{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Series\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=1924\u0026f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=2"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":2,"limit_value":10,"offset_value":0,"total_count":20,"first_page?":true,"last_page?":false}},"data":[{"id":"virmu_repositories_2_resources_436_c01","type":"Series","attributes":{"title":"Series 1: Aaron Siskind","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_436_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography\u003c/a\u003e at the University of Arizona.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_436_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_436_c01","ref_ssm":["virmu_repositories_2_resources_436_c01"],"id":"virmu_repositories_2_resources_436_c01","ead_ssi":"virmu_repositories_2_resources_436","_root_":"virmu_repositories_2_resources_436","_nest_parent_":"virmu_repositories_2_resources_436","parent_ssi":"virmu_repositories_2_resources_436","parent_ssim":["virmu_repositories_2_resources_436"],"parent_ids_ssim":["virmu_repositories_2_resources_436"],"parent_unittitles_ssm":["Records of the Aaron Siskind Foundation (SC-38)"],"parent_unittitles_tesim":["Records of the Aaron Siskind Foundation (SC-38)"],"text":["Records of the Aaron Siskind Foundation (SC-38)","Series 1: Aaron Siskind","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991","This series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the  Center for Creative Photography  at the University of Arizona."],"title_filing_ssi":"Series 1: Aaron Siskind","title_ssm":["Series 1: Aaron Siskind"],"title_tesim":["Series 1: Aaron Siskind"],"unitdate_inclusive_ssm":["1920-2020"],"normalized_date_ssm":["1920/2020"],"normalized_title_ssm":["Series 1: Aaron Siskind"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Aaron Siskind Foundation (SC-38)"],"extent_ssm":["2 boxes 2 boxes; 7 folders"],"extent_tesim":["2 boxes 2 boxes; 7 folders"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["The collection is open for research."],"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."],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"names_ssim":["Aaron Siskind Foundation","Siskind, Aaron, 1903-1991"],"corpname_ssim":["Aaron Siskind Foundation"],"persname_ssim":["Siskind, Aaron, 1903-1991","Siskind, Aaron, 1903-1991","Siskind, Aaron, 1903-1991"],"scopecontent_html_tesm":["\u003cp\u003eThis series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography\u003c/a\u003e at the University of Arizona.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the  Center for Creative Photography  at the University of Arizona."],"_nest_path_":"/components#0","timestamp":"2026-05-21T03:16:36.759Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_436","ead_ssi":"virmu_repositories_2_resources_436","_root_":"virmu_repositories_2_resources_436","_nest_parent_":"virmu_repositories_2_resources_436","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_436.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/436","title_filing_ssi":"Aaron Siskind Foundation (SC-38)","title_ssm":["Records of the Aaron Siskind Foundation (SC-38)"],"title_tesim":["Records of the Aaron Siskind Foundation (SC-38)"],"unitdate_ssm":["1920-2020"],"unitdate_inclusive_ssm":["1920-2020"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-38","/repositories/2/resources/436"],"text":["SC-38","/repositories/2/resources/436","Records of the Aaron Siskind Foundation (SC-38)","Nonprofit organizations","Photography, Abstract","The collection is open for research.","The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1 Aaron Siskind, 1920-2020 Series 2 Aaron Siskind Foundation, 1983-2019","The VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on  Pandora . A sample of titles from this collection can be found below.","Aaron Siskind : mid-century modern First edition","Aaron Siskind : another photographic reality First edition.","Aaron Siskind","Aaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.","Aaron Siskind : order with the tensions continuing","Interior drama : Aaron Siskind's photographs of the 1940s","Aaron Siskind 100 1st ed.","Aaron Siskind : the fragmentation of language","Aaron Siskind : toward a personal vision 1935-1955","Harlem photographs, 1932-1940","Bucks County : photographs of early architecture","Exhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material","Exhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material","Artist file : miscellaneous uncataloged material","Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.","Source:  Aaron Siskind Foundation collection  by the Center for Creative Photography at The University of Arizona","The collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022.","The Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's  press release .","Originals of photocopied print materials are located at the  Center for Creative Photography  at the University of Arizona.","Originals of photocopied print materials are located at the  Center for Creative Photography at the University of Arizona .","Original folder titles were retained when provided.","Aaron Siskind Foundation collection  at the Center for Creative Photography at The University of Arizona","Aaron Siskind archive  at the Center for Creative Photography at The University of Arizona","Aaron Siskind papers, 1967-1977  at the Smithsonian Archives of American Art","Aaron Siskind photographs of Harlem, circa 1932-1941  at the David M. Rubenstein Rare Book and Manuscript Library, Duke University","Guide to the Aaron Siskind photographs M2582  at the Online Archive of California","The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the  Center for Creative Photography  and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.","This series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the  Center for Creative Photography  at the University of Arizona.","This file contains print materials that document Siskind's life and career.","This file contains print materials that document Aaron Siskind's writings.","This file contains print materials that document the 2018 Fujifilm Square exhibition, \"Treasures of American Modern Photography: The Gilbert Collection.\"","This file contains print materials that document the 2020 Museum of Photographic Arts (MOPA) exhibition, \"Beyond the Frame: Aaron Siskind Photographs.\"","This file contains photographic materials that document the work of Aaron Siskind.","This series contains the correspondence, legal documents, and media of the Aaron Siskind Foundation. Materials within document the establishment of the foundation, its functions, and its dissolution.","This file contains print materials that document sales of Aaron Siskind's artwork.","This file contains print materials that document the creation of the Aaron Siskind Foundation through terms outlined in Siskind's will and in meetings with him.","This file contains print materials that document gifts made by the Aaron Siskind Foundation to artists and institutions.","This file contains print materials that document copyright assignments made by the Aaron Siskind Foundation and copyright requests made to the Foundation.","This file contains print materials that document the federal and state tax status of the Aaron Siskind Foundation.","This file contains print materials and CD's that document the Aaron Siskind Foundation's organization system for Siskind works in their care.","This file contains pricing reports for Siskind artworks.","This file contains the articles of incorporation and bylaws for the Aaron Siskind Foundation.","This file contains the mission statement of the Aaron Siskind Foundation.","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.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.","Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991","English \n.    "],"unitid_tesim":["SC-38","/repositories/2/resources/436"],"normalized_title_ssm":["Records of the Aaron Siskind Foundation (SC-38)"],"collection_title_tesim":["Records of the Aaron Siskind Foundation (SC-38)"],"collection_ssim":["Records of the Aaron Siskind Foundation (SC-38)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creator_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creator_corpname_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"creators_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Nonprofit organizations","Photography, Abstract"],"access_subjects_ssm":["Nonprofit organizations","Photography, Abstract"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 4 boxes; 16 folders"],"extent_tesim":["1.5 Linear Feet 4 boxes; 16 folders"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eAaron Siskind, 1920-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAaron Siskind Foundation, 1983-2019\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series.","Series 1 Aaron Siskind, 1920-2020 Series 2 Aaron Siskind Foundation, 1983-2019"],"bibliography_html_tesm":["\u003cp\u003eThe VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=q5AbaJh7Tb/VMFA_LIB/X/60/502/X\"\u003ePandora\u003c/a\u003e. A sample of titles from this collection can be found below.\u003c/p\u003e","\u003cbibref\u003eAaron Siskind : mid-century modern First edition\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind : another photographic reality First edition.\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind : order with the tensions continuing\u003c/bibref\u003e","\u003cbibref\u003eInterior drama : Aaron Siskind's photographs of the 1940s\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind 100 1st ed.\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind : the fragmentation of language\u003c/bibref\u003e","\u003cbibref\u003eAaron Siskind : toward a personal vision 1935-1955\u003c/bibref\u003e","\u003cbibref\u003eHarlem photographs, 1932-1940\u003c/bibref\u003e","\u003cbibref\u003eBucks County : photographs of early architecture\u003c/bibref\u003e","\u003cbibref\u003eExhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material\u003c/bibref\u003e","\u003cbibref\u003eExhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material\u003c/bibref\u003e","\u003cbibref\u003eArtist file : miscellaneous uncataloged material\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["The VMFA Library possesses a large collection of Aaron Siskind catalogs made searchable on  Pandora . A sample of titles from this collection can be found below.","Aaron Siskind : mid-century modern First edition","Aaron Siskind : another photographic reality First edition.","Aaron Siskind","Aaron Siskind and Louis Sullivan : the Institute of Design Photo Section Project 1st ed.","Aaron Siskind : order with the tensions continuing","Interior drama : Aaron Siskind's photographs of the 1940s","Aaron Siskind 100 1st ed.","Aaron Siskind : the fragmentation of language","Aaron Siskind : toward a personal vision 1935-1955","Harlem photographs, 1932-1940","Bucks County : photographs of early architecture","Exhibition file : Aaron Siskind and abstract photography of the 1950s and 60s : miscellaneous uncataloged material","Exhibition file : Photographs by Aaron Siskind : miscellaneous uncataloged material","Artist file : miscellaneous uncataloged material"],"bioghist_html_tesm":["\u003cp\u003eAaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eAaron Siskind Foundation collection\u003c/a\u003e by the Center for Creative Photography at The University of Arizona\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020. In addition, the Foundation worked to preserve and protect Siskind's artistic legacy, and fostered knowledge of and appreciation for his art through new books, exhibits, educational events and scholarly research.","Source:  Aaron Siskind Foundation collection  by the Center for Creative Photography at The University of Arizona"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Registration and Curatorial departments as materials were discovered from 2020-2022."],"odd_html_tesm":["\u003cp\u003eThe Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's \u003ca href=\"https://vmfa.museum/pressroom/news/vmfa-receives-8000-photographs-aaron-siskind-foundation/\"\u003epress release\u003c/a\u003e.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["The Records of the Aaron Siskind Foundation (SC-38) represent part of the signifiant 2020 gift of over 8,000 photographs donated by the Foundation to VMFA. For further details on this gift, please refer to the museum's  press release ."],"originalsloc_html_tesm":["\u003cp\u003eOriginals of photocopied print materials are located at the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography\u003c/a\u003e at the University of Arizona.\u003c/p\u003e","\u003cp\u003eOriginals of photocopied print materials are located at the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography at the University of Arizona\u003c/a\u003e.\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals","Existence and Location of Originals"],"originalsloc_tesim":["Originals of photocopied print materials are located at the  Center for Creative Photography  at the University of Arizona.","Originals of photocopied print materials are located at the  Center for Creative Photography at the University of Arizona ."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRecords of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRecords of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRecords of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.","Records of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.","Records of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia.","Records of the Aaron Siskind Foundation (SC-38). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eOriginal folder titles were retained when provided.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Original folder titles were retained when provided."],"relatedmaterial_html_tesm":["\u003cp\u003e\u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eAaron Siskind Foundation collection\u003c/a\u003e at the Center for Creative Photography at The University of Arizona\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329?_gl=1*zhh2b*_ga*MjExODE1NTc0OC4xNjY4NzAwODU2*_ga_7PV3540XS3*MTY2ODcwMDg1Ni4xLjAuMTY2ODcwMDg1Ni42MC4wLjA.\"\u003eAaron Siskind archive\u003c/a\u003e at the Center for Creative Photography at The University of Arizona\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://www.aaa.si.edu/collections/aaron-siskind-papers-8470\"\u003eAaron Siskind papers, 1967-1977\u003c/a\u003e at the Smithsonian Archives of American Art\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://archives.lib.duke.edu/catalog/siskindaaron\"\u003eAaron Siskind photographs of Harlem, circa 1932-1941\u003c/a\u003e at the David M. Rubenstein Rare Book and Manuscript Library, Duke University\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8n01dz9/\"\u003eGuide to the Aaron Siskind photographs M2582\u003c/a\u003e at the Online Archive of California\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Aaron Siskind Foundation collection  at the Center for Creative Photography at The University of Arizona","Aaron Siskind archive  at the Center for Creative Photography at The University of Arizona","Aaron Siskind papers, 1967-1977  at the Smithsonian Archives of American Art","Aaron Siskind photographs of Harlem, circa 1932-1941  at the David M. Rubenstein Rare Book and Manuscript Library, Duke University","Guide to the Aaron Siskind photographs M2582  at the Online Archive of California"],"scopecontent_html_tesm":["\u003cp\u003eThe collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the \u003ca href=\"https://ccp.arizona.edu/\"\u003eCenter for Creative Photography\u003c/a\u003e and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.\u003c/p\u003e","\u003cp\u003eThis series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the \u003ca href=\"https://aspace.ccp.arizona.edu/repositories/2/resources/329\"\u003eCenter for Creative Photography\u003c/a\u003e at the University of Arizona.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document Siskind's life and career.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document Aaron Siskind's writings.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document the 2018 Fujifilm Square exhibition, \"Treasures of American Modern Photography: The Gilbert Collection.\"\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document the 2020 Museum of Photographic Arts (MOPA) exhibition, \"Beyond the Frame: Aaron Siskind Photographs.\"\u003c/p\u003e","\u003cp\u003eThis file contains photographic materials that document the work of Aaron Siskind.\u003c/p\u003e","\u003cp\u003eThis series contains the correspondence, legal documents, and media of the Aaron Siskind Foundation. Materials within document the establishment of the foundation, its functions, and its dissolution.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document sales of Aaron Siskind's artwork.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document the creation of the Aaron Siskind Foundation through terms outlined in Siskind's will and in meetings with him.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document gifts made by the Aaron Siskind Foundation to artists and institutions.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document copyright assignments made by the Aaron Siskind Foundation and copyright requests made to the Foundation.\u003c/p\u003e","\u003cp\u003eThis file contains print materials that document the federal and state tax status of the Aaron Siskind Foundation.\u003c/p\u003e","\u003cp\u003eThis file contains print materials and CD's that document the Aaron Siskind Foundation's organization system for Siskind works in their care.\u003c/p\u003e","\u003cp\u003eThis file contains pricing reports for Siskind artworks.\u003c/p\u003e","\u003cp\u003eThis file contains the articles of incorporation and bylaws for the Aaron Siskind Foundation.\u003c/p\u003e","\u003cp\u003eThis file contains the mission statement of the Aaron Siskind Foundation.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020, and includes copies of Aaron Siskind's written works from the  Center for Creative Photography  and several original photographs by Siskind. Works in the collection include information on the organization's founding, bylaws, and art management, among other topics of interest. The collection's inclusive dates are 1920 to 2020. This collection contains articles, contact sheets, contracts, correspondence, media, photographs, printed materials, and reports.","This series contains essays, printed material, and photographs documenting the life and art of Aaron Siskind. Additionally, the series contains photocopies of original print materials held by the  Center for Creative Photography  at the University of Arizona.","This file contains print materials that document Siskind's life and career.","This file contains print materials that document Aaron Siskind's writings.","This file contains print materials that document the 2018 Fujifilm Square exhibition, \"Treasures of American Modern Photography: The Gilbert Collection.\"","This file contains print materials that document the 2020 Museum of Photographic Arts (MOPA) exhibition, \"Beyond the Frame: Aaron Siskind Photographs.\"","This file contains photographic materials that document the work of Aaron Siskind.","This series contains the correspondence, legal documents, and media of the Aaron Siskind Foundation. Materials within document the establishment of the foundation, its functions, and its dissolution.","This file contains print materials that document sales of Aaron Siskind's artwork.","This file contains print materials that document the creation of the Aaron Siskind Foundation through terms outlined in Siskind's will and in meetings with him.","This file contains print materials that document gifts made by the Aaron Siskind Foundation to artists and institutions.","This file contains print materials that document copyright assignments made by the Aaron Siskind Foundation and copyright requests made to the Foundation.","This file contains print materials that document the federal and state tax status of the Aaron Siskind Foundation.","This file contains print materials and CD's that document the Aaron Siskind Foundation's organization system for Siskind works in their care.","This file contains pricing reports for Siskind artworks.","This file contains the articles of incorporation and bylaws for the Aaron Siskind Foundation.","This file contains the mission statement of the Aaron Siskind Foundation."],"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","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","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.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"abstract_html_tesm":["\u003cabstract id=\"aspace_ad819fe67e8c4e98b4f28169b54e76c6\"\u003eThe collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the activities of the Aaron Siskind Foundation during its years of operation, from 1984 to 2020. Aaron Siskind directed that his estate become a resource that would support contemporary photography and reward and encourage excellence in its practitioners. Since his death in 1991, the Aaron Siskind Foundation provided cash grants to individual photographic artists on a yearly basis until disbanding in 2020."],"names_coll_ssim":["Aaron Siskind Foundation","Aaron Siskind Foundation"],"names_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation","Siskind, Aaron, 1903-1991"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Aaron Siskind Foundation"],"persname_ssim":["Siskind, Aaron, 1903-1991"],"language_ssim":["English \n.    "],"total_component_count_is":20,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:16:36.759Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_436_c01"}},{"id":"virmu_repositories_2_resources_272_c01","type":"Series","attributes":{"title":"Series 1: Correspondence","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_272_c01","ref_ssm":["virmu_repositories_2_resources_272_c01"],"id":"virmu_repositories_2_resources_272_c01","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","parent_ssi":"virmu_repositories_2_resources_272","parent_ssim":["virmu_repositories_2_resources_272"],"parent_ids_ssim":["virmu_repositories_2_resources_272"],"parent_unittitles_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"parent_unittitles_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"text":["Records of the Home for Needy Confederate Women (SC-23)","Series 1: Correspondence","English","This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board."],"title_filing_ssi":"Series 1: Correspondence","title_ssm":["Series 1: Correspondence"],"title_tesim":["Series 1: Correspondence"],"unitdate_inclusive_ssm":["1924-1997, undated"],"normalized_date_ssm":["1924/1997"],"normalized_title_ssm":["Series 1: Correspondence"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23)"],"has_online_content_ssim":["false"],"child_component_count_isi":8,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"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."],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"language_ssim":["English"],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board."],"_nest_path_":"/components#0","timestamp":"2026-05-21T03:05:13.157Z","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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"text":["SC-23","/repositories/2/resources/272","Records of the Home for Needy Confederate Women (SC-23)","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 Correspondence, 1924-1997, undated Series 2 Administrative Files, 1898-1997, undated Series 3 Resident and Application Files, 1914-1998 Series 4 Financial Records, 1908-1993 Series 5 Property Files, 1924-1989, undated Series 6 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.","This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.","This series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.","This series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.","This series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.","This series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera.","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.    "],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["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"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1 Correspondence, 1924-1997, undated Series 2 Administrative Files, 1898-1997, undated Series 3 Resident and Application Files, 1914-1998 Series 4 Financial Records, 1908-1993 Series 5 Property Files, 1924-1989, undated Series 6 Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e"],"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\n","\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\n","\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."],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.\u003c/p\u003e","\u003cp\u003eThis series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.\u003c/p\u003e","\u003cp\u003eThis series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.\u003c/p\u003e","\u003cp\u003eThis series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.\u003c/p\u003e","\u003cp\u003eThis series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.\u003c/p\u003e","\u003cp\u003eThis series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.","This series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.","This series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.","This series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.","This series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera."],"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"],"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."],"names_ssim":["Virginia Museum of Fine Arts Archives"],"corpname_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":"2026-05-21T03:05:13.157Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c01"}},{"id":"virmu_repositories_2_resources_17_c01","type":"Series","attributes":{"title":"Series 1: Early Arts Organizations' Exhibitions","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_17_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_17_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_17_c01","ref_ssm":["virmu_repositories_2_resources_17_c01"],"id":"virmu_repositories_2_resources_17_c01","ead_ssi":"virmu_repositories_2_resources_17","_root_":"virmu_repositories_2_resources_17","_nest_parent_":"virmu_repositories_2_resources_17","parent_ssi":"virmu_repositories_2_resources_17","parent_ssim":["virmu_repositories_2_resources_17"],"parent_ids_ssim":["virmu_repositories_2_resources_17"],"parent_unittitles_ssm":["Records of Virginia Arts Organizations (SC-03)"],"parent_unittitles_tesim":["Records of Virginia Arts Organizations (SC-03)"],"text":["Records of Virginia Arts Organizations (SC-03)","Series 1: Early Arts Organizations' Exhibitions","English","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928."],"title_filing_ssi":"Series 1: Early Arts Organizations' Exhibitions","title_ssm":["Series 1: Early Arts Organizations' Exhibitions"],"title_tesim":["Series 1: Early Arts Organizations' Exhibitions"],"unitdate_inclusive_ssm":["1888-1928"],"normalized_date_ssm":["1888/1928"],"normalized_title_ssm":["Series 1: Early Arts Organizations' Exhibitions"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of Virginia Arts Organizations (SC-03)"],"extent_ssm":["5 items 1 Folder"],"extent_tesim":["5 items 1 Folder"],"has_online_content_ssim":["false"],"child_component_count_isi":5,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["The collection is open for research."],"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."],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928],"language_ssim":["English"],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.\u003c/p\u003e"],"scopecontent_heading_ssm":["Series Description"],"scopecontent_tesim":["This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928."],"_nest_path_":"/components#0","timestamp":"2026-05-21T03:32:35.642Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_17","ead_ssi":"virmu_repositories_2_resources_17","_root_":"virmu_repositories_2_resources_17","_nest_parent_":"virmu_repositories_2_resources_17","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_17.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/17","title_filing_ssi":"Virginia Arts Organizations (SC-03)","title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"unitdate_ssm":["1888-1942"],"unitdate_inclusive_ssm":["1888-1942"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-03","/repositories/2/resources/17"],"text":["SC-03","/repositories/2/resources/17","Records of Virginia Arts Organizations (SC-03)","Richmond (Va.)","Art, American -- Virginia -- 20th century","Artists -- Virginia","The collection is open for research.","The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 Early Arts Organizations, 1888-1928 Series 2 Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942  Series 3 Correspondence, 1931-1942 Series 4 Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated Series 5 \"Southern States Art League Newsletter,\" 1941-1942","The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 ","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)","On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. ","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source:  The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts,  Arts in Virginia , Winter 1966","The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.","The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.","The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.","The series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.","The series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.","The series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.","The series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.","Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏","English"],"unitid_tesim":["SC-03","/repositories/2/resources/17"],"normalized_title_ssm":["Records of Virginia Arts Organizations (SC-03)"],"collection_title_tesim":["Records of Virginia Arts Organizations (SC-03)"],"collection_ssim":["Records of Virginia Arts Organizations (SC-03)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Richmond (Va.)"],"geogname_ssim":["Richmond (Va.)"],"creator_ssm":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe"],"creator_corpname_ssim":["Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League"],"creators_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League"],"places_ssim":["Richmond (Va.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"access_subjects_ssm":["Art, American -- Virginia -- 20th century","Artists -- Virginia"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"extent_tesim":["0.5 Linear Feet 1 box, 12 folders; 113 items"],"date_range_isim":[1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eEarly Arts Organizations, 1888-1928\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eRichmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942 \u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1931-1942\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eSallie Leigh Cole, Correspondence and Notes, 1931-1932, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003e\"Southern States Art League Newsletter,\" 1941-1942\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are arranged chronologically within each series. Items with no date are placed at the end of a series.","Series 1 Early Arts Organizations, 1888-1928 Series 2 Richmond Academy of Arts/Academy of Sciences and Fine Arts, 1917-1942  Series 3 Correspondence, 1931-1942 Series 4 Sallie Leigh Cole, Correspondence and Notes, 1931-1932, undated Series 5 \"Southern States Art League Newsletter,\" 1941-1942"],"bibliography_html_tesm":["\u003cbibref\u003eThe Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931\u003c/bibref\u003e","\u003cbibref\u003eRichmond, Virginia, in Old Prints 1737-1887, 1932\u003c/bibref\u003e","\u003cbibref\u003eThe Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 \u003c/bibref\u003e","\u003cbibref\u003eExhibition File: 27th Annual Exhibition of the Southern States Art League, 1947\u003c/bibref\u003e","\u003cbibref\u003eSubject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)\u003c/bibref\u003e","\u003cbibref\u003eJulia Sully Papers (Coll. No. 26567)\u003c/bibref\u003e","\u003cbibref\u003eStatuts \u0026amp; reglemens de l'Academie des Sciences \u0026amp; Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)\u003c/bibref\u003e","\u003cbibref\u003eEdmund S. Campbell Papers (Coll. No. 3505)\u003c/bibref\u003e","\u003cbibref\u003eAdele Goodman Clark Papers (Coll. No. M9)\u003c/bibref\u003e","\u003cbibref\u003eAdele Clark Papers (Coll. No. Mss1 C5472 a FA2)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials: VMFA Library - Book","Related Material: VMFA Library - Catalogs","Related Materials: VMFA Library - Vertical Files","Related Materials: Library of Virginia","Related Materials: University of Virginia","Related Materials: Virginia Commonwealth University","Related Materials: Virginia Historical Society"],"bibliography_tesim":["The Academy of Sciences and Fine Arts of the United States of America: Being an Outline of the History of the Academy of Sciences and Fine Arts of the U.S.A. Established at Richmond, Virginia on May 8th, in the year 1786, 1931","Richmond, Virginia, in Old Prints 1737-1887, 1932","The Twenty-Seventh Annual Exhibition of the Southern States Art League, 1947 ","Exhibition File: 27th Annual Exhibition of the Southern States Art League, 1947","Subject File: Art Organizations and Foundations: Virginia: Private: Richmond Academy of Sciences and Fine Arts (2 folders)","Julia Sully Papers (Coll. No. 26567)","Statuts \u0026 reglemens de l'Academie des Sciences \u0026 Beaux Arts des Etats-Unis de l'Amerique, etablie a Richemond, capitale de la Virginie, 1786 (Coll No. 23617)","Edmund S. Campbell Papers (Coll. No. 3505)","Adele Goodman Clark Papers (Coll. No. M9)","Adele Clark Papers (Coll. No. Mss1 C5472 a FA2)"],"bioghist_html_tesm":["\u003cp\u003eOn May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. \u003c/p\u003e\n","\u003cp\u003eAfter one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=75415%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eThe Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003eSource: \"Poet, Patriot and Pedagogue,\" by John G. Roberts, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=29161%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER/\"\u003eArts in Virginia\u003c/a\u003e, Winter 1966\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On May 8, 1786, the Academy of Sciences and Fine Arts of the United States of America was founded in Richmond, Virginia, the first institution of its kind formed in the States. The establishment of the Academy was the result of a zealous young French soldier and scholar, the Chevalier Alexander Marie Quesnay de Beaurepaire, who landed in Portsmouth, Virginia in early March 1777. Quesnay lobbied for over ten years to see his Academy built and was finally rewarded on June 24, 1786 when the cornerstone for a gallery, museum, theater and school was laid at Academy Square by Richmond's Masonic Lodge No. 13. After the completion of the building later that year, and the opening of the Academy strictly for theatrical purposes on October 10, the Academy quickly started experiencing financial problems. Within months of the opening, Quesnay quietly slipped out of the country to return to France on a quest to secure further funding, and he spent the next two and a half years trying to enlist the support of members of Paris' learned societies. With the fall of the Bastille in July 1789 however, Quesnay was called upon to serve as a commander in the Parisian militia, surviving the revolution, but never to return to his Academy or even to America's shores. The Academy continued to serve as a center for drama until the building was destroyed by a catastrophic fire on January 23, 1798. ","After one hundred and thirty years elapsed, it was Quesnay's Academy that many noted Richmond artists sought to revive in the early 1930s, when the Academy was resurrected in Richmond. Decades earlier, members of another Richmond art organization, the Art Club of Richmond, directed their attention towards this task and created an Academy Committee within the Club to promote interest in its revival. In the spring of 1917, the Committee began a fund-raising effort by selling subscriptions for a sum invested in Liberty Bonds, to be paid towards an Academy Fund. The continuing war effort stalled the project however and the Art Club passed out of existence. In 1919, the Virginia League of Fine Arts and Handicrafts was organized by Adele Clark and Nora Houston, and one of its main objectives was to restore the Academy, a movement which didn't gain real strength until 1924-1925, but finally resulted in the chartering of the Richmond Academy of Arts in 1930 \"to resume and promote the cultural activities and purposes of the Academy of Sciences and Fine Arts of the United States of America.\" While all the while remaining true to the goals of fostering and preserving the artistic culture of Richmond, the new Academy was re-chartered in 1936 as the Academy of Sciences and Fine Arts, although it was known by both names until its charter was revoked and the organization went out of business in 1948, largely due to the Academy's failure to gain enough support to build an adequate facility, and its purpose was eventually subsumed into the mission of the Virginia Museum of Fine Arts.","Source:  The Academy of Sciences and Fine Arts of the United States of American: Being an Outline of the History of the Academy of Sciences and Fine Arts","Source: \"Poet, Patriot and Pedagogue,\" by John G. Roberts,  Arts in Virginia , Winter 1966"],"custodhist_html_tesm":["\u003cp\u003eThe collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection is comprised of archival materials found in the VMFA Library's holdings. The collection was accessioned into the VMFA Archives' collection in August 2004."],"prefercite_html_tesm":["\u003cp\u003eRecords of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of Virginia Arts Organizations (SC-03). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["The collection was initially processed in August 2004. A large accretion was processed in November 2005. During processing, original newspaper clippings were photocopied, with identifiers transferred, and incorporated into the vertical files in the Library collection."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.\u003c/p\u003e","\u003cp\u003eThis series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.\u003c/p\u003e","\u003cp\u003eThe series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.\u003c/p\u003e","\u003cp\u003eThe series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.\u003c/p\u003e","\u003cp\u003eThe series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.\u003c/p\u003e","\u003cp\u003eThe series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note","Series Description","Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["The collection's inclusive dates are 1888-1942, with the bulk of the material dating from 1931 and 1938. The collection is comprised of exhibition catalogs, correspondence, invitations, tickets, newsletters, bulletins and other ephemeral material.","This series is comprised of exhibition catalogs from various shows presented in Richmond and sponsored by different arts organizations from the late 19th and early 20th centuries, in the decades before the revival of the Richmond Academy of Arts in 1930. In 1888, the statewide \"Virginia Exposition\" was held at the fairgrounds in Richmond and mainly showcased artifacts of historical significance. Judge John Barton Payne donated his entire painting collection to the state of Virginia in 1919, which formed the core of the Virginia Museum of Fine Arts' collection when it was founded. The Virginia League of Fine Arts was the successor to the Virginia League of Fine Arts and Handicrafts, and merged with the Academy just two years after their \"First Municipal Art Exhibition of Richmond\" in 1928.","The series is comprised mainly of exhibition catalogues from various shows sponsored by or shown at the Academy. Much of the material relates to the two Tournaments of Arts and Crafts, held in April of 1931 and 1932, and which proved to be wildly popular month-long programs of juried exhibitions and competitions in drama, music, literature, elocution and dancing. Several of the items in the series have been cut out of a scrapbook created by Sallie Leigh Cole sometime in 1931 (see Series 4 for Cole's notes). It is not known when or by whom the items were removed.","The series is comprised of correspondence, chiefly between Thomas C. Colt, Director of the Virginia Museum of Fine Arts and Captain W.M.F. Bayliss, Secretary of the Board of Trustees and later President of the Academy, who discussed the possibilities for a new home for the Academy in 1938, including the consideration of housing the Academy at the museum. Eventually, Colt convinced Bayliss that the museum and the Academy needed to remain two separate entities, while still supporting the Academy's mission and purpose. In 1940, the discussion turned to the topic of a Salon des Refuses, which presented paintings that were denied entry into the Third Biennial Exhibition of Contemporary American Painting at the museum, an idea Colt strongly supported. Other correspondents include Thomas Singleton, Director of the Academy, Adele Clark, State Director of the W.P.A. Project, and Blythe Branch, Richmond resident and philanthropist.","The series consists of correspondence and notes relating to Sallie Leigh Cole, a local Richmond artist, and her relationship with the Academy in the early 1930s. In one letter she is invited to submit her artwork (media unknown) to a traveling exhibition of paintings, drawings and prints. Another letter notifies Cole that she is to serve as a hostess for the opening tea of the second Tournament of Arts and Crafts in 1932. Cole's notes outline the contents of a scrapbook that documented the early history of the Academy; her handwritten Foreword reads, \"This scrapbook was assembled by the Art Appreciation Class of Richmond Normal School in the spring of 1931. An attempt has been made to collect and compile data of the history of the Richmond Academy of Arts from its beginning in 1786 through its revival in 1931. The members of the art class working on this scrapbook were\"; the Foreword stops there. The scrapbook is no longer extant, although several of the items once glued into the book can be found in Series 1 of the collection. Cole also compiled information on French artist Charles Hoffbauer, who painted the murals \"The Four Seasons at the Confederacy\" at Battle Abbey in Richmond, which were completed in 1921. The series also includes a few items of unknown origin or relevance to Cole and the Academy, but were kept with the collection as they were discovered along with the other items.","The series is comprised of issues of the Southern States Art League Newsletter, a prominent regionalist artist organization, headquartered in New Orleans and in operation from 1922-1950, dedicated to promoting the cause and interests of Southern artists and the South through art. Holding annual conventions and exhibitions for almost every year of its 28-year existence, members of the League hailed from thirteen Southern states and the District of Columbia. Active membership was based upon the artist having been born in the South or a resident for two years, and in active practice of an artistic profession. It is unknown how many Richmond artists were members, but the Virginia Museum was a Sustaining Member, and in 1947, the League's annual exhibition of Southern artists was hung concurrently with the museum's annual exhibition of Virginia Artists, suggesting a strong link between Richmond and the League."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_7f7888ae484e7c6bfb4c577f3b85ff90\"\u003eThe collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the rich history of Richmond's artistic culture and community in the late 19th and early 20th centuries. Drawing upon the legacy of the first Academy of Fine Arts in the United States, founded in Richmond in 1786, the Richmond Academy of Arts was revived in 1930, and records created throughout the organization's history comprise the majority of the collection. The Academy provided the most cohesive and active arts organization in Richmond before the founding of the Virginia Museum of Fine Arts. Even after the museum's opening in 1936, the relationship between the Academy and the museum is notable; from the correspondence between Thomas C. Colt, the museum's first Director, and two Presidents of the Academy, to the creation of Richmond's first \"Salon des Refuses,\" and to the repeated overlapping of artist and patron names within the organizations."],"names_coll_ssim":["Academy of Sciences and Fine Arts","Art Club of Richmond","Richmond Academy of Arts","Southern States Art League","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏","Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Academy of Sciences and Fine Arts","Richmond Academy of Arts","Southern States Art League","Art Club of Richmond","Tournament of Arts and Crafts","Virginia League of Fine Arts and Handicrafts","Virginia Museum of Fine Arts","Woman's Club (Richmond, Va.)‏"],"persname_ssim":["Cole, Sallie Leigh","Colt, Thomas C., 1905-1985","Weddell, Alexander Wilbourne, 1876-1948","Singleton, Thomas","Clark, Adèle, 1882-1983","Bayliss, W. M. F.‏ (William Murray Forbes), 1896-","Branch, Blythe","Payne, John Barton, 1855-1935‏"],"language_ssim":["English"],"total_component_count_is":126,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:32:35.642Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_17_c01"}},{"id":"virmu_repositories_2_resources_271_c01","type":"Series","attributes":{"title":"Series 1: Exhibition Prints","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_271_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_271_c01","ref_ssm":["virmu_repositories_2_resources_271_c01"],"id":"virmu_repositories_2_resources_271_c01","ead_ssi":"virmu_repositories_2_resources_271","_root_":"virmu_repositories_2_resources_271","_nest_parent_":"virmu_repositories_2_resources_271","parent_ssi":"virmu_repositories_2_resources_271","parent_ssim":["virmu_repositories_2_resources_271"],"parent_ids_ssim":["virmu_repositories_2_resources_271"],"parent_unittitles_ssm":["Records of the Camera Club of Richmond (SC-22)"],"parent_unittitles_tesim":["Records of the Camera Club of Richmond (SC-22)"],"text":["Records of the Camera Club of Richmond (SC-22)","Series 1: Exhibition Prints","English"],"title_filing_ssi":"Series 1: Exhibition Prints","title_ssm":["Series 1: Exhibition Prints"],"title_tesim":["Series 1: Exhibition Prints"],"unitdate_other_ssim":["1920-1972, undated"],"normalized_date_ssm":["1920/1972"],"normalized_title_ssm":["Series 1: Exhibition Prints"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Camera Club of Richmond (SC-22)"],"has_online_content_ssim":["false"],"child_component_count_isi":117,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["The collection is open for use."],"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."],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972],"language_ssim":["English"],"_nest_path_":"/components#0","timestamp":"2026-06-07T20:15:15.521Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_271","ead_ssi":"virmu_repositories_2_resources_271","_root_":"virmu_repositories_2_resources_271","_nest_parent_":"virmu_repositories_2_resources_271","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_271.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/271","title_filing_ssi":"Camera Club of Richmond (SC-22)","title_ssm":["Records of the Camera Club of Richmond (SC-22)"],"title_tesim":["Records of the Camera Club of Richmond (SC-22)"],"unitdate_ssm":["1920-1972, undated"],"unitdate_inclusive_ssm":["1920-1972, undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-22","/repositories/2/resources/271"],"text":["SC-22","/repositories/2/resources/271","Records of the Camera Club of Richmond (SC-22)","The collection is open for use.","The collection is organized into one series.","Series 1 Exhibition Prints, 1920-1972, undated","On June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.\n ","In April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth. ","The Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.","In the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.","After more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.","Source:  Camera Club of Richmond History by Carole Hagaman","The collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015.","Prints remain in their original cases.","The collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.","Virginia Museum of Fine Arts Archives","English"],"unitid_tesim":["SC-22","/repositories/2/resources/271"],"normalized_title_ssm":["Records of the Camera Club of Richmond (SC-22)"],"collection_title_tesim":["Records of the Camera Club of Richmond (SC-22)"],"collection_ssim":["Records of the Camera Club of Richmond (SC-22)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["1.25 Linear Feet 5 cases; 117 items"],"extent_tesim":["1.25 Linear Feet 5 cases; 117 items"],"date_range_isim":[1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into one series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eExhibition Prints, 1920-1972, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into one series.","Series 1 Exhibition Prints, 1920-1972, undated"],"bioghist_html_tesm":["\u003cp\u003eOn June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.\n \u003c/p\u003e\n","\u003cp\u003eIn April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth. \u003c/p\u003e\n","\u003cp\u003eThe Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.\u003c/p\u003e\n","\u003cp\u003eIn the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026amp;P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.\u003c/p\u003e\n","\u003cp\u003eAfter more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"https://www.cameraclubofrichmond.com/club-history\"\u003eCamera Club of Richmond History by Carole Hagaman\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["On June 16, 1932, the late J. Haden Hankins and William Edwin Booth started the Amateur Photographers Club (APC) with George B. Fleming as the first president and Leslie Stansbury as secretary. Anyone having an interest in photography was eligible to join. Earlier, Stansbury had introduced Hankins, a printer and microscopist, and Booth, an artist who was star-gazing through a 26 inch focal length telescope with a 2-inch lens. They decided to combine their interests and started to study books on photography, which had been borrowed from the Richmond Public Library, in order to learn how to photograph the intricate designs produced in the skeletons of diatoms (microscopic plants found in ditch water). At first, meetings were held in the homes of the members on alternate Wednesday evenings. Once a month a professional photographer was selected to judge print competitions.\n ","In April 1933, it was decided to add the services of an artist in order to balance the principles of pictorial photography with those of painting. In January 1934, Dr. E.H. Ingersoll was elected vice-president, the first one to serve in that capacity. In May, William S. Simpson took over as press agent from Booth and in June the Club began to meet in the YMCA building at 7th and East Grace Streets. We left there in July to meet in the new Richmond Academy of Arts, 1006 East Capitol Street, where a completely equipped studio for the use by our members was opened in December 1934. On October 3, 1935, Thomas C. Colt, director of the new Virginia Museum of Fine Arts, offered the club a meeting place. This offer was accepted and the Club was incorporated that year with a membership that topped 100! In 1936 the Virginia Museum wished to start a permanent collection of photographic works and requested that three medal prints from the Virginia Photographic Salon be donated. This was done, and with the addition of two more, the collection was five exhibition prints, one by S. Wary Selden, one by C. C. Cowen and three by W. Edwin Booth. ","The Club had meeting rooms and a studio at John Slavin's, 118 North Third Street in October 1936, and that year in the month of December adopted a new constitution. 35mm Kodachrome film was introduced that year, and soon thereafter a color slide division was added to the competition. In July, Thomas C. Yeaman, assistant print director, took over the job of assembling a Traveling Club Print Exhibit. The CCR became an affiliate of the Photographic Society of America (PSA) in 1937. This year was marked by another move to a new studio at 14 South Seventh Street, where a darkroom was added in October. Under the direction of J.W.Lemay, the first CCR Photo School, with the Club paying a portion of the tuition, was started October 18, 1938.","In the years that followed, the Club established meeting places in such locations as the Board Room of the Bank of Virginia, 8th and East Main Streets, the Esso Building on West Broad Street, the AAA building on West Broad St, the C\u0026P Telephone building on Nansemond Street, the Seaboard Coastline building on West Broad Street, the Fidelity Building, 9th and East Main Streets, and the Bank of Virginia Building, Vault Level Auditorium, 7 North Eight Street. In August of 2002, the CCR moved to the Bon Air Library at Rattlesnake Road off Buford Road. The Club met there until January 2005, when the meeting location was changed to the Science Museum of Virginia, 2500 W. Broad Street, as it remained until 2013 when we moved to the Holiday Inn Crossroads.","After more than 80 years of service to our community, the Club's original aims continue to be dedicated to the furtherance of photographic knowledge and to the thesis that photography is indeed a fine art. The divisions of monochrome prints, color prints, and digital works carry on to enhance the joy of photography and to embrace the changes in the photographic world.","Source:  Camera Club of Richmond History by Carole Hagaman"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by Harold Lanna and Mary-Jacque Mann on behalf of the Camera Club of Richmond Camera Club in August 2015."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Camera Club of Richmond (SC-22). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Camera Club of Richmond (SC-22). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003ePrints remain in their original cases.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Prints remain in their original cases."],"scopecontent_html_tesm":["\u003cp\u003eThe collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection is comprised of 117 mounted prints housed in 3 Fiberbilt and 2 William Schuessler print shipping cases. If no date was included in the description, the date on the Camera Club submission label was used. All images are black and white unless otherwise noted."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_dbcddfe00da4bb9ddeda3852de47d999\"\u003eThe collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth.\u003c/abstract\u003e"],"abstract_tesim":["The collection is comprised of over 100 mounted exhibition prints by members of the Camera Club of Richmond. Almost all of the prints were taken by Philip M. Luce, however there are several prints by William Edwin Booth (co-founder of the Club in 1932) and Vallie L. Booth."],"names_ssim":["Virginia Museum of Fine Arts Archives"],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English"],"total_component_count_is":118,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-07T20:15:15.521Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_271_c01"}},{"id":"virmu_repositories_2_resources_2_c01","type":"Series","attributes":{"title":"Series 1: Images","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_2_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_2_c01","ref_ssm":["virmu_repositories_2_resources_2_c01"],"id":"virmu_repositories_2_resources_2_c01","ead_ssi":"virmu_repositories_2_resources_2","_root_":"virmu_repositories_2_resources_2","_nest_parent_":"virmu_repositories_2_resources_2","parent_ssi":"virmu_repositories_2_resources_2","parent_ssim":["virmu_repositories_2_resources_2"],"parent_ids_ssim":["virmu_repositories_2_resources_2"],"parent_unittitles_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"parent_unittitles_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"text":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)","Series 1: Images","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","United States--History--Civil War, 1861-1865"],"title_filing_ssi":"Series 1: Images","title_ssm":["Series 1: Images"],"title_tesim":["Series 1: Images"],"unitdate_inclusive_ssm":["1907-1958, undated"],"normalized_date_ssm":["1907/1958"],"normalized_title_ssm":["Series 1: Images"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"extent_ssm":["3 items"],"extent_tesim":["3 items"],"has_online_content_ssim":["false"],"child_component_count_isi":2,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["The collection is open for research.","The digital collection can be accessed through the VMFA Collections Search website."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. "],"date_range_isim":[1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958],"names_ssim":["Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House"],"corpname_ssim":["Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Southern Bargain House","Southern Bargain House"],"access_subjects_ssim":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","United States--History--Civil War, 1861-1865"],"access_subjects_ssm":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","United States--History--Civil War, 1861-1865"],"_nest_path_":"/components#0","timestamp":"2026-05-21T03:41:41.760Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_2","ead_ssi":"virmu_repositories_2_resources_2","_root_":"virmu_repositories_2_resources_2","_nest_parent_":"virmu_repositories_2_resources_2","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_2.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/2","title_filing_ssi":"R.E. Lee Camp, No. 1, Confederate Veterans (SC-21)","title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"unitdate_ssm":["1885-1958"],"unitdate_inclusive_ssm":["1885-1958"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-21","/repositories/2/resources/2"],"text":["SC-21","/repositories/2/resources/2","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)","Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)","The collection is open for research.","The digital collection can be accessed through the  VMFA Collections Search website .","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1 Images, 1907-1958, undated Series 2 Publications, 1885-1914 Series 3 Realia, 1885","VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954","In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home. ","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers. ","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts. ","Source:  History of the VMFA Grounds","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.","Copyright Dementi Studio","Registration ledger signature book for visitors to the Soldiers' Home. Commercially printed borders with advertising from Richmond area businesses. Includes a page signed by ten members of the Blackfeet Nation, including four Chiefs, with their pictograph inscriptions.","This item was removed on January 22, 2019 to be placed on exhibition in the Robinson House. The register was returned to the Archives on March 4, 2021 and a reproduction of the register is now on display in the exhibition.","This item was removed by Objects Conservator Ainslie Harrison on January 9, 2019 to be placed on exhibition in the Robinson House. The ribbon was returned to the Archives on November 22, 2019.","This item was removed by Objects Conservator Ainslie Harrison on January 9, 2019 to be placed on exhibition in the Robinson House. The ribbon was returned to the Archives on November 22, 2019.","The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","Copyright Undetermined: https://rightsstatements.org/page/UND/1.0/?language=en","Copyright Undetermined: https://rightsstatements.org/page/UND/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.","Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880","English \n.    "],"unitid_tesim":["SC-21","/repositories/2/resources/2"],"normalized_title_ssm":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"collection_title_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"collection_ssim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. "],"access_subjects_ssim":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"access_subjects_ssm":["Lee Camp Soldiers' Home (Richmond, Va.)","Soldiers' homes -- Virginia -- Richmond","Home for Needy Confederate Women (Richmond, Va.)","Confederate Memorial Chapel","United States--History--Civil War, 1861-1865","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic -- Seward Post No. 37 (Auburn, N.Y.)"],"has_online_content_ssim":["false"],"extent_ssm":["0.2 Linear Feet 3 boxes; 13 items"],"extent_tesim":["0.2 Linear Feet 3 boxes; 13 items"],"date_range_isim":[1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eThe digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/records-of-the-r-e-lee-camp-no-1-confederate-veterans-sc-21/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research.","The digital collection can be accessed through the  VMFA Collections Search website ."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eImages, 1907-1958, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublications, 1885-1914\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eRealia, 1885\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1 Images, 1907-1958, undated Series 2 Publications, 1885-1914 Series 3 Realia, 1885"],"bibliography_html_tesm":["\u003cbibref\u003eVMFA: Building History: Confederate Memorial Chapel\u003c/bibref\u003e","\u003cbibref\u003eVMFA: Building History: Confederate Home for Ladies\u003c/bibref\u003e","\u003cbibref\u003eVMFA: Building History: Robinson House: General\u003c/bibref\u003e","\u003cbibref\u003eVMFA: Building History: Robinson House: Robinson Family, 1840s-1880s\u003c/bibref\u003e","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)\u003c/bibref\u003e","\u003cbibref\u003eVMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)\u003c/bibref\u003e","\u003cbibref\u003eVMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Subject Files"],"bibliography_tesim":["VMFA: Building History: Confederate Memorial Chapel","VMFA: Building History: Confederate Home for Ladies","VMFA: Building History: Robinson House: General","VMFA: Building History: Robinson House: Robinson Family, 1840s-1880s","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Home (Fleming Hall)","VMFA: Building History: Robinson House: R.E. Lee Camp: Confederate Soldiers' Museum (Fleming Hall)","VMFA: Building History: Robinson House: \"Confederate Memorial Park,\" Post 1934 and Controversy, 1954"],"bioghist_html_tesm":["\u003cp\u003eIn the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home. \u003c/p\u003e\n","\u003cp\u003eBetween 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.\u003c/p\u003e\n","\u003cp\u003eThe green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.\u003c/p\u003e\n","\u003cp\u003eDedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers. \u003c/p\u003e\n","\u003cp\u003eThe monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts. \u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"https://vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e","\u003cp\u003eAmerican--1\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical","Biographical / Historical"],"bioghist_tesim":["In the 1830s through the 1850s, Anthony Robinson Jr. purchased over 170 acres in the center of what would become the city of Richmond, including the property on which VMFA now stands. The estate, comprised of woods and open countryside, was cultivated and improved, no doubt through the labor of the enslaved African Americans listed in Robinson's tax records and will. Little is known about the earliest Robinson residence, but the imposing farmhouse still standing on the museum property was built by Anthony Robinson Jr. in the mid-1850s. In April 1865, during the final weeks of the Civil War, Union troops occupied the house and grounds at the invitation of Robinson's widow, Rebecca, in exchange for protection from looting. In 1883, the couple's son Channing sold the residence and thirty-six surrounding acres to establish a Confederate soldiers' home. ","Between 1885 and 1941 the property was the site of a large residential complex for poor and infirm Confederate veterans of the Civil War. Established by R. E. Lee Camp, No. 1, Confederate Veterans, the camp was built with private funds, including donations from former Confederate and Union soldiers alike. At peak occupancy, residents numbered just over three hundred; altogether a total of nearly three thousand veterans from thirty-three states called the camp home. For the next half century, Robinson House, renamed Fleming Hall during the soldiers' home era, served as the compound's administration building and war museum. After the camp's closing, the Commonwealth granted use of the building to the Virginia Institute for Scientific Research in the 1950s and to the Virginia Museum of Fine Arts from 1964 to the present.","The green space in the central grounds of today's VMFA property was once the commons of the Confederate soldiers' home. Around the oak-filled park stood the administration building, barracks, dining hall, hospital, recreation hall, steam plant, and assorted outbuildings. The superintendent's house, nine residential cottages, and a chapel formed an arc to the west. With the exception of Robinson House and the Confederate Memorial Chapel, the structures were demolished or moved in the early 1940s. From the camp's earliest years, the Commonwealth of Virginia helped fund the institution. In 1892, Lee Camp No. 1 agreed that the property would revert to the Commonwealth in twenty-two years. A later agreement extended that transition to the time when the original purpose of the home was no longer needed. When the last resident died in 1941, the Commonwealth gained ownership of the site. By that time, it had been designated as the Confederate Memorial Park.","Dedicated in 1887 to the Confederate war dead, the nondenominational Confederate Memorial Chapel (also referred to as the Pelham Chapel) served as a place of worship for the residents of R. E. Lee Camp, No. 1. Funded by donations from veterans and private citizens of the Commonwealth, it was designed by architect Marion J. Dimmock in the Carpenter-Gothic style. In the postwar era of reconciliation, Union veterans from Lynn, Massachusetts, donated the organ. By the time the camp closed fifty-four years later, the chapel had hosted approximately 1,700 funeral services for the former soldiers. ","The monumental limestone building to the west of the present museum grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. After relocating the final inhabitants of the Home for Needy Confederate Women to a nursing facility in 1989, the Commonwealth set aside the property for use by the Virginia Museum of Fine Arts. ","Source:  History of the VMFA Grounds","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1"],"custodhist_html_tesm":["\u003cp\u003eThe collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was created by the VMFA Archives in 2017 to bring together primary sources about the camp. The register and reunion ribbons were purchased by VMFA Library in November 2014 and July 2015. The postcards were donated by Elizabeth O'Leary in June 2015. The other materials were relocated from vertical files in the VMFA Library."],"odd_html_tesm":["\u003cp\u003eCopyright Dementi Studio\u003c/p\u003e","\u003cp\u003eRegistration ledger signature book for visitors to the Soldiers' Home. Commercially printed borders with advertising from Richmond area businesses. Includes a page signed by ten members of the Blackfeet Nation, including four Chiefs, with their pictograph inscriptions.\u003c/p\u003e"],"odd_heading_ssm":["General","General"],"odd_tesim":["Copyright Dementi Studio","Registration ledger signature book for visitors to the Soldiers' Home. Commercially printed borders with advertising from Richmond area businesses. Includes a page signed by ten members of the Blackfeet Nation, including four Chiefs, with their pictograph inscriptions."],"originalsloc_html_tesm":["\u003cp\u003eThis item was removed on January 22, 2019 to be placed on exhibition in the Robinson House. The register was returned to the Archives on March 4, 2021 and a reproduction of the register is now on display in the exhibition.\u003c/p\u003e","\u003cp\u003eThis item was removed by Objects Conservator Ainslie Harrison on January 9, 2019 to be placed on exhibition in the Robinson House. The ribbon was returned to the Archives on November 22, 2019.\u003c/p\u003e","\u003cp\u003eThis item was removed by Objects Conservator Ainslie Harrison on January 9, 2019 to be placed on exhibition in the Robinson House. The ribbon was returned to the Archives on November 22, 2019.\u003c/p\u003e"],"originalsloc_heading_ssm":["Exhibition History","Exhibition History","Exhibition History"],"originalsloc_tesim":["This item was removed on January 22, 2019 to be placed on exhibition in the Robinson House. The register was returned to the Archives on March 4, 2021 and a reproduction of the register is now on display in the exhibition.","This item was removed by Objects Conservator Ainslie Harrison on January 9, 2019 to be placed on exhibition in the Robinson House. The ribbon was returned to the Archives on November 22, 2019.","This item was removed by Objects Conservator Ainslie Harrison on January 9, 2019 to be placed on exhibition in the Robinson House. The ribbon was returned to the Archives on November 22, 2019."],"prefercite_html_tesm":["\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eR.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia.","R.E. Lee Camp, No. 1, Confederate Veterans Papers (SC-21). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1885-1958, with the bulk of the material dating from 1885-1937. The collection is comprised of photographs, postcards, reunion ribbons, press clippings, and a guest register."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. \u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e","\u003cp\u003eCopyright Undetermined: https://rightsstatements.org/page/UND/1.0/?language=en\u003c/p\u003e","\u003cp\u003eCopyright Undetermined: https://rightsstatements.org/page/UND/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e","\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","Copyright Undetermined: https://rightsstatements.org/page/UND/1.0/?language=en","Copyright Undetermined: https://rightsstatements.org/page/UND/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"abstract_html_tesm":["\u003cabstract id=\"aspace_a6623866126b47f49ad39b36f5e720fa\"\u003eThe collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the history of R.E. Lee Camp, No. 1, Confederate Veterans, a large residential complex for poor and infirm Confederate veterans of the Civil War. Altogether a total of nearly three thousand veterans from thirty-three states called the camp home, and after the camp's closing, the Commonwealth eventually granted use of the buildings and land to the Virginia Museum of Fine Arts. The collection is comprised of photographs and postcards that document the changing landscape of the camp over 50 years, a rare guest register that includes thousands of guest signatures and a page signed by ten members of the Blackfeet Nation, and two extremely rare artifacts – reunion ribbons – provide material testimony to the reconciliation efforts of Confederate and Union veterans only twenty years after they faced each other as enemies during the Civil War."],"names_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)","Leslie, Frank, 1821-1880"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Dementi Studio","Baltimore sun","Virginia Museum of Fine Arts","Capitol News Agency","Hugh C. Leighton Company","Louis Kaufmann and Sons","Southern Bargain House","Frank Leslie's illustrated newspaper","Sons of Confederate Veterans (Organization). R.E. Lee Camp No. 1 (Richmond, Va.)","Grand Army of the Republic. Seward Post No. 37 (Auburn, N.Y.)"],"persname_ssim":["Leslie, Frank, 1821-1880"],"language_ssim":["English \n.    "],"total_component_count_is":18,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:41:41.760Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_2_c01"}},{"id":"virmu_repositories_2_resources_15984_c01","type":"Series","attributes":{"title":"Series 1: Pinkney Near","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series documents the life and career of Pinkney Near.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_15984_c01","ref_ssm":["virmu_repositories_2_resources_15984_c01"],"id":"virmu_repositories_2_resources_15984_c01","ead_ssi":"virmu_repositories_2_resources_15984","_root_":"virmu_repositories_2_resources_15984","_nest_parent_":"virmu_repositories_2_resources_15984","parent_ssi":"virmu_repositories_2_resources_15984","parent_ssim":["virmu_repositories_2_resources_15984"],"parent_ids_ssim":["virmu_repositories_2_resources_15984"],"parent_unittitles_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"parent_unittitles_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"text":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)","Series 1: Pinkney Near","English ,  Latin .","This series documents the life and career of Pinkney Near."],"title_filing_ssi":"Series 1: Pinkney Near","title_ssm":["Series 1: Pinkney Near"],"title_tesim":["Series 1: Pinkney Near"],"unitdate_inclusive_ssm":["1916-2002"],"normalized_date_ssm":["1916/2002"],"normalized_title_ssm":["Series 1: Pinkney Near"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"extent_ssm":["3 boxes 3 boxes; 11 folders"],"extent_tesim":["3 boxes 3 boxes; 11 folders"],"has_online_content_ssim":["false"],"child_component_count_isi":3,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"date_range_isim":[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],"language_ssim":["English ,  Latin ."],"scopecontent_html_tesm":["\u003cp\u003eThis series documents the life and career of Pinkney Near.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series documents the life and career of Pinkney Near."],"_nest_path_":"/components#0","timestamp":"2026-05-21T03:07:10.049Z","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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-42","/repositories/2/resources/15984"],"text":["SC-42","/repositories/2/resources/15984","Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)","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 Pinkney Near, 1916-2002 Series 2 Henrietta Near, 1873-2020 Series 3 Pinkney and Henrietta Near, 1962-1966 Series 4 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.","This series documents the life and career of Pinkney Near.","This file contains correspondence, newspaper clippings, ephemera, and a miniature medallion pertaining to Pinkney's time at the VMFA.","This file contains correspondence, newspaper clippings, and ephemera pertaining to Pinkney's time at the Cincinnati Art Museum.","This file contains a baby book, birth certificate, bibliography, diplomas, report cards, among other materials pertaining to Pinkney's early life and education.","This file contains papers and cards documenting Pinkney's time in the Marine Corps.","This file contains ephemera, correspondence, and vital records pertaining to Pinkney's life.","This sub-series contains correspondence between Near family members, articles, and poetry written by Clifford Near, Pinkney's brother.","This series documents the life and career of Henrietta Near.","This file contains loan agreements, sale orders, correspondence, photographs, and articles pertaining to Henrietta's artwork.","This file contains correspondence, grant applications, meeting minutes, articles, and ephemera pertaining to Henrietta's work with various Richmond art organizations. Included are Art6 (2004-2015), ArtSpace (1990-2007), Hand Workshop (1991-1992), Henry Street Gallery (1987), Very Special Arts (1998-2000), and VMFA (1961).","This file contains correspondence, newspaper clippings, and articles about the topic of dance and Henrietta's dance career.","This sub-series contains correspondence, ephemera, and newspaper clippings that pertain to Henrietta's personal life and interests.","This sub-series contains correspondence and financial records that pertain to the finances of and donations made by Henrietta Near. Included in the institutions she donated to are the Bayly Art Museum and the Virginia Museum of Fine Arts, among others.","This sub-series contains correspondence, a book, ephemera, and photographs that pertain to the Lloyd family.","This series contains correspondence, photographs, and ephemera pertaining to the shared lives of Pinkney and Henrietta Near.","This series contains articles and ephemera pertaining to artists of interest to Pinkney and Henrietta Near.","A framed photograph of Pinkney in his military uniform has been stored separately from the rest of the collection.","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.    "],"unitid_tesim":["SC-42","/repositories/2/resources/15984"],"normalized_title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"collection_title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"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.","Near, Henrietta."],"creators_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"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"],"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 Pinkney Near, 1916-2002 Series 2 Henrietta Near, 1873-2020 Series 3 Pinkney and Henrietta Near, 1962-1966 Series 4 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\n","\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","\u003cp\u003eThis series documents the life and career of Pinkney Near.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, newspaper clippings, ephemera, and a miniature medallion pertaining to Pinkney's time at the VMFA.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, newspaper clippings, and ephemera pertaining to Pinkney's time at the Cincinnati Art Museum.\u003c/p\u003e","\u003cp\u003eThis file contains a baby book, birth certificate, bibliography, diplomas, report cards, among other materials pertaining to Pinkney's early life and education.\u003c/p\u003e","\u003cp\u003eThis file contains papers and cards documenting Pinkney's time in the Marine Corps.\u003c/p\u003e","\u003cp\u003eThis file contains ephemera, correspondence, and vital records pertaining to Pinkney's life.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence between Near family members, articles, and poetry written by Clifford Near, Pinkney's brother.\u003c/p\u003e","\u003cp\u003eThis series documents the life and career of Henrietta Near.\u003c/p\u003e","\u003cp\u003eThis file contains loan agreements, sale orders, correspondence, photographs, and articles pertaining to Henrietta's artwork.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, grant applications, meeting minutes, articles, and ephemera pertaining to Henrietta's work with various Richmond art organizations. Included are Art6 (2004-2015), ArtSpace (1990-2007), Hand Workshop (1991-1992), Henry Street Gallery (1987), Very Special Arts (1998-2000), and VMFA (1961).\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, newspaper clippings, and articles about the topic of dance and Henrietta's dance career.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence, ephemera, and newspaper clippings that pertain to Henrietta's personal life and interests.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence and financial records that pertain to the finances of and donations made by Henrietta Near. Included in the institutions she donated to are the Bayly Art Museum and the Virginia Museum of Fine Arts, among others.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence, a book, ephemera, and photographs that pertain to the Lloyd family.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence, photographs, and ephemera pertaining to the shared lives of Pinkney and Henrietta Near.\u003c/p\u003e","\u003cp\u003eThis series contains articles and ephemera pertaining to artists of interest to Pinkney and Henrietta Near.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"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.","This series documents the life and career of Pinkney Near.","This file contains correspondence, newspaper clippings, ephemera, and a miniature medallion pertaining to Pinkney's time at the VMFA.","This file contains correspondence, newspaper clippings, and ephemera pertaining to Pinkney's time at the Cincinnati Art Museum.","This file contains a baby book, birth certificate, bibliography, diplomas, report cards, among other materials pertaining to Pinkney's early life and education.","This file contains papers and cards documenting Pinkney's time in the Marine Corps.","This file contains ephemera, correspondence, and vital records pertaining to Pinkney's life.","This sub-series contains correspondence between Near family members, articles, and poetry written by Clifford Near, Pinkney's brother.","This series documents the life and career of Henrietta Near.","This file contains loan agreements, sale orders, correspondence, photographs, and articles pertaining to Henrietta's artwork.","This file contains correspondence, grant applications, meeting minutes, articles, and ephemera pertaining to Henrietta's work with various Richmond art organizations. Included are Art6 (2004-2015), ArtSpace (1990-2007), Hand Workshop (1991-1992), Henry Street Gallery (1987), Very Special Arts (1998-2000), and VMFA (1961).","This file contains correspondence, newspaper clippings, and articles about the topic of dance and Henrietta's dance career.","This sub-series contains correspondence, ephemera, and newspaper clippings that pertain to Henrietta's personal life and interests.","This sub-series contains correspondence and financial records that pertain to the finances of and donations made by Henrietta Near. Included in the institutions she donated to are the Bayly Art Museum and the Virginia Museum of Fine Arts, among others.","This sub-series contains correspondence, a book, ephemera, and photographs that pertain to the Lloyd family.","This series contains correspondence, photographs, and ephemera pertaining to the shared lives of Pinkney and Henrietta Near.","This series contains articles and ephemera pertaining to artists of interest to Pinkney and Henrietta Near."],"separatedmaterial_html_tesm":["\u003cp\u003eA framed photograph of Pinkney in his military uniform has been stored separately from the rest of the collection.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A framed photograph of Pinkney in his military uniform has been stored separately from the rest of the collection."],"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"],"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."],"names_ssim":["Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_coll_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"persname_ssim":["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":"2026-05-21T03:07:10.049Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984_c01"}},{"id":"virmu_repositories_2_resources_236_c01","type":"Series","attributes":{"title":"Series 1: The Oaks Papers and Photographs","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_236_c01","ref_ssm":["virmu_repositories_2_resources_236_c01"],"id":"virmu_repositories_2_resources_236_c01","ead_ssi":"virmu_repositories_2_resources_236","_root_":"virmu_repositories_2_resources_236","_nest_parent_":"virmu_repositories_2_resources_236","parent_ssi":"virmu_repositories_2_resources_236","parent_ssim":["virmu_repositories_2_resources_236"],"parent_ids_ssim":["virmu_repositories_2_resources_236"],"parent_unittitles_ssm":["Records of the Oaks (SC-01)"],"parent_unittitles_tesim":["Records of the Oaks (SC-01)"],"text":["Records of the Oaks (SC-01)","Series 1: The Oaks Papers and Photographs","English"],"title_filing_ssi":"Series 1: The Oaks Papers and Photographs","title_ssm":["Series 1: The Oaks Papers and Photographs"],"title_tesim":["Series 1: The Oaks Papers and Photographs"],"unitdate_other_ssim":["1894-1995, undated"],"normalized_date_ssm":["1894/1995"],"normalized_title_ssm":["Series 1: The Oaks Papers and Photographs"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Oaks (SC-01)"],"has_online_content_ssim":["false"],"child_component_count_isi":21,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":1,"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."],"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],"language_ssim":["English"],"_nest_path_":"/components#0","timestamp":"2026-05-21T03:05:49.951Z","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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-01","/repositories/2/resources/236"],"text":["SC-01","/repositories/2/resources/236","Records of the Oaks (SC-01)","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 The Oaks Papers and Photographs, 1894-1995, undated Series 2 General VMFA Properties Papers, 1934-1990, undated Series 3 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.  \t","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.    "],"unitid_tesim":["SC-01","/repositories/2/resources/236"],"normalized_title_ssm":["Records of the Oaks (SC-01)"],"collection_title_tesim":["Records of the Oaks (SC-01)"],"collection_ssim":["Records of the Oaks (SC-01)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["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"],"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 The Oaks Papers and Photographs, 1894-1995, undated Series 2 General VMFA Properties Papers, 1934-1990, undated Series 3 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\n","\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\n","\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\n","\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\n","\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.  \t","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"],"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.\""],"names_ssim":["Virginia Museum of Fine Arts Archives"],"corpname_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":"2026-05-21T03:05:49.951Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_236_c01"}},{"id":"virmu_repositories_2_resources_272_c02","type":"Series","attributes":{"title":"Series 2: Administrative Files","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the closing of the Home in 1989 and relocation of the residents.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_272_c02","ref_ssm":["virmu_repositories_2_resources_272_c02"],"id":"virmu_repositories_2_resources_272_c02","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","parent_ssi":"virmu_repositories_2_resources_272","parent_ssim":["virmu_repositories_2_resources_272"],"parent_ids_ssim":["virmu_repositories_2_resources_272"],"parent_unittitles_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"parent_unittitles_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"text":["Records of the Home for Needy Confederate Women (SC-23)","Series 2: Administrative Files","English","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents."],"title_filing_ssi":"Series 2: Administrative Files","title_ssm":["Series 2: Administrative Files"],"title_tesim":["Series 2: Administrative Files"],"unitdate_other_ssim":["1898-1997, undated"],"normalized_date_ssm":["1898/1997"],"normalized_title_ssm":["Series 2: Administrative Files"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23)"],"has_online_content_ssim":["false"],"child_component_count_isi":22,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":10,"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."],"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],"language_ssim":["English"],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents."],"_nest_path_":"/components#1","timestamp":"2026-05-21T03:05:13.157Z","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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"text":["SC-23","/repositories/2/resources/272","Records of the Home for Needy Confederate Women (SC-23)","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 Correspondence, 1924-1997, undated Series 2 Administrative Files, 1898-1997, undated Series 3 Resident and Application Files, 1914-1998 Series 4 Financial Records, 1908-1993 Series 5 Property Files, 1924-1989, undated Series 6 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.","This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.","This series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.","This series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.","This series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.","This series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera.","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.    "],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["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"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1 Correspondence, 1924-1997, undated Series 2 Administrative Files, 1898-1997, undated Series 3 Resident and Application Files, 1914-1998 Series 4 Financial Records, 1908-1993 Series 5 Property Files, 1924-1989, undated Series 6 Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e"],"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\n","\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\n","\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."],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.\u003c/p\u003e","\u003cp\u003eThis series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.\u003c/p\u003e","\u003cp\u003eThis series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.\u003c/p\u003e","\u003cp\u003eThis series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.\u003c/p\u003e","\u003cp\u003eThis series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.\u003c/p\u003e","\u003cp\u003eThis series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.","This series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.","This series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.","This series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.","This series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera."],"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"],"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."],"names_ssim":["Virginia Museum of Fine Arts Archives"],"corpname_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":"2026-05-21T03:05:13.157Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_272_c02"}},{"id":"virmu_repositories_2_resources_371_c02","type":"Series","attributes":{"title":"Series 2: Artists","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_371_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_371_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_371_c02","ref_ssm":["virmu_repositories_2_resources_371_c02"],"id":"virmu_repositories_2_resources_371_c02","ead_ssi":"virmu_repositories_2_resources_371","_root_":"virmu_repositories_2_resources_371","_nest_parent_":"virmu_repositories_2_resources_371","parent_ssi":"virmu_repositories_2_resources_371","parent_ssim":["virmu_repositories_2_resources_371"],"parent_ids_ssim":["virmu_repositories_2_resources_371"],"parent_unittitles_ssm":["Regenia A. Perry Personal Papers (VA-07)"],"parent_unittitles_tesim":["Regenia A. Perry Personal Papers (VA-07)"],"text":["Regenia A. Perry Personal Papers (VA-07)","Series 2: Artists","Times-picayune","Preservation Hall (New Orleans, La.)","New York Times company","Park Avenue Armory (Organization)","Morgan, Gertrude, Sister, 1900-1980","Grace, Stephanie","Perry, Regenia","Weinraub, Bernard, 1939-","Clines, Francis X., 1938-2022","This series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected."],"title_filing_ssi":"Series 2: Artists","title_ssm":["Series 2: Artists"],"title_tesim":["Series 2: Artists"],"unitdate_inclusive_ssm":["1907-2019"],"normalized_date_ssm":["1907/2019"],"normalized_title_ssm":["Series 2: Artists"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Regenia A. Perry Personal Papers (VA-07)"],"extent_ssm":["6 boxes 6 boxes; 14 folders"],"extent_tesim":["6 boxes 6 boxes; 14 folders"],"has_online_content_ssim":["false"],"child_component_count_isi":20,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":2,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Upon donation, Perry assigned to the VMFA Archives all of her available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"date_range_isim":[1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"names_ssim":["Times-picayune","Preservation Hall (New Orleans, La.)","New York Times company","Park Avenue Armory (Organization)","Morgan, Gertrude, Sister, 1900-1980","Grace, Stephanie","Perry, Regenia","Weinraub, Bernard, 1939-","Clines, Francis X., 1938-2022"],"corpname_ssim":["Times-picayune","Preservation Hall (New Orleans, La.)","Preservation Hall (New Orleans, La.)","New York Times company","Park Avenue Armory (Organization)"],"persname_ssim":["Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Grace, Stephanie","Morgan, Gertrude, Sister, 1900-1980","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980","Weinraub, Bernard, 1939-","Clines, Francis X., 1938-2022","Morgan, Gertrude, Sister, 1900-1980","Morgan, Gertrude, Sister, 1900-1980"],"scopecontent_html_tesm":["\u003cp\u003eThis series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected."],"_nest_path_":"/components#1","timestamp":"2026-05-21T03:04:58.145Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_371","ead_ssi":"virmu_repositories_2_resources_371","_root_":"virmu_repositories_2_resources_371","_nest_parent_":"virmu_repositories_2_resources_371","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_371.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/371","title_filing_ssi":"Perry, Regenia (VA-07)","title_ssm":["Regenia A. Perry Personal Papers (VA-07)"],"title_tesim":["Regenia A. Perry Personal Papers (VA-07)"],"unitdate_ssm":["1907-2019"],"unitdate_inclusive_ssm":["1907-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-07","/repositories/2/resources/371"],"text":["VA-07","/repositories/2/resources/371","Regenia A. Perry Personal Papers (VA-07)","African American folk art","Women art collectors","Women art historians","Art historians as collectors","Art -- Collectors and collecting","The collection is open for research.","The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series. Sub-series are arranged alphabetically by artists' surnames.","Series 1 Biographical, 1941-2015 Series 2 Artists, 1907-2019","Free within ourselves : African-American artists in the collection of the National Museum of American Art","What it is : Black American folk art from the collection of Regenia Perry, October 6-27, 1982 : catalog","Art of the Kuba : Selected works from the William H. Sheppard Collection, Hampton Institute, Hampton, Virginia, November 20 - December 20, 1979","Impact '79 : Afro-American women artists","Selections of nineteenth-century Afro-American art","Subject file : Collections and collectors - Private - Perry, Regenia : miscellaneous uncataloged material","Regenia Alfreda Perry, African American art historian, was born in 1941 in Virgilina, Virginia. She received a Bachelor of Science degree from Virginia State College (now Virginia State University) in 1961, and went to Western Reserve University (now Case Western Reserve University) in Cleveland, Ohio, where she received a Ph.D. in Art History in 1966. Perry is the first African American woman to hold doctorates in art history and American art. She has published books on African American art, including James Van Der Zee, Photographer (1973), The Folk Tradition in Black American Art (1975), Black Folk Art in America (with John Beardsley, 1982), and Harriet Powers Bible Quilts (1994). She also has taught at numerous colleges and universities, including Howard University (Washington, D.C.), though the majority of her professorial career was spent at Virginia Commonwealth University (Richmond, Virginia). Perry also founded Raven Arts, an art consulting firm that represents African American folk artists.","Source:  Regenia Perry papers finding aid  by the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University","The collection was donated to the VMFA Archives by Regenia Perry in 2021.","This is a copy of one page from the letter. The original is at Emory University.","Publications were removed and added to the VMFA Library's holdings. Titles include  \"Tales of the conjure woman\" ,  \"Dear Robert, I'll see you at the crossroads: a project by Renée Stout\" ,  \"Harriet Powers's Bible quilts\" ,  \"Astonishment and power: Kongo minkisi: the art of Renée Stout\" ,  \"Free within ourselves: African-American artists in the collection of the National Museum of American Art\" ,  \"Hidden heritage: Afro-American art, 1800-1950\" ,  \"Something to keep you warm: the Roland Freeman Collection of Black American quilts from the Mississippi Heartland\" , and  \"Between the lines: 70 drawings and 7 essays\" .","Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders.","This sub-series was processed at the item-level as part of a digitization project for the 2021 documentary,  \"Thank You, Sister\" .","A large collection of her papers are located at  Emory University .","The collection documents the life, work, and research interests of Dr. Regenia Perry. The collection's inclusive dates are 1907-2019, with the bulk of the material dating from the 1970s-1990s. This collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.","This series contains articles, ephemera, negatives and transparencies, newspaper clippings, photographs, slides, and a U-Matic documenting the life and career of Dr. Regenia Perry.","This series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected.","This sub-series contains a photograph of artist Ralph Arnold.","This sub-series contains articles and photographs documenting the life and artwork of John Willard Banks.","This sub-series contains articles and a photograph documenting the life of artist John Biggers.","This sub-series contains articles and photographs documenting the life and artwork of Sam Gilliam.","This sub-series contains an article and photographs documenting the life and artwork of Bessie Harvey.","This sub-series contains photographs documenting the life and artwork of Clementine Hunter.","This sub-series contains articles and ephemera documenting the life and artwork of Bill Hutson.","This sub-series contains correspondence and photographs documenting artwork created by Ted Joans.","This sub-series contains photographs of artwork created by W. B. Jung.","This sub-series contains ephemera and a photograph documenting the life and artwork of Juan Logan.","This sub-series contains articles, ephemera, and photographs documenting the life and artwork of Ruth Mae McCrane.","This sub-series contains albums, correspondence, newspaper clippings, and slides documenting the life and artwork of Sister Gertrude Morgan.","This sub-series contains print material documenting the life and artwork of Leslie J. Payne.","This sub-series contains ephemera documenting artwork created by Winfred Rembert.","This sub-series contains the funeral program of artist Royal Robertson.","This sub-series contains photographs documenting the life and artwork of Willie Stokes.","This sub-series contains articles, ephemera, and photographs documenting the life and artwork of Renée Stout.","This sub-series contains articles and ephemera about James VanDerZee in addition to photographic materials such as negatives, reprints, and photographs taken by VanDerZee. Subjects include the Virginia Period, Harlem, VanDerZee and his family, and Regenia Perry.","This sub-series contains photographs documenting artwork created by Luster Willis.","This sub-series contains photographs documenting artwork created by Kenneth Young.","The collection is subject to all copyright laws. Upon donation, Perry assigned to the VMFA Archives all of her available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","The collection documents the life, work, and research interests of Dr. Regenia Perry (1941-), an African American art historian. Dr. Perry is the first African American woman to hold doctorates in art history and American art, and has focused her career on researching and collecting African American folk art. In addition to her work as a professor, Dr. Perry served as a guest curator for The Metropolitan Museum's \"Selection of Nineteenth-Century Afro-American Art,\" the first comprehensive exhibition of African American art at the museum.","Virginia Museum of Fine Arts Archives","Times-picayune","Preservation Hall (New Orleans, La.)","New York Times company","Park Avenue Armory (Organization)","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Grace, Stephanie","Weinraub, Bernard, 1939-","Clines, Francis X., 1938-2022","English \n.    "],"unitid_tesim":["VA-07","/repositories/2/resources/371"],"normalized_title_ssm":["Regenia A. Perry Personal Papers (VA-07)"],"collection_title_tesim":["Regenia A. Perry Personal Papers (VA-07)"],"collection_ssim":["Regenia A. Perry Personal Papers (VA-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Perry, Regenia","Perry, Regenia"],"creator_ssim":["Perry, Regenia","Perry, Regenia"],"creator_persname_ssim":["Perry, Regenia","Perry, Regenia"],"creators_ssim":["Perry, Regenia","Perry, Regenia"],"access_terms_ssm":["The collection is subject to all copyright laws. Upon donation, Perry assigned to the VMFA Archives all of her available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["African American folk art","Women art collectors","Women art historians","Art historians as collectors","Art -- Collectors and collecting"],"access_subjects_ssm":["African American folk art","Women art collectors","Women art historians","Art historians as collectors","Art -- Collectors and collecting"],"has_online_content_ssim":["false"],"extent_ssm":["2 Linear Feet 8 boxes; 17 folders"],"extent_tesim":["2 Linear Feet 8 boxes; 17 folders"],"date_range_isim":[1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series. Sub-series are arranged alphabetically by artists' surnames.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eBiographical, 1941-2015\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eArtists, 1907-2019\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 2 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end of each series. Sub-series are arranged alphabetically by artists' surnames.","Series 1 Biographical, 1941-2015 Series 2 Artists, 1907-2019"],"bibliography_html_tesm":["\u003cbibref\u003eFree within ourselves : African-American artists in the collection of the National Museum of American Art\u003c/bibref\u003e","\u003cbibref\u003eWhat it is : Black American folk art from the collection of Regenia Perry, October 6-27, 1982 : catalog\u003c/bibref\u003e","\u003cbibref\u003eArt of the Kuba : Selected works from the William H. Sheppard Collection, Hampton Institute, Hampton, Virginia, November 20 - December 20, 1979\u003c/bibref\u003e","\u003cbibref\u003eImpact '79 : Afro-American women artists\u003c/bibref\u003e","\u003cbibref\u003eSelections of nineteenth-century Afro-American art\u003c/bibref\u003e","\u003cbibref\u003eSubject file : Collections and collectors - Private - Perry, Regenia : miscellaneous uncataloged material\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Subject File"],"bibliography_tesim":["Free within ourselves : African-American artists in the collection of the National Museum of American Art","What it is : Black American folk art from the collection of Regenia Perry, October 6-27, 1982 : catalog","Art of the Kuba : Selected works from the William H. Sheppard Collection, Hampton Institute, Hampton, Virginia, November 20 - December 20, 1979","Impact '79 : Afro-American women artists","Selections of nineteenth-century Afro-American art","Subject file : Collections and collectors - Private - Perry, Regenia : miscellaneous uncataloged material"],"bioghist_html_tesm":["\u003cp\u003eRegenia Alfreda Perry, African American art historian, was born in 1941 in Virgilina, Virginia. She received a Bachelor of Science degree from Virginia State College (now Virginia State University) in 1961, and went to Western Reserve University (now Case Western Reserve University) in Cleveland, Ohio, where she received a Ph.D. in Art History in 1966. Perry is the first African American woman to hold doctorates in art history and American art. She has published books on African American art, including James Van Der Zee, Photographer (1973), The Folk Tradition in Black American Art (1975), Black Folk Art in America (with John Beardsley, 1982), and Harriet Powers Bible Quilts (1994). She also has taught at numerous colleges and universities, including Howard University (Washington, D.C.), though the majority of her professorial career was spent at Virginia Commonwealth University (Richmond, Virginia). Perry also founded Raven Arts, an art consulting firm that represents African American folk artists.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"https://findingaids.library.emory.edu/documents/perry1312/printable/\"\u003eRegenia Perry papers finding aid\u003c/a\u003e by the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Regenia Alfreda Perry, African American art historian, was born in 1941 in Virgilina, Virginia. She received a Bachelor of Science degree from Virginia State College (now Virginia State University) in 1961, and went to Western Reserve University (now Case Western Reserve University) in Cleveland, Ohio, where she received a Ph.D. in Art History in 1966. Perry is the first African American woman to hold doctorates in art history and American art. She has published books on African American art, including James Van Der Zee, Photographer (1973), The Folk Tradition in Black American Art (1975), Black Folk Art in America (with John Beardsley, 1982), and Harriet Powers Bible Quilts (1994). She also has taught at numerous colleges and universities, including Howard University (Washington, D.C.), though the majority of her professorial career was spent at Virginia Commonwealth University (Richmond, Virginia). Perry also founded Raven Arts, an art consulting firm that represents African American folk artists.","Source:  Regenia Perry papers finding aid  by the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated to the VMFA Archives by Regenia Perry in 2021.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was donated to the VMFA Archives by Regenia Perry in 2021."],"odd_html_tesm":["\u003cp\u003eThis is a copy of one page from the letter. The original is at Emory University.\u003c/p\u003e"],"odd_heading_ssm":["General"],"odd_tesim":["This is a copy of one page from the letter. The original is at Emory University."],"prefercite_html_tesm":["\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eRegenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia.","Regenia Perry Personal Papers (VA-07). Gift of Regenia Perry. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003ePublications were removed and added to the VMFA Library's holdings. Titles include \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=D7n6ydb8N7/VMFA_LIB/X/9\"\u003e\"Tales of the conjure woman\"\u003c/a\u003e, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=Ajup9qURMW/VMFA_LIB/X/9\"\u003e\"Dear Robert, I'll see you at the crossroads: a project by Renée Stout\"\u003c/a\u003e, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=qUyW4HeM8x/VMFA_LIB/X/9\"\u003e\"Harriet Powers's Bible quilts\"\u003c/a\u003e, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=0pi1RQtmQb/VMFA_LIB/X/9\"\u003e\"Astonishment and power: Kongo minkisi: the art of Renée Stout\"\u003c/a\u003e, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=tt5e9qKmLX/VMFA_LIB/X/9\"\u003e\"Free within ourselves: African-American artists in the collection of the National Museum of American Art\"\u003c/a\u003e, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=pfMLTwFluN/VMFA_LIB/X/9\"\u003e\"Hidden heritage: Afro-American art, 1800-1950\"\u003c/a\u003e, \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=UW7swpJpcB/VMFA_LIB/X/9\"\u003e\"Something to keep you warm: the Roland Freeman Collection of Black American quilts from the Mississippi Heartland\"\u003c/a\u003e, and \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/?ps=CRWJ8a1TBl/VMFA_LIB/X/9\"\u003e\"Between the lines: 70 drawings and 7 essays\"\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eOriginal newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders.\u003c/p\u003e","\u003cp\u003eThis sub-series was processed at the item-level as part of a digitization project for the 2021 documentary, \u003ca href=\"https://www.thankyousistermovie.com/\"\u003e\"Thank You, Sister\"\u003c/a\u003e.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information"],"processinfo_tesim":["Publications were removed and added to the VMFA Library's holdings. Titles include  \"Tales of the conjure woman\" ,  \"Dear Robert, I'll see you at the crossroads: a project by Renée Stout\" ,  \"Harriet Powers's Bible quilts\" ,  \"Astonishment and power: Kongo minkisi: the art of Renée Stout\" ,  \"Free within ourselves: African-American artists in the collection of the National Museum of American Art\" ,  \"Hidden heritage: Afro-American art, 1800-1950\" ,  \"Something to keep you warm: the Roland Freeman Collection of Black American quilts from the Mississippi Heartland\" , and  \"Between the lines: 70 drawings and 7 essays\" .","Original newspaper clippings are photocopied, with photocopies being integrated into mixed material folders and originals being retained in their own folders.","This sub-series was processed at the item-level as part of a digitization project for the 2021 documentary,  \"Thank You, Sister\" ."],"relatedmaterial_html_tesm":["\u003cp\u003eA large collection of her papers are located at \u003ca href=\"https://findingaids.library.emory.edu/documents/perry1312/printable/\"\u003eEmory University\u003c/a\u003e.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A large collection of her papers are located at  Emory University ."],"scopecontent_html_tesm":["\u003cp\u003eThe collection documents the life, work, and research interests of Dr. Regenia Perry. The collection's inclusive dates are 1907-2019, with the bulk of the material dating from the 1970s-1990s. This collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.\u003c/p\u003e","\u003cp\u003eThis series contains articles, ephemera, negatives and transparencies, newspaper clippings, photographs, slides, and a U-Matic documenting the life and career of Dr. Regenia Perry.\u003c/p\u003e","\u003cp\u003eThis series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected.\u003c/p\u003e","\u003cp\u003eThis sub-series contains a photograph of artist Ralph Arnold.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles and photographs documenting the life and artwork of John Willard Banks.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles and a photograph documenting the life of artist John Biggers.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles and photographs documenting the life and artwork of Sam Gilliam.\u003c/p\u003e","\u003cp\u003eThis sub-series contains an article and photographs documenting the life and artwork of Bessie Harvey.\u003c/p\u003e","\u003cp\u003eThis sub-series contains photographs documenting the life and artwork of Clementine Hunter.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles and ephemera documenting the life and artwork of Bill Hutson.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence and photographs documenting artwork created by Ted Joans.\u003c/p\u003e","\u003cp\u003eThis sub-series contains photographs of artwork created by W. B. Jung.\u003c/p\u003e","\u003cp\u003eThis sub-series contains ephemera and a photograph documenting the life and artwork of Juan Logan.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles, ephemera, and photographs documenting the life and artwork of Ruth Mae McCrane.\u003c/p\u003e","\u003cp\u003eThis sub-series contains albums, correspondence, newspaper clippings, and slides documenting the life and artwork of Sister Gertrude Morgan.\u003c/p\u003e","\u003cp\u003eThis sub-series contains print material documenting the life and artwork of Leslie J. Payne.\u003c/p\u003e","\u003cp\u003eThis sub-series contains ephemera documenting artwork created by Winfred Rembert.\u003c/p\u003e","\u003cp\u003eThis sub-series contains the funeral program of artist Royal Robertson.\u003c/p\u003e","\u003cp\u003eThis sub-series contains photographs documenting the life and artwork of Willie Stokes.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles, ephemera, and photographs documenting the life and artwork of Renée Stout.\u003c/p\u003e","\u003cp\u003eThis sub-series contains articles and ephemera about James VanDerZee in addition to photographic materials such as negatives, reprints, and photographs taken by VanDerZee. Subjects include the Virginia Period, Harlem, VanDerZee and his family, and Regenia Perry.\u003c/p\u003e","\u003cp\u003eThis sub-series contains photographs documenting artwork created by Luster Willis.\u003c/p\u003e","\u003cp\u003eThis sub-series contains photographs documenting artwork created by Kenneth Young.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection documents the life, work, and research interests of Dr. Regenia Perry. The collection's inclusive dates are 1907-2019, with the bulk of the material dating from the 1970s-1990s. This collection contains correspondence, ephemera, negatives, photographs, publications, and other manuscript material.","This series contains articles, ephemera, negatives and transparencies, newspaper clippings, photographs, slides, and a U-Matic documenting the life and career of Dr. Regenia Perry.","This series contains articles, ephemera, and photographs that document the lives and careers of African American artists whose artwork Dr. Perry researched and collected.","This sub-series contains a photograph of artist Ralph Arnold.","This sub-series contains articles and photographs documenting the life and artwork of John Willard Banks.","This sub-series contains articles and a photograph documenting the life of artist John Biggers.","This sub-series contains articles and photographs documenting the life and artwork of Sam Gilliam.","This sub-series contains an article and photographs documenting the life and artwork of Bessie Harvey.","This sub-series contains photographs documenting the life and artwork of Clementine Hunter.","This sub-series contains articles and ephemera documenting the life and artwork of Bill Hutson.","This sub-series contains correspondence and photographs documenting artwork created by Ted Joans.","This sub-series contains photographs of artwork created by W. B. Jung.","This sub-series contains ephemera and a photograph documenting the life and artwork of Juan Logan.","This sub-series contains articles, ephemera, and photographs documenting the life and artwork of Ruth Mae McCrane.","This sub-series contains albums, correspondence, newspaper clippings, and slides documenting the life and artwork of Sister Gertrude Morgan.","This sub-series contains print material documenting the life and artwork of Leslie J. Payne.","This sub-series contains ephemera documenting artwork created by Winfred Rembert.","This sub-series contains the funeral program of artist Royal Robertson.","This sub-series contains photographs documenting the life and artwork of Willie Stokes.","This sub-series contains articles, ephemera, and photographs documenting the life and artwork of Renée Stout.","This sub-series contains articles and ephemera about James VanDerZee in addition to photographic materials such as negatives, reprints, and photographs taken by VanDerZee. Subjects include the Virginia Period, Harlem, VanDerZee and his family, and Regenia Perry.","This sub-series contains photographs documenting artwork created by Luster Willis.","This sub-series contains photographs documenting artwork created by Kenneth Young."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Upon donation, Perry assigned to the VMFA Archives all of her available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use","Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Upon donation, Perry assigned to the VMFA Archives all of her available rights of copyright in the materials. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"abstract_html_tesm":["\u003cabstract id=\"aspace_6c795df4bbab371f6ab4a825c6c75b55\"\u003eThe collection documents the life, work, and research interests of Dr. Regenia Perry (1941-), an African American art historian. Dr. Perry is the first African American woman to hold doctorates in art history and American art, and has focused her career on researching and collecting African American folk art. In addition to her work as a professor, Dr. Perry served as a guest curator for The Metropolitan Museum's \"Selection of Nineteenth-Century Afro-American Art,\" the first comprehensive exhibition of African American art at the museum.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the life, work, and research interests of Dr. Regenia Perry (1941-), an African American art historian. Dr. Perry is the first African American woman to hold doctorates in art history and American art, and has focused her career on researching and collecting African American folk art. In addition to her work as a professor, Dr. Perry served as a guest curator for The Metropolitan Museum's \"Selection of Nineteenth-Century Afro-American Art,\" the first comprehensive exhibition of African American art at the museum."],"names_ssim":["Virginia Museum of Fine Arts Archives","Times-picayune","Preservation Hall (New Orleans, La.)","New York Times company","Park Avenue Armory (Organization)","Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Grace, Stephanie","Weinraub, Bernard, 1939-","Clines, Francis X., 1938-2022"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Times-picayune","Preservation Hall (New Orleans, La.)","New York Times company","Park Avenue Armory (Organization)"],"names_coll_ssim":["Perry, Regenia","Perry, Regenia"],"persname_ssim":["Perry, Regenia","Morgan, Gertrude, Sister, 1900-1980","Grace, Stephanie","Weinraub, Bernard, 1939-","Clines, Francis X., 1938-2022"],"language_ssim":["English \n.    "],"total_component_count_is":35,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:04:58.145Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_371_c02"}},{"id":"virmu_repositories_2_resources_15984_c02","type":"Series","attributes":{"title":"Series 2: Henrietta Near","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis series documents the life and career of Henrietta Near.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_15984_c02","ref_ssm":["virmu_repositories_2_resources_15984_c02"],"id":"virmu_repositories_2_resources_15984_c02","ead_ssi":"virmu_repositories_2_resources_15984","_root_":"virmu_repositories_2_resources_15984","_nest_parent_":"virmu_repositories_2_resources_15984","parent_ssi":"virmu_repositories_2_resources_15984","parent_ssim":["virmu_repositories_2_resources_15984"],"parent_ids_ssim":["virmu_repositories_2_resources_15984"],"parent_unittitles_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"parent_unittitles_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"text":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)","Series 2: Henrietta Near","English .","This series documents the life and career of Henrietta Near."],"title_filing_ssi":"Series 2: Henrietta Near","title_ssm":["Series 2: Henrietta Near"],"title_tesim":["Series 2: Henrietta Near"],"unitdate_inclusive_ssm":["1873-2020"],"normalized_date_ssm":["1873/2020"],"normalized_title_ssm":["Series 2: Henrietta Near"],"component_level_isim":[1],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"extent_ssm":["3 boxes 3 boxes; 14 folders"],"extent_tesim":["3 boxes 3 boxes; 14 folders"],"has_online_content_ssim":["false"],"child_component_count_isi":4,"level_ssm":["Series"],"level_ssim":["Series"],"sort_isi":10,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"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],"language_ssim":["English ."],"scopecontent_html_tesm":["\u003cp\u003eThis series documents the life and career of Henrietta Near.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This series documents the life and career of Henrietta Near."],"_nest_path_":"/components#1","timestamp":"2026-05-21T03:07:10.049Z","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"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-42","/repositories/2/resources/15984"],"text":["SC-42","/repositories/2/resources/15984","Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)","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 Pinkney Near, 1916-2002 Series 2 Henrietta Near, 1873-2020 Series 3 Pinkney and Henrietta Near, 1962-1966 Series 4 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.","This series documents the life and career of Pinkney Near.","This file contains correspondence, newspaper clippings, ephemera, and a miniature medallion pertaining to Pinkney's time at the VMFA.","This file contains correspondence, newspaper clippings, and ephemera pertaining to Pinkney's time at the Cincinnati Art Museum.","This file contains a baby book, birth certificate, bibliography, diplomas, report cards, among other materials pertaining to Pinkney's early life and education.","This file contains papers and cards documenting Pinkney's time in the Marine Corps.","This file contains ephemera, correspondence, and vital records pertaining to Pinkney's life.","This sub-series contains correspondence between Near family members, articles, and poetry written by Clifford Near, Pinkney's brother.","This series documents the life and career of Henrietta Near.","This file contains loan agreements, sale orders, correspondence, photographs, and articles pertaining to Henrietta's artwork.","This file contains correspondence, grant applications, meeting minutes, articles, and ephemera pertaining to Henrietta's work with various Richmond art organizations. Included are Art6 (2004-2015), ArtSpace (1990-2007), Hand Workshop (1991-1992), Henry Street Gallery (1987), Very Special Arts (1998-2000), and VMFA (1961).","This file contains correspondence, newspaper clippings, and articles about the topic of dance and Henrietta's dance career.","This sub-series contains correspondence, ephemera, and newspaper clippings that pertain to Henrietta's personal life and interests.","This sub-series contains correspondence and financial records that pertain to the finances of and donations made by Henrietta Near. Included in the institutions she donated to are the Bayly Art Museum and the Virginia Museum of Fine Arts, among others.","This sub-series contains correspondence, a book, ephemera, and photographs that pertain to the Lloyd family.","This series contains correspondence, photographs, and ephemera pertaining to the shared lives of Pinkney and Henrietta Near.","This series contains articles and ephemera pertaining to artists of interest to Pinkney and Henrietta Near.","A framed photograph of Pinkney in his military uniform has been stored separately from the rest of the collection.","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.    "],"unitid_tesim":["SC-42","/repositories/2/resources/15984"],"normalized_title_ssm":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"collection_title_tesim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"collection_ssim":["Pinkney Near Personal Papers and Henrietta Near Artist Archives (SC-42)"],"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.","Near, Henrietta."],"creators_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"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"],"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 Pinkney Near, 1916-2002 Series 2 Henrietta Near, 1873-2020 Series 3 Pinkney and Henrietta Near, 1962-1966 Series 4 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\n","\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","\u003cp\u003eThis series documents the life and career of Pinkney Near.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, newspaper clippings, ephemera, and a miniature medallion pertaining to Pinkney's time at the VMFA.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, newspaper clippings, and ephemera pertaining to Pinkney's time at the Cincinnati Art Museum.\u003c/p\u003e","\u003cp\u003eThis file contains a baby book, birth certificate, bibliography, diplomas, report cards, among other materials pertaining to Pinkney's early life and education.\u003c/p\u003e","\u003cp\u003eThis file contains papers and cards documenting Pinkney's time in the Marine Corps.\u003c/p\u003e","\u003cp\u003eThis file contains ephemera, correspondence, and vital records pertaining to Pinkney's life.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence between Near family members, articles, and poetry written by Clifford Near, Pinkney's brother.\u003c/p\u003e","\u003cp\u003eThis series documents the life and career of Henrietta Near.\u003c/p\u003e","\u003cp\u003eThis file contains loan agreements, sale orders, correspondence, photographs, and articles pertaining to Henrietta's artwork.\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, grant applications, meeting minutes, articles, and ephemera pertaining to Henrietta's work with various Richmond art organizations. Included are Art6 (2004-2015), ArtSpace (1990-2007), Hand Workshop (1991-1992), Henry Street Gallery (1987), Very Special Arts (1998-2000), and VMFA (1961).\u003c/p\u003e","\u003cp\u003eThis file contains correspondence, newspaper clippings, and articles about the topic of dance and Henrietta's dance career.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence, ephemera, and newspaper clippings that pertain to Henrietta's personal life and interests.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence and financial records that pertain to the finances of and donations made by Henrietta Near. Included in the institutions she donated to are the Bayly Art Museum and the Virginia Museum of Fine Arts, among others.\u003c/p\u003e","\u003cp\u003eThis sub-series contains correspondence, a book, ephemera, and photographs that pertain to the Lloyd family.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence, photographs, and ephemera pertaining to the shared lives of Pinkney and Henrietta Near.\u003c/p\u003e","\u003cp\u003eThis series contains articles and ephemera pertaining to artists of interest to Pinkney and Henrietta Near.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"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.","This series documents the life and career of Pinkney Near.","This file contains correspondence, newspaper clippings, ephemera, and a miniature medallion pertaining to Pinkney's time at the VMFA.","This file contains correspondence, newspaper clippings, and ephemera pertaining to Pinkney's time at the Cincinnati Art Museum.","This file contains a baby book, birth certificate, bibliography, diplomas, report cards, among other materials pertaining to Pinkney's early life and education.","This file contains papers and cards documenting Pinkney's time in the Marine Corps.","This file contains ephemera, correspondence, and vital records pertaining to Pinkney's life.","This sub-series contains correspondence between Near family members, articles, and poetry written by Clifford Near, Pinkney's brother.","This series documents the life and career of Henrietta Near.","This file contains loan agreements, sale orders, correspondence, photographs, and articles pertaining to Henrietta's artwork.","This file contains correspondence, grant applications, meeting minutes, articles, and ephemera pertaining to Henrietta's work with various Richmond art organizations. Included are Art6 (2004-2015), ArtSpace (1990-2007), Hand Workshop (1991-1992), Henry Street Gallery (1987), Very Special Arts (1998-2000), and VMFA (1961).","This file contains correspondence, newspaper clippings, and articles about the topic of dance and Henrietta's dance career.","This sub-series contains correspondence, ephemera, and newspaper clippings that pertain to Henrietta's personal life and interests.","This sub-series contains correspondence and financial records that pertain to the finances of and donations made by Henrietta Near. Included in the institutions she donated to are the Bayly Art Museum and the Virginia Museum of Fine Arts, among others.","This sub-series contains correspondence, a book, ephemera, and photographs that pertain to the Lloyd family.","This series contains correspondence, photographs, and ephemera pertaining to the shared lives of Pinkney and Henrietta Near.","This series contains articles and ephemera pertaining to artists of interest to Pinkney and Henrietta Near."],"separatedmaterial_html_tesm":["\u003cp\u003eA framed photograph of Pinkney in his military uniform has been stored separately from the rest of the collection.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A framed photograph of Pinkney in his military uniform has been stored separately from the rest of the collection."],"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"],"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."],"names_ssim":["Virginia Museum of Fine Arts Archives","Near, Pinkney L., 1927-1990","Near, Henrietta."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_coll_ssim":["Near, Pinkney L., 1927-1990","Near, Henrietta.","Near, Henrietta."],"persname_ssim":["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":"2026-05-21T03:07:10.049Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15984_c02"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Virginia Museum of Fine Arts","value":"Virginia Museum of Fine Arts","hits":20},"links":{"remove":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1924\u0026f%5Blevel%5D%5B%5D=Series\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=1924\u0026f%5Blevel%5D%5B%5D=Series\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Benjamin L. 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