{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=2","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=3"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":3,"limit_value":10,"offset_value":0,"total_count":24,"first_page?":true,"last_page?":false}},"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://search.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://search.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://search.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://search.arvasarchive.org/catalog/virmu_repositories_2_resources_465"}},{"id":"virmu_repositories_2_resources_272_c02_c01","type":"File","attributes":{"title":"Board of Managers Charter, By-Laws and Acts of General Assembly, 1898/1989","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_272_c02_c01","ref_ssm":["virmu_repositories_2_resources_272_c02_c01"],"id":"virmu_repositories_2_resources_272_c02_c01","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272_c02","parent_ssi":"virmu_repositories_2_resources_272_c02","parent_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 2: Administrative Files, 1898/1997"],"parent_ids_ssim":["virmu_repositories_2_resources_272","virmu_repositories_2_resources_272_c02"],"title_filing_ssi":"Board of Managers Charter, By-Laws and Acts of General Assembly","title_ssm":["Board of Managers Charter, By-Laws and Acts of General Assembly"],"title_tesim":["Board of Managers Charter, By-Laws and Acts of General Assembly"],"normalized_title_ssm":["Board of Managers Charter, By-Laws and Acts of General Assembly, 1898/1989"],"text":["Board of Managers Charter, By-Laws and Acts of General Assembly, 1898/1989","Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 2: Administrative Files, 1898/1997","box SC-23 Box 1","folder Folder 9","Item SC23.02.0.001","English"],"parent_unittitles_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 2: Administrative Files, 1898/1997"],"parent_unittitles_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","Series 2: Administrative Files, 1898/1997"],"normalized_date_ssm":["1898/1989"],"unitdate_other_ssim":["1898-1989"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":11,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"containers_ssim":["box SC-23 Box 1","folder Folder 9","Item SC23.02.0.001"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"language_ssim":["English"],"date_range_isim":[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],"_nest_path_":"/components#1/components#0","timestamp":"2026-07-23T21:26:44.884Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_272","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_272.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/272","title_filing_ssi":"Home for Needy Confederate Women (SC-23)","title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"unitdate_ssm":["1898-2007"],"unitdate_inclusive_ssm":["1898-2007"],"normalized_date_ssm":["1898/2007"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"text":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","SC-23","/repositories/2/resources/272","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.","The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated","Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418","The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds","The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 2 boxes; 68 folders"],"extent_tesim":["2.5 Linear Feet 2 boxes; 68 folders"],"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series. Correspondence files are arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1924-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAdministrative Files, 1898-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eResident and Application Files, 1914-1998\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eFinancial Records, 1908-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eProperty Files, 1924-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eOther Records, 1910-2007, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e\n    ","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e\n    ","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - Library of Virginia"],"bibliography_tesim":["Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418"],"bioghist_html_tesm":["\u003cp\u003eThe monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.\u003c/p\u003e","\u003cp\u003eFunded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_990af6858b4c3924898d87f60438ef91\"\u003eThe collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":74,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c02_c01"}},{"id":"virmu_repositories_2_resources_236_c01_c01","type":"File","attributes":{"title":"Correspondence between Oaks owner and tenant, 1894/1909","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_236_c01_c01","ref_ssm":["virmu_repositories_2_resources_236_c01_c01"],"id":"virmu_repositories_2_resources_236_c01_c01","ead_ssi":"virmu_repositories_2_resources_236","_root_":"virmu_repositories_2_resources_236","_nest_parent_":"virmu_repositories_2_resources_236_c01","parent_ssi":"virmu_repositories_2_resources_236_c01","parent_ssim":["Records of the Oaks (SC-01), 1894/1995","Series 1: The Oaks Papers and Photographs, 1894/1995"],"parent_ids_ssim":["virmu_repositories_2_resources_236","virmu_repositories_2_resources_236_c01"],"title_filing_ssi":"Correspondence between Oaks owner and tenant","title_ssm":["Correspondence between Oaks owner and tenant"],"title_tesim":["Correspondence between Oaks owner and tenant"],"normalized_title_ssm":["Correspondence between Oaks owner and tenant, 1894/1909"],"text":["Correspondence between Oaks owner and tenant, 1894/1909","Records of the Oaks (SC-01), 1894/1995","Series 1: The Oaks Papers and Photographs, 1894/1995","box SC-01 Box 1","folder Folder 1","Item SC01.01.0.001","English"],"parent_unittitles_ssm":["Records of the Oaks (SC-01), 1894/1995","Series 1: The Oaks Papers and Photographs, 1894/1995"],"parent_unittitles_tesim":["Records of the Oaks (SC-01), 1894/1995","Series 1: The Oaks Papers and Photographs, 1894/1995"],"normalized_date_ssm":["1894/1909"],"unitdate_other_ssim":["1894-1909"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":2,"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Oaks (SC-01), 1894/1995"],"containers_ssim":["box SC-01 Box 1","folder Folder 1","Item SC01.01.0.001"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"language_ssim":["English"],"date_range_isim":[1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909],"_nest_path_":"/components#0/components#0","timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_236","ead_ssi":"virmu_repositories_2_resources_236","_root_":"virmu_repositories_2_resources_236","_nest_parent_":"virmu_repositories_2_resources_236","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_236.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/236","title_filing_ssi":"Oaks (SC-01)","title_ssm":["Records of the Oaks (SC-01)"],"title_tesim":["Records of the Oaks (SC-01)"],"unitdate_ssm":["1894-1995"],"unitdate_inclusive_ssm":["1894-1995"],"normalized_date_ssm":["1894/1995"],"normalized_title_ssm":["Records of the Oaks (SC-01), 1894/1995"],"text":["Records of the Oaks (SC-01), 1894/1995","SC-01","/repositories/2/resources/236","The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records.","The collection is organized into three series. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.","Series 1\n        The Oaks Papers and Photographs, 1894-1995, undated\n      \n      \n        Series 2\n        General VMFA Properties Papers, 1934-1990, undated\n      \n      \n        Series 3\n        The Oaks Miscellaneous, 1935-1969, undated","The Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.","During part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.","Upon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.","Source: The Historic American Buildings Survey \nSource: Moving into a Masterpiece \nSource: 18th-Century House Goes on Market for First Time in its History","Source: Old and Sold: The Oaks","This collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, 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 Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Oaks (SC-01), 1894/1995"],"collection_ssim":["Records of the Oaks (SC-01), 1894/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-01","/repositories/2/resources/236"],"unitid_tesim":["SC-01","/repositories/2/resources/236"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["6.25 Linear Feet 5 boxes; 76 folders"],"extent_tesim":["6.25 Linear Feet 5 boxes; 76 folders"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eThe Oaks Papers and Photographs, 1894-1995, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eGeneral VMFA Properties Papers, 1934-1990, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eThe Oaks Miscellaneous, 1935-1969, 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. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.","Series 1\n        The Oaks Papers and Photographs, 1894-1995, undated\n      \n      \n        Series 2\n        General VMFA Properties Papers, 1934-1990, undated\n      \n      \n        Series 3\n        The Oaks Miscellaneous, 1935-1969, undated"],"bioghist_html_tesm":["\u003cp\u003eThe Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.  \u003c/p\u003e","\u003cp\u003eDuring part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.  \t\u003c/p\u003e","\u003cp\u003eUpon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://lcweb2.loc.gov/pnp/habshaer/va/va0200/va0240/data/va0240data.pdf\"\u003eThe Historic American Buildings Survey\u003c/a\u003e \nSource: \u003ca href=\"http://www.styleweekly.com/richmond/moving-into-a-masterpiece/Content?oid=1369437\"\u003eMoving into a Masterpiece\u003c/a\u003e \nSource: \u003ca href=\"http://www.timesdispatch.com/business/local/article_8e66db28-6fc7-50ba-b669-c9f0b488ea38.html\"\u003e18th-Century House Goes on Market for First Time in its History\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.oldandsold.com/articles11/virginia-homes-42.shtml\"\u003eOld and Sold: The Oaks\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.","During part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.","Upon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.","Source: The Historic American Buildings Survey \nSource: Moving into a Masterpiece \nSource: 18th-Century House Goes on Market for First Time in its History","Source: Old and Sold: The Oaks"],"custodhist_html_tesm":["\u003cp\u003eThis collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["This collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995."],"prefercite_html_tesm":["\u003cp\u003eRecords of The Oaks (SC-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of The Oaks (SC-01). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, 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":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_602aef1020496331a521a05a1a79928c\" label=\"Abstract\"\u003eThis collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\""],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":79,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236_c01_c01"}},{"id":"virmu_repositories_2_resources_277","type":"collection","attributes":{"title":"Ivan Bilibin Postcard Collection (SC-30), 1899/1909","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_277#creator","type":"document_value","attributes":{"value":"Bilibin, Ivan I︠A︡kovlevich, 1876-1942","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_277#abstract_or_scope","type":"document_value","attributes":{"value":"The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_277#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_277","ead_ssi":"virmu_repositories_2_resources_277","_root_":"virmu_repositories_2_resources_277","_nest_parent_":"virmu_repositories_2_resources_277","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_277.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/277","title_filing_ssi":"Ivan Bilibin Postcards (SC-30)","title_ssm":["Ivan Bilibin Postcard Collection (SC-30)"],"title_tesim":["Ivan Bilibin Postcard Collection (SC-30)"],"unitdate_ssm":["1899-1909"],"unitdate_inclusive_ssm":["1899-1909"],"normalized_date_ssm":["1899/1909"],"normalized_title_ssm":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909"],"text":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909","SC-30","/repositories/2/resources/277","Fairy tales -- Russia.","The collection is open for research.","The collection is arranged in chronological and alphabetical order. Items without dates appear at the end of the collection.","Russian fairy tales, 2013","Russian legends : folk tales and fairy tales, 2007","Russian art nouveau : the world of art and Diaghilev's painters : painting, graphic art, theatrical design 1997","Ivan Bilibin, 1982","Russian Art Nouveau artist Ivan Yakovlevich Bilibin (1876-1942) was born near St. Petersburg and gained popularity in the early 20th century due to his illustrations of Russian folktales. The postcards in the collection reflect Bilibin's early interest in depicting folklore in his artwork. As his career progressed, Bilibin illustrated books, drew landscapes, and created sets and costumes for theater productions. In 1942, Bilibin died during the Siege of Leningrad.","The collection was purchased by the VMFA Library in 2017.","The postcards have been placed in protective sleeves for preservation purposes.","The Troussoff Collection in Dickinson College's Archives and Special Collections contains materials related to Russian folklore and postcards.","The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales. All 12 postcards are blank. 8 of the postcards were issued by the Publishing House of the Red Cross Society of St. Eugenia. Dialogue and narration of the illustrations are written in Russian. Each item includes an English translation.","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 consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales.","Virginia Museum of Fine Arts Archives","Bilibin, Ivan I︠A︡kovlevich, 1876-1942","Russian\n."],"collection_title_tesim":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909"],"collection_ssim":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-30","/repositories/2/resources/277"],"unitid_tesim":["SC-30","/repositories/2/resources/277"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"creator_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"creator_persname_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Fairy tales -- Russia."],"access_subjects_ssm":["Fairy tales -- Russia."],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 box; 12 items"],"extent_tesim":["0.1 Linear Feet 1 box; 12 items"],"date_range_isim":[1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909],"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 arranged in chronological and alphabetical order. Items without dates appear at the end of the collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in chronological and alphabetical order. Items without dates appear at the end of the collection."],"bibliography_html_tesm":["\u003cbibref\u003eRussian fairy tales, 2013 \u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian legends : folk tales and fairy tales, 2007 \u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian art nouveau : the world of art and Diaghilev's painters : painting, graphic art, theatrical design 1997 \u003c/bibref\u003e\n    ","\u003cbibref\u003eIvan Bilibin, 1982\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books"],"bibliography_tesim":["Russian fairy tales, 2013","Russian legends : folk tales and fairy tales, 2007","Russian art nouveau : the world of art and Diaghilev's painters : painting, graphic art, theatrical design 1997","Ivan Bilibin, 1982"],"bioghist_html_tesm":["\u003cp\u003eRussian Art Nouveau artist Ivan Yakovlevich Bilibin (1876-1942) was born near St. Petersburg and gained popularity in the early 20th century due to his illustrations of Russian folktales. The postcards in the collection reflect Bilibin's early interest in depicting folklore in his artwork. As his career progressed, Bilibin illustrated books, drew landscapes, and created sets and costumes for theater productions. In 1942, Bilibin died during the Siege of Leningrad.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Russian Art Nouveau artist Ivan Yakovlevich Bilibin (1876-1942) was born near St. Petersburg and gained popularity in the early 20th century due to his illustrations of Russian folktales. The postcards in the collection reflect Bilibin's early interest in depicting folklore in his artwork. As his career progressed, Bilibin illustrated books, drew landscapes, and created sets and costumes for theater productions. In 1942, Bilibin died during the Siege of Leningrad."],"custodhist_html_tesm":["\u003cp\u003eThe collection was purchased by the VMFA Library in 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was purchased by the VMFA Library in 2017."],"prefercite_html_tesm":["\u003cp\u003eIvan Bilibin Postcard Collection (SC-30). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Ivan Bilibin Postcard Collection (SC-30). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe postcards have been placed in protective sleeves for preservation purposes.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The postcards have been placed in protective sleeves for preservation purposes."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003ca href=\"https://archives.dickinson.edu/russian-collection/troussoff-collection\"\u003eTroussoff Collection\u003c/a\u003e in Dickinson College's Archives and Special Collections contains materials related to Russian folklore and postcards.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Troussoff Collection in Dickinson College's Archives and Special Collections contains materials related to Russian folklore and postcards."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales. All 12 postcards are blank. 8 of the postcards were issued by the Publishing House of the Red Cross Society of St. Eugenia. Dialogue and narration of the illustrations are written in Russian. Each item includes an English translation.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales. All 12 postcards are blank. 8 of the postcards were issued by the Publishing House of the Red Cross Society of St. Eugenia. Dialogue and narration of the illustrations are written in Russian. Each item includes an English translation."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_e153a9f8203fa03bce099803d32cf471\"\u003eThe collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"names_ssim":["Virginia Museum of Fine Arts Archives","Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"language_ssim":["Russian\n."],"total_component_count_is":12,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_277","ead_ssi":"virmu_repositories_2_resources_277","_root_":"virmu_repositories_2_resources_277","_nest_parent_":"virmu_repositories_2_resources_277","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_277.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/277","title_filing_ssi":"Ivan Bilibin Postcards (SC-30)","title_ssm":["Ivan Bilibin Postcard Collection (SC-30)"],"title_tesim":["Ivan Bilibin Postcard Collection (SC-30)"],"unitdate_ssm":["1899-1909"],"unitdate_inclusive_ssm":["1899-1909"],"normalized_date_ssm":["1899/1909"],"normalized_title_ssm":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909"],"text":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909","SC-30","/repositories/2/resources/277","Fairy tales -- Russia.","The collection is open for research.","The collection is arranged in chronological and alphabetical order. Items without dates appear at the end of the collection.","Russian fairy tales, 2013","Russian legends : folk tales and fairy tales, 2007","Russian art nouveau : the world of art and Diaghilev's painters : painting, graphic art, theatrical design 1997","Ivan Bilibin, 1982","Russian Art Nouveau artist Ivan Yakovlevich Bilibin (1876-1942) was born near St. Petersburg and gained popularity in the early 20th century due to his illustrations of Russian folktales. The postcards in the collection reflect Bilibin's early interest in depicting folklore in his artwork. As his career progressed, Bilibin illustrated books, drew landscapes, and created sets and costumes for theater productions. In 1942, Bilibin died during the Siege of Leningrad.","The collection was purchased by the VMFA Library in 2017.","The postcards have been placed in protective sleeves for preservation purposes.","The Troussoff Collection in Dickinson College's Archives and Special Collections contains materials related to Russian folklore and postcards.","The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales. All 12 postcards are blank. 8 of the postcards were issued by the Publishing House of the Red Cross Society of St. Eugenia. Dialogue and narration of the illustrations are written in Russian. Each item includes an English translation.","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 consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales.","Virginia Museum of Fine Arts Archives","Bilibin, Ivan I︠A︡kovlevich, 1876-1942","Russian\n."],"collection_title_tesim":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909"],"collection_ssim":["Ivan Bilibin Postcard Collection (SC-30), 1899/1909"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-30","/repositories/2/resources/277"],"unitid_tesim":["SC-30","/repositories/2/resources/277"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"creator_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"creator_persname_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Fairy tales -- Russia."],"access_subjects_ssm":["Fairy tales -- Russia."],"has_online_content_ssim":["false"],"extent_ssm":["0.1 Linear Feet 1 box; 12 items"],"extent_tesim":["0.1 Linear Feet 1 box; 12 items"],"date_range_isim":[1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909],"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 arranged in chronological and alphabetical order. Items without dates appear at the end of the collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged in chronological and alphabetical order. Items without dates appear at the end of the collection."],"bibliography_html_tesm":["\u003cbibref\u003eRussian fairy tales, 2013 \u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian legends : folk tales and fairy tales, 2007 \u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian art nouveau : the world of art and Diaghilev's painters : painting, graphic art, theatrical design 1997 \u003c/bibref\u003e\n    ","\u003cbibref\u003eIvan Bilibin, 1982\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books"],"bibliography_tesim":["Russian fairy tales, 2013","Russian legends : folk tales and fairy tales, 2007","Russian art nouveau : the world of art and Diaghilev's painters : painting, graphic art, theatrical design 1997","Ivan Bilibin, 1982"],"bioghist_html_tesm":["\u003cp\u003eRussian Art Nouveau artist Ivan Yakovlevich Bilibin (1876-1942) was born near St. Petersburg and gained popularity in the early 20th century due to his illustrations of Russian folktales. The postcards in the collection reflect Bilibin's early interest in depicting folklore in his artwork. As his career progressed, Bilibin illustrated books, drew landscapes, and created sets and costumes for theater productions. In 1942, Bilibin died during the Siege of Leningrad.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Russian Art Nouveau artist Ivan Yakovlevich Bilibin (1876-1942) was born near St. Petersburg and gained popularity in the early 20th century due to his illustrations of Russian folktales. The postcards in the collection reflect Bilibin's early interest in depicting folklore in his artwork. As his career progressed, Bilibin illustrated books, drew landscapes, and created sets and costumes for theater productions. In 1942, Bilibin died during the Siege of Leningrad."],"custodhist_html_tesm":["\u003cp\u003eThe collection was purchased by the VMFA Library in 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was purchased by the VMFA Library in 2017."],"prefercite_html_tesm":["\u003cp\u003eIvan Bilibin Postcard Collection (SC-30). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Ivan Bilibin Postcard Collection (SC-30). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe postcards have been placed in protective sleeves for preservation purposes.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The postcards have been placed in protective sleeves for preservation purposes."],"relatedmaterial_html_tesm":["\u003cp\u003eThe \u003ca href=\"https://archives.dickinson.edu/russian-collection/troussoff-collection\"\u003eTroussoff Collection\u003c/a\u003e in Dickinson College's Archives and Special Collections contains materials related to Russian folklore and postcards.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Troussoff Collection in Dickinson College's Archives and Special Collections contains materials related to Russian folklore and postcards."],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales. All 12 postcards are blank. 8 of the postcards were issued by the Publishing House of the Red Cross Society of St. Eugenia. Dialogue and narration of the illustrations are written in Russian. Each item includes an English translation.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales. All 12 postcards are blank. 8 of the postcards were issued by the Publishing House of the Red Cross Society of St. Eugenia. Dialogue and narration of the illustrations are written in Russian. Each item includes an English translation."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_e153a9f8203fa03bce099803d32cf471\"\u003eThe collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection consists of 12 postcards illustrated by Russian Art Nouveau artist Ivan Bilibin between 1899-1909 depicting scenes from traditional Russian folktales."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"names_ssim":["Virginia Museum of Fine Arts Archives","Bilibin, Ivan I︠A︡kovlevich, 1876-1942"],"language_ssim":["Russian\n."],"total_component_count_is":12,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_277"}},{"id":"virmu_repositories_2_resources_198","type":"collection","attributes":{"title":"John Barton Payne Personal Papers (SC-31), 1881/1938","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198#creator","type":"document_value","attributes":{"value":"Payne, John Barton, 1855-1935‏","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198"}},{"id":"virmu_repositories_2_resources_38","type":"collection","attributes":{"title":"Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38#creator","type":"document_value","attributes":{"value":"Sanchez, Pierre, 1963-","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38#abstract_or_scope","type":"document_value","attributes":{"value":"The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_38","ead_ssi":"virmu_repositories_2_resources_38","_root_":"virmu_repositories_2_resources_38","_nest_parent_":"virmu_repositories_2_resources_38","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_38.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/38","title_filing_ssi":"Vernet, Horace (SC-28)","title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"unitdate_ssm":["1816-1838, 1996"],"unitdate_inclusive_ssm":["1816-1838, 1996"],"normalized_date_ssm":["1816/1996"],"normalized_title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"text":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","SC-28","/repositories/2/resources/38","Lithography, French -- 19th century","The collection is open for research.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated","Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet","Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)","Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.","The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","French\n."],"collection_title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"collection_ssim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-28","/repositories/2/resources/38"],"unitid_tesim":["SC-28","/repositories/2/resources/38"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_ssim":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"creators_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Lithography, French -- 19th century"],"access_subjects_ssm":["Lithography, French -- 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"extent_tesim":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"date_range_isim":[1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePrints, 1816-1838\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePosters, 1996\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated"],"bibliography_html_tesm":["\u003cbibref\u003eQuelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)\u003c/bibref\u003e\n    ","\u003cbibref\u003eSylla: tragédie en cinq actes / par E. Jouy (1822)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)\u003c/bibref\u003e\n  ","\u003cbibref\u003eHorace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHorace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)\u003c/bibref\u003e\n    ","\u003cbibref\u003eLes Vernet: Joseph, Carle, Horace (1898)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist File: Horace Vernet\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pierre Sanchez Collection","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet"],"bioghist_html_tesm":["\u003cp\u003ePierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings. \u003c/p\u003e","\u003cp\u003eThe son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.\u003c/p\u003e","\u003cp\u003e(The above information was taken from \u003ca href=\"https://www.dessinoriginal.com/en/catalogues-raisonnes/7869-horace-vernet-dessinateur-lithographe-catalogue-raisonne-de-son-oeuvre-lithographie-9782359680737.html\"\u003eDessin Original\u003c/a\u003e and \u003ca href=\"https://www.nga.gov/content/ngaweb/Collection/artist-info.3284.html\"\u003eHorace Vernet\u003c/a\u003e.)\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)"],"custodhist_html_tesm":["\u003cp\u003eOriginally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017."],"prefercite_html_tesm":["\u003cp\u003ePierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cde71f482c2213258ca9bcc8dafeaa33\"\u003eThe collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"names_coll_ssim":["Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863"],"persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"names_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"language_ssim":["French\n."],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:50.343Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_38","ead_ssi":"virmu_repositories_2_resources_38","_root_":"virmu_repositories_2_resources_38","_nest_parent_":"virmu_repositories_2_resources_38","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_38.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/38","title_filing_ssi":"Vernet, Horace (SC-28)","title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"unitdate_ssm":["1816-1838, 1996"],"unitdate_inclusive_ssm":["1816-1838, 1996"],"normalized_date_ssm":["1816/1996"],"normalized_title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"text":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","SC-28","/repositories/2/resources/38","Lithography, French -- 19th century","The collection is open for research.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated","Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet","Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)","Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.","The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","French\n."],"collection_title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"collection_ssim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-28","/repositories/2/resources/38"],"unitid_tesim":["SC-28","/repositories/2/resources/38"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_ssim":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"creators_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Lithography, French -- 19th century"],"access_subjects_ssm":["Lithography, French -- 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"extent_tesim":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"date_range_isim":[1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePrints, 1816-1838\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePosters, 1996\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated"],"bibliography_html_tesm":["\u003cbibref\u003eQuelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)\u003c/bibref\u003e\n    ","\u003cbibref\u003eSylla: tragédie en cinq actes / par E. Jouy (1822)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)\u003c/bibref\u003e\n  ","\u003cbibref\u003eHorace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHorace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)\u003c/bibref\u003e\n    ","\u003cbibref\u003eLes Vernet: Joseph, Carle, Horace (1898)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist File: Horace Vernet\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pierre Sanchez Collection","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet"],"bioghist_html_tesm":["\u003cp\u003ePierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings. \u003c/p\u003e","\u003cp\u003eThe son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.\u003c/p\u003e","\u003cp\u003e(The above information was taken from \u003ca href=\"https://www.dessinoriginal.com/en/catalogues-raisonnes/7869-horace-vernet-dessinateur-lithographe-catalogue-raisonne-de-son-oeuvre-lithographie-9782359680737.html\"\u003eDessin Original\u003c/a\u003e and \u003ca href=\"https://www.nga.gov/content/ngaweb/Collection/artist-info.3284.html\"\u003eHorace Vernet\u003c/a\u003e.)\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)"],"custodhist_html_tesm":["\u003cp\u003eOriginally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017."],"prefercite_html_tesm":["\u003cp\u003ePierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cde71f482c2213258ca9bcc8dafeaa33\"\u003eThe collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"names_coll_ssim":["Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863"],"persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"names_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"language_ssim":["French\n."],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:50.343Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38"}},{"id":"virmu_repositories_2_resources_15984","type":"collection","attributes":{"title":"Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984#creator","type":"document_value","attributes":{"value":"Near, Pinkney L., 1927-1990","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_15984","ead_ssi":"virmu_repositories_2_resources_15984","_root_":"virmu_repositories_2_resources_15984","_nest_parent_":"virmu_repositories_2_resources_15984","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_15984.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/15984","title_filing_ssi":"Near, Pinkney and Henrietta (SC-42)","title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"unitdate_ssm":["1873-2020"],"unitdate_inclusive_ssm":["1873-2020"],"normalized_date_ssm":["1873/2020"],"normalized_title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"text":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","SC-42","/repositories/2/resources/15984","Art museum curators.","Women artists.","Artists -- Virginia","The collection is open for research.","The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011","Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections.","The collection was packed and donated by Henrietta's estate in August 2023.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.","Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta.","English\n,       Latin\n."],"collection_title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-42","/repositories/2/resources/15984"],"unitid_tesim":["SC-42","/repositories/2/resources/15984"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art museum curators.","Women artists.","Artists -- Virginia"],"access_subjects_ssm":["Art museum curators.","Women artists.","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 4 boxes; 27 folders"],"extent_tesim":["2.5 Linear Feet 4 boxes; 27 folders"],"date_range_isim":[1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePinkney Near, 1916-2002\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHenrietta Near, 1873-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePinkney and Henrietta Near, 1962-1966\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eArtist Research Files, 1969-2011\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011"],"bioghist_html_tesm":["\u003cp\u003ePinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.\u003c/p\u003e","\u003cp\u003eHenrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections."],"custodhist_html_tesm":["\u003cp\u003eThe collection was packed and donated by Henrietta's estate in August 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was packed and donated by Henrietta's estate in August 2023."],"prefercite_html_tesm":["\u003cp\u003ePinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families."],"userestrict_html_tesm":["\u003cp\u003eTransmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1cd6e60b6a6093df572b3bc99a2beed1\"\u003eThis collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"names_coll_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"names_ssim":["Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta."],"language_ssim":["English\n,       Latin\n."],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:38.841Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_15984","ead_ssi":"virmu_repositories_2_resources_15984","_root_":"virmu_repositories_2_resources_15984","_nest_parent_":"virmu_repositories_2_resources_15984","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_15984.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/15984","title_filing_ssi":"Near, Pinkney and Henrietta (SC-42)","title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"unitdate_ssm":["1873-2020"],"unitdate_inclusive_ssm":["1873-2020"],"normalized_date_ssm":["1873/2020"],"normalized_title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"text":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","SC-42","/repositories/2/resources/15984","Art museum curators.","Women artists.","Artists -- Virginia","The collection is open for research.","The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011","Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections.","The collection was packed and donated by Henrietta's estate in August 2023.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.","Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta.","English\n,       Latin\n."],"collection_title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-42","/repositories/2/resources/15984"],"unitid_tesim":["SC-42","/repositories/2/resources/15984"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"creator_persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art museum curators.","Women artists.","Artists -- Virginia"],"access_subjects_ssm":["Art museum curators.","Women artists.","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 4 boxes; 27 folders"],"extent_tesim":["2.5 Linear Feet 4 boxes; 27 folders"],"date_range_isim":[1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePinkney Near, 1916-2002\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHenrietta Near, 1873-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003ePinkney and Henrietta Near, 1962-1966\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eArtist Research Files, 1969-2011\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 4 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Pinkney Near, 1916-2002\n      \n      \n        Series 2\n        Henrietta Near, 1873-2020\n      \n      \n        Series 3\n        Pinkney and Henrietta Near, 1962-1966\n      \n      \n        Series 4\n        Artist Research Files, 1969-2011"],"bioghist_html_tesm":["\u003cp\u003ePinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.\u003c/p\u003e","\u003cp\u003eHenrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Pinkney Longlois Near was born April 28, 1927, in Manhattan, New York. After graduating from St. Paul's School in 1944, Pinkney joined the U.S. Marine Corps., serving in the Pacific Theater during the Occupation of Japan from March 26, 1945-August 21, 1946. In 1950, Pinkney earned his Bachelor of Arts from Johns Hopkins University. On August 18, 1956, Pinkney married Henrietta. From 1954-1990, Pinkney served as a curator of VMFA, only leaving briefly to work as a curator at the Cincinnati Art Museum. Pinkney passed away August 29, 1990.","Henrietta Jane Near (née Lloyd) was born November 2, 1929, in Holyoke, Massachusetts. She first began exploring art in Hartford, Connecticut at the Hartford Art School. Henrietta graduated from Wellesley College in 1951 with a Bachelor of Fine Arts in Art History and a minor in Studio Art. She taught silkscreen painting at VMFA from 1980-1989 before moving on to teach drawing and pastel at the Hand Workshop from 1990-1992. Henrietta was an involved participant in Richmond's local art scene, exhibiting her art at the 1708 Gallery, Artspace Gallery, and the Henry Street Gallery, among others. Her artwork can be found in the collections of Randolph-Macon College, Virginia Wesleyan College, University of Virginia Hospital, and the Virginia Museum of Fine Arts, in addition to numerous private collections."],"custodhist_html_tesm":["\u003cp\u003eThe collection was packed and donated by Henrietta's estate in August 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was packed and donated by Henrietta's estate in August 2023."],"prefercite_html_tesm":["\u003cp\u003ePinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42). Gift of Henrietta J. Near. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1873-2020, with the bulk of the material dating from 1970-2000. The collection consists of correspondence, financial records, ephemera, newspaper articles, and photographic materials depicting the lives and careers of Pinkney and Henrietta Near, as well as papers from their respective families."],"userestrict_html_tesm":["\u003cp\u003eTransmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1cd6e60b6a6093df572b3bc99a2beed1\"\u003eThis collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents the lives and careers of Pinkney Near, former curator of VMFA, and his wife, artist and art aficionado, Henrietta Near."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta."],"names_coll_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"names_ssim":["Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta."],"language_ssim":["English\n,       Latin\n."],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:38.841Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984"}},{"id":"virmu_repositories_2_resources_272","type":"collection","attributes":{"title":"Records of the Home for Needy Confederate Women (SC-23), 1898/2007","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272#abstract_or_scope","type":"document_value","attributes":{"value":"The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_272","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_272.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/272","title_filing_ssi":"Home for Needy Confederate Women (SC-23)","title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"unitdate_ssm":["1898-2007"],"unitdate_inclusive_ssm":["1898-2007"],"normalized_date_ssm":["1898/2007"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"text":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","SC-23","/repositories/2/resources/272","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.","The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated","Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418","The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds","The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 2 boxes; 68 folders"],"extent_tesim":["2.5 Linear Feet 2 boxes; 68 folders"],"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series. Correspondence files are arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1924-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAdministrative Files, 1898-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eResident and Application Files, 1914-1998\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eFinancial Records, 1908-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eProperty Files, 1924-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eOther Records, 1910-2007, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e\n    ","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e\n    ","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - Library of Virginia"],"bibliography_tesim":["Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418"],"bioghist_html_tesm":["\u003cp\u003eThe monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.\u003c/p\u003e","\u003cp\u003eFunded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_990af6858b4c3924898d87f60438ef91\"\u003eThe collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":74,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_272","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_272.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/272","title_filing_ssi":"Home for Needy Confederate Women (SC-23)","title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"unitdate_ssm":["1898-2007"],"unitdate_inclusive_ssm":["1898-2007"],"normalized_date_ssm":["1898/2007"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"text":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007","SC-23","/repositories/2/resources/272","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.","The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated","Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418","The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds","The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23), 1898/2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 2 boxes; 68 folders"],"extent_tesim":["2.5 Linear Feet 2 boxes; 68 folders"],"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series. Correspondence files are arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1924-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAdministrative Files, 1898-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eResident and Application Files, 1914-1998\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eFinancial Records, 1908-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eProperty Files, 1924-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eOther Records, 1910-2007, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1\n        Correspondence, 1924-1997, undated\n      \n      \n        Series 2\n        Administrative Files, 1898-1997, undated\n      \n      \n        Series 3\n        Resident and Application Files, 1914-1998\n      \n      \n        Series 4\n        Financial Records, 1908-1993\n      \n      \n        Series 5\n        Property Files, 1924-1989, undated\n      \n      \n        Series 6\n        Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e\n    ","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e\n    ","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - Library of Virginia"],"bibliography_tesim":["Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418"],"bioghist_html_tesm":["\u003cp\u003eThe monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.\u003c/p\u003e","\u003cp\u003eFunded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://www.vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source: History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_990af6858b4c3924898d87f60438ef91\"\u003eThe collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":74,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272"}},{"id":"virmu_repositories_2_resources_236","type":"collection","attributes":{"title":"Records of the Oaks (SC-01), 1894/1995","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975. In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. The contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history. The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime. The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_236","ead_ssi":"virmu_repositories_2_resources_236","_root_":"virmu_repositories_2_resources_236","_nest_parent_":"virmu_repositories_2_resources_236","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_236.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/236","title_filing_ssi":"Oaks (SC-01)","title_ssm":["Records of the Oaks (SC-01)"],"title_tesim":["Records of the Oaks (SC-01)"],"unitdate_ssm":["1894-1995"],"unitdate_inclusive_ssm":["1894-1995"],"normalized_date_ssm":["1894/1995"],"normalized_title_ssm":["Records of the Oaks (SC-01), 1894/1995"],"text":["Records of the Oaks (SC-01), 1894/1995","SC-01","/repositories/2/resources/236","The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records.","The collection is organized into three series. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.","Series 1\n        The Oaks Papers and Photographs, 1894-1995, undated\n      \n      \n        Series 2\n        General VMFA Properties Papers, 1934-1990, undated\n      \n      \n        Series 3\n        The Oaks Miscellaneous, 1935-1969, undated","The Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.","During part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.","Upon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.","Source: The Historic American Buildings Survey \nSource: Moving into a Masterpiece \nSource: 18th-Century House Goes on Market for First Time in its History","Source: Old and Sold: The Oaks","This collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, 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 Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Oaks (SC-01), 1894/1995"],"collection_ssim":["Records of the Oaks (SC-01), 1894/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-01","/repositories/2/resources/236"],"unitid_tesim":["SC-01","/repositories/2/resources/236"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["6.25 Linear Feet 5 boxes; 76 folders"],"extent_tesim":["6.25 Linear Feet 5 boxes; 76 folders"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eThe Oaks Papers and Photographs, 1894-1995, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eGeneral VMFA Properties Papers, 1934-1990, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eThe Oaks Miscellaneous, 1935-1969, 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. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.","Series 1\n        The Oaks Papers and Photographs, 1894-1995, undated\n      \n      \n        Series 2\n        General VMFA Properties Papers, 1934-1990, undated\n      \n      \n        Series 3\n        The Oaks Miscellaneous, 1935-1969, undated"],"bioghist_html_tesm":["\u003cp\u003eThe Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.  \u003c/p\u003e","\u003cp\u003eDuring part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.  \t\u003c/p\u003e","\u003cp\u003eUpon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://lcweb2.loc.gov/pnp/habshaer/va/va0200/va0240/data/va0240data.pdf\"\u003eThe Historic American Buildings Survey\u003c/a\u003e \nSource: \u003ca href=\"http://www.styleweekly.com/richmond/moving-into-a-masterpiece/Content?oid=1369437\"\u003eMoving into a Masterpiece\u003c/a\u003e \nSource: \u003ca href=\"http://www.timesdispatch.com/business/local/article_8e66db28-6fc7-50ba-b669-c9f0b488ea38.html\"\u003e18th-Century House Goes on Market for First Time in its History\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.oldandsold.com/articles11/virginia-homes-42.shtml\"\u003eOld and Sold: The Oaks\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.","During part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.","Upon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.","Source: The Historic American Buildings Survey \nSource: Moving into a Masterpiece \nSource: 18th-Century House Goes on Market for First Time in its History","Source: Old and Sold: The Oaks"],"custodhist_html_tesm":["\u003cp\u003eThis collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["This collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995."],"prefercite_html_tesm":["\u003cp\u003eRecords of The Oaks (SC-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of The Oaks (SC-01). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, 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":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_602aef1020496331a521a05a1a79928c\" label=\"Abstract\"\u003eThis collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\""],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":79,"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_236","ead_ssi":"virmu_repositories_2_resources_236","_root_":"virmu_repositories_2_resources_236","_nest_parent_":"virmu_repositories_2_resources_236","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_236.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/236","title_filing_ssi":"Oaks (SC-01)","title_ssm":["Records of the Oaks (SC-01)"],"title_tesim":["Records of the Oaks (SC-01)"],"unitdate_ssm":["1894-1995"],"unitdate_inclusive_ssm":["1894-1995"],"normalized_date_ssm":["1894/1995"],"normalized_title_ssm":["Records of the Oaks (SC-01), 1894/1995"],"text":["Records of the Oaks (SC-01), 1894/1995","SC-01","/repositories/2/resources/236","The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records.","The collection is organized into three series. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.","Series 1\n        The Oaks Papers and Photographs, 1894-1995, undated\n      \n      \n        Series 2\n        General VMFA Properties Papers, 1934-1990, undated\n      \n      \n        Series 3\n        The Oaks Miscellaneous, 1935-1969, undated","The Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.","During part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.","Upon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.","Source: The Historic American Buildings Survey \nSource: Moving into a Masterpiece \nSource: 18th-Century House Goes on Market for First Time in its History","Source: Old and Sold: The Oaks","This collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","The collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, 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 Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Records of the Oaks (SC-01), 1894/1995"],"collection_ssim":["Records of the Oaks (SC-01), 1894/1995"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-01","/repositories/2/resources/236"],"unitid_tesim":["SC-01","/repositories/2/resources/236"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["6.25 Linear Feet 5 boxes; 76 folders"],"extent_tesim":["6.25 Linear Feet 5 boxes; 76 folders"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. 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). Both Museum staff and the public may need written permission from the Director to view certain restricted records."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eThe Oaks Papers and Photographs, 1894-1995, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eGeneral VMFA Properties Papers, 1934-1990, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eThe Oaks Miscellaneous, 1935-1969, 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. Items are arranged chronologically within each folder and, where relevant, within the series.  Items with no date are placed at the end of a folder or series.","Series 1\n        The Oaks Papers and Photographs, 1894-1995, undated\n      \n      \n        Series 2\n        General VMFA Properties Papers, 1934-1990, undated\n      \n      \n        Series 3\n        The Oaks Miscellaneous, 1935-1969, undated"],"bioghist_html_tesm":["\u003cp\u003eThe Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.  \u003c/p\u003e","\u003cp\u003eDuring part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.  \t\u003c/p\u003e","\u003cp\u003eUpon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://lcweb2.loc.gov/pnp/habshaer/va/va0200/va0240/data/va0240data.pdf\"\u003eThe Historic American Buildings Survey\u003c/a\u003e \nSource: \u003ca href=\"http://www.styleweekly.com/richmond/moving-into-a-masterpiece/Content?oid=1369437\"\u003eMoving into a Masterpiece\u003c/a\u003e \nSource: \u003ca href=\"http://www.timesdispatch.com/business/local/article_8e66db28-6fc7-50ba-b669-c9f0b488ea38.html\"\u003e18th-Century House Goes on Market for First Time in its History\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.oldandsold.com/articles11/virginia-homes-42.shtml\"\u003eOld and Sold: The Oaks\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The Oaks was originally a plantation house built by Edmund Harrison near Mattoax in Amelia County.  Exactly when the house was built is up for debate, with dates ranging from 1745 to 1764, and as late as 1795.  Colonial in style, it was constructed from pine, poplar and bricks that were hand-made on site.","During part of its ownership by the Harrison family it was used as a school for boys.  It was then sold to Samuel Jones, later a Confederate officer, in 1839.  Lizzie Edmunds Boyd of Richmond purchased the house and the surrounding 280 acres for $10,000 in 1927.  At that time, the house had been unoccupied for nearly 25 years and had fallen into a state of disrepair. However, it's interior and exterior woodwork were still in good condition in spite of the neglect.  In 1927, Boyd hired the architect K.G. Koltukian and the contractor John. E. Dicks to dismantle, move, and rebuild the house at 307 Stockton Lane, in the newly developed Windsor Farms area in Richmond.","Upon its reassembly, a kitchen and butler's pantry were added, as well as a terraced garden.  Boyd bequeathed her home, The Oaks, later known as Boyd House, to the Virginia Museum in 1975. After its transferral, it was used as the home for the Director of the museum, beginning with Paul Perrot and ending in 2013 with Alex Nyerges, when it was placed on the market and sold.","Source: The Historic American Buildings Survey \nSource: Moving into a Masterpiece \nSource: 18th-Century House Goes on Market for First Time in its History","Source: Old and Sold: The Oaks"],"custodhist_html_tesm":["\u003cp\u003eThis collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["This collection was left behind in the basement of The Oaks at the time of the property transfer from the Lizzie Edmunds Boyd Estate to the VMFA Foundation in 1975.  The materials were kept in the VMFA Development office until they were transferred to the VMFA Library in 1995."],"prefercite_html_tesm":["\u003cp\u003eRecords of The Oaks (SC-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of The Oaks (SC-01). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1894-1995, with the bulk of the material dating from 1976-1984.  The collection comprises correspondence, photographs, prints, receipts, cards, newspaper clippings, brochures, 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":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_602aef1020496331a521a05a1a79928c\" label=\"Abstract\"\u003eThis collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\"\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Lizzie Edmund Boyd and the history of her home, The Oaks, during her ownership from 1927 until the transfer of ownership to the VMFA in 1975.  In addition, the lives of several of her family members, namely James Boyd Phillips and Asa Phillips, can be seen through official military documents, tax forms, bank records and personal correspondence, offering a glimpse into their time serving in WWII and assimilation back into society after the war's end. \n\nThe contents of the collection can perhaps be best summarized in a portion from a memo from Records Manager Jennie Runnels to Director Katherine Lee on April 7, 1995: \"Dr. Brownell believes these [papers] would be an exciting topic and important to recovering Richmond's rich architectural history.  The boxes contain drawings of the gardens surrounding the Oaks and possibly reference sources used for their redesign, in addition to receipts and invoices pertaining to alterations of the house that took place during Miss Boyd's lifetime.  The material documents not only the social and cultural fabric of Richmond's past but also the history of a home that is important to the Virginia Museum.\""],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":79,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236"}},{"id":"virmu_repositories_2_resources_274","type":"collection","attributes":{"title":"Records of the Roycroft Community (SC-08), 1899/1915","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_274#abstract_or_scope","type":"document_value","attributes":{"value":"The collection includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_274#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_274","ead_ssi":"virmu_repositories_2_resources_274","_root_":"virmu_repositories_2_resources_274","_nest_parent_":"virmu_repositories_2_resources_274","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_274.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/274","title_filing_ssi":"Roycroft (SC-08)","title_ssm":["Records of the Roycroft Community (SC-08)"],"title_tesim":["Records of the Roycroft Community (SC-08)"],"unitdate_ssm":["1899-1915"],"unitdate_inclusive_ssm":["1899-1915"],"normalized_date_ssm":["1899/1915"],"normalized_title_ssm":["Records of the Roycroft Community (SC-08), 1899/1915"],"text":["Records of the Roycroft Community (SC-08), 1899/1915","SC-08","/repositories/2/resources/274","Roycroft Campus (East Aurora, N.Y.)","The collection is open for research.","In 1897, Elbert Hubbard founded the Roycroft Campus in East Aurora, NY. For more than 20 years, it was a center of entrepreneurship, creativity and learning. It was a hub of the American arts and crafts movement, drawing visitors from faraway places with over five hundred working artisans and craftsmen.","In 1905 the Roycroft Inn opened to accommodate visitors and artisans interested in experiencing this emerging community and style. The Inn became a center of activity for this community. When did it close/why? In 1986, The Inn received National Historic Landmark status. With support from the Margaret L. Wendt Foundation, The Inn meticulously underwent an $8 million dollar restoration and was re-opened for guests in 1995. (from roycroftinn.com/history)","Hubbard chose the name \"Roycroft\" from the 17th century English book-makers, Samuel and Thomas Roycroft. Additionally, the word roycroft had a special significance to Hubbard, as the word means \"King's Craft.\" In early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassidorius, a 13th-century bookbinder and illuminator.","In 1915 Hubbard and his wife, noted suffragette Alice Hubbard, died in the sinking of the RMS Lusitania and the Roycroft community went into a gradual decline. Following Elbert's death, his son Bert attempted to keep his father's business afloat, proposing to sell Roycroft's furniture through major retailers. Sears \u0026 Roebuck agreed to carry the furniture, but this was only a short lived success.","Source: Roycroft","The collection was found in the VMFA Library's collection.","The collection's inclusive dates are 1899-1915. The collection is comprised of postcards, letters, books, 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 includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material.","Virginia Museum of Fine Arts Archives","Hubbard, Elbert, 1856-1915","English\n."],"collection_title_tesim":["Records of the Roycroft Community (SC-08), 1899/1915"],"collection_ssim":["Records of the Roycroft Community (SC-08), 1899/1915"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-08","/repositories/2/resources/274"],"unitid_tesim":["SC-08","/repositories/2/resources/274"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Roycroft Campus (East Aurora, N.Y.)"],"geogname_ssim":["Roycroft Campus (East Aurora, N.Y.)"],"places_ssim":["Roycroft Campus (East Aurora, N.Y.)"],"creator_persname_ssim":["Hubbard, Elbert, 1856-1915"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Hubbard, Elbert, 1856-1915","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["0.25 Linear Feet 1 box"],"extent_tesim":["0.25 Linear Feet 1 box"],"date_range_isim":[1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915],"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."],"bioghist_html_tesm":["\u003cp\u003eIn 1897, Elbert Hubbard founded the Roycroft Campus in East Aurora, NY. For more than 20 years, it was a center of entrepreneurship, creativity and learning. It was a hub of the American arts and crafts movement, drawing visitors from faraway places with over five hundred working artisans and craftsmen.\u003c/p\u003e","\u003cp\u003eIn 1905 the Roycroft Inn opened to accommodate visitors and artisans interested in experiencing this emerging community and style. The Inn became a center of activity for this community. When did it close/why? In 1986, The Inn received National Historic Landmark status. With support from the Margaret L. Wendt Foundation, The Inn meticulously underwent an $8 million dollar restoration and was re-opened for guests in 1995. (from roycroftinn.com/history)\u003c/p\u003e","\u003cp\u003eHubbard chose the name \"Roycroft\" from the 17th century English book-makers, Samuel and Thomas Roycroft. Additionally, the word roycroft had a special significance to Hubbard, as the word means \"King's Craft.\" In early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassidorius, a 13th-century bookbinder and illuminator. \u003c/p\u003e","\u003cp\u003eIn 1915 Hubbard and his wife, noted suffragette Alice Hubbard, died in the sinking of the RMS Lusitania and the Roycroft community went into a gradual decline. Following Elbert's death, his son Bert attempted to keep his father's business afloat, proposing to sell Roycroft's furniture through major retailers. Sears \u0026amp; Roebuck agreed to carry the furniture, but this was only a short lived success.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://en.wikipedia.org/wiki/Roycroft\"\u003eRoycroft\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In 1897, Elbert Hubbard founded the Roycroft Campus in East Aurora, NY. For more than 20 years, it was a center of entrepreneurship, creativity and learning. It was a hub of the American arts and crafts movement, drawing visitors from faraway places with over five hundred working artisans and craftsmen.","In 1905 the Roycroft Inn opened to accommodate visitors and artisans interested in experiencing this emerging community and style. The Inn became a center of activity for this community. When did it close/why? In 1986, The Inn received National Historic Landmark status. With support from the Margaret L. Wendt Foundation, The Inn meticulously underwent an $8 million dollar restoration and was re-opened for guests in 1995. (from roycroftinn.com/history)","Hubbard chose the name \"Roycroft\" from the 17th century English book-makers, Samuel and Thomas Roycroft. Additionally, the word roycroft had a special significance to Hubbard, as the word means \"King's Craft.\" In early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassidorius, a 13th-century bookbinder and illuminator.","In 1915 Hubbard and his wife, noted suffragette Alice Hubbard, died in the sinking of the RMS Lusitania and the Roycroft community went into a gradual decline. Following Elbert's death, his son Bert attempted to keep his father's business afloat, proposing to sell Roycroft's furniture through major retailers. Sears \u0026 Roebuck agreed to carry the furniture, but this was only a short lived success.","Source: Roycroft"],"custodhist_html_tesm":["\u003cp\u003eThe collection was found in the VMFA Library's collection.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was found in the VMFA Library's collection."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Roycroft Community (SC-08). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Roycroft Community (SC-08). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1899-1915. The collection is comprised of postcards, letters, books, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1899-1915. The collection is comprised of postcards, letters, books, 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":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_4e6d4d5778b0220a24591383ea8b14f6\"\u003eThe collection includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Hubbard, Elbert, 1856-1915"],"names_coll_ssim":["Hubbard, Elbert, 1856-1915"],"names_ssim":["Virginia Museum of Fine Arts Archives","Hubbard, Elbert, 1856-1915"],"language_ssim":["English\n."],"total_component_count_is":6,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_274","ead_ssi":"virmu_repositories_2_resources_274","_root_":"virmu_repositories_2_resources_274","_nest_parent_":"virmu_repositories_2_resources_274","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_274.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/274","title_filing_ssi":"Roycroft (SC-08)","title_ssm":["Records of the Roycroft Community (SC-08)"],"title_tesim":["Records of the Roycroft Community (SC-08)"],"unitdate_ssm":["1899-1915"],"unitdate_inclusive_ssm":["1899-1915"],"normalized_date_ssm":["1899/1915"],"normalized_title_ssm":["Records of the Roycroft Community (SC-08), 1899/1915"],"text":["Records of the Roycroft Community (SC-08), 1899/1915","SC-08","/repositories/2/resources/274","Roycroft Campus (East Aurora, N.Y.)","The collection is open for research.","In 1897, Elbert Hubbard founded the Roycroft Campus in East Aurora, NY. For more than 20 years, it was a center of entrepreneurship, creativity and learning. It was a hub of the American arts and crafts movement, drawing visitors from faraway places with over five hundred working artisans and craftsmen.","In 1905 the Roycroft Inn opened to accommodate visitors and artisans interested in experiencing this emerging community and style. The Inn became a center of activity for this community. When did it close/why? In 1986, The Inn received National Historic Landmark status. With support from the Margaret L. Wendt Foundation, The Inn meticulously underwent an $8 million dollar restoration and was re-opened for guests in 1995. (from roycroftinn.com/history)","Hubbard chose the name \"Roycroft\" from the 17th century English book-makers, Samuel and Thomas Roycroft. Additionally, the word roycroft had a special significance to Hubbard, as the word means \"King's Craft.\" In early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassidorius, a 13th-century bookbinder and illuminator.","In 1915 Hubbard and his wife, noted suffragette Alice Hubbard, died in the sinking of the RMS Lusitania and the Roycroft community went into a gradual decline. Following Elbert's death, his son Bert attempted to keep his father's business afloat, proposing to sell Roycroft's furniture through major retailers. Sears \u0026 Roebuck agreed to carry the furniture, but this was only a short lived success.","Source: Roycroft","The collection was found in the VMFA Library's collection.","The collection's inclusive dates are 1899-1915. The collection is comprised of postcards, letters, books, 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 includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material.","Virginia Museum of Fine Arts Archives","Hubbard, Elbert, 1856-1915","English\n."],"collection_title_tesim":["Records of the Roycroft Community (SC-08), 1899/1915"],"collection_ssim":["Records of the Roycroft Community (SC-08), 1899/1915"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-08","/repositories/2/resources/274"],"unitid_tesim":["SC-08","/repositories/2/resources/274"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Roycroft Campus (East Aurora, N.Y.)"],"geogname_ssim":["Roycroft Campus (East Aurora, N.Y.)"],"places_ssim":["Roycroft Campus (East Aurora, N.Y.)"],"creator_persname_ssim":["Hubbard, Elbert, 1856-1915"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Hubbard, Elbert, 1856-1915","Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["0.25 Linear Feet 1 box"],"extent_tesim":["0.25 Linear Feet 1 box"],"date_range_isim":[1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915],"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."],"bioghist_html_tesm":["\u003cp\u003eIn 1897, Elbert Hubbard founded the Roycroft Campus in East Aurora, NY. For more than 20 years, it was a center of entrepreneurship, creativity and learning. It was a hub of the American arts and crafts movement, drawing visitors from faraway places with over five hundred working artisans and craftsmen.\u003c/p\u003e","\u003cp\u003eIn 1905 the Roycroft Inn opened to accommodate visitors and artisans interested in experiencing this emerging community and style. The Inn became a center of activity for this community. When did it close/why? In 1986, The Inn received National Historic Landmark status. With support from the Margaret L. Wendt Foundation, The Inn meticulously underwent an $8 million dollar restoration and was re-opened for guests in 1995. (from roycroftinn.com/history)\u003c/p\u003e","\u003cp\u003eHubbard chose the name \"Roycroft\" from the 17th century English book-makers, Samuel and Thomas Roycroft. Additionally, the word roycroft had a special significance to Hubbard, as the word means \"King's Craft.\" In early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassidorius, a 13th-century bookbinder and illuminator. \u003c/p\u003e","\u003cp\u003eIn 1915 Hubbard and his wife, noted suffragette Alice Hubbard, died in the sinking of the RMS Lusitania and the Roycroft community went into a gradual decline. Following Elbert's death, his son Bert attempted to keep his father's business afloat, proposing to sell Roycroft's furniture through major retailers. Sears \u0026amp; Roebuck agreed to carry the furniture, but this was only a short lived success.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"https://en.wikipedia.org/wiki/Roycroft\"\u003eRoycroft\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["In 1897, Elbert Hubbard founded the Roycroft Campus in East Aurora, NY. For more than 20 years, it was a center of entrepreneurship, creativity and learning. It was a hub of the American arts and crafts movement, drawing visitors from faraway places with over five hundred working artisans and craftsmen.","In 1905 the Roycroft Inn opened to accommodate visitors and artisans interested in experiencing this emerging community and style. The Inn became a center of activity for this community. When did it close/why? In 1986, The Inn received National Historic Landmark status. With support from the Margaret L. Wendt Foundation, The Inn meticulously underwent an $8 million dollar restoration and was re-opened for guests in 1995. (from roycroftinn.com/history)","Hubbard chose the name \"Roycroft\" from the 17th century English book-makers, Samuel and Thomas Roycroft. Additionally, the word roycroft had a special significance to Hubbard, as the word means \"King's Craft.\" In early modern Europe, king's craftsmen were guild members who had achieved a high degree of skill and therefore made things for the King. The Roycroft insignia was borrowed from the monk Cassidorius, a 13th-century bookbinder and illuminator.","In 1915 Hubbard and his wife, noted suffragette Alice Hubbard, died in the sinking of the RMS Lusitania and the Roycroft community went into a gradual decline. Following Elbert's death, his son Bert attempted to keep his father's business afloat, proposing to sell Roycroft's furniture through major retailers. Sears \u0026 Roebuck agreed to carry the furniture, but this was only a short lived success.","Source: Roycroft"],"custodhist_html_tesm":["\u003cp\u003eThe collection was found in the VMFA Library's collection.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was found in the VMFA Library's collection."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Roycroft Community (SC-08). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Roycroft Community (SC-08). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1899-1915. The collection is comprised of postcards, letters, books, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1899-1915. The collection is comprised of postcards, letters, books, 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":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_4e6d4d5778b0220a24591383ea8b14f6\"\u003eThe collection includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection includes postcards, concert and recital announcements, subscription offers, Richmond newspaper accounts of Hubbard's visit, Roycroft Fraternity membership, an original manuscript of \"A Visit to the House of Shakespeare\" with handwritten annotations by Hubbard, a blank copy of Memory Book in its original box and other ephemeral material."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"persname_ssim":["Hubbard, Elbert, 1856-1915"],"names_coll_ssim":["Hubbard, Elbert, 1856-1915"],"names_ssim":["Virginia Museum of Fine Arts Archives","Hubbard, Elbert, 1856-1915"],"language_ssim":["English\n."],"total_component_count_is":6,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:44.884Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_274"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Virginia Museum of Fine Arts","value":"Virginia Museum of Fine Arts","hits":24},"links":{"remove":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/repository_ssim.json?f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","value":"Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Benjamin+L.+Wigfall+Artist+Archives+and+Mary+Carter+Wigfall+Personal+Papers%2C+1880%2F2023\u0026f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"attributes":{"label":"Ivan Bilibin Postcard Collection (SC-30), 1899/1909","value":"Ivan Bilibin Postcard Collection (SC-30), 1899/1909","hits":4},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Ivan+Bilibin+Postcard+Collection+%28SC-30%29%2C+1899%2F1909\u0026f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"attributes":{"label":"John Barton Payne Personal Papers (SC-31), 1881/1938","value":"John Barton Payne Personal Papers (SC-31), 1881/1938","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=John+Barton+Payne+Personal+Papers+%28SC-31%29%2C+1881%2F1938\u0026f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"attributes":{"label":"Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","value":"Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Pierre+Sanchez+Collection+of+Horace+Vernet+Graphic+Works+%28SC-28%29%2C+1816%2F1996\u0026f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"attributes":{"label":"Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","value":"Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42), 1873/2020","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Pinkney+Near+Personal+Papers+and+Henrietta+Near+Artist+Archives+%28SC-42%29%2C+1873%2F2020\u0026f%5Bdate_range%5D%5B%5D=1899\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"attributes":{"label":"R.E. 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