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

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.

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.

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.

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.

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.

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.

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.