{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Bnames%5D%5B%5D=Virginia+Museum+of+Fine+Arts","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Bnames%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":9,"first_page?":true,"last_page?":true}},"data":[{"id":"virmu_repositories_2_resources_465","type":"collection","attributes":{"title":"Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_465#creator","type":"document_value","attributes":{"value":"Wigfall, Benjamin L., 1930-2017","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_465#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_465#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_465","ead_ssi":"virmu_repositories_2_resources_465","_root_":"virmu_repositories_2_resources_465","_nest_parent_":"virmu_repositories_2_resources_465","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_465.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/465","title_filing_ssi":"Wigfall, Benjamin (VA-12)","title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"unitdate_ssm":["1880-2023"],"unitdate_inclusive_ssm":["1880-2023"],"normalized_date_ssm":["1880/2023"],"normalized_title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"text":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","VA-12","/repositories/2/resources/465","Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints).","The collection is open for research.","The collection is organized into 10 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        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020","Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.","The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.","In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.","The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.","The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","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 life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","English"],"collection_title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"collection_ssim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-12","/repositories/2/resources/465"],"unitid_tesim":["VA-12","/repositories/2/resources/465"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"creators_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","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, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"access_subjects_ssm":["Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"has_online_content_ssim":["false"],"extent_ssm":["21.875 Linear Feet 50 boxes; 63 folders"],"extent_tesim":["21.875 Linear Feet 50 boxes; 63 folders"],"genreform_ssim":["Woodcuts (prints).","Etchings (prints)."],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"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 10 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\u003eBenjamin L. Wigfall, 1944-2023\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eMary Carter Wigfall, 1949-2017\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eWigfall Family Records, 1944-2014\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eCommunications Village, 1880-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eWatermark/Cargo Gallery, 1969-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eMigrant Children's Center, 1965-1999\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 7\u003c/label\u003e\n        \u003citem\u003eNew York, 1917-2018\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 8\u003c/label\u003e\n        \u003citem\u003eArt and Printmaking, 1951-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 9\u003c/label\u003e\n        \u003citem\u003ePhotography Projects - Communications Village, 1970s-2000s\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 10\u003c/label\u003e\n        \u003citem\u003eOther Artists and Friends, 1949-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 10 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        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020"],"bioghist_html_tesm":["\u003cp\u003eBenjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy. \u003c/p\u003e","\u003cp\u003eAfter receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design. \u003c/p\u003e","\u003cp\u003eWigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York."],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022."],"prefercite_html_tesm":["\u003cp\u003eBenjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.\u003c/p\u003e","\u003cp\u003eItem-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other 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.\u003c/p\u003e","\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":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","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_4aa27f66a6c0c2bf8444280ed5caacf4\"\u003eThe collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"names_coll_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"language_ssim":["English"],"total_component_count_is":397,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:28:27.383Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_465","ead_ssi":"virmu_repositories_2_resources_465","_root_":"virmu_repositories_2_resources_465","_nest_parent_":"virmu_repositories_2_resources_465","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_465.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/465","title_filing_ssi":"Wigfall, Benjamin (VA-12)","title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"unitdate_ssm":["1880-2023"],"unitdate_inclusive_ssm":["1880-2023"],"normalized_date_ssm":["1880/2023"],"normalized_title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"text":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","VA-12","/repositories/2/resources/465","Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints).","The collection is open for research.","The collection is organized into 10 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        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020","Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.","The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.","In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.","The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.","The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","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 life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","English"],"collection_title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"collection_ssim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-12","/repositories/2/resources/465"],"unitid_tesim":["VA-12","/repositories/2/resources/465"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"creators_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","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, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"access_subjects_ssm":["Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"has_online_content_ssim":["false"],"extent_ssm":["21.875 Linear Feet 50 boxes; 63 folders"],"extent_tesim":["21.875 Linear Feet 50 boxes; 63 folders"],"genreform_ssim":["Woodcuts (prints).","Etchings (prints)."],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"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 10 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\u003eBenjamin L. Wigfall, 1944-2023\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eMary Carter Wigfall, 1949-2017\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eWigfall Family Records, 1944-2014\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eCommunications Village, 1880-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eWatermark/Cargo Gallery, 1969-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eMigrant Children's Center, 1965-1999\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 7\u003c/label\u003e\n        \u003citem\u003eNew York, 1917-2018\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 8\u003c/label\u003e\n        \u003citem\u003eArt and Printmaking, 1951-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 9\u003c/label\u003e\n        \u003citem\u003ePhotography Projects - Communications Village, 1970s-2000s\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 10\u003c/label\u003e\n        \u003citem\u003eOther Artists and Friends, 1949-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 10 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        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020"],"bioghist_html_tesm":["\u003cp\u003eBenjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy. \u003c/p\u003e","\u003cp\u003eAfter receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design. \u003c/p\u003e","\u003cp\u003eWigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York."],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022."],"prefercite_html_tesm":["\u003cp\u003eBenjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.\u003c/p\u003e","\u003cp\u003eItem-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other 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.\u003c/p\u003e","\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":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","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_4aa27f66a6c0c2bf8444280ed5caacf4\"\u003eThe collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"names_coll_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"language_ssim":["English"],"total_component_count_is":397,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:28:27.383Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_465"}},{"id":"virmu_repositories_2_resources_13","type":"collection","attributes":{"title":"Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13#creator","type":"document_value","attributes":{"value":"Cheek, Leslie, 1908-","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_13","ead_ssi":"virmu_repositories_2_resources_13","_root_":"virmu_repositories_2_resources_13","_nest_parent_":"virmu_repositories_2_resources_13","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_13.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/13","title_filing_ssi":"Cheek, Leslie Jr. (SC-02)","title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"unitdate_ssm":["1931-1993"],"unitdate_inclusive_ssm":["1931-1993"],"normalized_date_ssm":["1931/1993"],"normalized_title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"text":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993","SC-02","/repositories/2/resources/13","The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980","Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","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)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History","Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers","This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.","Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.","The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","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.","This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","English\n."],"collection_title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"collection_ssim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-02","/repositories/2/resources/13"],"unitid_tesim":["SC-02","/repositories/2/resources/13"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creators_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"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":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"extent_tesim":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSkylark Farm, 1966-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003e\"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003e\"Designing for the Arts,\" 1984-1991\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1934-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eAwards and Degrees, 1931-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eTrips, 1952-1980\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, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980"],"bibliography_html_tesm":["\u003cbibref\u003eTen Talents in the American Theatre, 1957\u003c/bibref\u003e\n    ","\u003cbibref\u003eLiving by Design: Leslie Cheek and the Arts, 1985\u003c/bibref\u003e\n    ","\u003cbibref\u003eDesigning for the Arts: Environments by Leslie Cheek, 1990\u003c/bibref\u003e\n    ","\u003cbibref\u003eSouthern Civility: Recollections of my Early Life, 2003\u003c/bibref\u003e\n  ","\u003cbibref\u003eDrawings for the Stage by Leslie Cheek, Jr., 1987\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Directors: Leslie Cheek Jr. (4 folders)\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  ","\u003cbibref\u003eArchives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview\u003c/bibref\u003e\n    ","\u003cbibref\u003eCollege of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)\u003c/bibref\u003e\n    ","\u003cbibref\u003eMuseum of Modern Art, New York City, NY: For Us the Living Exhibition\u003c/bibref\u003e\n    ","\u003cbibref\u003eQueens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition File","Related Materials - VMFA Library: Subject File","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","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)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History"],"bioghist_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. \u003c/p\u003e","\u003cp\u003eBorn in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. \u003c/p\u003e","\u003cp\u003eAfter the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. \u003c/p\u003e","\u003cp\u003eAfter retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://arthistorians.info/cheekl\"\u003eThe Dictionary of Art Historians\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: Virginia Commonwealth University's \u003ca href=\"http://search.vaheritage.org/vivaxtf/view?docId=vcu-cab/vircu00021.xml/\"\u003eGuide to the Mary Tyler Freeman Cheek McClenahan Papers\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers"],"custodhist_html_tesm":["\u003cp\u003eThis collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005."],"prefercite_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eProcessing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material."],"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":["Publication"],"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_1c02dc40e094a70e20450781f6a750e4\"\u003eThis collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"names_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"language_ssim":["English\n."],"total_component_count_is":648,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:38.841Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_13","ead_ssi":"virmu_repositories_2_resources_13","_root_":"virmu_repositories_2_resources_13","_nest_parent_":"virmu_repositories_2_resources_13","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_13.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/13","title_filing_ssi":"Cheek, Leslie Jr. (SC-02)","title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"unitdate_ssm":["1931-1993"],"unitdate_inclusive_ssm":["1931-1993"],"normalized_date_ssm":["1931/1993"],"normalized_title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"text":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993","SC-02","/repositories/2/resources/13","The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980","Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","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)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History","Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers","This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.","Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.","The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","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.","This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","English\n."],"collection_title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"collection_ssim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-02","/repositories/2/resources/13"],"unitid_tesim":["SC-02","/repositories/2/resources/13"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creators_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"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":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"extent_tesim":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSkylark Farm, 1966-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003e\"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003e\"Designing for the Arts,\" 1984-1991\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1934-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eAwards and Degrees, 1931-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eTrips, 1952-1980\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, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980"],"bibliography_html_tesm":["\u003cbibref\u003eTen Talents in the American Theatre, 1957\u003c/bibref\u003e\n    ","\u003cbibref\u003eLiving by Design: Leslie Cheek and the Arts, 1985\u003c/bibref\u003e\n    ","\u003cbibref\u003eDesigning for the Arts: Environments by Leslie Cheek, 1990\u003c/bibref\u003e\n    ","\u003cbibref\u003eSouthern Civility: Recollections of my Early Life, 2003\u003c/bibref\u003e\n  ","\u003cbibref\u003eDrawings for the Stage by Leslie Cheek, Jr., 1987\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Directors: Leslie Cheek Jr. (4 folders)\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  ","\u003cbibref\u003eArchives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview\u003c/bibref\u003e\n    ","\u003cbibref\u003eCollege of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)\u003c/bibref\u003e\n    ","\u003cbibref\u003eMuseum of Modern Art, New York City, NY: For Us the Living Exhibition\u003c/bibref\u003e\n    ","\u003cbibref\u003eQueens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition File","Related Materials - VMFA Library: Subject File","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","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)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History"],"bioghist_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. \u003c/p\u003e","\u003cp\u003eBorn in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. \u003c/p\u003e","\u003cp\u003eAfter the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. \u003c/p\u003e","\u003cp\u003eAfter retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://arthistorians.info/cheekl\"\u003eThe Dictionary of Art Historians\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: Virginia Commonwealth University's \u003ca href=\"http://search.vaheritage.org/vivaxtf/view?docId=vcu-cab/vircu00021.xml/\"\u003eGuide to the Mary Tyler Freeman Cheek McClenahan Papers\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers"],"custodhist_html_tesm":["\u003cp\u003eThis collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005."],"prefercite_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eProcessing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material."],"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":["Publication"],"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_1c02dc40e094a70e20450781f6a750e4\"\u003eThis collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"names_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"language_ssim":["English\n."],"total_component_count_is":648,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:38.841Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13"}},{"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":"2026-07-23T21:28:27.383Z","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":"2026-07-23T21:28:27.383Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8"}},{"id":"virmu_repositories_2_resources_17","type":"collection","attributes":{"title":"Records of Virginia Arts Organizations (SC-03), 1888/1942","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17#creator","type":"document_value","attributes":{"value":"Academy of Sciences and Fine Arts","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_17","ead_ssi":"virmu_repositories_2_resources_17","_root_":"virmu_repositories_2_resources_17","_nest_parent_":"virmu_repositories_2_resources_17","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_17.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/17","title_filing_ssi":"Virginia Arts Organizations (SC-03)","title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"unitdate_ssm":["1888-1942"],"unitdate_inclusive_ssm":["1888-1942"],"normalized_date_ssm":["1888/1942"],"normalized_title_ssm":["Records of Virginia Arts Organizations (SC-03), 1888/1942"],"text":["Records of Virginia Arts Organizations (SC-03), 1888/1942","SC-03","/repositories/2/resources/17","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1\n        Early Arts Organizations, 1888-1928\n      \n      \n        Series 2\n        Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \n      \n      \n        Series 3\n        Correspondence, 1931-1942\n      \n      \n        Series 4\n        Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\n      \n      \n        Series 5\n        \"Southern States Art League Newsletter,\" 1941-1942","The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)","On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798.","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia, Winter 1966","The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.","The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.","The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","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 rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","English"],"collection_title_tesim":["Records of Virginia Arts Organizations (SC-03), 1888/1942"],"collection_ssim":["Records of Virginia Arts Organizations (SC-03), 1888/1942"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-03","/repositories/2/resources/17"],"unitid_tesim":["SC-03","/repositories/2/resources/17"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"places_ssim":["Richmond (Va.)"],"creator_ssm":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"creators_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"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":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"extent_tesim":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eEarly Arts Organizations, 1888-1928\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eRichmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1931-1942\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eSallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003e\"Southern States Art League Newsletter,\" 1941-1942\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 arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1\n        Early Arts Organizations, 1888-1928\n      \n      \n        Series 2\n        Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \n      \n      \n        Series 3\n        Correspondence, 1931-1942\n      \n      \n        Series 4\n        Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\n      \n      \n        Series 5\n        \"Southern States Art League Newsletter,\" 1941-1942"],"bibliography_html_tesm":["\u003cbibref\u003eThe Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931\u003c/bibref\u003e\n  ","\u003cbibref\u003eRichmond, Virginia, in Old Prints 1737-1887, 1932\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 \u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition File: 27th Annual Exhibition of the Southern States Art League, 1947\u003c/bibref\u003e\n    ","\u003cbibref\u003eSubject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJulia Sully Papers (Coll. No. 26567)\u003c/bibref\u003e\n    ","\u003cbibref\u003eStatuts \u0026amp; reglemens de l'Academie des Sciences \u0026amp; Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)\u003c/bibref\u003e\n  ","\u003cbibref\u003eEdmund S. Campbell Papers (Coll. No. 3505)\u003c/bibref\u003e\n  ","\u003cbibref\u003eAdele Goodman Clark Papers (Coll. No. M9)\u003c/bibref\u003e\n  ","\u003cbibref\u003eAdele Clark Papers (Coll. No. Mss1 C5472 a FA2)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials: VMFA Library - Book","Related Material: VMFA Library - Catalogs","Related Materials: VMFA Library - Vertical Files","Related Materials: Library of Virginia","Related Materials: University of Virginia","Related Materials: Virginia Commonwealth University","Related Materials: Virginia Historical Society"],"bibliography_tesim":["The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)"],"bioghist_html_tesm":["\u003cp\u003eOn May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. \u003c/p\u003e","\u003cp\u003eAfter one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=75415%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eThe Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=29161%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eArts in Virginia\u003c/a\u003e, Winter 1966\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798.","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia, Winter 1966"],"custodhist_html_tesm":["\u003cp\u003eThe collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004."],"prefercite_html_tesm":["\u003cp\u003eRecords of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material."],"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":["Publication"],"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_7f7888ae484e7c6bfb4c577f3b85ff90\"\u003eThe collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"names_coll_ssim":["Academy of Sciences and Fine Arts","Art Club of Richmond","Richmond Academy of Arts","Southern States Art League","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Payne, John Barton, 1855-1935‏"],"persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"language_ssim":["English"],"total_component_count_is":126,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_17","ead_ssi":"virmu_repositories_2_resources_17","_root_":"virmu_repositories_2_resources_17","_nest_parent_":"virmu_repositories_2_resources_17","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_17.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/17","title_filing_ssi":"Virginia Arts Organizations (SC-03)","title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"unitdate_ssm":["1888-1942"],"unitdate_inclusive_ssm":["1888-1942"],"normalized_date_ssm":["1888/1942"],"normalized_title_ssm":["Records of Virginia Arts Organizations (SC-03), 1888/1942"],"text":["Records of Virginia Arts Organizations (SC-03), 1888/1942","SC-03","/repositories/2/resources/17","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1\n        Early Arts Organizations, 1888-1928\n      \n      \n        Series 2\n        Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \n      \n      \n        Series 3\n        Correspondence, 1931-1942\n      \n      \n        Series 4\n        Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\n      \n      \n        Series 5\n        \"Southern States Art League Newsletter,\" 1941-1942","The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)","On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798.","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia, Winter 1966","The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.","The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.","The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","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 rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","English"],"collection_title_tesim":["Records of Virginia Arts Organizations (SC-03), 1888/1942"],"collection_ssim":["Records of Virginia Arts Organizations (SC-03), 1888/1942"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-03","/repositories/2/resources/17"],"unitid_tesim":["SC-03","/repositories/2/resources/17"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"places_ssim":["Richmond (Va.)"],"creator_ssm":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"creators_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"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":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"extent_tesim":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eEarly Arts Organizations, 1888-1928\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eRichmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1931-1942\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eSallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003e\"Southern States Art League Newsletter,\" 1941-1942\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 arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1\n        Early Arts Organizations, 1888-1928\n      \n      \n        Series 2\n        Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \n      \n      \n        Series 3\n        Correspondence, 1931-1942\n      \n      \n        Series 4\n        Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\n      \n      \n        Series 5\n        \"Southern States Art League Newsletter,\" 1941-1942"],"bibliography_html_tesm":["\u003cbibref\u003eThe Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931\u003c/bibref\u003e\n  ","\u003cbibref\u003eRichmond, Virginia, in Old Prints 1737-1887, 1932\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 \u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition File: 27th Annual Exhibition of the Southern States Art League, 1947\u003c/bibref\u003e\n    ","\u003cbibref\u003eSubject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJulia Sully Papers (Coll. No. 26567)\u003c/bibref\u003e\n    ","\u003cbibref\u003eStatuts \u0026amp; reglemens de l'Academie des Sciences \u0026amp; Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)\u003c/bibref\u003e\n  ","\u003cbibref\u003eEdmund S. Campbell Papers (Coll. No. 3505)\u003c/bibref\u003e\n  ","\u003cbibref\u003eAdele Goodman Clark Papers (Coll. No. M9)\u003c/bibref\u003e\n  ","\u003cbibref\u003eAdele Clark Papers (Coll. No. Mss1 C5472 a FA2)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials: VMFA Library - Book","Related Material: VMFA Library - Catalogs","Related Materials: VMFA Library - Vertical Files","Related Materials: Library of Virginia","Related Materials: University of Virginia","Related Materials: Virginia Commonwealth University","Related Materials: Virginia Historical Society"],"bibliography_tesim":["The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)"],"bioghist_html_tesm":["\u003cp\u003eOn May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. \u003c/p\u003e","\u003cp\u003eAfter one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=75415%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eThe Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=29161%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eArts in Virginia\u003c/a\u003e, Winter 1966\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798.","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source: The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, Arts in Virginia, Winter 1966"],"custodhist_html_tesm":["\u003cp\u003eThe collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004."],"prefercite_html_tesm":["\u003cp\u003eRecords of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material."],"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":["Publication"],"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_7f7888ae484e7c6bfb4c577f3b85ff90\"\u003eThe collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"names_coll_ssim":["Academy of Sciences and Fine Arts","Art Club of Richmond","Richmond Academy of Arts","Southern States Art League","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Payne, John Barton, 1855-1935‏"],"persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"language_ssim":["English"],"total_component_count_is":126,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_17"}},{"id":"virmu_repositories_2_resources_2","type":"collection","attributes":{"title":"R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_2#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_2#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_2","ead_ssi":"virmu_repositories_2_resources_2","_root_":"virmu_repositories_2_resources_2","_nest_parent_":"virmu_repositories_2_resources_2","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_2.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/2","title_filing_ssi":"R.E. Lee Camp, No. 1, Confederate Veterans (SC-21)","title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"unitdate_ssm":["1885-1958"],"unitdate_inclusive_ssm":["1885-1958"],"normalized_date_ssm":["1885/1958"],"normalized_title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"text":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958","SC-21","/repositories/2/resources/2","Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)","The collection is open for research.","The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Images, 1907-1958, undated\n      \n      \n        Series 2\n        Publications, 1885-1914\n      \n      \n        Series 3\n        Realia, 1885","VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954","In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home.","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers.","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts.","Source: History of the VMFA Grounds","The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.","The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.","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. 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 history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880","English\n."],"collection_title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"collection_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-21","/repositories/2/resources/2"],"unitid_tesim":["SC-21","/repositories/2/resources/2"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_persname_ssim":["Leslie, Frank, 1821-1880"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"creators_ssim":["Leslie, Frank, 1821-1880","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"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. 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":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"access_subjects_ssm":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.2 Linear Feet 3 boxes; 13 items"],"extent_tesim":["0.2 Linear Feet 3 boxes; 13 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eThe digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/records-of-the-r-e-lee-camp-no-1-confederate-veterans-sc-21/\"\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 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\u003eImages, 1907-1958, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublications, 1885-1914\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eRealia, 1885\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        Images, 1907-1958, undated\n      \n      \n        Series 2\n        Publications, 1885-1914\n      \n      \n        Series 3\n        Realia, 1885"],"bibliography_html_tesm":["\u003cbibref\u003eVMFA: Building History: Confederate Memorial Chapel\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Confederate Home for Ladies\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: General\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: Robinson Family, 1840s-1880s\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Subject Files"],"bibliography_tesim":["VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954"],"bioghist_html_tesm":["\u003cp\u003eIn the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home. \u003c/p\u003e","\u003cp\u003eBetween 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.\u003c/p\u003e","\u003cp\u003eThe green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.\u003c/p\u003e","\u003cp\u003eDedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers. \u003c/p\u003e","\u003cp\u003eThe monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home.","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers.","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library."],"prefercite_html_tesm":["\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register."],"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. 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":["Conditions Governing Use"],"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. 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_a6623866126b47f49ad39b36f5e720fa\"\u003eThe collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"persname_ssim":["Leslie, Frank, 1821-1880"],"names_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880"],"language_ssim":["English\n."],"total_component_count_is":18,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_2","ead_ssi":"virmu_repositories_2_resources_2","_root_":"virmu_repositories_2_resources_2","_nest_parent_":"virmu_repositories_2_resources_2","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_2.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/2","title_filing_ssi":"R.E. Lee Camp, No. 1, Confederate Veterans (SC-21)","title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"unitdate_ssm":["1885-1958"],"unitdate_inclusive_ssm":["1885-1958"],"normalized_date_ssm":["1885/1958"],"normalized_title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"text":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958","SC-21","/repositories/2/resources/2","Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)","The collection is open for research.","The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Images, 1907-1958, undated\n      \n      \n        Series 2\n        Publications, 1885-1914\n      \n      \n        Series 3\n        Realia, 1885","VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954","In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home.","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers.","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts.","Source: History of the VMFA Grounds","The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.","The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.","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. 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 history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880","English\n."],"collection_title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"collection_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-21","/repositories/2/resources/2"],"unitid_tesim":["SC-21","/repositories/2/resources/2"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_persname_ssim":["Leslie, Frank, 1821-1880"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"creators_ssim":["Leslie, Frank, 1821-1880","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"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. 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":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"access_subjects_ssm":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.2 Linear Feet 3 boxes; 13 items"],"extent_tesim":["0.2 Linear Feet 3 boxes; 13 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eThe digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/records-of-the-r-e-lee-camp-no-1-confederate-veterans-sc-21/\"\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 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\u003eImages, 1907-1958, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublications, 1885-1914\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eRealia, 1885\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        Images, 1907-1958, undated\n      \n      \n        Series 2\n        Publications, 1885-1914\n      \n      \n        Series 3\n        Realia, 1885"],"bibliography_html_tesm":["\u003cbibref\u003eVMFA: Building History: Confederate Memorial Chapel\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Confederate Home for Ladies\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: General\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: Robinson Family, 1840s-1880s\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Subject Files"],"bibliography_tesim":["VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954"],"bioghist_html_tesm":["\u003cp\u003eIn the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home. \u003c/p\u003e","\u003cp\u003eBetween 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.\u003c/p\u003e","\u003cp\u003eThe green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.\u003c/p\u003e","\u003cp\u003eDedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers. \u003c/p\u003e","\u003cp\u003eThe monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home.","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers.","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library."],"prefercite_html_tesm":["\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register."],"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. 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":["Conditions Governing Use"],"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. 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_a6623866126b47f49ad39b36f5e720fa\"\u003eThe collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"persname_ssim":["Leslie, Frank, 1821-1880"],"names_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880"],"language_ssim":["English\n."],"total_component_count_is":18,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_2"}},{"id":"virmu_repositories_2_resources_2_c01","type":"Series","attributes":{"title":"Series 1: Images, 1907/1958","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_2_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_2_c01","ref_ssm":["virmu_repositories_2_resources_2_c01"],"id":"virmu_repositories_2_resources_2_c01","ead_ssi":"virmu_repositories_2_resources_2","_root_":"virmu_repositories_2_resources_2","_nest_parent_":"virmu_repositories_2_resources_2","parent_ssi":"virmu_repositories_2_resources_2","parent_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"parent_ids_ssim":["virmu_repositories_2_resources_2"],"title_filing_ssi":"Series 1: Images","title_ssm":["Series 1: Images"],"title_tesim":["Series 1: Images"],"normalized_title_ssm":["Series 1: Images, 1907/1958"],"text":["Series 1: Images, 1907/1958","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","United States--History--Civil War, 1861-1865"],"parent_unittitles_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"parent_unittitles_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"normalized_date_ssm":["1907/1958"],"unitdate_inclusive_ssm":["1907-1958, undated"],"level_ssm":["Series"],"level_ssim":["Series"],"component_level_isim":[1],"sort_isi":1,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"extent_ssm":["3 items"],"extent_tesim":["3 items"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"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":["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. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"corpname_ssim":["Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House"],"names_ssim":["Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House"],"access_subjects_ssim":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","United States--History--Civil War, 1861-1865"],"access_subjects_ssm":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","United States--History--Civil War, 1861-1865"],"date_range_isim":[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],"_nest_path_":"/components#0","timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_2","ead_ssi":"virmu_repositories_2_resources_2","_root_":"virmu_repositories_2_resources_2","_nest_parent_":"virmu_repositories_2_resources_2","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_2.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/2","title_filing_ssi":"R.E. Lee Camp, No. 1, Confederate Veterans (SC-21)","title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"unitdate_ssm":["1885-1958"],"unitdate_inclusive_ssm":["1885-1958"],"normalized_date_ssm":["1885/1958"],"normalized_title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"text":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958","SC-21","/repositories/2/resources/2","Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)","The collection is open for research.","The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Images, 1907-1958, undated\n      \n      \n        Series 2\n        Publications, 1885-1914\n      \n      \n        Series 3\n        Realia, 1885","VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954","In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home.","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers.","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts.","Source: History of the VMFA Grounds","The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.","The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.","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. 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 history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880","English\n."],"collection_title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"collection_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21), 1885/1958"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-21","/repositories/2/resources/2"],"unitid_tesim":["SC-21","/repositories/2/resources/2"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_persname_ssim":["Leslie, Frank, 1821-1880"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"creators_ssim":["Leslie, Frank, 1821-1880","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"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. 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":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"access_subjects_ssm":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.2 Linear Feet 3 boxes; 13 items"],"extent_tesim":["0.2 Linear Feet 3 boxes; 13 items"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eThe digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/records-of-the-r-e-lee-camp-no-1-confederate-veterans-sc-21/\"\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 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\u003eImages, 1907-1958, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublications, 1885-1914\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eRealia, 1885\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        Images, 1907-1958, undated\n      \n      \n        Series 2\n        Publications, 1885-1914\n      \n      \n        Series 3\n        Realia, 1885"],"bibliography_html_tesm":["\u003cbibref\u003eVMFA: Building History: Confederate Memorial Chapel\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Confederate Home for Ladies\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: General\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: Robinson Family, 1840s-1880s\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Subject Files"],"bibliography_tesim":["VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954"],"bioghist_html_tesm":["\u003cp\u003eIn the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home. \u003c/p\u003e","\u003cp\u003eBetween 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.\u003c/p\u003e","\u003cp\u003eThe green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.\u003c/p\u003e","\u003cp\u003eDedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers. \u003c/p\u003e","\u003cp\u003eThe monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home.","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers.","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library."],"prefercite_html_tesm":["\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register."],"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. 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":["Conditions Governing Use"],"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. 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_a6623866126b47f49ad39b36f5e720fa\"\u003eThe collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"persname_ssim":["Leslie, Frank, 1821-1880"],"names_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880"],"language_ssim":["English\n."],"total_component_count_is":18,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_2_c01"}},{"id":"virmu_repositories_2_resources_224_c05","type":"Series","attributes":{"title":"Series 5: Museum Construction, 1934/2010","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_224_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_224_c05","ref_ssm":["virmu_repositories_2_resources_224_c05"],"id":"virmu_repositories_2_resources_224_c05","ead_ssi":"virmu_repositories_2_resources_224","_root_":"virmu_repositories_2_resources_224","_nest_parent_":"virmu_repositories_2_resources_224","parent_ssi":"virmu_repositories_2_resources_224","parent_ssim":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"parent_ids_ssim":["virmu_repositories_2_resources_224"],"title_filing_ssi":"Series 5: Museum Construction","title_ssm":["Series 5: Museum Construction"],"title_tesim":["Series 5: Museum Construction"],"normalized_title_ssm":["Series 5: Museum Construction, 1934/2010"],"text":["Series 5: Museum Construction, 1934/2010","Records of the Buildings and Grounds Department (RG-06), 1936/2010","Virginia Museum of Fine Arts","English"],"parent_unittitles_ssm":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"parent_unittitles_tesim":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"normalized_date_ssm":["1934/2010"],"unitdate_inclusive_ssm":["1934-2010"],"level_ssm":["Series"],"level_ssim":["Series"],"component_level_isim":[1],"sort_isi":964,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"creator_ssim":["Virginia Museum of Fine Arts"],"has_online_content_ssim":["false"],"child_component_count_isi":8,"parent_access_restrict_tesm":["The collection is minimally processed and restricted. Both Museum staff and the public may need written permission from the Director to view certain restricted records.","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"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."],"corpname_ssim":["Virginia Museum of Fine Arts"],"names_ssim":["Virginia Museum of Fine Arts"],"language_ssim":["English"],"date_range_isim":[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],"_nest_path_":"/components#4","timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_224","ead_ssi":"virmu_repositories_2_resources_224","_root_":"virmu_repositories_2_resources_224","_nest_parent_":"virmu_repositories_2_resources_224","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_224.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/224","title_filing_ssi":"Buildings and Grounds (RG-06)","title_ssm":["Records of the Buildings and Grounds Department (RG-06)"],"title_tesim":["Records of the Buildings and Grounds Department (RG-06)"],"unitdate_ssm":["1936-2010 [minimally processed; subject to change]"],"unitdate_inclusive_ssm":["1936-2010 [minimally processed; subject to change]"],"normalized_date_ssm":["1936/2010"],"normalized_title_ssm":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"text":["Records of the Buildings and Grounds Department (RG-06), 1936/2010","RG-06","/repositories/2/resources/224","The collection is minimally processed and restricted. Both Museum staff and the public may need written permission from the Director to view certain restricted records.","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).","The collection is organized into three series but is minimally processed. Series 1.5 and 2 have boxes which are unprocessed. Folder level inventories may be added as they are completed.","Series 1\n        Major Building Projects, 1950-1989, undated\n      \n      \n        Series 2\n        General Files, 1978-2001, undated\n      \n      \n        Series 3\n        Plans, 1967-1984, undated","The collection was transferred from the Buildings and Grounds Department through periodic deposits.","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.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","English"],"collection_title_tesim":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"collection_ssim":["Records of the Buildings and Grounds Department (RG-06), 1936/2010"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG-06","/repositories/2/resources/224"],"unitid_tesim":["RG-06","/repositories/2/resources/224"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"creators_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of 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."],"has_online_content_ssim":["false"],"extent_ssm":["46.25 Linear Feet 54 boxes; 935 folders and 7 non-inventoried boxes; 51 binders (photo)"],"extent_tesim":["46.25 Linear Feet 54 boxes; 935 folders and 7 non-inventoried boxes; 51 binders (photo)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed and restricted. Both Museum staff and the public may need written permission from the Director to view certain restricted records.\u003c/p\u003e","\u003cp\u003eAs custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed and restricted. Both Museum staff and the public may need written permission from the Director to view certain restricted records.","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series but is minimally processed. Series 1.5 and 2 have boxes which are unprocessed. Folder level inventories may be added as they are completed.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eMajor Building Projects, 1950-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eGeneral Files, 1978-2001, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePlans, 1967-1984, 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 but is minimally processed. Series 1.5 and 2 have boxes which are unprocessed. Folder level inventories may be added as they are completed.","Series 1\n        Major Building Projects, 1950-1989, undated\n      \n      \n        Series 2\n        General Files, 1978-2001, undated\n      \n      \n        Series 3\n        Plans, 1967-1984, undated"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Buildings and Grounds Department through periodic deposits.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Buildings and Grounds Department through periodic deposits."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Buildings and Grounds Department (RG-06). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Buildings and Grounds Department (RG-06). 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."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"language_ssim":["English"],"total_component_count_is":991,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_224_c05"}},{"id":"virmu_repositories_2_resources_8_c05","type":"Series","attributes":{"title":"Series 5: Museum Records, 1901/1947","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c05#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c05#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_8_c05","ref_ssm":["virmu_repositories_2_resources_8_c05"],"id":"virmu_repositories_2_resources_8_c05","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","parent_ssi":"virmu_repositories_2_resources_8","parent_ssim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"parent_ids_ssim":["virmu_repositories_2_resources_8"],"title_filing_ssi":"Series 5: Museum Records","title_ssm":["Series 5: Museum Records"],"title_tesim":["Series 5: Museum Records"],"normalized_title_ssm":["Series 5: Museum Records, 1901/1947"],"text":["Series 5: Museum Records, 1901/1947","Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","Virginia Museum of Fine Arts","Hammer Galleries","World Wide Photos, Inc.","Schaffer Collection","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876? -- Art collections","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","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947."],"parent_unittitles_ssm":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"parent_unittitles_tesim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"normalized_date_ssm":["1901/1947"],"unitdate_inclusive_ssm":["1901-1947, undated"],"level_ssm":["Series"],"level_ssim":["Series"],"component_level_isim":[1],"sort_isi":728,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"extent_ssm":["19 items Box 2 (1 Folder)"],"extent_tesim":["19 items Box 2 (1 Folder)"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"parent_access_restrict_tesm":["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."],"parent_access_terms_tesm":["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."],"corpname_ssim":["Virginia Museum of Fine Arts","Hammer Galleries","World Wide Photos, Inc.","Schaffer Collection","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876? -- Art collections","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","Hammer Galleries","World Wide Photos, Inc.","Schaffer Collection","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876? -- Art collections","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"],"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],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947."],"_nest_path_":"/components#4","timestamp":"2026-07-23T21:28:27.383Z","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":"2026-07-23T21:28:27.383Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c05"}},{"id":"viw_repositories_2_resources_9026","type":"collection","attributes":{"title":"Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968","creator":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9026#creator","type":"document_value","attributes":{"value":"Pollard, Violet McDougall, 1889-1977","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9026#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003cstrong\u003eThis collection is housed off-site. At least 72 hours advanced notice is required for retrieval.\u003c/strong\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9026#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_9026","ead_ssi":"viw_repositories_2_resources_9026","_root_":"viw_repositories_2_resources_9026","_nest_parent_":"viw_repositories_2_resources_9026","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9026.xml","title_filing_ssi":"Violet McDougall Pollard papers","title_ssm":["Violet McDougall Pollard papers"],"title_tesim":["Violet McDougall Pollard papers"],"unitdate_ssm":["1907-1976","1933-1968"],"unitdate_inclusive_ssm":["1907-1976"],"unitdate_bulk_ssim":["1933-1968"],"normalized_date_ssm":["1907/1976, bulk 1933/1968"],"normalized_title_ssm":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968"],"text":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968","01/Mss. 74 P76","/repositories/2/resources/9026","Virginia--Governors","Virginia--Politics and government--20th century","Women in politics--United States--History--20th century","Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection is stored off-site. Please allow a minimum of 3 business days for retrieval.","The arrangement of the papers follows Violet McDougall Pollard's filing order with a few exceptions. Subseries within the series reflect the labeled dividers in the original files. Her general files are in Series I, Correspondence and Subject Files, arranged alphabetically, in boxes 1-24. Speeches by Violet McDougall Pollard, and articles by or about her, are filed in Series I under \"Speeches.\" Series II, Recreation Committee (boxes 25-26), and Series III, Virginia Museum of Fine Arts,(boxes 27-29), were at one time filed in the general sequence under R and V respectively, but have been pulled out into separate series due to their bulk. Series IV, Democratic Party, boxes 30-42, has two subseries, National Politics and Virginia Politics.","National Politics is arranged chronologically, with a small group ofsubject folders at the end. Virginia Politics includes State Politics (arranged chronologically), state subject folders, Democratic Woman's Club, and Young Democrats. Series V, Scrapbooks, in Boxes 43-46, contains scrapbooks of clippings and other bound volumes.","Researchers should note that particular correspondents or topics are often found in more than one place in the collection. For example, correspondence with and about a Virginia artist might be found under his or her name, in the Virginia Museum of Fine Arts files, and in the files \"Art Exhibitions – Virginia and Virginians\" or \"Artists' Christmas Cards.\" Correspondence with a particular Virginia politician might be found under his name, in the National Politics folders, in the State Politics folders, in the Democratic Woman's Club folder because of a speaking engagement, or in another politician's folder because of Pollard's habit of bundling together sequences of related correspondence among several people and filing them as a group.","Violet Elizabeth McDougall was born on 17 July 1889, at Maxville, Ontario, Canada, daughter of Peter and Ellen (Robertson) McDougall. She attended Cornwall Normal School of Ontario and was a teacher in Ontario and Saskatchewan, 1910-1912. She then attended Regina College at Saskatchewan for a year, and was secretary in a law office from 1913-1917. She came to the United States in 1917 and was offered a position as secretary in the Virginia governor's office in 1918. She was executive secretary to four successive governors of Virginia between 1918 and 1933: Westmoreland Davis, E. Lee Trinkle, Harry F. Byrd, and John Garland Pollard. She was known affectionately as \"Miss Mac\" to her many friends.","On 31 July 1933, she married Governor Pollard, whose first wife had died in 1932. After his term in office ended in 1934, the couple moved to Washington, D.C., where he served as Chairman of the Board of Veterans Appeals and she attended law school at George Washington University. Upon John Garland Pollard's death in 1937, she returned to Richmond and attended law school at the University of Richmond. She went back to Washington from 1938 to 1940, to work as secretary to the Assistant Administrator of the United States Housing Authority.","In 1940 Violet McDougall Pollard returned again to Richmond to join the staff of the Virginia Museum of Fine Arts, which John Garland Pollard had been instrumental in creating. During World War II, the museum's director left to join the Marines, and she served as co-director (in charge of business affairs) with Beatrice von Keller (in charge of art). After the war, she was the museum's associate director until her retirement in 1956. She continued her association with the museum through museum advisory committees and through her position on the board of the Federated Arts Council of Richmond until about 1971.","Long interested in politics and maintaining a wide circle of friends in Virginia political circles from her years on the governor's staff, Violet McDougall Pollard became active in the Democratic Party after becoming a naturalized citizen in 1934. She was a delegate to every national Democratic convention from 1936 to 1968, serving on the platform committee in 1952, 1956, 1960, and 1964. She was elected National Committeewoman for Virginia in 1940, a position she held until 1968. As National Committeewoman, she was deeply involved with Democratic Party activities on the state and local levels as well.","Violet McDougall Pollard was involved with a host of state and civic organizations and causes, including the Recreation Committee of the Advisory Council on the Virginia Economy and the Inter-Agency Committee on Recreation; the Associated Clubs of Virginia for Roadside Development; the Industrial Committee of the Virginia State Chamber of Commerce; the Federated Arts Council of Richmond; the Historic Richmond Foundation; and the Woman's Club of Richmond.","She died at her home in Lancaster, Virginia, on 2 January 1977.","This collection is housed off-site. At least 72 hours advanced notice is required for retrieval.","The papers primarily focus on Violet McDougall Pollard's activities in politics and art. They also cover her many civic activities, and correspondence with family and friends.","Information on her political activities is found in the files she kept on National Politics, documenting her activities as an official in the Democratic Party; her files on State Politics, documenting her involvement with state Party activities and with organizations such as the Democratic Women's Clubs in Virginia; and throughout her correspondence files, in her letters with many prominent Virginia politicians such as Harry F. Byrd and John S. Battle. Virginia Democrats' increasing dissatisfaction with the national party as not representing the views of the Southern states on issues of civil rights and integration from the late 1940s through the 1960s is a major topic. The role of women in public affairs and politics is another frequent topic in Pollard's papers. In addition to direct discussion of women's roles, the papers document women's activities in the Democratic Party in a time when those activities were generally separate from, though complementary to, men's activities.","Pollard's involvement with art and art education in Virginia are reflected in her files on the Virginia Museum of Fine Arts, which include a mixture of personal files, copies of official museum records, and literature produced by the museum; her files on the Federated Arts Council of Richmond and other subject files on arts issues; and in correspondence files under the names of artists and of museum staff and supporters.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts","Pollard, Violet McDougall, 1889-1977","English"],"collection_title_tesim":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968"],"collection_ssim":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["01/Mss. 74 P76","/repositories/2/resources/9026"],"unitid_tesim":["01/Mss. 74 P76","/repositories/2/resources/9026"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Virginia--Governors","Virginia--Politics and government--20th century"],"geogname_ssim":["Virginia--Governors","Virginia--Politics and government--20th century"],"places_ssim":["Virginia--Governors","Virginia--Politics and government--20th century"],"creator_ssm":["Pollard, Violet McDougall, 1889-1977"],"creator_ssim":["Pollard, Violet McDougall, 1889-1977"],"creator_persname_ssim":["Pollard, Violet McDougall, 1889-1977"],"creator_corpname_ssim":["Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"creators_ssim":["Pollard, Violet McDougall, 1889-1977","Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Gift"],"access_subjects_ssim":["Women in politics--United States--History--20th century","Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports"],"access_subjects_ssm":["Women in politics--United States--History--20th century","Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports"],"has_online_content_ssim":["false"],"extent_ssm":["46.00 Linear Feet 46 boxes."],"extent_tesim":["46.00 Linear Feet 46 boxes."],"genreform_ssim":["Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e","\u003cp\u003eCollection is stored off-site. Please allow a minimum of 3 business days for retrieval.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection is stored off-site. Please allow a minimum of 3 business days for retrieval."],"arrangement_html_tesm":["\u003cp\u003eThe arrangement of the papers follows Violet McDougall Pollard's filing order with a few exceptions. Subseries within the series reflect the labeled dividers in the original files. Her general files are in Series I, Correspondence and Subject Files, arranged alphabetically, in boxes 1-24. Speeches by Violet McDougall Pollard, and articles by or about her, are filed in Series I under \"Speeches.\" Series II, Recreation Committee (boxes 25-26), and Series III, Virginia Museum of Fine Arts,(boxes 27-29), were at one time filed in the general sequence under R and V respectively, but have been pulled out into separate series due to their bulk. Series IV, Democratic Party, boxes 30-42, has two subseries, National Politics and Virginia Politics.\u003c/p\u003e","\u003cp\u003e National Politics is arranged chronologically, with a small group ofsubject folders at the end. Virginia Politics includes State Politics (arranged chronologically), state subject folders, Democratic Woman's Club, and Young Democrats. Series V, Scrapbooks, in Boxes 43-46, contains scrapbooks of clippings and other bound volumes.\u003c/p\u003e","\u003cp\u003e Researchers should note that particular correspondents or topics are often found in more than one place in the collection. For example, correspondence with and about a Virginia artist might be found under his or her name, in the Virginia Museum of Fine Arts files, and in the files \"Art Exhibitions – Virginia and Virginians\" or \"Artists' Christmas Cards.\" Correspondence with a particular Virginia politician might be found under his name, in the National Politics folders, in the State Politics folders, in the Democratic Woman's Club folder because of a speaking engagement, or in another politician's folder because of Pollard's habit of bundling together sequences of related correspondence among several people and filing them as a group.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement of Materials:"],"arrangement_tesim":["The arrangement of the papers follows Violet McDougall Pollard's filing order with a few exceptions. Subseries within the series reflect the labeled dividers in the original files. Her general files are in Series I, Correspondence and Subject Files, arranged alphabetically, in boxes 1-24. Speeches by Violet McDougall Pollard, and articles by or about her, are filed in Series I under \"Speeches.\" Series II, Recreation Committee (boxes 25-26), and Series III, Virginia Museum of Fine Arts,(boxes 27-29), were at one time filed in the general sequence under R and V respectively, but have been pulled out into separate series due to their bulk. Series IV, Democratic Party, boxes 30-42, has two subseries, National Politics and Virginia Politics.","National Politics is arranged chronologically, with a small group ofsubject folders at the end. Virginia Politics includes State Politics (arranged chronologically), state subject folders, Democratic Woman's Club, and Young Democrats. Series V, Scrapbooks, in Boxes 43-46, contains scrapbooks of clippings and other bound volumes.","Researchers should note that particular correspondents or topics are often found in more than one place in the collection. For example, correspondence with and about a Virginia artist might be found under his or her name, in the Virginia Museum of Fine Arts files, and in the files \"Art Exhibitions – Virginia and Virginians\" or \"Artists' Christmas Cards.\" Correspondence with a particular Virginia politician might be found under his name, in the National Politics folders, in the State Politics folders, in the Democratic Woman's Club folder because of a speaking engagement, or in another politician's folder because of Pollard's habit of bundling together sequences of related correspondence among several people and filing them as a group."],"bioghist_html_tesm":["\u003cp\u003eViolet Elizabeth McDougall was born on 17 July 1889, at Maxville, Ontario, Canada, daughter of Peter and Ellen (Robertson) McDougall. She attended Cornwall Normal School of Ontario and was a teacher in Ontario and Saskatchewan, 1910-1912. She then attended Regina College at Saskatchewan for a year, and was secretary in a law office from 1913-1917. She came to the United States in 1917 and was offered a position as secretary in the Virginia governor's office in 1918. She was executive secretary to four successive governors of Virginia between 1918 and 1933: Westmoreland Davis, E. Lee Trinkle, Harry F. Byrd, and John Garland Pollard. She was known affectionately as \"Miss Mac\" to her many friends.\u003c/p\u003e","\u003cp\u003e On 31 July 1933, she married Governor Pollard, whose first wife had died in 1932. After his term in office ended in 1934, the couple moved to Washington, D.C., where he served as Chairman of the Board of Veterans Appeals and she attended law school at George Washington University. Upon John Garland Pollard's death in 1937, she returned to Richmond and attended law school at the University of Richmond. She went back to Washington from 1938 to 1940, to work as secretary to the Assistant Administrator of the United States Housing Authority.\u003c/p\u003e","\u003cp\u003e In 1940 Violet McDougall Pollard returned again to Richmond to join the staff of the Virginia Museum of Fine Arts, which John Garland Pollard had been instrumental in creating. During World War II, the museum's director left to join the Marines, and she served as co-director (in charge of business affairs) with Beatrice von Keller (in charge of art). After the war, she was the museum's associate director until her retirement in 1956. She continued her association with the museum through museum advisory committees and through her position on the board of the Federated Arts Council of Richmond until about 1971.\u003c/p\u003e","\u003cp\u003e Long interested in politics and maintaining a wide circle of friends in Virginia political circles from her years on the governor's staff, Violet McDougall Pollard became active in the Democratic Party after becoming a naturalized citizen in 1934. She was a delegate to every national Democratic convention from 1936 to 1968, serving on the platform committee in 1952, 1956, 1960, and 1964. She was elected National Committeewoman for Virginia in 1940, a position she held until 1968. As National Committeewoman, she was deeply involved with Democratic Party activities on the state and local levels as well.\u003c/p\u003e","\u003cp\u003e Violet McDougall Pollard was involved with a host of state and civic organizations and causes, including the Recreation Committee of the Advisory Council on the Virginia Economy and the Inter-Agency Committee on Recreation; the Associated Clubs of Virginia for Roadside Development; the Industrial Committee of the Virginia State Chamber of Commerce; the Federated Arts Council of Richmond; the Historic Richmond Foundation; and the Woman's Club of Richmond.\u003c/p\u003e","\u003cp\u003e She died at her home in Lancaster, Virginia, on 2 January 1977.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Violet Elizabeth McDougall was born on 17 July 1889, at Maxville, Ontario, Canada, daughter of Peter and Ellen (Robertson) McDougall. She attended Cornwall Normal School of Ontario and was a teacher in Ontario and Saskatchewan, 1910-1912. She then attended Regina College at Saskatchewan for a year, and was secretary in a law office from 1913-1917. She came to the United States in 1917 and was offered a position as secretary in the Virginia governor's office in 1918. She was executive secretary to four successive governors of Virginia between 1918 and 1933: Westmoreland Davis, E. Lee Trinkle, Harry F. Byrd, and John Garland Pollard. She was known affectionately as \"Miss Mac\" to her many friends.","On 31 July 1933, she married Governor Pollard, whose first wife had died in 1932. After his term in office ended in 1934, the couple moved to Washington, D.C., where he served as Chairman of the Board of Veterans Appeals and she attended law school at George Washington University. Upon John Garland Pollard's death in 1937, she returned to Richmond and attended law school at the University of Richmond. She went back to Washington from 1938 to 1940, to work as secretary to the Assistant Administrator of the United States Housing Authority.","In 1940 Violet McDougall Pollard returned again to Richmond to join the staff of the Virginia Museum of Fine Arts, which John Garland Pollard had been instrumental in creating. During World War II, the museum's director left to join the Marines, and she served as co-director (in charge of business affairs) with Beatrice von Keller (in charge of art). After the war, she was the museum's associate director until her retirement in 1956. She continued her association with the museum through museum advisory committees and through her position on the board of the Federated Arts Council of Richmond until about 1971.","Long interested in politics and maintaining a wide circle of friends in Virginia political circles from her years on the governor's staff, Violet McDougall Pollard became active in the Democratic Party after becoming a naturalized citizen in 1934. She was a delegate to every national Democratic convention from 1936 to 1968, serving on the platform committee in 1952, 1956, 1960, and 1964. She was elected National Committeewoman for Virginia in 1940, a position she held until 1968. As National Committeewoman, she was deeply involved with Democratic Party activities on the state and local levels as well.","Violet McDougall Pollard was involved with a host of state and civic organizations and causes, including the Recreation Committee of the Advisory Council on the Virginia Economy and the Inter-Agency Committee on Recreation; the Associated Clubs of Virginia for Roadside Development; the Industrial Committee of the Virginia State Chamber of Commerce; the Federated Arts Council of Richmond; the Historic Richmond Foundation; and the Woman's Club of Richmond.","She died at her home in Lancaster, Virginia, on 2 January 1977."],"prefercite_html_tesm":["\u003cp\u003eViolet McDougall Pollard Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Violet McDougall Pollard Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003e\u003cemph render=\"bold\"\u003eThis collection is housed off-site. At least 72 hours advanced notice is required for retrieval.\u003c/emph\u003e \u003c/p\u003e","\u003cp\u003e The papers primarily focus on Violet McDougall Pollard's activities in politics and art. They also cover her many civic activities, and correspondence with family and friends.\u003c/p\u003e","\u003cp\u003e Information on her political activities is found in the files she kept on National Politics, documenting her activities as an official in the Democratic Party; her files on State Politics, documenting her involvement with state Party activities and with organizations such as the Democratic Women's Clubs in Virginia; and throughout her correspondence files, in her letters with many prominent Virginia politicians such as Harry F. Byrd and John S. Battle. Virginia Democrats' increasing dissatisfaction with the national party as not representing the views of the Southern states on issues of civil rights and integration from the late 1940s through the 1960s is a major topic. The role of women in public affairs and politics is another frequent topic in Pollard's papers. In addition to direct discussion of women's roles, the papers document women's activities in the Democratic Party in a time when those activities were generally separate from, though complementary to, men's activities.\u003c/p\u003e","\u003cp\u003e Pollard's involvement with art and art education in Virginia are reflected in her files on the Virginia Museum of Fine Arts, which include a mixture of personal files, copies of official museum records, and literature produced by the museum; her files on the Federated Arts Council of Richmond and other subject files on arts issues; and in correspondence files under the names of artists and of museum staff and supporters.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection is housed off-site. At least 72 hours advanced notice is required for retrieval.","The papers primarily focus on Violet McDougall Pollard's activities in politics and art. They also cover her many civic activities, and correspondence with family and friends.","Information on her political activities is found in the files she kept on National Politics, documenting her activities as an official in the Democratic Party; her files on State Politics, documenting her involvement with state Party activities and with organizations such as the Democratic Women's Clubs in Virginia; and throughout her correspondence files, in her letters with many prominent Virginia politicians such as Harry F. Byrd and John S. Battle. Virginia Democrats' increasing dissatisfaction with the national party as not representing the views of the Southern states on issues of civil rights and integration from the late 1940s through the 1960s is a major topic. The role of women in public affairs and politics is another frequent topic in Pollard's papers. In addition to direct discussion of women's roles, the papers document women's activities in the Democratic Party in a time when those activities were generally separate from, though complementary to, men's activities.","Pollard's involvement with art and art education in Virginia are reflected in her files on the Virginia Museum of Fine Arts, which include a mixture of personal files, copies of official museum records, and literature produced by the museum; her files on the Federated Arts Council of Richmond and other subject files on arts issues; and in correspondence files under the names of artists and of museum staff and supporters."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"names_coll_ssim":["Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"persname_ssim":["Pollard, Violet McDougall, 1889-1977"],"names_ssim":["Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts","Pollard, Violet McDougall, 1889-1977"],"language_ssim":["English"],"total_component_count_is":503,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:52:13.556Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9026","ead_ssi":"viw_repositories_2_resources_9026","_root_":"viw_repositories_2_resources_9026","_nest_parent_":"viw_repositories_2_resources_9026","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9026.xml","title_filing_ssi":"Violet McDougall Pollard papers","title_ssm":["Violet McDougall Pollard papers"],"title_tesim":["Violet McDougall Pollard papers"],"unitdate_ssm":["1907-1976","1933-1968"],"unitdate_inclusive_ssm":["1907-1976"],"unitdate_bulk_ssim":["1933-1968"],"normalized_date_ssm":["1907/1976, bulk 1933/1968"],"normalized_title_ssm":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968"],"text":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968","01/Mss. 74 P76","/repositories/2/resources/9026","Virginia--Governors","Virginia--Politics and government--20th century","Women in politics--United States--History--20th century","Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection is stored off-site. Please allow a minimum of 3 business days for retrieval.","The arrangement of the papers follows Violet McDougall Pollard's filing order with a few exceptions. Subseries within the series reflect the labeled dividers in the original files. Her general files are in Series I, Correspondence and Subject Files, arranged alphabetically, in boxes 1-24. Speeches by Violet McDougall Pollard, and articles by or about her, are filed in Series I under \"Speeches.\" Series II, Recreation Committee (boxes 25-26), and Series III, Virginia Museum of Fine Arts,(boxes 27-29), were at one time filed in the general sequence under R and V respectively, but have been pulled out into separate series due to their bulk. Series IV, Democratic Party, boxes 30-42, has two subseries, National Politics and Virginia Politics.","National Politics is arranged chronologically, with a small group ofsubject folders at the end. Virginia Politics includes State Politics (arranged chronologically), state subject folders, Democratic Woman's Club, and Young Democrats. Series V, Scrapbooks, in Boxes 43-46, contains scrapbooks of clippings and other bound volumes.","Researchers should note that particular correspondents or topics are often found in more than one place in the collection. For example, correspondence with and about a Virginia artist might be found under his or her name, in the Virginia Museum of Fine Arts files, and in the files \"Art Exhibitions – Virginia and Virginians\" or \"Artists' Christmas Cards.\" Correspondence with a particular Virginia politician might be found under his name, in the National Politics folders, in the State Politics folders, in the Democratic Woman's Club folder because of a speaking engagement, or in another politician's folder because of Pollard's habit of bundling together sequences of related correspondence among several people and filing them as a group.","Violet Elizabeth McDougall was born on 17 July 1889, at Maxville, Ontario, Canada, daughter of Peter and Ellen (Robertson) McDougall. She attended Cornwall Normal School of Ontario and was a teacher in Ontario and Saskatchewan, 1910-1912. She then attended Regina College at Saskatchewan for a year, and was secretary in a law office from 1913-1917. She came to the United States in 1917 and was offered a position as secretary in the Virginia governor's office in 1918. She was executive secretary to four successive governors of Virginia between 1918 and 1933: Westmoreland Davis, E. Lee Trinkle, Harry F. Byrd, and John Garland Pollard. She was known affectionately as \"Miss Mac\" to her many friends.","On 31 July 1933, she married Governor Pollard, whose first wife had died in 1932. After his term in office ended in 1934, the couple moved to Washington, D.C., where he served as Chairman of the Board of Veterans Appeals and she attended law school at George Washington University. Upon John Garland Pollard's death in 1937, she returned to Richmond and attended law school at the University of Richmond. She went back to Washington from 1938 to 1940, to work as secretary to the Assistant Administrator of the United States Housing Authority.","In 1940 Violet McDougall Pollard returned again to Richmond to join the staff of the Virginia Museum of Fine Arts, which John Garland Pollard had been instrumental in creating. During World War II, the museum's director left to join the Marines, and she served as co-director (in charge of business affairs) with Beatrice von Keller (in charge of art). After the war, she was the museum's associate director until her retirement in 1956. She continued her association with the museum through museum advisory committees and through her position on the board of the Federated Arts Council of Richmond until about 1971.","Long interested in politics and maintaining a wide circle of friends in Virginia political circles from her years on the governor's staff, Violet McDougall Pollard became active in the Democratic Party after becoming a naturalized citizen in 1934. She was a delegate to every national Democratic convention from 1936 to 1968, serving on the platform committee in 1952, 1956, 1960, and 1964. She was elected National Committeewoman for Virginia in 1940, a position she held until 1968. As National Committeewoman, she was deeply involved with Democratic Party activities on the state and local levels as well.","Violet McDougall Pollard was involved with a host of state and civic organizations and causes, including the Recreation Committee of the Advisory Council on the Virginia Economy and the Inter-Agency Committee on Recreation; the Associated Clubs of Virginia for Roadside Development; the Industrial Committee of the Virginia State Chamber of Commerce; the Federated Arts Council of Richmond; the Historic Richmond Foundation; and the Woman's Club of Richmond.","She died at her home in Lancaster, Virginia, on 2 January 1977.","This collection is housed off-site. At least 72 hours advanced notice is required for retrieval.","The papers primarily focus on Violet McDougall Pollard's activities in politics and art. They also cover her many civic activities, and correspondence with family and friends.","Information on her political activities is found in the files she kept on National Politics, documenting her activities as an official in the Democratic Party; her files on State Politics, documenting her involvement with state Party activities and with organizations such as the Democratic Women's Clubs in Virginia; and throughout her correspondence files, in her letters with many prominent Virginia politicians such as Harry F. Byrd and John S. Battle. Virginia Democrats' increasing dissatisfaction with the national party as not representing the views of the Southern states on issues of civil rights and integration from the late 1940s through the 1960s is a major topic. The role of women in public affairs and politics is another frequent topic in Pollard's papers. In addition to direct discussion of women's roles, the papers document women's activities in the Democratic Party in a time when those activities were generally separate from, though complementary to, men's activities.","Pollard's involvement with art and art education in Virginia are reflected in her files on the Virginia Museum of Fine Arts, which include a mixture of personal files, copies of official museum records, and literature produced by the museum; her files on the Federated Arts Council of Richmond and other subject files on arts issues; and in correspondence files under the names of artists and of museum staff and supporters.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts","Pollard, Violet McDougall, 1889-1977","English"],"collection_title_tesim":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968"],"collection_ssim":["Violet McDougall Pollard papers, 1907/1976, bulk 1933/1968"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["01/Mss. 74 P76","/repositories/2/resources/9026"],"unitid_tesim":["01/Mss. 74 P76","/repositories/2/resources/9026"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Virginia--Governors","Virginia--Politics and government--20th century"],"geogname_ssim":["Virginia--Governors","Virginia--Politics and government--20th century"],"places_ssim":["Virginia--Governors","Virginia--Politics and government--20th century"],"creator_ssm":["Pollard, Violet McDougall, 1889-1977"],"creator_ssim":["Pollard, Violet McDougall, 1889-1977"],"creator_persname_ssim":["Pollard, Violet McDougall, 1889-1977"],"creator_corpname_ssim":["Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"creators_ssim":["Pollard, Violet McDougall, 1889-1977","Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Gift"],"access_subjects_ssim":["Women in politics--United States--History--20th century","Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports"],"access_subjects_ssm":["Women in politics--United States--History--20th century","Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports"],"has_online_content_ssim":["false"],"extent_ssm":["46.00 Linear Feet 46 boxes."],"extent_tesim":["46.00 Linear Feet 46 boxes."],"genreform_ssim":["Agendas (administrative records)","Correspondence","Financial records","Reports","Technical reports"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e","\u003cp\u003eCollection is stored off-site. Please allow a minimum of 3 business days for retrieval.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection is stored off-site. Please allow a minimum of 3 business days for retrieval."],"arrangement_html_tesm":["\u003cp\u003eThe arrangement of the papers follows Violet McDougall Pollard's filing order with a few exceptions. Subseries within the series reflect the labeled dividers in the original files. Her general files are in Series I, Correspondence and Subject Files, arranged alphabetically, in boxes 1-24. Speeches by Violet McDougall Pollard, and articles by or about her, are filed in Series I under \"Speeches.\" Series II, Recreation Committee (boxes 25-26), and Series III, Virginia Museum of Fine Arts,(boxes 27-29), were at one time filed in the general sequence under R and V respectively, but have been pulled out into separate series due to their bulk. Series IV, Democratic Party, boxes 30-42, has two subseries, National Politics and Virginia Politics.\u003c/p\u003e","\u003cp\u003e National Politics is arranged chronologically, with a small group ofsubject folders at the end. Virginia Politics includes State Politics (arranged chronologically), state subject folders, Democratic Woman's Club, and Young Democrats. Series V, Scrapbooks, in Boxes 43-46, contains scrapbooks of clippings and other bound volumes.\u003c/p\u003e","\u003cp\u003e Researchers should note that particular correspondents or topics are often found in more than one place in the collection. For example, correspondence with and about a Virginia artist might be found under his or her name, in the Virginia Museum of Fine Arts files, and in the files \"Art Exhibitions – Virginia and Virginians\" or \"Artists' Christmas Cards.\" Correspondence with a particular Virginia politician might be found under his name, in the National Politics folders, in the State Politics folders, in the Democratic Woman's Club folder because of a speaking engagement, or in another politician's folder because of Pollard's habit of bundling together sequences of related correspondence among several people and filing them as a group.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement of Materials:"],"arrangement_tesim":["The arrangement of the papers follows Violet McDougall Pollard's filing order with a few exceptions. Subseries within the series reflect the labeled dividers in the original files. Her general files are in Series I, Correspondence and Subject Files, arranged alphabetically, in boxes 1-24. Speeches by Violet McDougall Pollard, and articles by or about her, are filed in Series I under \"Speeches.\" Series II, Recreation Committee (boxes 25-26), and Series III, Virginia Museum of Fine Arts,(boxes 27-29), were at one time filed in the general sequence under R and V respectively, but have been pulled out into separate series due to their bulk. Series IV, Democratic Party, boxes 30-42, has two subseries, National Politics and Virginia Politics.","National Politics is arranged chronologically, with a small group ofsubject folders at the end. Virginia Politics includes State Politics (arranged chronologically), state subject folders, Democratic Woman's Club, and Young Democrats. Series V, Scrapbooks, in Boxes 43-46, contains scrapbooks of clippings and other bound volumes.","Researchers should note that particular correspondents or topics are often found in more than one place in the collection. For example, correspondence with and about a Virginia artist might be found under his or her name, in the Virginia Museum of Fine Arts files, and in the files \"Art Exhibitions – Virginia and Virginians\" or \"Artists' Christmas Cards.\" Correspondence with a particular Virginia politician might be found under his name, in the National Politics folders, in the State Politics folders, in the Democratic Woman's Club folder because of a speaking engagement, or in another politician's folder because of Pollard's habit of bundling together sequences of related correspondence among several people and filing them as a group."],"bioghist_html_tesm":["\u003cp\u003eViolet Elizabeth McDougall was born on 17 July 1889, at Maxville, Ontario, Canada, daughter of Peter and Ellen (Robertson) McDougall. She attended Cornwall Normal School of Ontario and was a teacher in Ontario and Saskatchewan, 1910-1912. She then attended Regina College at Saskatchewan for a year, and was secretary in a law office from 1913-1917. She came to the United States in 1917 and was offered a position as secretary in the Virginia governor's office in 1918. She was executive secretary to four successive governors of Virginia between 1918 and 1933: Westmoreland Davis, E. Lee Trinkle, Harry F. Byrd, and John Garland Pollard. She was known affectionately as \"Miss Mac\" to her many friends.\u003c/p\u003e","\u003cp\u003e On 31 July 1933, she married Governor Pollard, whose first wife had died in 1932. After his term in office ended in 1934, the couple moved to Washington, D.C., where he served as Chairman of the Board of Veterans Appeals and she attended law school at George Washington University. Upon John Garland Pollard's death in 1937, she returned to Richmond and attended law school at the University of Richmond. She went back to Washington from 1938 to 1940, to work as secretary to the Assistant Administrator of the United States Housing Authority.\u003c/p\u003e","\u003cp\u003e In 1940 Violet McDougall Pollard returned again to Richmond to join the staff of the Virginia Museum of Fine Arts, which John Garland Pollard had been instrumental in creating. During World War II, the museum's director left to join the Marines, and she served as co-director (in charge of business affairs) with Beatrice von Keller (in charge of art). After the war, she was the museum's associate director until her retirement in 1956. She continued her association with the museum through museum advisory committees and through her position on the board of the Federated Arts Council of Richmond until about 1971.\u003c/p\u003e","\u003cp\u003e Long interested in politics and maintaining a wide circle of friends in Virginia political circles from her years on the governor's staff, Violet McDougall Pollard became active in the Democratic Party after becoming a naturalized citizen in 1934. She was a delegate to every national Democratic convention from 1936 to 1968, serving on the platform committee in 1952, 1956, 1960, and 1964. She was elected National Committeewoman for Virginia in 1940, a position she held until 1968. As National Committeewoman, she was deeply involved with Democratic Party activities on the state and local levels as well.\u003c/p\u003e","\u003cp\u003e Violet McDougall Pollard was involved with a host of state and civic organizations and causes, including the Recreation Committee of the Advisory Council on the Virginia Economy and the Inter-Agency Committee on Recreation; the Associated Clubs of Virginia for Roadside Development; the Industrial Committee of the Virginia State Chamber of Commerce; the Federated Arts Council of Richmond; the Historic Richmond Foundation; and the Woman's Club of Richmond.\u003c/p\u003e","\u003cp\u003e She died at her home in Lancaster, Virginia, on 2 January 1977.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Violet Elizabeth McDougall was born on 17 July 1889, at Maxville, Ontario, Canada, daughter of Peter and Ellen (Robertson) McDougall. She attended Cornwall Normal School of Ontario and was a teacher in Ontario and Saskatchewan, 1910-1912. She then attended Regina College at Saskatchewan for a year, and was secretary in a law office from 1913-1917. She came to the United States in 1917 and was offered a position as secretary in the Virginia governor's office in 1918. She was executive secretary to four successive governors of Virginia between 1918 and 1933: Westmoreland Davis, E. Lee Trinkle, Harry F. Byrd, and John Garland Pollard. She was known affectionately as \"Miss Mac\" to her many friends.","On 31 July 1933, she married Governor Pollard, whose first wife had died in 1932. After his term in office ended in 1934, the couple moved to Washington, D.C., where he served as Chairman of the Board of Veterans Appeals and she attended law school at George Washington University. Upon John Garland Pollard's death in 1937, she returned to Richmond and attended law school at the University of Richmond. She went back to Washington from 1938 to 1940, to work as secretary to the Assistant Administrator of the United States Housing Authority.","In 1940 Violet McDougall Pollard returned again to Richmond to join the staff of the Virginia Museum of Fine Arts, which John Garland Pollard had been instrumental in creating. During World War II, the museum's director left to join the Marines, and she served as co-director (in charge of business affairs) with Beatrice von Keller (in charge of art). After the war, she was the museum's associate director until her retirement in 1956. She continued her association with the museum through museum advisory committees and through her position on the board of the Federated Arts Council of Richmond until about 1971.","Long interested in politics and maintaining a wide circle of friends in Virginia political circles from her years on the governor's staff, Violet McDougall Pollard became active in the Democratic Party after becoming a naturalized citizen in 1934. She was a delegate to every national Democratic convention from 1936 to 1968, serving on the platform committee in 1952, 1956, 1960, and 1964. She was elected National Committeewoman for Virginia in 1940, a position she held until 1968. As National Committeewoman, she was deeply involved with Democratic Party activities on the state and local levels as well.","Violet McDougall Pollard was involved with a host of state and civic organizations and causes, including the Recreation Committee of the Advisory Council on the Virginia Economy and the Inter-Agency Committee on Recreation; the Associated Clubs of Virginia for Roadside Development; the Industrial Committee of the Virginia State Chamber of Commerce; the Federated Arts Council of Richmond; the Historic Richmond Foundation; and the Woman's Club of Richmond.","She died at her home in Lancaster, Virginia, on 2 January 1977."],"prefercite_html_tesm":["\u003cp\u003eViolet McDougall Pollard Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Violet McDougall Pollard Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003e\u003cemph render=\"bold\"\u003eThis collection is housed off-site. At least 72 hours advanced notice is required for retrieval.\u003c/emph\u003e \u003c/p\u003e","\u003cp\u003e The papers primarily focus on Violet McDougall Pollard's activities in politics and art. They also cover her many civic activities, and correspondence with family and friends.\u003c/p\u003e","\u003cp\u003e Information on her political activities is found in the files she kept on National Politics, documenting her activities as an official in the Democratic Party; her files on State Politics, documenting her involvement with state Party activities and with organizations such as the Democratic Women's Clubs in Virginia; and throughout her correspondence files, in her letters with many prominent Virginia politicians such as Harry F. Byrd and John S. Battle. Virginia Democrats' increasing dissatisfaction with the national party as not representing the views of the Southern states on issues of civil rights and integration from the late 1940s through the 1960s is a major topic. The role of women in public affairs and politics is another frequent topic in Pollard's papers. In addition to direct discussion of women's roles, the papers document women's activities in the Democratic Party in a time when those activities were generally separate from, though complementary to, men's activities.\u003c/p\u003e","\u003cp\u003e Pollard's involvement with art and art education in Virginia are reflected in her files on the Virginia Museum of Fine Arts, which include a mixture of personal files, copies of official museum records, and literature produced by the museum; her files on the Federated Arts Council of Richmond and other subject files on arts issues; and in correspondence files under the names of artists and of museum staff and supporters.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection is housed off-site. At least 72 hours advanced notice is required for retrieval.","The papers primarily focus on Violet McDougall Pollard's activities in politics and art. They also cover her many civic activities, and correspondence with family and friends.","Information on her political activities is found in the files she kept on National Politics, documenting her activities as an official in the Democratic Party; her files on State Politics, documenting her involvement with state Party activities and with organizations such as the Democratic Women's Clubs in Virginia; and throughout her correspondence files, in her letters with many prominent Virginia politicians such as Harry F. Byrd and John S. Battle. Virginia Democrats' increasing dissatisfaction with the national party as not representing the views of the Southern states on issues of civil rights and integration from the late 1940s through the 1960s is a major topic. The role of women in public affairs and politics is another frequent topic in Pollard's papers. In addition to direct discussion of women's roles, the papers document women's activities in the Democratic Party in a time when those activities were generally separate from, though complementary to, men's activities.","Pollard's involvement with art and art education in Virginia are reflected in her files on the Virginia Museum of Fine Arts, which include a mixture of personal files, copies of official museum records, and literature produced by the museum; her files on the Federated Arts Council of Richmond and other subject files on arts issues; and in correspondence files under the names of artists and of museum staff and supporters."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"names_coll_ssim":["Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts"],"persname_ssim":["Pollard, Violet McDougall, 1889-1977"],"names_ssim":["Special Collections Research Center","Democratic National Committee (U.S.)","Democratic Party (Va.)","Virginia Museum of Fine Arts","Pollard, Violet McDougall, 1889-1977"],"language_ssim":["English"],"total_component_count_is":503,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:52:13.556Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9026"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Bnames%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary"}},{"attributes":{"label":"Virginia Museum of Fine Arts","value":"Virginia Museum of Fine Arts","hits":8},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Bnames%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/repository_ssim.json?f%5Bdate_range%5D%5B%5D=1934\u0026f%5Bnames%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Benjamin L. 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