Your TR Source
Ernst & Ernst sends Theodore Roosevelt their 1912 calendar featuring Thomas Moran’s painting The Last Furrow. They comment on the painting’s technique and what makes business successful. They hope Roosevelt will acknowledge receipt of their calendar and send any feedback he has.
Library of Congress Manuscript Division
1911-12-18
Invitation for the dedication of Roosevelt Point on the North Rim of the Grand Canyon hosted by Secretary of the Interior Bruce E. Babbitt and the National Park Service.
1996-04-03
Chronology of the daily life of Theodore Roosevelt between January 1879 to December 1883. Notable events include Theodore Roosevelt’s engagement and marriage to Alice Hathaway Lee, his appointment to the New York State Legislature, and his first visit and buffalo hunt in North Dakota.
Theodore Roosevelt Association
1985
Chronology of the daily life of Theodore Roosevelt from October 1858 to December 1870. Notable events include the Roosevelt family’s involvement in the American Civil War, Theodore Roosevelt meeting John Hay as a child, and the Roosevelt family’s first European trip.
Theodore Roosevelt Association
1985
Postcard showing the Hall of Representatives in the United States Capitol building consisting of an assembly room with desks and chairs arranged in a semi-circle around a central desk flanked by portraits of George Washington and the Marquis de Lafayette. Additional seating on the second story overlooks the area.
In Charles C. Myers’s own words, “This is an interior view of the Hall of Representatives. This room is 139x93ft with a 30ft ceiling. At either side of the Speakers desk are the portraits of Washington and Layfaette [sic].”
Postcard showing a large hallway lined with paintings and busts. Charles C. Myers identifies it as one of the galleries in the south wing of the Palace of Versailles. He comments on the gallery’s dimensions and notes that there are paintings of battles scenes of the American Revolutionary War. Myers discusses the art of making the tapestries and rugs also on display in the gallery.
In Charles C. Myers’s own words, “This is one of the galleries of the south wing of the palace. This hall is 400 ft long and 45 ft wide, but is divided in the middle by a set of columns. In the far end of the hall is to be seen many rare paintings and battle scenes and many scenes in America during the Revolutionary War. The siege of Yorktown in 1781 is one of the most prominent paintings in the hall. Here in the near end of the hall that which appears to be paintings is very fine tapestries and all amde [sic] by hand, representing battle scenes of the 13th to 16th centuries. The art of making these fine tapestries seems to be a secret kept by a certain sect or class of people and passed on to the next generation. This tapestry work is still done is Paris but is so expensive that few are made for other than Royal families. From across the room you would be willing to take oath that these tapestry pieces were fine paintings.”
Postcard showing the interior of a neoclassical chapel with columns, archways, and a painted ceiling. Charles C. Myers identifies it as the chapel next to the Palace of Versailles. He comments on the various artistic details.
In Charles C. Myers’s own words, “We saw an exterior view of the small chapel or cathedral, now here is an interior view of the same place. Notice the beautifully designed floor which looks like costly rugs, but it is only mosaic work, colored stones or tiling so artistically arranged as to represent very finely woven rugs. The paintings overhead are among the leading paintings of one of the leading painters of the 17th century. It is said that there is a lost art in painting as was done in those days as their brilliancy increases with age instead of fading as paintings of modern times. These paintings are over 200 years old and yet they seem as fresh as if they were only finished and hardly dry.”
Postcard showing a painting of a young girl surrounded by a group of people with a religious leader placing his hand on her head. Charles C. Myers identifies it as a painting of the life of Saint Genevieve, one of the patron saints of Paris, France. The painting hangs in the Pantheon.
In Charles C. Myers’s own words, ” This is a painting from the life of St. Genevieve that is hanging on the wall in the west wing of the Pantheon. These paintings are supposed to represent scenes in her life and the time she come [sic] to Paris to live after the death of her parents about 450. At that time she was a mere child yet she distinguished herself by her benevolence to all. She is said to have perdicyed [sic] an invasion of Paris and when Atilla with his army were threatening the city she persuaded the people to stay and her prophesy was true, that the attact [sic] would amount to but little.”
Postcard showing a painting depicting a woman holding a baby standing next to a man looking on a young girl kneeling in front of a cross. Sheep graze in the background among trees. Charles C. Myers identifies it as a painting of the life of Saint Genevieve, one of the patron saints of Paris, France. The painting hangs in the Pantheon.
In Charles C. Myers’s own words, ” This is a painting from the life of St. Genevieve that is hanging on the wall in the west wing of the Pantheon. These paintings are supposed to represent scenes in her life and the time she come [sic] to Paris to live after the death of her parents about 450. At that time she was a mere child yet she distinguished herself by her benevolence to all. She is said to have perdicyed [sic] an invasion of Paris and when Atilla with his army were threatening the city she persuaded the people to stay and her prophesy was true, that the attact [sic] would amount to but little.”
Library of Congress Prints and Photographs
1921-11-07
Theodore Roosevelt and Public Memory (1919-present)
Photograph showing an oil painting of President Roosevelt jumping his horse, Bleistein, over a wooden rail fence.
Library of Congress Prints and Photographs
1906-10-20
Painting depicting a three-quarter length portrait of Theodore Roosevelt surrounded by an American flag.
Library of Congress Prints and Photographs
1921-01-27
Photograph showing portrait painting of Theodore Roosevelt by József Koppay.
Library of Congress Prints and Photographs
1957
Photograph showing Jan Mitchell, president of Luchow’s, presenting a painted portrait of Theodore Roosevelt to New York Police Commissioner Howard Leary.
Library of Congress Prints and Photographs
1966
Reproduction of painting by Frederic Remington showing Theodore Roosevelt, on horseback, with his men running close behind him; some men are being shot while others lay dead in the grass.
Library of Congress Prints and Photographs
1956
The Brussels Museum recently acquired the painting “The Duo,” by Gonzales Coques, at the sale of the late Maurice Kann’s collection. Had the painting been closely examined and the crest of the van Roosevelts been recognized, the painting may have been sold for much more, or may have been purchased by an American buyer, because of its connection with former president Theodore Roosevelt. The article provides a brief overview of Coques’s career as a painter in the 1600s.
Library of Congress Manuscript Division
1911-08-06
Theodore Roosevelt is not included in Howard Chandler Christy’s sketch of the battle of San Juan Hill because he was not in the real battle. Roosevelt and his Rough Riders were taking part in a different skirmish at the time, attacking Kettle Hill, three-quarters of a mile away from San Juan Hill. The picture will be published in an illustrated encyclopedia.
Library of Congress Manuscript Division
1911-02-08
President Roosevelt paints “our next president” on a canvas. From one way, it looks like William H. Taft. From the other, it looks like William Jennings Bryan.
Camillus Kessler, the facile cartoonist for the radical Woman’s National Daily in St. Louis, who would soon switch cross-town to Joseph Pulitzer’s St. Louis Post-Dispatch (and thence to Pulitzer’s New York World), invested this cartoon with clever icons and graphic representations.
President Roosevelt admires his painting of William H. Taft—”my candidate for president”—and says, “Nice work.” There is a picture of “James S. Sherman for vice-president” on the wall, which Speaker of the House Joseph Gurney Cannon points at and says, “Oh! I don’t know — he’s one of us.”
This cartoon by Joseph Harry Cunningham was published four days after the closing gavel of the 1908 Republican National Convention. It presents an accurate depiction of the convention results, as well as the relative positions of the candidates, the president, and the Old Guard party stalwarts, who are represented by Speaker Joseph Gurney Cannon.
President Roosevelt holds a paintbrush and thinks as he paints a banner. The top part says: “my candidate, my policies, my platforms.” On the left is William H. Taft “for president,” but the vice president on the right is not completed.
In this clever cartoon by C. R. Macauley of the New York World, its point is not that President Roosevelt needed to wonder about, or dictate, the Republican vice-presidential nominee at the imminent national convention. At this time the selection of those candidates was strictly left to convention delegates or party bosses, never the “top of the ticket.”