Gayle Porter Hoskins Manuscript Collection

A Finding Aid to the Gayle Porter Hoskins Manuscript Collection

Helen Farr Sloan Library, Delaware Art Museum

Wilmington, Delaware
2002


Accessioned: Gift of Alene Hoskins, 1972
Extent: 112 boxes
Access: Unrestricted

Contact Information:
Helen Farr Sloan Library
Delaware Art Museum
2301 Kentmere Parkway
Wilmington, DE 19806

TABLE OF CONTENTS

Biography of Gayle Porter Hoskins
Scope and Contents Note
Organization of the Collection
Description of the Collection

 

BIOGRAPHY OF GAYLE PORTER HOSKINS

Gayle Porter Hoskins was born in Brazil, Indiana, on July 20, 1887, but moved with his family to Denver, Colorado, when he was five. He developed his intimate knowledge of horses, reflected later in his paintings, during his years in Colorado. At the age of fourteen, he became a cartoonist for the Denver Post. After his mother’s death in 1904, the family moved to Chicago, and Hoskins enrolled in the Chicago Art Institute, where he studies under Charles Francis Browne, Frank Phoenix, Thomas Wood Stevens, and John Vanderpoel. In 1907 he became a mural designer for Marshall Field and Company. In this same year his first illustrations were published in Red Book.

Howard Pyle visited Hoskin’s studio in Chiacgo in 1907 and invited the young illustrator to study with him in Wilmington. Hoskins moved to Wilmington and established a studio there. He studied with Pyle until Pyle’s departure for Italy in 1910. Within a short time, Hoskin’s illustrations were being published in major magazines in America. In addition to magazine illustrations, Hoskins illustrated magazine covers, book jackets, and calendar subjects. By 1918, Hoskins had become a prominent illustrator.

Hoskins taught throughout his life and maintained a genuine interest in the efforts of young artists. He was a founding member of the Wilmington Society of the Fine Arts and frequently exhibited his works there. Hoskins was a co-founder, with Frank Schoonover, of the Wilmington Sketch Club and, in 1928, a founding member of the Wilmington Academy of Art where he taught illustration, life drawing, costume sketch, composition, and antique classes. As magazine illustration began to wane in the late 1930s, Hoskins began painting portraits and historical subjects.

Hoskins was a versatile and prolific illustrator. He was an excellent draftsman and vibrant colorist. His subject matter ranged from portrayals of dramatic, emotional interludes to thrilling cowboy scenes and powerful historical depictions as well as formal portraits.

Hoskins died January 14, 1962, at the age of seventy-four.

By Hope Z. Schladen

Sources:

Taken from Elzea, Rowland and Elizabeth H. Hawkes, eds. A Small School of Art: The Students of Howard Pyle. Wilmington: Delaware Art Museum, 1980.

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SCOPE AND CONTENTS NOTE

The Hoskins Collection consists of records, personal history, illustrated work, photographs, and memorabilia.

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ORGANIZATION OF COLLECTION

Series I: General Information about Hoskins
Series II: Correspondence
Series III: Miscellaneous Objects
Series IV: Oversize Material
Series V: Photographs
Series VI: Magazine Illustrations Collected by the Delaware Art Museum
Series VII: Print Collection

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DESCRIPTION OF THE COLLECTION

Series I: General Information About Hoskins

Box 1
Folder 1: Biography
Folder 2: Personal Papers, etc.
Folder 3: Work of Art
Folder 4: Death notices, cemetery, etc., taxes, Social Security card
Folder 5: Campaign Against Quebec, typescript
Folder 6: Drama League
Folder 7: Eleutherian Mills, Hagley Foundation
Folder 8: Exhibition catalogs
Family 9: History, Genealogy
Folder 10: Gulf States Paper Publication
Folder 11: Library record collection

Box 1a
Folder 12: Allen Russell Neville, Chronology—Restricted
Folder 13: Gayle Porter Hoskins: Artist-Illustrator, 1887-1962 by Allen Russell Neville

Box 2
Folder 14: Miscellaneous
Folder 15: Magazine articles
Folder 16: Manuscripts
Folder 17: Newspaper clippings, 1900-1959
Folder 18: Newspaper clippings, 1960-1969
Folder 19: Newspaper clippings, 1970-
Folder 20: Phoenix Art Institute
Folder 21: Photos & negatives – works
Folder 22: Portraits
Folder 23: Reproductions
Folder 24: Students
Folder 25: Paintings – description and background information
Folder 26: Wilmington Academy of Art
Folder 27: World War I

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Series II: Correspondence

Box 3
Folder 28: Regarding purchase of paintings before death
Folder 29: Regarding purchase of paintings after death
Folder 30: From and to owners of paintings
Folder 31: N.C. Wyeth to Hoskins, 8 page letter
Folder 32: Allen Neville
Folder 33: About paintings
Folder 34: Personal
Folder 35: Prints
Folder 36: Pyle students
Folder 37: Alene Hoskins – Personal
Folder 38: Regarding Grace Hoskins Stevenson and estate

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Series III: Miscellaneous Objects

Box 4
Item 1: Gayle Hoskins’ funeral book
Items 2, 3: Alene Hoskins’ bridal book (2)
Item 4: Alene Hoskins’ autograph book
Items 5: Two (2) journals (possible psychic writing)
Items 7 – 10: Four (4) daguerreotypes
Item 11: Calendar/appointment book
Items 12, 13: Two (2) name plates (12 – Mrs. Gayle Porter Hoskins; 13 – Hoskins’s Address)

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Series IV: Oversize Material

Box 5
Photograph – Models
Chicago Tribune - Grafic Magazine, March 20, 1949 (2 copies), reproduction of “Rifle Frolic”
Printing plates (2) – Gayle Porter Hoskins
Poster – “Round-Up Romance”

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Series V: Photographs

Box 6
Oversize
Glass negatives (moved from Box 1)

Box 7
Unsorted

Box 8
Folder 1: Works of art
Folder 2: Alene Rollo Hoskins
Folder 3: Unidentified photographs, baby portraits
Folder 4: Unidentified photographs, groups
Folder 5: Comet Band photographs, Brazil, Indiana
Folder 6: Unidentified portraits, female
Folder 7: Unidentified portraits, male
Folder 8: Male models
Folder 9: Miscellaneous

Box 8a
Folder 10: Miscellaneous (13, 14)
Folder 11: Animals (16, 17)
Folder 12: People

Box 9
Two (2) albums

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Series VI: Magazine Illustrations Collected by the Delaware Art Museum (4 boxes)

Box 10
All-American Fiction 1938
American Heritage, Summer 1950
American History, Illustrated 1966
American Magazine 1909-1913, undated, 1922-1928
American Sunday Monthly 1910-1916
Book illustrations and covers
Boys Life 1930
Colliers 1906-1925
Complete Stories 1932-1934
Cosmopolitan 1911-1921
Country Gentleman 1913, 1919
Cowboy Stories 1937
Delineator 1915-1919
DuPont Safety Calendar of 1942
Esquire, August 1949
Everybody’s 1909-1926

Box 11
Good Housekeeping 1913-1915, 1917-1924
Harpers Monthly 1910-1917
Harpers Weekly 1908, 1912
Hearst’s Magazine, 1913
Hercules Powder Co.
Illustrations (source unknown)
Illustrations (original cont.)
Ladies Home Journal 1908-1915, 1917-1924
Liberty 1924

Box 12
Metropolitan 
New Story Magazine 1912
Outers’ Recreation 1923-1925
Pictorial Review 1919-1922
Popular Magazine 1910-1924
Recruiters Review, June 1949
Redbook 1907-1913, 1913-1916, 1917-1923
St. Nicholas 1908
Saturday Evening Post 1908-June 1910, July 1910-June 1911, August 1911-May 1912, July 1912-November 1917

Box 13
The Shooter’s Guide 1925
Top Notch Magazine 1930-1933
Unidentified Illustrations
Western Story Magazine 1924-1934
Woman’s Home Companion 1923-1925
Youths Companion 1926-19287

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Series VII: Print Collection (Boxes 14-115)

The prints from the negatives are divided into twenty subject categories, each of which is assigned a number.
1 – Architecture
2 – Animals
3 – Circus
4 – City Scenes
5 – Dancing Couple
6 – Genre
7 – Farming
8 – Soldiers
9 – Landscape/Seascape
10 – Miscellaneous
11 – World of Work
12 – Boats
13 – Transportation
14 – Woman in Woods
15 – Portraits, Male
16 – Portraits, Female
17 – Portraits, Group
18 – Models, Miscellaneous
19 – Models in Costume
20 – Models, Western

Each print is identified by an accession number consisting of four parts: 72 (the year the Hoskins Collection was acquired by the Delaware Art Museum); 78 (which indicates that the Hoskins Collection was the 78th item acquired by the Museum in 1972); a whole number that corresponds to the number of the subject category (as listed above); and a decimal number that locates the print in its category.

For example: 72-78-20.4 = the fourth print in the Models, Western category
The prints are boxed according to the number of the subject category. Each box contains up to twenty-five prints. If there are more than twenty-five prints per category, a second box is used and assigned the same number plus a capital letter A, B, …
For example: Box 20 contains the first twenty-five prints of Models, Western. Box 20A contains prints twenty-six through fifty of Models, Western. Box 20B contains prints fifty-one through … of Models, Western
Each box is labeled with the number of the box, the subject of the prints in the box, and the range of accession numbers of the prints on the box.
For example: Hoskins Collection
Box 20/Models, Western
72-78-20.1 to 72-78-20.25

There is a one to one correspondence between the data sheets in the binders and the prints in the boxes. The binders are divided in to subject categories that are the same as the subject categories of the prints. The accession number, identification of subject, location of print, description of print, additional information, and developing information are recorded on each sheet. Thus, by reading the data sheets, you should be able to select and locate the prints are wish to examine.

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