Hiram Powers papers, 1819-1953, bulk 1835-1883

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A Finding Aid to the Hiram Powers Papers, 1819-1953, bulk 1835-1883, in the Archives of American Art, by Erin Corley

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Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Table of Contents:

• Biographical Information
• Overview of the Collection
• How to Use the Collection
• Detailed Description and Container Inventory

Biographical Information

American sculptor Hiram Powers (1805-1873) was born in Woodstock, Vermont, and lived and worked briefly in Washington, D.C. and Boston, before settling permanently in Florence, Italy. Powers is known for portrait busts of prominent American politicians and his idealized neo-classical sculptures, most notably the Greek Slave.

The second youngest of nine children, Powers moved with his family to Cincinnati, Ohio in 1817. When he was 18 he began working in a factory that repaired watches and organs, and he later worked in the mechanical department of Dorfeuille's Western Museum. There, he developed his interest in sculpture and received a commission to create wax figures for a tableau of Dante's Inferno. In 1825 he studied with the Prussian sculptor Frederick Eckstein, who taught him how to model clay and make plaster casts. His early commissions for portrait busts caught the attention of Nicholas Longworth, who became his first patron and funded his travel to Washington, DC, in 1834. While in Washington, Powers completed portrait busts of several prominent politicians, including President Andrew Jackson. He also briefly worked on several commissions in Boston. In 1837, thanks to the patronage of Colonel John S. Preston, he and his family moved to Florence, Italy. He intended to live there for only a few years, but remained there for the rest of his life.

Powers set up a studio in Florence with several assistants, and continued to work on portrait bust commissions. He and his family were active members of the intellectual community of American and English émigrés, such as Robert and Elizabeth Barrett Browning, Horatio Greenough, the Trollope family, and many others. His studio was also a frequent stop on tourists' visits to Florence. In 1839 Powers began working on idealized sculptures in the Neo-classical style, based on history, mythology, and religion. Perhaps most famous of these are Greek Slave and Fisher Boy. Completed in 1845, Greek Slave was exhibited in London and toured the United States. The sculpture received wide attention from the press for its depiction of female nudity and its philosophical significance, and established Powers' international success as a sculptor.

During his career Powers received private and government commissions for portrait busts and ideal sculptures, and sold many replicas of his work. He also invented improved tools for use in his studio, which were patented in the United States, and he developed a special finishing process for marble from the Carrara quarry. He maintained friendships with many Americans through extensive correspondence, and openly expressed his views on the Civil War and the abolition of slavery. Powers' son Longworth had a photography and sculpture studio nearby, and his son Preston, also a sculptor, took over many of Hiram Powers' remaining projects at the time of his death in 1873.

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Overview of the Collection

Scope and Contents

The papers of sculptor Hiram Powers measure 12.2 linear feet and date from 1819 to 1953, with the bulk of the material dating from 1835 to 1883. Over two-thirds of the collection consists of Powers' correspondence, which is particularly rich in documenting his artwork, methodology, and his interaction with business associates, purchasers of his artwork, and his numerous friends in the United States and Florence, Italy. Other papers include scattered biographical material, writings by Powers and others, financial and legal records, news clippings and printed items, photographs of Powers, his family, artwork, as well as an extensive collection of carte de visite and cabinet card portraits of many notable figures. Also found is a small amount of artwork by Powers and others, a scrapbook, and two autograph and memorabilia albums.

Biographical material consists of documents for honors conferred on Powers, price lists and inventories of his artwork, papers regarding his death, including a translation of his will, and ephemera, such as his studio cap.

The bulk of the collection consists of Powers' correspondence with family, friends, business associates, and others, documenting his career as an artist and his personal life after he and his family moved to Florence, Italy, in 1837. Almost all of the letters have typed unconfirmed transcriptions completed by volunteers at the Smithsonian American Art Museum. Besides details of his studio work and business dealings, his letters often discuss his views on aesthetics, American politics, slavery and the Civil War, and Spiritualism. Notable correspondence is with William B. Astor, Edward Everett, Samuel York Atlee, William and E. Clementine Kinney, George P. Marsh, George Peabody, Presidents Andrew Jackson and John Quincy Adams, William Cullen Bryant, Elizabeth Barrett Browning, John C. Calhoun, Thomas Crawford, John A. Dix, Asher Durand, Charles Francis Fuller, Henry Peters Gray, Horace Greeley, George P. A. Healy, Henry Wadsworth Longfellow, Samuel F. B. Morse, W. W. Story, John Sartain, Frances Trollope, and Daniel Webster.

Writings by Powers include his "Studio Memorandum," a journal-type notebook he kept from 1841 to 1845, which contains dated notations of letters written, receipts and expenditures, business contacts, works in progress, commissions and price quotations for work, comments on problems encountered during studio work, and other notes. Additional writings include poetry and autobiographical essays and instructions for handling his sculptures. Writings by others include poetry, most of which was written in praise of Powers' artwork. Of note are handwritten transcripts of poems by Elizabeth Barrett Browning, Bayard Taylor, and John Quincy Adams. Also found here are short writings about Powers and his artwork.

Scattered financial and legal records in this collection include patent documents for tools invented by Powers, legal agreements, account statements, and bills and receipts. Printed material consists of news clippings, two booklets, an art association brochure, and an exhibition catalog for works by Powers.

This collection contains photographs of Hiram Powers, his family, friends, notable public figures, and artwork. Many of the photographs were taken by his son, Longworth Powers, who had a private photography studio in Florence. Included are portraits of Powers and his family, as well as a collection of 267 carte de visite and cabinet card portraits of artists, performers, politicians, writers, scientists, and other public figures, many of whom were friends with the Powers family. Other photographs depict Woodstock, Vermont, the marble quarry at Carrara, Italy, and artwork by Hiram and Preston Powers. Also found here is a photograph album kept by Louisa Powers.

Artwork consists of three drawings by Hiram Powers, including a caricature of Miner Kellogg. Also found in this collection is a scrapbook containing news clippings regarding the American tour of the sculpture Greek Slave, an autograph album belonging to Louisa Powers, and an album containing pencil drawings by Preston Powers and dried flowers collected on travels.

Arrangement and Series Description

The collection is arranged into 8 series:

• Series 1: Biographical Material, 1841-1927 (Box 1, 15; 0.8 linear feet)
• Series 2: Correspondence, 1819-1883 (Box 1-10; 9.0 linear feet)
• Series 3: Writings, 1827-1887 (Box 10; 0.3 linear feet)
• Series 4: Financial and Legal Records, circa 1840s-1892, 1915 (Box 10, OV 17; 8 folders)
• Series 5: Printed Material, circa 1845-1953 (Box 10; 5 folders)
• Series 6: Photographs, circa 1860s-1900, 1927, 1932 (Box 10-13, 16, OV 17; 1.6 linear feet)
• Series 7: Artwork, 1860, mid-1800s (Box 11; 4 folders)
• Series 8: Scrapbooks and Albums, 1847-1876 (Box 14; 3 folders)

Subjects and Names

Provenance

The Hiram Powers papers were purchased by the Smithsonian American Art Museum in 1967 from Christina Seeber, great-granddaughter of Hiram Powers. A portion of these papers were loaned to the Archives of American Art for microfilming in 1974, and the entire collection was subsequently transferred to the archives from the museum in 1984.

Separated and Related Materials

Also found at the Archives of American Art is an unpublished manuscript entitled "White Marble: The Life and Letters of Hiram Powers, Sculptor," by Clara Louise Dentler, available on Archives of American Art microfilm reels 1102-1103. Microfilm reels 815-818 contain a "Collection of Letters from Old Residents of Cincinnati to Hiram Powers," compiled by Clara Louise Dentler, and loaned for microfilming by the Cincinnati Historical Society. These letters are not described in this finding aid. Microfilm reel 3416 contains copies of the Charles James Madison Eaton correspondence with Hiram Powers, and a letter received from Thomas Sully, 1845-1867, loaned by the Maryland Historical Society. Microfilm reel D117 contains "The Sculpture of Hiram Powers," by Paul B. Metzler, lent for microfilming by Ohio State University. Additional Hiram Powers papers are available at the Winterthur Museum.

How the Collection was Processed

The collection received a preliminary level of processing while still located the Smithsonian American Art Museum and was microfilmed by the Archives of American Art in that arrangement on reels 675, 688, 1131-1147, 3534, and 3612. Portions of the collection received additional processing after the transfer of the papers to the Archives of American Art. The entire collection was fully processed, arranged, and described by Erin Corley in 2008-2009 and scanned in 2010 with funding provided by the Terra Foundation for American Art.

How to Use the Collection

Restrictions on Use

Use of original papers requires an appointment.

Ownership & Literary Rights

The Hiram Powers papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Available Formats

The collection was digitized in 2010 and is available via the Archives of American Art's website.

Location of Originals

Copyprints of family photographs were donated in place of originals which were kept by Christina Seeber. Copyprints are available within the collection.

How to Cite this Collection

Hiram Powers papers, 1819-1953, bulk 1835-1883. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Biographical Material, 1841-1927 (Box 1, 15; 0.8 linear feet)

This series contains scattered biographical material documenting the life and career of Hiram Powers. Included is a brief, incomplete, handwritten list of births, marriages, and deaths in the Powers family. Also found are several documents for honors conferred on Hiram Powers such as honorary degrees, membership into art organizations, including the National Academy of Design, and an appointment by the U. S. Government as a commercial agent in Florence. Many of these documents are in Italian. This series also contains several price lists and inventories of artwork by Hiram Powers, including a studio inventory from 1905, and lists of works done by his chief carver, Remigio Peschi. Also found are documents regarding Powers' death, such as obituaries, death notices, a handwritten copy of a funeral address, and a bound document entitled "Translation of Hiram Powers Will". This document was written by George and Mrs. Marsh, and includes a copy of Powers' will, notes about his estate, notes regarding family disputes and legal matters, and copies of family letters regarding the estate. Also found here are scattered items belonging to Powers, such as his studio cap and a handkerchief.

Items are arranged chronologically within each folder. This series has been scanned in its entirety except for the handkerchief and studio cap.

Series 2: Correspondence, 1819-1883 (Box 1-10; 9.0 linear feet)

This series contains 9.0 linear feet of correspondence between Hiram Powers and family, friends, business associates, and others, primarily documenting his career and personal life after he and his family moved to Florence, Italy, in 1837. Found here are thousands of incoming letters as well as copies of outgoing letters written by Powers. Outgoing letters were copied by a process of placing moistened paper in a press, and because of this, these letters are often difficult to read and very fragile. Some of the personal correspondence is addressed to both Powers and his wife Elizabeth, or just to Elizabeth, and much of the business correspondence from the 1870s, while Hiram Powers was in ill health, was written by or addressed to his son, Preston Powers. Almost all letters have typed transcriptions completed by volunteers at the Smithsonian American Art Museum before the collection was donated to the Archives of American Art. Researchers should note that archivists have not verified these transcripts for accuracy.

Correspondence in this collection reveals much about Hiram Powers' artwork, methodology, and his interaction with business associates, patrons, and purchasers of his artwork. His business correspondence is with patrons such as William B. Astor, Edwin C. Litchfield, and John S. Preston, his business agents, such as Theodore Dehon in New York and M. M. Holloway in London, banking firms and shipping companies, and committees for U. S. government commissions. These letters often discuss financial details, his progress on commissioned sculptures, shipping instructions, his tool inventions and patent applications, and legal issues. Powers also corresponded with numerous individuals who privately commissioned works or inquired on purchasing works.

Powers and his family maintained a large circle of friends in the United States and Europe, including many artists, writers, as well as politicians whom he met while working in Washington, DC. In his very detailed letters he discusses his artwork and current studio projects, his views on the art world, the art community in Florence, ideal sculpture, and aesthetics. He also shares his thoughts on American politics, abolition of slavery and the Civil War, and Spiritualism. Letters sent to Powers from friends and acquaintances discuss general news of family, friends, travels, invitations, and inquiries on studying with Powers. Also found are many letters of introduction for people wishing to visit his studio in Florence. Powers corresponded extensively with family members, including his brothers Benjamin and Sampson Powers, and his wife, Elizabeth, during the period that he lived in Washington, DC.

Also of note in this series is extensive correspondence with his close friends Edward Everett, Samuel York Atlee, Sidney Brooks, William and E. Clementine Kinney, George P. Marsh, George Peabody, and John P. Richardson. Other notable correspondence includes letters to Powers from Presidents Andrew Jackson and John Quincy Adams, and letters to or from William Cullen Bryant, Elizabeth Barrett Browning, John C. Calhoun, Thomas Crawford, Samuel Colt, John A. Dix, Asher Durand, Charles Francis Fuller, Henry Peters Gray, Horace Greeley, George P. A. Healy, Henry Wadsworth Longfellow, William Morris, Samuel F. B. Morse, Edmund Niemann, W. W. Story, John Sartain, Frances Trollope, and Daniel Webster.

Letters have been arranged alphabetically. Letters from individuals who had correspondence with Powers of four letters or less are found within the miscellaneous folders. This series has been scanned in its entirety, including the transcripts.

Series 3: Writings, 1827-1887 (Box 10; 0.3 linear feet)

This series contains writings by Hiram Powers and writings by others. Included here is Powers' "Studio Memorandum," a notebook he kept from 1841 to 1845, which contains dated notations of letters written, receipts and expenditures, business contacts, works in progress, commissions and price quotations for work, comments on problems encountered during studio work, and other notes. Also found are several original poems written by Powers and brief autobiographical writings, such as problems with his eyes and details regarding his arrival in Europe in 1837. Other writings by Powers include an incomplete story titled "Ghost Story," advice for a young sculptor, and directions regarding his sculptures, such as step by step instructions on using tools and directions for handling finished sculptures.

Writings by others include numerous poems written for Powers, many in praise of one of his sculptures. Of note are a poem by President John Quincy Adams, a poem by Elizabeth Barrett Browning in praise of Powers' "Greek Slave," a booklet entitled "Occasional Verses by Maunsell B. Field," and poems by Bayard Taylor, Thomas Ball, and Theodosia Trollope. Additional writings in this series include a brief account of Powers' studio by L. L. Barnes, a biographical account of Hiram Powers' life prior to moving to Europe in 1937, and a description of one of his sculptures by Frances Trollope. Other writings consist of a Phrenological study of Hiram Powers' personality, and two writings by unidentified authors which discuss Powers' artwork.

This series has been divided into writings by Powers and writings by others. This series has been scanned in its entirety.

Series 4: Financial and Legal Records, circa 1840s-1892, 1915 (Box 10, OV 17; 8 folders)

This series contains scattered financial and legal records primarily documenting Hiram Powers' career as an artist. Included are patent documents for several sculpture designs, such as "Greek Slave," and for the invention of tools used in his studio. Also found are Power of Attorney agreements for Powers' business dealings in the United States while he lived in Florence, and other legal agreements, regarding both personal matters and the sale and commission of sculptures. This series also contains various financial account statements and miscellaneous financial records, such as bills and receipts. Many of these items are in Italian.

Items are arranged chronologically within each folder. This series has been scanned in its entirety.

Series 5: Printed Material, circa 1845-1953 (Box 10; 5 folders)

The small amount of printed material in this series includes two booklets, one belonging to Mrs. Powers and containing funeral addresses for the poet Bayard Taylor, and the other a collection of letters between the artist Miner Kellogg and his friends, including Hiram Powers. Also found is a catalog for an exhibition of Powers' sculpture and an art association brochure. News clippings document news of American artists in Florence, announcements regarding Powers' sculptures, news of Cincinnati, and news about Powers' friend, Frances Trollope.

This series has been scanned in its entirety.

Series 6: Photographs, circa 1860s-1900, 1927, 1932 (Box 10-13, 16, OV 17; 1.6 linear feet)

This series contains numerous photographs of Hiram Powers, his family, friends, notable public figures, and his artwork. Many of the photographs were taken by Hiram Powers' son, Longworth Powers who had a photograph studio in Florence. Found here are several portraits of Hiram Powers, including a portrait of him in his studio apron, standing next to a portrait bust, and photographs of him with the poet William Cullen Bryant and philanthropist George Peabody. Also found are portraits of his wife Elizabeth, son Preston, and three group photographs of the Powers family.

Also within this series is Hiram Powers' extensive collection of 267 Cartes de Visite and Cabinet Cards depicting friends, notable figures, and those who sat for portraits by the artist, or who had portraits taken by Longworth Powers. Included are American and European artists, performers, politicians and other leaders, writers, and scientists, many of whom were friends with Powers. Notable figures include the artists Thomas Ball, Charles Francis Fuller, and John Everett Millais, performer Sarah Bernhardt, writers Robert Browning, Wilkie Collins, Horace Greeley, Victor Hugo, Henry Wadsworth Longfellow, Bayard Taylor, John Ruskin, John Greenleaf Whittier, Alfred Tennyson, and Mark Twain, and others, such as William Lloyd Garrison, Henry Ward Beecher, Edward Everett, Florence Nightingale, David Livingston, Prince Napoleon, and Queen Victoria.

Additional photographs contained in this series include five stereo cards of Woodstock, Vermont, including two photographs of the house where Hiram Powers was born, photographs of Italy and the marble quarry at Carrara, and a collection of photographs of Native Americans belonging to Preston Powers. Also found are photographs of artwork by Hiram and Preston Powers, including photographs of artwork in Powers' studio, and photographs of a painted portrait of a young Hiram Powers by Francis Alexander, and a second painted portrait by an unidentified artist.

Also of note is a photograph album kept by Louisa Powers containing photographs of artwork by Powers and photographs of Italy, and two posters with attached photographs by Longworth Powers of people such as Hiram Powers, Thomas Ball, and their artwork, and photographs of Italy.

This series also contains many glass plate photographs and negatives, including two lantern slides of unidentified people, possibly taken by Longworth Powers of members of the Powers family. Glass plate negatives consist of three portraits of Hiram Powers and one of his wife Elizabeth, other unidentified portraits, and photographs of sculpture by Powers, which can also be found among the printed photographs in this series.

Photographs are arranged by format and subject matter. The bulk of this series has been scanned. Items not scanned include photographs and glass plate negatives of artwork.

Series 7: Artwork, 1860, mid-1800s (Box 11; 4 folders)

This series contains three drawings by Hiram Powers, including a caricature of the artist Miner Kellogg, a caricature of a "Bust of a Florentine done by one of Bartolini's pupils," and a drawing of his servant "Old Annuziata". Also found is a pencil drawing, possibly by Miner K. Kellogg, of his Powers' residence in Ohio, and an ink drawing of the floor plan of the Poggio Imperiale. This series also includes a drawing of "Alexr [sic] Drake singing Love and Sausage". The legibility of the signature is unclear, but it may have been drawn by the Cincinnati sculptor, Thomas Dow Jones.

This series has been scanned in its entirety.

Series 8: Scrapbooks and Albums, 1847-1876 (Box 14; 3 folders)

This series contains two albums and a scrapbook compiled by members of the Powers family. Included is a scrapbook containing news clippings regarding the American tour and public response to Hiram Powers' sculpture "Greek Slave" and several notices of his death in 1873. Also found is an album presented to Louisa Powers from her mother that contains autographed poems and quotations from several notable authors, including Robert and Elizabeth Barrett Browning, Bayard Taylor, Thomas Buchanan Read, William Cullen Bryant, and the Trollope family. Another album found here, possibly belonging to Louisa Powers, contains three pencil drawings by Preston Powers, poetry, and dried flowers collected on travels during 1867.

This series has been scanned in its entirety.