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"],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:03:41.725Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_468"}},{"id":"viw_repositories_2_resources_1039","type":"collection","attributes":{"title":"Louis Michel Eilshemius Papers","creator":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_1039#creator","type":"document_value","attributes":{"value":"Eilshemius, Louis M. (Louis Michel), 1864-1941","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_1039#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThree letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_1039#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_1039","ead_ssi":"viw_repositories_2_resources_1039","_root_":"viw_repositories_2_resources_1039","_nest_parent_":"viw_repositories_2_resources_1039","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_1039.xml","title_filing_ssi":"Eilshemius, Louis Michel Papers","title_ssm":["Louis Michel Eilshemius Papers"],"title_tesim":["Louis Michel Eilshemius Papers"],"unitdate_ssm":["1937-1939"],"unitdate_inclusive_ssm":["1937-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01070","/repositories/2/resources/1039"],"text":["SC 01070","/repositories/2/resources/1039","Louis Michel Eilshemius Papers","Artists","Artists--United States","Correspondence","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  .","Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941","English"],"unitid_tesim":["SC 01070","/repositories/2/resources/1039"],"normalized_title_ssm":["Louis Michel Eilshemius Papers"],"collection_title_tesim":["Louis Michel Eilshemius Papers"],"collection_ssim":["Louis Michel Eilshemius Papers"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creators_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchase"],"access_subjects_ssim":["Artists","Artists--United States","Correspondence"],"access_subjects_ssm":["Artists","Artists--United States","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["0.01 Linear Foot"],"extent_tesim":["0.01 Linear Foot"],"genreform_ssim":["Correspondence"],"date_range_isim":[1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eLouis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art.\u003c/p\u003e\n","\u003cp\u003e Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life.\u003c/p\u003e\n","\u003cp\u003e His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes.\u003c/p\u003e\n","\u003cp\u003e He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air.\u003c/p\u003e\n","\u003cp\u003e Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan.\u003c/p\u003e\n","\u003cp\u003e He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937.\u003c/p\u003e\n","\u003cp\u003e Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941.\u003c/p\u003e\n","\u003cp\u003e Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/Eilshemius,_Louis_M._(Louis_Michel)\" title=\"Eilshemius, Louis M. (Louis Michel)\"\u003e\u003c/extref\u003e.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  ."],"prefercite_html_tesm":["\u003cp\u003eLouis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["Louis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003eThree letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs.\u003c/p\u003e\n","\u003cp\u003e 3 items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941"],"corpname_ssim":["Special Collections Research Center"],"famname_ssim":["Eilshemius, Louis M. 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Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  .","Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941","English"],"unitid_tesim":["SC 01070","/repositories/2/resources/1039"],"normalized_title_ssm":["Louis Michel Eilshemius Papers"],"collection_title_tesim":["Louis Michel Eilshemius Papers"],"collection_ssim":["Louis Michel Eilshemius Papers"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_ssm":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creator_famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"creators_ssim":["Eilshemius, Louis M. 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Although he was academically trained, much of his work has the unself-aware character of naive art.\u003c/p\u003e\n","\u003cp\u003e Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life.\u003c/p\u003e\n","\u003cp\u003e His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes.\u003c/p\u003e\n","\u003cp\u003e He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air.\u003c/p\u003e\n","\u003cp\u003e Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan.\u003c/p\u003e\n","\u003cp\u003e He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937.\u003c/p\u003e\n","\u003cp\u003e Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941.\u003c/p\u003e\n","\u003cp\u003e Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/Eilshemius,_Louis_M._(Louis_Michel)\" title=\"Eilshemius, Louis M. (Louis Michel)\"\u003e\u003c/extref\u003e.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Louis Michel Eilshemius (February 4, 1864 - December 29, 1941) was an American painter, primarily of landscapes and nudes. Although he was academically trained, much of his work has the unself-aware character of naive art."," Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League in New York. He subsequently studied under Bouguereau at the Académie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life."," His early landscapes show the influence of the Barbizon school and of Corot, and also of George Inness and Albert Pinkham Ryder. It is Ryder whose work is especially recalled by the powerful rhythms of Eilshemius's paintings, rhythms the artist often reinforced by painting sinuous \"frames\" onto his pictures. His paintings of New York rooftops are as lyrical as his pastoral scenes."," He achieved little public recognition. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air."," Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his many eccentric, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures; thinking that perhaps the length of his name was an obstacle to success, he tried signing his paintings \"Elshemus\". On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: \"Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages\", as well as world-class athlete and marksman, \"Spirit-Painter Supreme\", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan."," He was not without supporters, however. He was championed by Marcel Duchamp, who \"discovered\" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Societe Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937."," Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941."," Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  ."],"prefercite_html_tesm":["\u003cp\u003eLouis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["Louis Michel Eilshemius Papers, Special Collections Research Center, Swem Library, College of William and Mary."],"scopecontent_html_tesm":["\u003cp\u003eThree letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs.\u003c/p\u003e\n","\u003cp\u003e 3 items.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Three letters, 1937-1939, of Louis M. Eilshemius, American painter, to Michael Engle and to [?] Boyer, discussing personal affairs."," 3 items."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_ssim":["Special Collections Research Center","Eilshemius, Louis M. (Louis Michel), 1864-1941"],"corpname_ssim":["Special Collections Research Center"],"famname_ssim":["Eilshemius, Louis M. (Louis Michel), 1864-1941"],"language_ssim":["English"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:13:32.888Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_1039"}},{"id":"vilxv_repositories_3_resources_94","type":"collection","attributes":{"title":"Moses J. Ezekiel papers","creator":{"id":"https://search.arvasarchive.org/catalog/vilxv_repositories_3_resources_94#creator","type":"document_value","attributes":{"value":"Ezekiel, Moses J. (Moses Jacob), 1844-1917","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vilxv_repositories_3_resources_94#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including: \u003cul\u003e\n\u003cli\u003eCorrespondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead\u003c/li\u003e\n\u003cli\u003ePen and ink sketches by Ezekiel (approximately 67 items)\u003c/li\u003e\n\u003cli\u003eA typescript version of Ezekiel's autobiography\u003c/li\u003e\n\u003cli\u003eMemoirs from the Baths of Diocletian\u003c/li\u003e\n\u003cli\u003ePrint material\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vilxv_repositories_3_resources_94#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vilxv_repositories_3_resources_94","ead_ssi":"vilxv_repositories_3_resources_94","_root_":"vilxv_repositories_3_resources_94","_nest_parent_":"vilxv_repositories_3_resources_94","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_94.xml","aspace_url_ssi":"http://ead.lib.virginia.edu/vivaxtf/view?docId=vmi/vilxv00043.xml","title_ssm":["Moses J. Ezekiel papers"],"title_tesim":["Moses J. Ezekiel papers"],"unitdate_ssm":["1867-1917"],"unitdate_inclusive_ssm":["1867-1917"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.0010","/repositories/3/resources/94"],"text":["MS.0010","/repositories/3/resources/94","Moses J. Ezekiel papers","Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)","The Moses J. Ezekiel papers digital collection","There are no restrictions","Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).","The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.","The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material","Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.","Manuscripts stacks","Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. 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Contact the VMI Archives for additional information."],"access_subjects_ssim":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"access_subjects_ssm":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["1 cubic feet 2 boxes"],"extent_tesim":["1 cubic feet 2 boxes"],"genreform_ssim":["Drawings (visual works)"],"date_range_isim":[1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917],"accessrestrict_html_tesm":["\u003cp\u003e\u003ca href=\"http://digitalcollections.vmi.edu/cdm/landingpage/collection/p15821coll18\"\u003eThe Moses J. Ezekiel papers digital collection\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eThere are no restrictions\u003c/p\u003e"],"accessrestrict_heading_ssm":["Online Access","Conditions Governing Access"],"accessrestrict_tesim":["The Moses J. Ezekiel papers digital collection","There are no restrictions"],"bioghist_html_tesm":["\u003cp\u003eMoses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.\u003c/p\u003e\n","\u003cp\u003eEzekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.\u003c/p\u003e\n","\u003cp\u003eAt the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n\u003cul\u003e\n\u003cli\u003eBusts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb\u003c/li\u003e\n\u003cli\u003eA statue of Mrs. Andrew W. White for Cornell University\u003c/li\u003e\n\u003cli\u003eMadonna for the Church La Tivoli\u003c/li\u003e\n\u003cli\u003eFaith for the Cemetery of Rome\u003c/li\u003e\n\u003cli\u003eApollo and Mercury in Berlin\u003c/li\u003e\n\u003cli\u003eRobert E. Lee\u003c/li\u003e\n\u003cli\u003eStonewall Jackson\u003c/li\u003e\n\u003cli\u003ePan and Amor\u003c/li\u003e\n\u003cli\u003eThe Fountain of Neptune for the city of Netturno, Italy\u003c/li\u003e\n\u003cli\u003eA bust of Lord Sherbrooke for St. Margaret, Westminister, London\u003c/li\u003e\n\u003cli\u003eThe Jefferson Monument for Louisville, Kentucky\u003c/li\u003e\n\u003cli\u003eThe Homer Group for the University of Virginia\u003c/li\u003e\n\u003cli\u003eVirginia Mourning Her Dead for VMI\u003c/li\u003e\n\u003cli\u003eNapoleon I at St. Helena\u003c/li\u003e\n\u003cli\u003eA monument to Senator Daniel, Lynchburg, Virginia\u003c/li\u003e\n\u003cli\u003eThe Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia\u003c/li\u003e\n\u003cli\u003eScores of other busts and reliefs\u003c/li\u003e\n\u003c/ul\u003e\nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia)."],"prefercite_html_tesm":["\u003cp\u003eMoses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Moses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eThe VMI Archives also holds a \u003ca href=\"http://digitalcollections.vmi.edu/cdm/ref/collection/p15821coll7/id/3746\"\u003ecollection of photographs\u003c/a\u003e related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures."],"scopecontent_html_tesm":["\u003cp\u003eThe Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n\u003cul\u003e\n\u003cli\u003eCorrespondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead\u003c/li\u003e\n\u003cli\u003ePen and ink sketches by Ezekiel (approximately 67 items)\u003c/li\u003e\n\u003cli\u003eA typescript version of Ezekiel's autobiography\u003c/li\u003e\n\u003cli\u003eMemoirs from the Baths of Diocletian\u003c/li\u003e\n\u003cli\u003ePrint material\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material"],"userestrict_html_tesm":["\u003cp\u003eManuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_94afa6f1fee03d75868e399d1499d701\"\u003eManuscripts stacks\u003c/physloc\u003e"],"physloc_tesim":["Manuscripts stacks"],"names_ssim":["Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"corpname_ssim":["Virginia Military Institute Archives"],"persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"language_ssim":["English"],"total_component_count_is":73,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:57:12.558Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vilxv_repositories_3_resources_94","ead_ssi":"vilxv_repositories_3_resources_94","_root_":"vilxv_repositories_3_resources_94","_nest_parent_":"vilxv_repositories_3_resources_94","ead_source_url_ssi":"data/oai/VMI/repositories_3_resources_94.xml","aspace_url_ssi":"http://ead.lib.virginia.edu/vivaxtf/view?docId=vmi/vilxv00043.xml","title_ssm":["Moses J. Ezekiel papers"],"title_tesim":["Moses J. Ezekiel papers"],"unitdate_ssm":["1867-1917"],"unitdate_inclusive_ssm":["1867-1917"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS.0010","/repositories/3/resources/94"],"text":["MS.0010","/repositories/3/resources/94","Moses J. Ezekiel papers","Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)","The Moses J. Ezekiel papers digital collection","There are no restrictions","Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).","The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.","The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material","Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. 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(Edward West), 1858-1927"],"creator_persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"creators_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927"],"access_terms_ssm":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"access_subjects_ssim":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"access_subjects_ssm":["Sculptors—Virginia","Sculptors—Rome (Italy)","New Market Cadets","Virginia Military Institute—Buildings, structures, etc.","Virginia Military Institute—Class of 1866","Artists","Drawings (visual works)"],"has_online_content_ssim":["false"],"extent_ssm":["1 cubic feet 2 boxes"],"extent_tesim":["1 cubic feet 2 boxes"],"genreform_ssim":["Drawings (visual works)"],"date_range_isim":[1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917],"accessrestrict_html_tesm":["\u003cp\u003e\u003ca href=\"http://digitalcollections.vmi.edu/cdm/landingpage/collection/p15821coll18\"\u003eThe Moses J. Ezekiel papers digital collection\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eThere are no restrictions\u003c/p\u003e"],"accessrestrict_heading_ssm":["Online Access","Conditions Governing Access"],"accessrestrict_tesim":["The Moses J. Ezekiel papers digital collection","There are no restrictions"],"bioghist_html_tesm":["\u003cp\u003eMoses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.\u003c/p\u003e\n","\u003cp\u003eEzekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.\u003c/p\u003e\n","\u003cp\u003eAt the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n\u003cul\u003e\n\u003cli\u003eBusts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb\u003c/li\u003e\n\u003cli\u003eA statue of Mrs. Andrew W. White for Cornell University\u003c/li\u003e\n\u003cli\u003eMadonna for the Church La Tivoli\u003c/li\u003e\n\u003cli\u003eFaith for the Cemetery of Rome\u003c/li\u003e\n\u003cli\u003eApollo and Mercury in Berlin\u003c/li\u003e\n\u003cli\u003eRobert E. Lee\u003c/li\u003e\n\u003cli\u003eStonewall Jackson\u003c/li\u003e\n\u003cli\u003ePan and Amor\u003c/li\u003e\n\u003cli\u003eThe Fountain of Neptune for the city of Netturno, Italy\u003c/li\u003e\n\u003cli\u003eA bust of Lord Sherbrooke for St. Margaret, Westminister, London\u003c/li\u003e\n\u003cli\u003eThe Jefferson Monument for Louisville, Kentucky\u003c/li\u003e\n\u003cli\u003eThe Homer Group for the University of Virginia\u003c/li\u003e\n\u003cli\u003eVirginia Mourning Her Dead for VMI\u003c/li\u003e\n\u003cli\u003eNapoleon I at St. Helena\u003c/li\u003e\n\u003cli\u003eA monument to Senator Daniel, Lynchburg, Virginia\u003c/li\u003e\n\u003cli\u003eThe Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia\u003c/li\u003e\n\u003cli\u003eScores of other busts and reliefs\u003c/li\u003e\n\u003c/ul\u003e\nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia).\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Moses Jacob Ezekiel, the noted 19th century American Jewish sculptor, was born in Richmond, Virginia on October 28, 1844. One of 14 children of Jacob Ezekiel and Catherine de Castro, he had already started a mercantile career when he decided to attend college. Ezekiel entered VMI in September 1862, and during his VMI cadetship, took part in the Battle of New Market (May 15, 1864) and served in the trenches in defense of Richmond in the Spring of 1865.","Ezekiel graduated from VMI in 1866, and in 1867 began seriously to pursue his interest in art. He studied anatomy at the Medical College of Virginia and traveled to Cincinnati, Ohio where he studied at the Art School of J. Insco Williams and in the studio of T.D. Jones. In 1867 he sailed for Europe and entered the Royal Academy of Art in Berlin, Germany.","At the age of 29, Ezekiel won the prestigious Michel-Beer Prix de Rome for a bas relief entitled Israel. The prize money enabled him to travel to Rome, Italy where he established a studio and lived for the remainder of his life. Ezekiel executed nearly two hundred monuments in bronze and marble. Among his productions were the following:\n Busts of Lizst, Cardinal Hohenlohe, Eve, Homer, David, Judith, and Christ in the Tomb A statue of Mrs. Andrew W. White for Cornell University Madonna for the Church La Tivoli Faith for the Cemetery of Rome Apollo and Mercury in Berlin Robert E. Lee Stonewall Jackson Pan and Amor The Fountain of Neptune for the city of Netturno, Italy A bust of Lord Sherbrooke for St. Margaret, Westminister, London The Jefferson Monument for Louisville, Kentucky The Homer Group for the University of Virginia Virginia Mourning Her Dead for VMI Napoleon I at St. Helena A monument to Senator Daniel, Lynchburg, Virginia The Confederate Soldiers' Memorial at Arlington National Cemetery, Virginia Scores of other busts and reliefs \nEzekiel died in Italy on March 27, 1917, but because of World War I, his body was not returned to the United States until 1921. He is buried at the foot of the Confederate Memorial in Section 16 of Arlington National Cemetery, Virginia)."],"prefercite_html_tesm":["\u003cp\u003eMoses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Moses J. Ezekiel papers, 1867-1917. MS 0010. VMI Archives, Virginia Military Institute, Lexington, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eThe VMI Archives also holds a \u003ca href=\"http://digitalcollections.vmi.edu/cdm/ref/collection/p15821coll7/id/3746\"\u003ecollection of photographs\u003c/a\u003e related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The VMI Archives also holds a  collection of photographs  related to Ezekiel. Included are images of Ezekiel, his studio in Rome, Italy, and various examples of his sculptures."],"scopecontent_html_tesm":["\u003cp\u003eThe Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n\u003cul\u003e\n\u003cli\u003eCorrespondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead\u003c/li\u003e\n\u003cli\u003ePen and ink sketches by Ezekiel (approximately 67 items)\u003c/li\u003e\n\u003cli\u003eA typescript version of Ezekiel's autobiography\u003c/li\u003e\n\u003cli\u003eMemoirs from the Baths of Diocletian\u003c/li\u003e\n\u003cli\u003ePrint material\u003c/li\u003e\n\u003c/ul\u003e\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The Moses J. Ezekiel papers consist of the papers of noted 19th century sculptor Moses J. Ezekiel, including:\n Correspondence to VMI superintendent Edward W. Nichols and others (dated 1867-1917), some relating to the design of the Battle of New Market memorial sculpture Virginia Mourning Her Dead Pen and ink sketches by Ezekiel (approximately 67 items) A typescript version of Ezekiel's autobiography Memoirs from the Baths of Diocletian Print material"],"userestrict_html_tesm":["\u003cp\u003eManuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Manuscript collections in the VMI Archives are made available for educational and research use. The VMI Archives should be cited as the source. The user assumes all responsibility for identifying and satisfying any copyright holders. Materials from our collections may not be redistributed, published or reproduced without permission from the VMI Archives. Contact the VMI Archives for additional information."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_94afa6f1fee03d75868e399d1499d701\"\u003eManuscripts stacks\u003c/physloc\u003e"],"physloc_tesim":["Manuscripts stacks"],"names_ssim":["Virginia Military Institute Archives","Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"corpname_ssim":["Virginia Military Institute Archives"],"persname_ssim":["Ezekiel, Moses J. (Moses Jacob), 1844-1917","Nichols, E. W. (Edward West), 1858-1927","Jefferson, Thomas G. (Thomas Garland), 1847-1864","Anderson, Joseph R., Jr. (Joseph Reid), 1851-1930","Drexel, Anthony Joseph, 1826-1893","Werner, Anton von, 1843-1915","Hotchkiss, Benjamin B., 1826-1885","Christ, Jesus, circa 6-4 B.C.E.-circa 30 C.E.","Lara, Contessa, 1849-1896","Lewald, Fanny, 1811-1889","Encke, Fedor, 1851-1936","Smith, Francis H. (Francis Henney), 1812-1890","Lee, George Washington Custis, 1832-1913","Ezekiel, Jacob, 1812-1899","Montez, Lola, 1818-1861","Helbig, Nadine, 1847-1915","Lee, Mary Custis, 1835-1918","White, Mary Outwater, 1836-1887","de Bosis, Adolfo, 1863-1924","Tunstall, Nannie Whitmell","Bismarck, Otto von, 1815-1898","Lee, Robert E. (Robert Edward), 1807-1870","Hausmann, Robert, 1852-1909","Shipp, Scott, 1839-1917","Jackson, Stonewall, 1824-1863"],"language_ssim":["English"],"total_component_count_is":73,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:57:12.558Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vilxv_repositories_3_resources_94"}},{"id":"viw_repositories_2_resources_2612","type":"collection","attributes":{"title":"This Century Art Gallery Records","creator":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_2612#creator","type":"document_value","attributes":{"value":"Sherman, Roger","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_2612#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe records of This Century Art Gallery include office, financial, and personal files from various board members and officers, board minutes, printed material such as promotional material and newsletters, artist and exhibit information, inventory notebooks, daily logs, and loose papers.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_2612#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_2612","ead_ssi":"viw_repositories_2_resources_2612","_root_":"viw_repositories_2_resources_2612","_nest_parent_":"viw_repositories_2_resources_2612","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_2612.xml","title_filing_ssi":"This Century Gallery Records","title_ssm":["This Century Art Gallery Records"],"title_tesim":["This Century Art Gallery Records"],"unitdate_ssm":["1958-2009"],"unitdate_inclusive_ssm":["1958-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss. Acc. 2002.15","/repositories/2/resources/2612"],"text":["Mss. Acc. 2002.15","/repositories/2/resources/2612","This Century Art Gallery Records","Williamsburg (Va.)--History--20th century","Art Gallery","Artists","Financial records","Fliers (printed matter)","Minutes","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.","The collection has been arranged into six series: Office Files, Financial Records, Board of Directors, Roger Sherman's Files, Artists and Exhibits, and Additions.","This Century Art Gallery - Williamsburg exhibits a wide variety of contemporary paintings, sculpture, and crafts by outstanding regional and national artists. The Gallery, adjacent to Merchants Square and the Historic Area in Williamsburg, Virginia, occupies a unique 1920 Sears Roebuck house that was modernized in the 1980s. The Gallery is a nonprofit organization that is wholly volunteer-operated. Members give their time generously to manage Gallery business and to run the many programs it offers. The Gallery was named Twentieth Century Gallery when it was organized in 1958 and is affiliated with the Virginia Museum of Fine Arts. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  .","Processed by Anne Johnson in 2007.","Glenna Shiflett Papers (Mss. Acc. 2006.19)","The records of This Century Art Gallery include office, financial, and personal files from various board members and officers, board minutes, printed material such as promotional material and newsletters, artist and exhibit information, inventory notebooks, daily logs, and loose papers."," Because Roger Sherman had made notes on many of the papers he gathered to help him write the history of the Gallery, they have been left together, but filed within the categories used for the rest of the collection, with his name as part of the folder heading.  The exceptions are his actual drafts of the history, which are filed under his name.","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","Williamsburg Historic Records Association (Williamsburg, Va.)","Virginia Museum of Fine Arts","Williamsburg Arts Council (Williamsburg, Va.)","Sherman, Roger","Shiflett, Glenna Graves","English"],"unitid_tesim":["Mss. 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Acc. 2010.644 gift of Miles Chappell and others."],"access_subjects_ssim":["Art Gallery","Artists","Financial records","Fliers (printed matter)","Minutes","Reports"],"access_subjects_ssm":["Art Gallery","Artists","Financial records","Fliers (printed matter)","Minutes","Reports"],"has_online_content_ssim":["false"],"extent_ssm":["5.60 Linear Feet"],"extent_tesim":["5.60 Linear Feet"],"genreform_ssim":["Financial records","Fliers (printed matter)","Minutes","Reports"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eThe collection has been arranged into six series: Office Files, Financial Records, Board of Directors, Roger Sherman's Files, Artists and Exhibits, and Additions.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement of Materials:"],"arrangement_tesim":["The collection has been arranged into six series: Office Files, Financial Records, Board of Directors, Roger Sherman's Files, Artists and Exhibits, and Additions."],"bioghist_html_tesm":["\u003cp\u003eThis Century Art Gallery - Williamsburg exhibits a wide variety of contemporary paintings, sculpture, and crafts by outstanding regional and national artists. The Gallery, adjacent to Merchants Square and the Historic Area in Williamsburg, Virginia, occupies a unique 1920 Sears Roebuck house that was modernized in the 1980s. The Gallery is a nonprofit organization that is wholly volunteer-operated. Members give their time generously to manage Gallery business and to run the many programs it offers. The Gallery was named Twentieth Century Gallery when it was organized in 1958 and is affiliated with the Virginia Museum of Fine Arts. Further information about this individual or organization may be available in the Special Collections Research Center Wiki: \u003cextref href=\"http://scdbwiki.swem.wm.edu/wiki/index.php/This_Century_Art_Gallery\" title=\"This Century Art Gallery\"\u003e\u003c/extref\u003e.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note:"],"bioghist_tesim":["This Century Art Gallery - Williamsburg exhibits a wide variety of contemporary paintings, sculpture, and crafts by outstanding regional and national artists. The Gallery, adjacent to Merchants Square and the Historic Area in Williamsburg, Virginia, occupies a unique 1920 Sears Roebuck house that was modernized in the 1980s. The Gallery is a nonprofit organization that is wholly volunteer-operated. Members give their time generously to manage Gallery business and to run the many programs it offers. The Gallery was named Twentieth Century Gallery when it was organized in 1958 and is affiliated with the Virginia Museum of Fine Arts. Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  ."],"prefercite_html_tesm":["\u003cp\u003eThis Century Art Gallery Records, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["This Century Art Gallery Records, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Anne Johnson in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information:"],"processinfo_tesim":["Processed by Anne Johnson in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenna Shiflett Papers (Mss. Acc. 2006.19)\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials:"],"relatedmaterial_tesim":["Glenna Shiflett Papers (Mss. Acc. 2006.19)"],"scopecontent_html_tesm":["\u003cp\u003eThe records of This Century Art Gallery include office, financial, and personal files from various board members and officers, board minutes, printed material such as promotional material and newsletters, artist and exhibit information, inventory notebooks, daily logs, and loose papers.\u003c/p\u003e\n","\u003cp\u003e Because Roger Sherman had made notes on many of the papers he gathered to help him write the history of the Gallery, they have been left together, but filed within the categories used for the rest of the collection, with his name as part of the folder heading.  The exceptions are his actual drafts of the history, which are filed under his name.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The records of This Century Art Gallery include office, financial, and personal files from various board members and officers, board minutes, printed material such as promotional material and newsletters, artist and exhibit information, inventory notebooks, daily logs, and loose papers."," Because Roger Sherman had made notes on many of the papers he gathered to help him write the history of the Gallery, they have been left together, but filed within the categories used for the rest of the collection, with his name as part of the folder heading.  The exceptions are his actual drafts of the history, which are filed under his name."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"names_coll_ssim":["Virginia Museum of Fine Arts","Williamsburg Arts Council (Williamsburg, Va.)"],"names_ssim":["Special Collections Research Center","Williamsburg Historic Records Association (Williamsburg, Va.)","Virginia Museum of Fine Arts","Williamsburg Arts Council (Williamsburg, Va.)","Sherman, Roger","Shiflett, Glenna Graves"],"corpname_ssim":["Special Collections Research Center","Williamsburg Historic Records Association (Williamsburg, Va.)","Virginia Museum of Fine Arts","Williamsburg Arts Council (Williamsburg, Va.)"],"persname_ssim":["Sherman, Roger","Shiflett, Glenna Graves"],"language_ssim":["English"],"total_component_count_is":11,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:06:34.777Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_2612","ead_ssi":"viw_repositories_2_resources_2612","_root_":"viw_repositories_2_resources_2612","_nest_parent_":"viw_repositories_2_resources_2612","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_2612.xml","title_filing_ssi":"This Century Gallery Records","title_ssm":["This Century Art Gallery Records"],"title_tesim":["This Century Art Gallery Records"],"unitdate_ssm":["1958-2009"],"unitdate_inclusive_ssm":["1958-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss. Acc. 2002.15","/repositories/2/resources/2612"],"text":["Mss. Acc. 2002.15","/repositories/2/resources/2612","This Century Art Gallery Records","Williamsburg (Va.)--History--20th century","Art Gallery","Artists","Financial records","Fliers (printed matter)","Minutes","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. 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Further information about this individual or organization may be available in the Special Collections Research Center Wiki:  ."],"prefercite_html_tesm":["\u003cp\u003eThis Century Art Gallery Records, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e"],"prefercite_tesim":["This Century Art Gallery Records, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Anne Johnson in 2007.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information:"],"processinfo_tesim":["Processed by Anne Johnson in 2007."],"relatedmaterial_html_tesm":["\u003cp\u003eGlenna Shiflett Papers (Mss. Acc. 2006.19)\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials:"],"relatedmaterial_tesim":["Glenna Shiflett Papers (Mss. 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Files of unknown members that had very little material left in them after removing duplicate copies where merged into a folder entitled Board of Directors - Correspondence.\n","Some files for a specific event (exhibit or show) arrived in notebooks.  These files were put into new folders with their original order and heading maintained.  New folder headings were created to pull together material on artists, exhibits and shows that were found either loose or scattered through individual files.\n","Because Roger Sherman had made notes on many of the papers he gathered to help him write the history of the Gallery, they have been left together, but filed within the categories used for the rest of the collection, with his name as part of the folder heading.  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The Gallery, adjacent to Merchants Square and the Historic Area in Williamsburg, Virginia, occupies a unique 1920 Sears Roebuck house that was modernized in the 1980s.  \n\u003c/p\u003e","\u003cp\u003eThe Gallery is a nonprofit organization that is wholly volunteer-operated. Members give their time generously to manage Gallery business and to run the many programs it offers.\n\u003c/p\u003e","\u003cp\u003eMembership fees and sales help support the Gallery. Major exhibitions open monthly with a preview reception for members and their guests. \n\u003c/p\u003e","\u003cp\u003eThe Gallery was named Twentieth Century Gallery when it opened in 1959 and is affiliated with the Virginia Museum of Fine Arts.\n\u003c/p\u003e","\u003cp\u003e--From the Web site for This Century Art Gallery, July 2007\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["This Century Art Gallery - Williamsburg exhibits a wide variety of contemporary paintings, sculpture, and crafts by outstanding regional and national artists. The Gallery, adjacent to Merchants Square and the Historic Area in Williamsburg, Virginia, occupies a unique 1920 Sears Roebuck house that was modernized in the 1980s.  \n","The Gallery is a nonprofit organization that is wholly volunteer-operated. Members give their time generously to manage Gallery business and to run the many programs it offers.\n","Membership fees and sales help support the Gallery. Major exhibitions open monthly with a preview reception for members and their guests. \n","The Gallery was named Twentieth Century Gallery when it opened in 1959 and is affiliated with the Virginia Museum of Fine Arts.\n","--From the Web site for This Century Art Gallery, July 2007"],"scopecontent_html_tesm":["\u003cp\u003eThe records of This Century Art Gallery include office, financial, and personal files from various board members and officers, Board Minutes, printed material such as promotional material and newsletters, artist/exhibit information, inventory notebooks, daily logs, and loose papers.\n\u003c/p\u003e","\u003cp\u003eThe group of office files that arrived as a unit, already in folders, were kept together and the original file names retained.  These Office Files contain many newspaper clippings and promotional printed material.  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In the front of each Office File folder are 3 subfolders: one each for the original newspaper clippings, the copies of the clippings and original printed material.\n","The personal files of the Board members and officers included numerous duplications, particularly of monthly financial reports, board minutes and quarterly Bulletins.  These records were pulled and combined in date order into the file headings of Treasurer's Reports, Board Minutes or Printed Material - Bulletins.  At least 2 copies of each report were kept.  If there were notes on any of the reports, it was kept.  In a few instances, a board member's or officer's file contained material not duplicated elsewhere.  These files were kept intact (except for removal of the duplicated reports) and the name of the board member or officer is noted on the folder as part of the heading.  Files of unknown members that had very little material left in them after removing duplicate copies where merged into a folder entitled Board of Directors - Correspondence.\n","Some files for a specific event (exhibit or show) arrived in notebooks.  These files were put into new folders with their original order and heading maintained.  New folder headings were created to pull together material on artists, exhibits and shows that were found either loose or scattered through individual files.\n","Because Roger Sherman had made notes on many of the papers he gathered to help him write the history of the Gallery, they have been left together, but filed within the categories used for the rest of the collection, with his name as part of the folder heading.  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