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/271","title_filing_ssi":"Camera Club of Richmond (SC-22)","title_ssm":["Records of the Camera Club of Richmond (SC-22)"],"title_tesim":["Records of the Camera Club of Richmond (SC-22)"],"unitdate_ssm":["1920-1972, undated"],"unitdate_inclusive_ssm":["1920-1972, undated"],"normalized_date_ssm":["1920/1972"],"normalized_title_ssm":["Records of the Camera Club of Richmond (SC-22), 1920/1972"],"text":["Records of the Camera Club of Richmond (SC-22), 1920/1972","SC-22","/repositories/2/resources/271","The collection is open for use.","The collection is organized into one series.","Series 1\n        Exhibition Prints, 1920-1972, undated","On June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.","In April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth.","The Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.","In the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.","After more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.","Source: Camera Club of Richmond History by Carole Hagaman","The collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015.","Prints remain in their original cases.","The collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.","Virginia Museum of Fine Arts Archives","English"],"collection_title_tesim":["Records of the Camera Club of Richmond (SC-22), 1920/1972"],"collection_ssim":["Records of the Camera Club of Richmond (SC-22), 1920/1972"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-22","/repositories/2/resources/271"],"unitid_tesim":["SC-22","/repositories/2/resources/271"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["1.25 Linear Feet 5 cases; 117 items"],"extent_tesim":["1.25 Linear Feet 5 cases; 117 items"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into one series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eExhibition Prints, 1920-1972, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into one series.","Series 1\n        Exhibition Prints, 1920-1972, undated"],"bioghist_html_tesm":["\u003cp\u003eOn June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.\n \u003c/p\u003e","\u003cp\u003eIn April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth. \u003c/p\u003e","\u003cp\u003eThe Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.\u003c/p\u003e","\u003cp\u003eIn the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026amp;P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.\u003c/p\u003e","\u003cp\u003eAfter more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.cameraclubofrichmond.com/club-history\"\u003eCamera Club of Richmond History by Carole Hagaman\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.","In April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth.","The Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.","In the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.","After more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.","Source: Camera Club of Richmond History by Carole Hagaman"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Camera Club of Richmond (SC-22). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Camera Club of Richmond (SC-22). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003ePrints remain in their original cases.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Prints remain in their original cases."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_dbcddfe00da4bb9ddeda3852de47d999\"\u003eThe collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English"],"total_component_count_is":118,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:40:24.249Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_271","ead_ssi":"virmu_repositories_2_resources_271","_root_":"virmu_repositories_2_resources_271","_nest_parent_":"virmu_repositories_2_resources_271","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_271.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/271","title_filing_ssi":"Camera Club of Richmond (SC-22)","title_ssm":["Records of the Camera Club of Richmond (SC-22)"],"title_tesim":["Records of the Camera Club of Richmond (SC-22)"],"unitdate_ssm":["1920-1972, undated"],"unitdate_inclusive_ssm":["1920-1972, undated"],"normalized_date_ssm":["1920/1972"],"normalized_title_ssm":["Records of the Camera Club of Richmond (SC-22), 1920/1972"],"text":["Records of the Camera Club of Richmond (SC-22), 1920/1972","SC-22","/repositories/2/resources/271","The collection is open for use.","The collection is organized into one series.","Series 1\n        Exhibition Prints, 1920-1972, undated","On June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.","In April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth.","The Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.","In the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.","After more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.","Source: Camera Club of Richmond History by Carole Hagaman","The collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015.","Prints remain in their original cases.","The collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.","Virginia Museum of Fine Arts Archives","English"],"collection_title_tesim":["Records of the Camera Club of Richmond (SC-22), 1920/1972"],"collection_ssim":["Records of the Camera Club of Richmond (SC-22), 1920/1972"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-22","/repositories/2/resources/271"],"unitid_tesim":["SC-22","/repositories/2/resources/271"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["1.25 Linear Feet 5 cases; 117 items"],"extent_tesim":["1.25 Linear Feet 5 cases; 117 items"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into one series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eExhibition Prints, 1920-1972, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into one series.","Series 1\n        Exhibition Prints, 1920-1972, undated"],"bioghist_html_tesm":["\u003cp\u003eOn June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.\n \u003c/p\u003e","\u003cp\u003eIn April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth. \u003c/p\u003e","\u003cp\u003eThe Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.\u003c/p\u003e","\u003cp\u003eIn the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026amp;P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.\u003c/p\u003e","\u003cp\u003eAfter more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.cameraclubofrichmond.com/club-history\"\u003eCamera Club of Richmond History by Carole Hagaman\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.","In April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth.","The Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.","In the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.","After more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.","Source: Camera Club of Richmond History by Carole Hagaman"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Camera Club of Richmond (SC-22). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Camera Club of Richmond (SC-22). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003ePrints remain in their original cases.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Prints remain in their original cases."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials 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 protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_dbcddfe00da4bb9ddeda3852de47d999\"\u003eThe collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. 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