{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Collection\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=1935\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=3"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":3,"limit_value":10,"offset_value":0,"total_count":23,"first_page?":true,"last_page?":false}},"data":[{"id":"virmu_repositories_2_resources_58","type":"collection","attributes":{"title":"Annual Reports (PB-02), 1935/2018","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_58#creator","type":"document_value","attributes":{"value":"Virginia Museum of Fine Arts","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_58#abstract_or_scope","type":"document_value","attributes":{"value":"The collection is part of the Publications Archive, and is comprised of archival copies of all Annual Reports published by the museum since 1936. 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Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_465#creator","type":"document_value","attributes":{"value":"Wigfall, Benjamin L., 1930-2017","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_465#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_465#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_465","ead_ssi":"virmu_repositories_2_resources_465","_root_":"virmu_repositories_2_resources_465","_nest_parent_":"virmu_repositories_2_resources_465","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_465.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/465","title_filing_ssi":"Wigfall, Benjamin (VA-12)","title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"unitdate_ssm":["1880-2023"],"unitdate_inclusive_ssm":["1880-2023"],"normalized_date_ssm":["1880/2023"],"normalized_title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"text":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","VA-12","/repositories/2/resources/465","Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints).","The collection is open for research.","The collection is organized into 10 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020","Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.","The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.","In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.","The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.","The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","English"],"collection_title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"collection_ssim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-12","/repositories/2/resources/465"],"unitid_tesim":["VA-12","/repositories/2/resources/465"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"creators_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"access_subjects_ssm":["Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"has_online_content_ssim":["false"],"extent_ssm":["21.875 Linear Feet 50 boxes; 63 folders"],"extent_tesim":["21.875 Linear Feet 50 boxes; 63 folders"],"genreform_ssim":["Woodcuts (prints).","Etchings (prints)."],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 10 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eBenjamin L. Wigfall, 1944-2023\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eMary Carter Wigfall, 1949-2017\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eWigfall Family Records, 1944-2014\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eCommunications Village, 1880-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eWatermark/Cargo Gallery, 1969-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eMigrant Children's Center, 1965-1999\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 7\u003c/label\u003e\n        \u003citem\u003eNew York, 1917-2018\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 8\u003c/label\u003e\n        \u003citem\u003eArt and Printmaking, 1951-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 9\u003c/label\u003e\n        \u003citem\u003ePhotography Projects - Communications Village, 1970s-2000s\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 10\u003c/label\u003e\n        \u003citem\u003eOther Artists and Friends, 1949-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 10 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020"],"bioghist_html_tesm":["\u003cp\u003eBenjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy. \u003c/p\u003e","\u003cp\u003eAfter receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design. \u003c/p\u003e","\u003cp\u003eWigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York."],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022."],"prefercite_html_tesm":["\u003cp\u003eBenjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.\u003c/p\u003e","\u003cp\u003eItem-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eTransmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_4aa27f66a6c0c2bf8444280ed5caacf4\"\u003eThe collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"names_coll_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"language_ssim":["English"],"total_component_count_is":397,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:28:27.383Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_465","ead_ssi":"virmu_repositories_2_resources_465","_root_":"virmu_repositories_2_resources_465","_nest_parent_":"virmu_repositories_2_resources_465","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_465.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/465","title_filing_ssi":"Wigfall, Benjamin (VA-12)","title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers"],"unitdate_ssm":["1880-2023"],"unitdate_inclusive_ssm":["1880-2023"],"normalized_date_ssm":["1880/2023"],"normalized_title_ssm":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"text":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","VA-12","/repositories/2/resources/465","Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints).","The collection is open for research.","The collection is organized into 10 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020","Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.","The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.","In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.","The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.","The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","English"],"collection_title_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"collection_ssim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["VA-12","/repositories/2/resources/465"],"unitid_tesim":["VA-12","/repositories/2/resources/465"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"creator_persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"creators_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970.","Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"access_subjects_ssm":["Art, American","Art, American -- 20th century -- Virginia","Painting -- 20th century","Prints -- Technique","Woodcuts (prints).","Etchings (prints)."],"has_online_content_ssim":["false"],"extent_ssm":["21.875 Linear Feet 50 boxes; 63 folders"],"extent_tesim":["21.875 Linear Feet 50 boxes; 63 folders"],"genreform_ssim":["Woodcuts (prints).","Etchings (prints)."],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 10 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eBenjamin L. Wigfall, 1944-2023\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eMary Carter Wigfall, 1949-2017\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eWigfall Family Records, 1944-2014\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eCommunications Village, 1880-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eWatermark/Cargo Gallery, 1969-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eMigrant Children's Center, 1965-1999\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 7\u003c/label\u003e\n        \u003citem\u003eNew York, 1917-2018\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 8\u003c/label\u003e\n        \u003citem\u003eArt and Printmaking, 1951-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 9\u003c/label\u003e\n        \u003citem\u003ePhotography Projects - Communications Village, 1970s-2000s\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 10\u003c/label\u003e\n        \u003citem\u003eOther Artists and Friends, 1949-2020\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 10 series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Benjamin L. Wigfall, 1944-2023\n      \n      \n        Series 2\n        Mary Carter Wigfall, 1949-2017\n      \n      \n        Series 3\n        Wigfall Family Records, 1944-2014\n      \n      \n        Series 4\n        Communications Village, 1880-1980\n      \n      \n        Series 5\n        Watermark/Cargo Gallery, 1969-2004\n      \n      \n        Series 6\n        Migrant Children's Center, 1965-1999\n      \n      \n        Series 7\n        New York, 1917-2018\n      \n      \n        Series 8\n        Art and Printmaking, 1951-1993\n      \n      \n        Series 9\n        Photography Projects - Communications Village, 1970s-2000s\n      \n      \n        Series 10\n        Other Artists and Friends, 1949-2020"],"bioghist_html_tesm":["\u003cp\u003eBenjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy. \u003c/p\u003e","\u003cp\u003eAfter receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design. \u003c/p\u003e","\u003cp\u003eWigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Benjamin Leroy Wigfall was born on November 17th, 1930 in Richmond, VA to parents James Andrew and Willie Cogena Wigfall. Wigfall attended the segregated George Mason Elementary School in Richmond until 1944, and moved to Armstrong High School (also segregated) for his secondary education until 1948. Armstrong High School is where Wigfall began to grow artistically, with the help of his senior-year art teacher, Stafford W. Evans, who introduced him to the VMFA. After high school, Wigfall attended Hampton Institute (now University) in 1948, taking part of his first year for a medical leave of absence due to his epilepsy.","After receiving his Bachelor in Art Education from Hampton Institute in 1953, Wigfall transferred to Yale University in order to continue his graduate studies in 1954. During this time, he also took another leave of absence to teach at Hampton Institute as an Art Educator. Wigfall re-entered Yale in 1958, and finished with his Master of Fine Arts from Yale University's Department of Design.","Wigfall went on to found both Communications Village Ltd., a community arts center in Kingston, NY, and the Watermark/Cargo Gallery, a contemporary and African art gallery also in Kingston, New York."],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated by the artist's estate in December 2022. It was packed at Wigfall's home and studio in New Paltz, New York in September 2022."],"prefercite_html_tesm":["\u003cp\u003eBenjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers (VA-12). Gift of Michael Gino Wigfall and Gia Oke-Bello. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.\u003c/p\u003e","\u003cp\u003eItem-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In 2021, the museum was awarded a grant from the National Endowment for the Humanities to fund 9 months of work for a graduate level intern during the 2022-2023 academic year. From October 2022 to June 2023, Nuelle Johnson performed all of the processing, description, rehousing and select digitization for the collection.","Item-level cataloging completed by Nuelle Johnson will continue to be added and updated in ArchivesSpace by Archivist Emily Johnson."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1880-2023, with the bulk of the material dating from the 1940s-1970s. The collection is comprised of correspondence, ephemera, publications, prints, slides, woodblocks, metal plates, photographs, certificates, financial documents, and more related to the life and work of both Benjamin L. Wigfall and Mary C. Wigfall."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eTransmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. VMFA has been granted a non-exclusive license to reproduce the collection only for their educational and publicity purposes by the Benjamin Wigfall Estate. Other digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License.","Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_4aa27f66a6c0c2bf8444280ed5caacf4\"\u003eThe collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the life and work of Benjamin L. Wigfall, African American abstract expressionist artist. Benjamin L. Wigfall was the second African American artist to have a painting aquired by the VMFA, as well as the youngest ever artist to do the same. In addition to his work as an artist, Wigfall also taught and mentored in both Virginia at Hampton Institute, as well as New York at SUNY New Paltz and in his own community. Additionally, the collection contains documents related to the life and career of artist and educator, Mary Carter Wigfall, Benjamin L. Wigfall's wife. Mary C. Wigfall founded and directed the Migrant Childcare Center in New York from the early 1970s until her retirement in 1992."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts"],"persname_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"names_coll_ssim":["Wigfall, Benjamin L., 1930-2017","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020"],"names_ssim":["Virginia Museum of Fine Arts Archives","Virginia Museum of Fine Arts","Wigfall, Benjamin L., 1930-2017","Wigfall, Mary Carter, 1932-2020","Peebles, Jesse","Van Dyke, Vera","Hotton, Julia","Fitzgerald, George","VanDerzee, Betty Royal","Hatcher, Lester","Scott, Edward","Carpenter, Larry","Van Dyke, Michael","Gordon, Martin","Howell, Kenny","Drake, Alfreda","Easter, Sonia","Barnes, Phyllis","Washington, Debbie","Washington, Dawn","Hunt, Val","Peebles, Vanella","Lewis, Jackie","Wade, Melrin","Lewis, Margaret Wade","Van Dyke, Sharon","Easter, Yvonne Thomas","Renner, Frank","Jackson, Annie","Raleigh, Henry","Crichlow, Ernest, 1914-2005.","Washington, Leroy","Washington, Dennis","Johnson, George H. Ben, 1888-1970."],"language_ssim":["English"],"total_component_count_is":397,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:28:27.383Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_465"}},{"id":"virmu_repositories_2_resources_44","type":"collection","attributes":{"title":"Director's Correspondence (RG-01), 1927/2009","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_44#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_44","ead_ssi":"virmu_repositories_2_resources_44","_root_":"virmu_repositories_2_resources_44","_nest_parent_":"virmu_repositories_2_resources_44","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_44.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/44","title_filing_ssi":"Director's Correspondence (RG-01)","title_ssm":["Director's Correspondence (RG-01)"],"title_tesim":["Director's Correspondence (RG-01)"],"unitdate_ssm":["1927-2009"],"unitdate_inclusive_ssm":["1927-2009"],"normalized_date_ssm":["1927/2009"],"normalized_title_ssm":["Director's Correspondence (RG-01), 1927/2009"],"text":["Director's Correspondence (RG-01), 1927/2009","RG-01","/repositories/2/resources/44","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance.","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).","The collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.","Series 1\n        Director's Correspondence, 1927-2006\n      \n      \n        Series 2\n        Director's Office Staff, 1977-2008\n      \n      \n        Series 3\n        Building Files, 1979-2004\n      \n      \n        Series 4\n        Organization Files, 1991-2006\n      \n      \n        Series 5\n        Meeting Files, 1998-2009\n      \n      \n        Series 6\n        Program Files, 1992-2007","The collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA.","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.","Series 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Director's Correspondence (RG-01), 1927/2009"],"collection_ssim":["Director's Correspondence (RG-01), 1927/2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG-01","/repositories/2/resources/44"],"unitid_tesim":["RG-01","/repositories/2/resources/44"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["248.5 Linear Feet 204 boxes; 7,156 folders"],"extent_tesim":["248.5 Linear Feet 204 boxes; 7,156 folders"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. \u003c/p\u003e","\u003cp\u003eAs custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance.","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eDirector's Correspondence, 1927-2006\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eDirector's Office Staff, 1977-2008\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eBuilding Files, 1979-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eOrganization Files, 1991-2006\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMeeting Files, 1998-2009\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eProgram Files, 1992-2007\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.","Series 1\n        Director's Correspondence, 1927-2006\n      \n      \n        Series 2\n        Director's Office Staff, 1977-2008\n      \n      \n        Series 3\n        Building Files, 1979-2004\n      \n      \n        Series 4\n        Organization Files, 1991-2006\n      \n      \n        Series 5\n        Meeting Files, 1998-2009\n      \n      \n        Series 6\n        Program Files, 1992-2007"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA."],"prefercite_html_tesm":["\u003cp\u003eDirector's Correspondence (RG-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Director's Correspondence (RG-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","\u003cp\u003eSeries 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  \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.","Series 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. 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Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"acqinfo_ssim":["This file was compiled over time by VMFA Library staff from many sources."],"access_subjects_ssim":["Vertical files"],"access_subjects_ssm":["Vertical files"],"has_online_content_ssim":["false"],"extent_ssm":["1 folder"],"extent_tesim":["1 folder"],"genreform_ssim":["Vertical files"],"date_range_isim":[1935],"prefercite_html_tesm":["\u003cp\u003eGeneral 1935, Exhibition Files, VF-01, VMFA Archives.\u003c/p\u003e  "],"prefercite_tesim":["General 1935, Exhibition Files, VF-01, VMFA Archives."],"scopecontent_html_tesm":["\u003cp\u003eThis file may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This file may include announcements, clippings, press releases, brochures, reviews, invitations, small exhibition catalogs, and other ephemeral material."],"userestrict_html_tesm":["\u003cp\u003eThe material 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 material is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"corpname_ssim":["Virginia Museum of Fine Arts Vertical Files"],"names_ssim":["Virginia Museum of Fine Arts Vertical Files"],"language_ssim":["English"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:40:08.521Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_4_resources_534"}},{"id":"virmu_repositories_2_resources_198","type":"collection","attributes":{"title":"John Barton Payne Personal Papers (SC-31), 1881/1938","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198#creator","type":"document_value","attributes":{"value":"Payne, John Barton, 1855-1935‏","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"normalized_date_ssm":["1881/1938"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"text":["John Barton Payne Personal Papers (SC-31), 1881/1938","SC-31","/repositories/2/resources/198","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English\n."],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"collection_ssim":["John Barton Payne Personal Papers (SC-31), 1881/1938"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1\n        Correspondence, 1904-1938, undated\n      \n      \n        Series 2\n        Published Materials, 1881-1926, undated\n      \n      \n        Series 3\n        Travel Documents, 1919\n      \n      \n        Series 4\n        Photographic Materials, 1920, undated\n      \n      \n        Series 5\n        Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e\n    ","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e\n  ","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e\n  ","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e\n    ","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e\n  ","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e\n    ","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)","Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English\n."],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_198"}},{"id":"virmu_repositories_2_resources_13","type":"collection","attributes":{"title":"Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_13#creator","type":"document_value","attributes":{"value":"Cheek, Leslie, 1908-","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_13#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_13#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_13","ead_ssi":"virmu_repositories_2_resources_13","_root_":"virmu_repositories_2_resources_13","_nest_parent_":"virmu_repositories_2_resources_13","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_13.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/13","title_filing_ssi":"Cheek, Leslie Jr. (SC-02)","title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"unitdate_ssm":["1931-1993"],"unitdate_inclusive_ssm":["1931-1993"],"normalized_date_ssm":["1931/1993"],"normalized_title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"text":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993","SC-02","/repositories/2/resources/13","The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980","Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History","Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers","This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.","Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.","The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","English\n."],"collection_title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"collection_ssim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-02","/repositories/2/resources/13"],"unitid_tesim":["SC-02","/repositories/2/resources/13"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creators_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"extent_tesim":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSkylark Farm, 1966-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003e\"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003e\"Designing for the Arts,\" 1984-1991\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1934-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eAwards and Degrees, 1931-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eTrips, 1952-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980"],"bibliography_html_tesm":["\u003cbibref\u003eTen Talents in the American Theatre, 1957\u003c/bibref\u003e\n    ","\u003cbibref\u003eLiving by Design: Leslie Cheek and the Arts, 1985\u003c/bibref\u003e\n    ","\u003cbibref\u003eDesigning for the Arts: Environments by Leslie Cheek, 1990\u003c/bibref\u003e\n    ","\u003cbibref\u003eSouthern Civility: Recollections of my Early Life, 2003\u003c/bibref\u003e\n  ","\u003cbibref\u003eDrawings for the Stage by Leslie Cheek, Jr., 1987\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Directors: Leslie Cheek Jr. (4 folders)\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) \u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArchives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview\u003c/bibref\u003e\n    ","\u003cbibref\u003eCollege of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)\u003c/bibref\u003e\n    ","\u003cbibref\u003eMuseum of Modern Art, New York City, NY: For Us the Living Exhibition\u003c/bibref\u003e\n    ","\u003cbibref\u003eQueens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition File","Related Materials - VMFA Library: Subject File","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History"],"bioghist_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. \u003c/p\u003e","\u003cp\u003eBorn in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. \u003c/p\u003e","\u003cp\u003eAfter the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. \u003c/p\u003e","\u003cp\u003eAfter retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://arthistorians.info/cheekl\"\u003eThe Dictionary of Art Historians\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: Virginia Commonwealth University's \u003ca href=\"http://search.vaheritage.org/vivaxtf/view?docId=vcu-cab/vircu00021.xml/\"\u003eGuide to the Mary Tyler Freeman Cheek McClenahan Papers\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers"],"custodhist_html_tesm":["\u003cp\u003eThis collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005."],"prefercite_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eProcessing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1c02dc40e094a70e20450781f6a750e4\"\u003eThis collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"names_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"language_ssim":["English\n."],"total_component_count_is":648,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:38.841Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_13","ead_ssi":"virmu_repositories_2_resources_13","_root_":"virmu_repositories_2_resources_13","_nest_parent_":"virmu_repositories_2_resources_13","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_13.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/13","title_filing_ssi":"Cheek, Leslie Jr. (SC-02)","title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"unitdate_ssm":["1931-1993"],"unitdate_inclusive_ssm":["1931-1993"],"normalized_date_ssm":["1931/1993"],"normalized_title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"text":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993","SC-02","/repositories/2/resources/13","The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980","Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History","Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers","This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.","Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.","The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","English\n."],"collection_title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"collection_ssim":["Leslie Cheek, Jr. Personal Papers (SC-02), 1931/1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-02","/repositories/2/resources/13"],"unitid_tesim":["SC-02","/repositories/2/resources/13"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creators_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"extent_tesim":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSkylark Farm, 1966-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003e\"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003e\"Designing for the Arts,\" 1984-1991\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1934-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eAwards and Degrees, 1931-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eTrips, 1952-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1\n        Skylark Farm, 1966-1992\n      \n      \n        Series 2\n        \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\n      \n      \n        Series 3\n        \"Designing for the Arts,\" 1984-1991\n      \n      \n        Series 4\n        Personal Files, 1934-1992\n      \n      \n        Series 5\n        Awards and Degrees, 1931-1993\n      \n      \n        Series 6\n        Trips, 1952-1980"],"bibliography_html_tesm":["\u003cbibref\u003eTen Talents in the American Theatre, 1957\u003c/bibref\u003e\n    ","\u003cbibref\u003eLiving by Design: Leslie Cheek and the Arts, 1985\u003c/bibref\u003e\n    ","\u003cbibref\u003eDesigning for the Arts: Environments by Leslie Cheek, 1990\u003c/bibref\u003e\n    ","\u003cbibref\u003eSouthern Civility: Recollections of my Early Life, 2003\u003c/bibref\u003e\n  ","\u003cbibref\u003eDrawings for the Stage by Leslie Cheek, Jr., 1987\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Directors: Leslie Cheek Jr. (4 folders)\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) \u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArchives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview\u003c/bibref\u003e\n    ","\u003cbibref\u003eCollege of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)\u003c/bibref\u003e\n    ","\u003cbibref\u003eMuseum of Modern Art, New York City, NY: For Us the Living Exhibition\u003c/bibref\u003e\n    ","\u003cbibref\u003eQueens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition File","Related Materials - VMFA Library: Subject File","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History"],"bioghist_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. \u003c/p\u003e","\u003cp\u003eBorn in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. \u003c/p\u003e","\u003cp\u003eAfter the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. \u003c/p\u003e","\u003cp\u003eAfter retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. \u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://arthistorians.info/cheekl\"\u003eThe Dictionary of Art Historians\u003c/a\u003e\u003c/p\u003e","\u003cp\u003eSource: Virginia Commonwealth University's \u003ca href=\"http://search.vaheritage.org/vivaxtf/view?docId=vcu-cab/vircu00021.xml/\"\u003eGuide to the Mary Tyler Freeman Cheek McClenahan Papers\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage.","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII.","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts.","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977.","Source: The Dictionary of Art Historians","Source: Virginia Commonwealth University's Guide to the Mary Tyler Freeman Cheek McClenahan Papers"],"custodhist_html_tesm":["\u003cp\u003eThis collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005."],"prefercite_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eProcessing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1c02dc40e094a70e20450781f6a750e4\"\u003eThis collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"names_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"language_ssim":["English\n."],"total_component_count_is":648,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:38.841Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_13"}},{"id":"virmu_repositories_2_resources_8","type":"collection","attributes":{"title":"Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_8#creator","type":"document_value","attributes":{"value":"Pratt, Lillian Thomas, 1876?","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_8#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_8#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"normalized_date_ssm":["1901/1947"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"text":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","SC-07","/repositories/2/resources/8","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English\n."],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e\n    ","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e\n    ","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e\n    ","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e\n  ","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e\n    ","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e\n  ","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e\n    ","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine Arts\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English\n."],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:28:27.383Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"normalized_date_ssm":["1901/1947"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"text":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947","SC-07","/repositories/2/resources/8","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website.","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English\n."],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07), 1901/1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1\n        Schaffer Collection, 1934-1947, undated\n      \n      \n        Series 2\n        Hammer Galleries, 1933-1945, undated\n      \n      \n        Series 3\n        Estate, 1932-1947, undated\n      \n      \n        Series 4\n        Clippings, 1932-1937, undated\n      \n      \n        Series 5\n        Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e\n    ","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e\n    ","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e\n    ","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e\n    ","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e\n    ","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e\n    ","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e\n  ","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e\n    ","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e\n  ","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e\n    ","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e\n    ","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e\n    ","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e\n    ","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e\n  ","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e\n    ","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e\n  ","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e\n    ","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine Arts\u003c/a\u003e\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source: Fabergé: Virginia Museum of Fine Arts"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e  "],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content Note"],"scopecontent_tesim":["The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Digitized content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English\n."],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:28:27.383Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_8"}},{"id":"virmu_repositories_2_resources_15995","type":"collection","attributes":{"title":"Museum Organizations, 1935/2016","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15995#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents the visual history of the various events put on by VMFA Museum Organizations for the years 1935-2016, comprising photographic prints, slides, programs, and related ephemera for museum organizations, including: Friends of Art, Museum Council, Community Affairs, Patrons, Trustees, and more.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15995#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_15995","ead_ssi":"virmu_repositories_2_resources_15995","_root_":"virmu_repositories_2_resources_15995","_nest_parent_":"virmu_repositories_2_resources_15995","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_15995.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/15995","title_filing_ssi":"Museum Organizations (PH-04)","title_ssm":["Museum Organizations"],"title_tesim":["Museum Organizations"],"unitdate_ssm":["1935-2016"],"unitdate_inclusive_ssm":["1935-2016"],"normalized_date_ssm":["1935/2016"],"normalized_title_ssm":["Museum Organizations, 1935/2016"],"text":["Museum Organizations, 1935/2016","PH-04","/repositories/2/resources/15995","Art museums--Virginia.","Nonprofit organizations","Art, American -- 20th century -- Virginia","Museum Outreach Programs.","Open for Research","The collection is organized into 15 series but is unprocessed OR minimally processed.","This collection documents the visual history of the various VMFA's organizations and related organizations, such as: Council, Fellows, Legislative Events, Patrons, Members, Donors, Trustees, Friends of Art, and VIPs. The content primarily consists of event photographs, portraits, and photographs of the museum's interior, and comprises photographic prints, slides, and related 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.","This collection documents the visual history of the various events put on by VMFA Museum Organizations for the years 1935-2016, comprising photographic prints, slides, programs, and related ephemera for museum organizations, including: Friends of Art, Museum Council, Community Affairs, Patrons, Trustees, and more.","Virginia Museum of Fine Arts Archives","English\n."],"collection_title_tesim":["Museum Organizations, 1935/2016"],"collection_ssim":["Museum Organizations, 1935/2016"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["PH-04","/repositories/2/resources/15995"],"unitid_tesim":["PH-04","/repositories/2/resources/15995"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives"],"creators_ssim":["Virginia Museum of Fine Arts Archives"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art museums--Virginia.","Nonprofit organizations","Art, American -- 20th century -- Virginia","Museum Outreach Programs."],"access_subjects_ssm":["Art museums--Virginia.","Nonprofit organizations","Art, American -- 20th century -- Virginia","Museum Outreach Programs."],"has_online_content_ssim":["false"],"extent_ssm":["11 Linear Feet 45 binders"],"extent_tesim":["11 Linear Feet 45 binders"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eOpen for Research\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Open for Research"],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into 15 series but is unprocessed OR minimally processed.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into 15 series but is unprocessed OR minimally processed."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Museum Organizations Department (PH-04). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Museum Organizations Department (PH-04). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the visual history of the various VMFA's organizations and related organizations, such as: Council, Fellows, Legislative Events, Patrons, Members, Donors, Trustees, Friends of Art, and VIPs. The content primarily consists of event photographs, portraits, and photographs of the museum's interior, and comprises photographic prints, slides, and related ephemera.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection documents the visual history of the various VMFA's organizations and related organizations, such as: Council, Fellows, Legislative Events, Patrons, Members, Donors, Trustees, Friends of Art, and VIPs. The content primarily consists of event photographs, portraits, and photographs of the museum's interior, and comprises photographic prints, slides, and related 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. 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Records of the Museum Organizations Department (PH-04). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the visual history of the various VMFA's organizations and related organizations, such as: Council, Fellows, Legislative Events, Patrons, Members, Donors, Trustees, Friends of Art, and VIPs. The content primarily consists of event photographs, portraits, and photographs of the museum's interior, and comprises photographic prints, slides, and related ephemera.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection documents the visual history of the various VMFA's organizations and related organizations, such as: Council, Fellows, Legislative Events, Patrons, Members, Donors, Trustees, Friends of Art, and VIPs. The content primarily consists of event photographs, portraits, and photographs of the museum's interior, and comprises photographic prints, slides, and related 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_13465727ab54efe0dce1e193ee2d671a\"\u003eThis collection documents the visual history of the various events put on by VMFA Museum Organizations for the years 1935-2016, comprising photographic prints, slides, programs, and related ephemera for museum organizations, including: Friends of Art, Museum Council, Community Affairs, Patrons, Trustees, and more.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection documents the visual history of the various events put on by VMFA Museum Organizations for the years 1935-2016, comprising photographic prints, slides, programs, and related ephemera for museum organizations, including: Friends of Art, Museum Council, Community Affairs, Patrons, Trustees, and more."],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"names_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English\n."],"total_component_count_is":17,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:42.306Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_15995"}},{"id":"virmu_repositories_2_resources_38","type":"collection","attributes":{"title":"Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","creator":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38#creator","type":"document_value","attributes":{"value":"Sanchez, Pierre, 1963-","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38#abstract_or_scope","type":"document_value","attributes":{"value":"The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_38","ead_ssi":"virmu_repositories_2_resources_38","_root_":"virmu_repositories_2_resources_38","_nest_parent_":"virmu_repositories_2_resources_38","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_38.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/38","title_filing_ssi":"Vernet, Horace (SC-28)","title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"unitdate_ssm":["1816-1838, 1996"],"unitdate_inclusive_ssm":["1816-1838, 1996"],"normalized_date_ssm":["1816/1996"],"normalized_title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"text":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","SC-28","/repositories/2/resources/38","Lithography, French -- 19th century","The collection is open for research.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated","Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet","Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)","Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.","The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","French\n."],"collection_title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"collection_ssim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-28","/repositories/2/resources/38"],"unitid_tesim":["SC-28","/repositories/2/resources/38"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_ssim":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"creators_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Lithography, French -- 19th century"],"access_subjects_ssm":["Lithography, French -- 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"extent_tesim":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"date_range_isim":[1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePrints, 1816-1838\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePosters, 1996\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated"],"bibliography_html_tesm":["\u003cbibref\u003eQuelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)\u003c/bibref\u003e\n    ","\u003cbibref\u003eSylla: tragédie en cinq actes / par E. Jouy (1822)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)\u003c/bibref\u003e\n  ","\u003cbibref\u003eHorace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHorace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)\u003c/bibref\u003e\n    ","\u003cbibref\u003eLes Vernet: Joseph, Carle, Horace (1898)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist File: Horace Vernet\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pierre Sanchez Collection","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet"],"bioghist_html_tesm":["\u003cp\u003ePierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings. \u003c/p\u003e","\u003cp\u003eThe son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.\u003c/p\u003e","\u003cp\u003e(The above information was taken from \u003ca href=\"https://www.dessinoriginal.com/en/catalogues-raisonnes/7869-horace-vernet-dessinateur-lithographe-catalogue-raisonne-de-son-oeuvre-lithographie-9782359680737.html\"\u003eDessin Original\u003c/a\u003e and \u003ca href=\"https://www.nga.gov/content/ngaweb/Collection/artist-info.3284.html\"\u003eHorace Vernet\u003c/a\u003e.)\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)"],"custodhist_html_tesm":["\u003cp\u003eOriginally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017."],"prefercite_html_tesm":["\u003cp\u003ePierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cde71f482c2213258ca9bcc8dafeaa33\"\u003eThe collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"names_coll_ssim":["Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863"],"persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"names_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"language_ssim":["French\n."],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:50.343Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_38","ead_ssi":"virmu_repositories_2_resources_38","_root_":"virmu_repositories_2_resources_38","_nest_parent_":"virmu_repositories_2_resources_38","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_38.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/38","title_filing_ssi":"Vernet, Horace (SC-28)","title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28)"],"unitdate_ssm":["1816-1838, 1996"],"unitdate_inclusive_ssm":["1816-1838, 1996"],"normalized_date_ssm":["1816/1996"],"normalized_title_ssm":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"text":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996","SC-28","/repositories/2/resources/38","Lithography, French -- 19th century","The collection is open for research.","The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated","Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet","Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)","Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.","The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","French\n."],"collection_title_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"collection_ssim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28), 1816/1996"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-28","/repositories/2/resources/38"],"unitid_tesim":["SC-28","/repositories/2/resources/38"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_ssim":["Sanchez, Pierre, 1963-","Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"creator_corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"creators_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845","Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Lithography, French -- 19th century"],"access_subjects_ssm":["Lithography, French -- 19th century"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"extent_tesim":["0.5 Linear Feet 13 items (4 volumes, 7 prints, 1 poster, and 1 letter)"],"date_range_isim":[1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into three series, and items are arranged chronologically within each series.\u003c/p\u003e    ","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003ePrints, 1816-1838\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePosters, 1996\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eCorrespondence, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into three series, and items are arranged chronologically within each series.","Series 1\n        Prints, 1816-1838\n      \n      \n        Series 2\n        Posters, 1996\n      \n      \n        Series 3\n        Correspondence, undated"],"bibliography_html_tesm":["\u003cbibref\u003eQuelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)\u003c/bibref\u003e\n    ","\u003cbibref\u003eSylla: tragédie en cinq actes / par E. Jouy (1822)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)\u003c/bibref\u003e\n  ","\u003cbibref\u003eHorace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)\u003c/bibref\u003e\n    ","\u003cbibref\u003eHorace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)\u003c/bibref\u003e\n    ","\u003cbibref\u003eCatalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)\u003c/bibref\u003e\n    ","\u003cbibref\u003eLes Vernet: Joseph, Carle, Horace (1898)\u003c/bibref\u003e\n  ","\u003cbibref\u003eArtist File: Horace Vernet\u003c/bibref\u003e\n  "],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pierre Sanchez Collection","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Artist File"],"bibliography_tesim":["Quelques idées sur les troupes a cheval de France, et principalement sur la cavalerie légère / par R. de Bourge (1817)","Sylla: tragédie en cinq actes / par E. Jouy (1822)","Catalogue de l'oeuvre lithographique de Mr. J.E. Horace Vernet (1826)","Horace Vernet: dessinateur lithographe, 1816-1838: catalogue raisonné de l'œuvre lithographié (2016)","Horace Vernet: incroyables et merveilleuses: Paris, 1810-1818 (1955)","Catalogue des tableaux anciens des écoles primitives et de la Renaissance et des écoles flamande, française, hollandaise et italienne des XVIIe et XVIIIe siècles (1911)","Les Vernet: Joseph, Carle, Horace (1898)","Artist File: Horace Vernet"],"bioghist_html_tesm":["\u003cp\u003ePierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings. \u003c/p\u003e","\u003cp\u003eThe son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.\u003c/p\u003e","\u003cp\u003e(The above information was taken from \u003ca href=\"https://www.dessinoriginal.com/en/catalogues-raisonnes/7869-horace-vernet-dessinateur-lithographe-catalogue-raisonne-de-son-oeuvre-lithographie-9782359680737.html\"\u003eDessin Original\u003c/a\u003e and \u003ca href=\"https://www.nga.gov/content/ngaweb/Collection/artist-info.3284.html\"\u003eHorace Vernet\u003c/a\u003e.)\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Pierre Sanchez, born in 1963, is a French scholar who assembled hundreds of lithographs by Horace Vernet (1789-1863) between 1995 to 2006 in order to write the catalogue raissoné of Vernet's lithographic work. Drawing upon public and private collections, and completing the work of Louis-Maurice Bruzard (1826) and Henri Beraldi (1885-1891), the complete catalog presents the artist's 237 original lithographs, in various states of edition, as well as two etchings.","The son of famed painter Carle Vernet, and a friend and disciple of Theodore Géricault, Émile Jean-Horace Vernet was primarily known as a French painter of battles, soldiers, and commissioned portraits, working for both Louis-Philippe I and Napoléon Bonaparte. However, Horace and his father were among the first artists to experiment with lithography and market their images to printers. Regardless of Charles Baudelaire, Horace Vernet is much more \"than a soldier who does painting,\" and his lithographs showcase his pioneering talent.","(The above information was taken from Dessin Original and Horace Vernet.)"],"custodhist_html_tesm":["\u003cp\u003eOriginally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Originally collected by Pierre Sanchez, this was the largest privately owned collection of Horace Vernet's graphic works. VMFA purchased it from Alan Wofsy Fine Arts LLC in June 2017."],"prefercite_html_tesm":["\u003cp\u003ePierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia.\u003c/p\u003e  "],"prefercite_tesim":["Pierre Sanchez Collection of Horace Vernet Graphic Works (SC-28). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1816-1996, with the bulk of the material dating from 1818-1824. The collection is comprised of unpublished volumes, prints, and a poster. One loose print is by Nicolas Toussaint Charlet, otherwise all of the prints are by Vernet."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_cde71f482c2213258ca9bcc8dafeaa33\"\u003eThe collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter.\u003c/abstract\u003e\n    "],"abstract_tesim":["The collection was assembled by the French scholar Pierre Sanchez, who collected hundreds of lithographs by Horace Vernet (1789-1863) to write the catalogue raissoné of Vernet's lithographic work. The largest privately owned collection of Vernet's graphic works, the collection is comprised of three unpublished volumes of over 300 works, as well as eight loose prints, one poster, and one letter."],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts"],"names_coll_ssim":["Alan Wofsy Fine Arts","Vernet, Horace, 1789-1863"],"persname_ssim":["Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"names_ssim":["Virginia Museum of Fine Arts Archives","Alan Wofsy Fine Arts","Sanchez, Pierre, 1963-","Vernet, Horace, 1789-1863","Charlet, Nicolas-Toussaint, 1792-1845"],"language_ssim":["French\n."],"total_component_count_is":16,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:26:50.343Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/virmu_repositories_2_resources_38"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"Virginia Museum of Fine Arts","value":"Virginia Museum of Fine Arts","hits":23},"links":{"remove":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Collection\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=1935\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"Annual Reports (PB-02), 1935/2018","value":"Annual Reports (PB-02), 1935/2018","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bcollection%5D%5B%5D=Annual+Reports+%28PB-02%29%2C+1935%2F2018\u0026f%5Bdate_range%5D%5B%5D=1935\u0026f%5Blevel%5D%5B%5D=Collection\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts"}},{"attributes":{"label":"Benjamin L. Wigfall Artist Archives and Mary Carter Wigfall Personal Papers, 1880/2023","value":"Benjamin L. 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