This volume features nearly 500 paintings, watercolors, pastels, and miniatures from Harvard University's storied, yet little-known, collection of American art. These works, many unpublished, are drawn from the Harvard Art Museums, the University Portrait Collection, the Peabody Museum of Archaeology and Ethnology, and other entities, and date from the early colonial years to the mid-19th century. Highlights include a rare group of 17th-century portraits, along with important paintings by Robert Feke, John Singleton Copley, Charles Willson Peale, Gilbert Stuart, and Washington Allston, in addition to works depicting western and Native American subjects by Alexandre de Batz, Henry Inman, and Alfred Jacob Miller, among others. Each work is accompanied by scholarly commentary that draws on extensive new research, as well as a complete exhibition and reference history. An introduction by Theodore E. Stebbins Jr. describes the history of the collection. Lavishly illustrated in color, this compendium is a testament to the nation's oldest collection of American art, and an essential resource for scholars and collectors alike.

With contributions by Ross Barrett, Michelle DuBois, Judith Hoos Fox, Sandra Grindlay, Stephanie Mayer Heydt, Anna Lee Kamplain, Kevin Moore, Virginia Raguin, Melissa Renn, Kerry Schauber, and Miriam Stewart This handsome book is the first to appear in a series of three volumes that will catalogue Harvard University’s distinguished collection of American paintings. It documents nearly 500 paintings, watercolors, pastels, and stained-glass windows––many of which have never been published before––by artists born between 1826 and 1856. The book features works by Albert Bierstadt, Winslow Homer, John La Farge, John Singer Sargent, J. A. M. Whistler, and Sarah Wyman Whitman, along with numerous less-known but important artists. Entries that draw on new research and scholarship accompany the works. Included is an introduction by Theodore Stebbins, Jr., outlining Harvard’s collecting history and an essay by Virginia Raguin introducing Harvard’s Memorial Hall and its twenty-one masterworks in stained glass. Also included are eighty-three works by Charles Herbert Moore, artist, educator, and the Fogg Art Museum’s first director.

The fascinating story of the transformation of American watercolor practice between 1866 and 1925 The formation of the American Watercolor Society in 1866 by a small, dedicated group of painters transformed the perception of what had long been considered a marginal medium. Artists of all ages, styles, and backgrounds took up watercolor in the 1870s, inspiring younger generations of impressionists and modernists. By the 1920s many would claim it as "the American medium." This engaging and comprehensive book tells the definitive story of the metamorphosis of American watercolor practice between 1866 and 1925, identifying the artist constituencies and social forces that drove the new popularity of the medium. The major artists of the movement - Winslow Homer, John Singer Sargent, William Trost Richards, Thomas Moran, Thomas Eakins, Charles Prendergast, Childe Hassam, Edward Hopper, Charles Demuth, and many others - are represented with lavish color illustrations. The result is a fresh and beautiful look at watercolor's central place in American art and culture.

A beautifully illustrated guide to the diverse traditions of stained glass art throughout history. The Illuminated Window is a unique journey through stained-glass installations across history. From the twelfth to the twenty-first centuries, we find in windows stories of conflict, commemoration, devotion, and celebration. Virginia Chieffo Raguin is our guide through the cathedrals of Chartres, Canterbury, and Cologne as well as Paris’s Sainte-Chapelle, Swiss guildhalls, Iran’s Pink Mosque, Harvard Memorial Hall, Tiffany’s chapel for the World Exposition, Frank Lloyd Wright’s houses, and more. In her telling, stained glass relies on more than a single maker but on the relationship between the physical site, the patron’s aims, the work’s legibility for the spectator, and the prevailing style of the era. This is a fascinating and beautifully illustrated volume for anyone interested in stained-glass works.

This collection of intimate letters reveals the remarkable radicalism—personal and political—of Mathilde Franziska Anneke. Anneke first became a well-known feminist and democrat in Prussia, earning notoriety for divorcing her first husband and fighting in the German Revolutions of 1848–1849. After moving to the United States, she became a noted proponent of woman suffrage, working with Elizabeth Cady Stanton and Susan B. Anthony. Like many other refugees of the German revolutions, Anneke was deeply involved in the Civil War. Radical Relationships focuses on the years 1859–1865, which encompassed not only the war but also Anneke’s intense romantic friendship with Yankee abolitionist Mary Booth. Over the course of seven years, Anneke supported Mary through her husband’s trial for rape. When Sherman Booth was later imprisoned for his abolitionist activity, Anneke conspired to spring him from jail. The two women then moved with three of their children to Zürich, Switzerland, where they collaborated on antislavery fiction and mixed with leading European radicals such as Ferdinand Lassalle. From Europe, they followed the fate of German-born soldiers in the Union army, including Anneke’s husband, Fritz, and his court martial. Throughout her career, Anneke’s intimate relationships informed her politics and sustained her activism. Her correspondence with Fritz and Mary Booth provides fresh perspectives on the transnational dimensions of the Civil War and gender and sexuality.