Paintings & Drawings
Paintings, drawings, sketches, and pastels are prominent throughout the Armstrong Browning Library. Many are likenesses of the Brownings and some are the work of their son, Pen. Other works featured here either inspired Robert Browning's poetry, were influenced by the Brownings' lives or poetry, or were donations to the collection. In 1961, the Armstrong Browning Library was honored by a gift of five paintings from the Kress Foundation of New York. These European paintings, known as the Kress Study Collection, are the oldest in the building. We are grateful for this gift, just as we are grateful to all the benefactors who have supported and who continue to support the Armstrong Browning Library.
Robert Browning Oil on panel by William Page, 1854 Dimensions: 20" x 16" Location: Research Hall William Page, a pre-Raphaelite artist, was experimenting with the paint and chemicals he used to treat his canvasses, and this particular chemical combination caused the painting to begin darkening after four or five years. The portrait was painted on bitumen wood panel. Despite an attempt to restore the painting, it may eventually turn completely black. This portrait was Elizabeth Barrett Browning's favorite of her husband. It is believed that Robert Browning sat for two hours at a time for 54 sittings to have the portrait painted. The portrait was secured from Wilfrid Meynell in 1948. |
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Robert Browning Oil on Canvas by Samuel Laurence, 1866 Dimensions: 30" x 25" Location: Research Hall Samuel Laurence (1812-1884) also did a pastel drawing of Elizabeth Barrett Browning and a pencil and chalk sketch of Pen Browning, c. 1853. These pieces hang in the Elizabeth Barrett Browning Salon on the third floor of the Library. |
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Robert Browning Photograph by Julia Margaret Cameron, 1870 Dimensions: 8 1/4" x 7 5/8" Location: Research Hall This signed photograph was taken at the home of Alfred, Lord Tennyson, who was a friend of Robert Browning's and neighbor to Julia Margaret Cameron. Robert Browning, 58, is shown with a cloak thrown around his shoulders. This was Robert's own copy of the photo. The photograph was a gift from Dr. Merle B. Stokes. |
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Robert Browning Oil on Canvas by Rudolf Lehmann, 1875 Dimensions: 45" x 34" Location: Meditation Foyer |
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Robert Browning Oil on Canvas by William Fisher, 1877 Dimensions: 36 x 27 1/2" Location: Treasure Room William Fisher (1817 - 1895), Irish portrait and subject painter, was pleased to have literary men sit for portraits. He enjoyed their companionship and conversation and therefore did not seek commissions from them. The three-quarter-length portrait shows Browning seated, holding a book, believed to be the Old Yellow Book, the source for his poem, The Ring and the Book. The painting was a gift to Baylor University from the Senior Class of 1932. |
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Robert Browning Oil by Pen Browning, 1881 Dimensions: 18" x 14" Location: Research Hall This is a companion portrait to the one of Joseph Milsand by Pen Browning. Pen designed this original frame. |
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Robert Browning Oil on Panel by Ralph W. Curtis, 1881 Dimensions: 11" x 8" Location: Treasure Room Ralph Curtis painted Robert Browning's portrait simultaneously with three other portraitists to avoid Browning's having to sit for individual portraits. The Armstrong Browning Library has all but one of the four portraits painted during this sitting. The Curtis portrait was given to the Armstrong Browning Library in April of 1952. |
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Robert Browning Oil on Panel by Harper Pennington, 1881 Dimensions: 8" x 6" Location: Treasure Room Pennington described Browning's face as "...a study of indomitable spirit, gentle melancholia, and majestic dignity." This portrait was one of the four commissioned by Mrs. Arthur Bronson which included Ralph Curtis, Julian Story, and Charles Forbes. The Pennington portrait was a gift to the Armstrong Browning Library in 1944 from John Welsh on behalf of Sigma Tau Delta, the honorary English society at Baylor University. |
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Robert Browning Oil on Panel by Richard Peters, c. 1881-1884 Dimensions: 8 3/4" x 6" Location: Treasure Room This painting is similar to paintings done by Ralph Curtis, Cherubino Kirchmayr, Harper Pennington, and Julian Story, although the actual date is unknown. It was once thought that the work had been painted in 1884, but Robert Browning did not visit Venice (where the portrait was painted) in that year. The painting was given to the Armstrong Browning Library in 1981 by Robert Manning in honor of his brother, Otho A. Manning, L.L.B., 1941. |
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Robert Browning Oil by Pen Browning, 1882 Dimensions: 21" x 16 1/2" Location: Research Hall |
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Robert Browning Watercolor by Cherubino Kirchmayr, 1883 Dimensions: 8 3/4" x 6 3/4" Location: Treasure Room Browning is portrayed in a thoughtful mood, with features that are slightly indistinct. The portrait was presented to Baylor in 1945 by John Welsh, a member of Sigma Tau Delta, Baylor's honorary English society. |
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Robert Browning Oil on Canvas by Sir William Blake Richmond, 1888 Dimensions: 25 1/2" x 19 1/2" Location: Treasure Room Richmond painted Browning for the pleasure of the task itself as well as for the pleasure in possessing a picture of his good friend. He felt his portrait captured the true Robert Browning, "...a very different man from the social one. In society he never gave himself away - he respected himself too much for that." The portrait was given to the Armstrong Browning Library in 1950 by Mr. and Mrs. John Leddy-Jones of Dallas, Texas. |
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Robert Browning Oil by Pen Browning, May 1889 Dimensions: 60" x 42" Location: Entrance Foyer The gold-leaf wooden frame, designed by Pen Browning, is filled with bursting pomegranates. Dr. A. J. Armstrong visited the artist in his home in 1909. Pen Browning told him that he considered this portrait the best likeness of his father. This was the last formal portrait done of Robert Browning, 77, who died at his son's home in Venice a few months later. It was a gift of the Senior Class of 1919. Note: The bells and pomegranates theme can be seen in several places in the Martin Entrance Foyer, the room in which this painting hangs. They are prominent in the stained glass windows, bronze entrance doors, molded plaster ceiling, inlaid in a brass border on the terrazzo floor, and in the frame created by Pen for his father's portrait. Browning titled a series of pamphlets Bells and Pomegranates, a name symbolizing the music and meaning of poetry. The religious associations of the term are found in Exodus, where the border of the high priest's robe is described as being decorated with bells and pomegranates. |
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Robert Browning Pencil Sketch by Major Godfrey Douglas Giles, 1889 Dimensions: 6" x 4" Location: Treasure Room This sketch by Godfrey Douglas Giles (1857 - 1941) was made shortly before Browning's death in December of 1889; in fact, it is the last likeness of Robert Browning drawn from life. Major Giles was visiting Pen Browning in Venice at the same time that Browning was visiting, and he asked the poet to sit for a sketch. Below the drawing is Browning's signature in verse: Here I'm gazing wide awake, |
Elizabeth Barrett Browning Watercolor by Edmund Havell, Jr., 1847 Dimensions: 14" x 11" Location: EBB Salon
Given by Rusty Bush. |
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Elizabeth Barrett Browning Pastel by Samuel Laurence, c. 1853 Dimensions: 13" x 10" Location: EBB Salon A companion portrait of Pen Browning was done by the same artist during the same time period. |
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Elizabeth Barrett Browning Colored chalk by Eliza Fox-Bridell, 1858 Dimensions: 17" x 13" Location: EBB Salon Elizabeth Barrett Browning refers to this drawing in a letter to Euphrasia Fanny Haworth in December 1858. She says: "[Miss Fox] draws well, and has been successful with the hair at least. For the likeness you shall judge for yourself." The drawing, which is signed and dated "E. F. Bridell / Roma 1858," was presented to the Library in March 1957 by C. E. Doolin of Dallas as a memorial to his mother, Mrs. Daisy Doolin. |
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Elizabeth Barrett Browning Drawing by Valentine Cameron Prinsep, c. 1859 Dimensions: 17 1/2" x 13 1/2" Location: EBB Salon |
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Copy of Field Talfourd's colored chalk, Elizabeth Barrett Browning Artist: Thomas Richmond, 1871 Dimensions: 25" x 20" Location: EBB Salon On loan from Joseph Francus. Ellen Heaton commissioned Thomas Richmond (1802 - 1874) to make two copies of Field Talfourd's 1859 portrait of Elizabeth Barrett Browning--this one which is on loan to the Armstrong Browning Library and another now located at Eton College. Richmond began work on the copies in 1869 but did not complete them until 1871. Talfourd's original was sent from Richmond's home in Windermere to the National Portrait Gallery in May 1871. |
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Called Elizabeth Barrett Browning Oil on canvas by Sir William Charles Ross R.A., n.d. Dimensions: 17 1/2" x 15 1/2" Location: EBB Salon Presented to the Library by the children of Dr. & Mrs. Frank S. Groner. |
Robert Wiedeman Barrett (Pen) Browning Pen and chalk by Samuel Laurence, c. 1853 Dimensions: 13" x 10" Location: EBB Salon The artist also created a companion portrait of Elizabeth Barrett Browning during the same time period. |
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Robert Wiedeman Barrett (Pen) Browning Oil by Euphrasia Fanny Haworth, c. 1857 Dimensions: 11" x 8" Location: EBB Salon This painting is described by Elizabeth Barrett Browning in a letter to her sister Arabella on January 10, [1857]. Although Pen was eight years old, his mother still enjoyed his curls and dressed him in velvet and lace. Gift of Irving Bush, Jr. |
Robert Wiedeman Barrett "Pen" Browning (1849-1912), the only child of the Brownings, studied sculpture with August Rodin in Paris and painting with Jean Arnould Heyermans in Antwerp, Belgium, winning several medals and praise from artists of the time. His works were displayed at the Royal Academy, the Grosvenor and Hanover Galleries in London, and at the Paris Universal Exhibition, but he never received the recognition that his father desired.
Nine of Pen's paintings are on display in the Armstrong Browning Library - four portraits (three of his father and one of his father's close friend), a somber night scene, three large-scale canvasses, and one early work. One piece of Pen's sculpture was added to the ABL collections in 2010. For the entry pertaining to "Hope," please visit the Sculpture page under Art & Artifacts. Decide for yourself the merits of his work.
The French Abbe Reading Oil by Pen Browning, 1875 Dimensions: 48 1/2 x 54 1/2" Location: Third Floor Stairwell The reading of Theophile Gautier's infamous "scrofulous French novel," Mademoiselle de Maupin, brings the hint of a smile to the Abbe's face. One of Pen's earliest paintings and his first major sale, the painting was purchased in 1876 by a wealthy ironmaster, Frederick Lehmann. It remained in the Lehmann family until it and a portrait of Robert Browning by Rudolf Lehmann, brother of Frederick, were presented to the Armstrong Browning Library by the Browning Study Club of Dallas, Texas, in 1947. The portrait of Browning is displayed in the McLean Foyer of Meditation. An account by Alfred Domett, taken from The Diary of Alfred Domett 1872-1885, p. 169, reflects an occasion when Domett and his son (Alf) chatted with Browning about the painting: March 30 [1876]. [Alf] and I going to R. Curling's house to dinner in Princess square, as we were crossing Hereford St., heard someone calling loudly, "Domett!" Turned, and Browning came rushing up. Alf's being a Royal Academy student, made us ask how "Pen" was getting on. "He has had a wonderful success!" said Browning. He brought over with him at Xmas a "study" of a priest reading a book. Millais had seen the picture and pronounced "the drawing perfect." Lehmann the artist (I think he said) expressed a desire to purchase it and offered Pen 150 guineas for it. Pen said "It was absurd - it could not be worth so much!" that he did not wish to sell it, knowing its defects. The other persisted in his offer. "Let me wait another year and then I will paint you a picture if you like and if I can," said Pen. "Then your price will probably be beyond me" replied Lehmann, "I must have this one." Browning said Pen was "quite wise" about it and still declined to take so much money, until at last he (Browning) said "Pen, don't be a fool - take it as it is offered." Then he consented but stipulated that it should not be exhibited - not on account of misgivings as to its merit, whatever he may have entertained, but because the book the priest was represented as reading was a very uncanonical one indeed - certain notorious memoirs of a French Madame - and Pen did not wish to give offence to the many who "reverenced priests." |
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The Delivery to the Secular Arm Oil by Pen Browning, 1880 Dimensions: 90" x 130" Location: Third Floor Stairwell This is one of Pen Browning's largest paintings and is considered one of his best works. First exhibited in 1880 by the Hanover Gallery in London, England, the painting depicts a scene during the Spanish Inquisition at Antwerp, 1570. The young woman has been brought forth by guards to stand before her Inquisition accusers and the representative of the secular arm of the government. It is his duty to pass sentence. Robert Browning penned a motto for the painting, which is a translation of a quotation from the poetry of the Spanish poet, Calderon. Therefore the hand of GodThy sentence with His finger Hath written, and this tribunal Consigneth it now straightway Unto the Secular Arm. Added to the Armstrong Browning Library collection in 1990, funds for the painting and its restoration were provided by the Guardian Angel organization, patrons of the Library. |
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Robert Browning Oil by Pen Browning, 1881 Dimensions: 18" x 14" Location: Research Hall This is a companion portrait to the one below of Joseph Milsand. Pen designed this original frame. |
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Joseph Milsand Oil by Pen Browning, 1882 Dimensions: 22" x 18" Location: Research Hall This portrait of Joseph Milsand, French writer, critic, and close friend of the Brownings, was painted as a companion piece to the one of Browning done the year before. The frame is a reproduction of one designed by Pen. Gift of Mr. and Mrs. William R. Kendall, Houston, Texas. |
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Robert Browning Oil by Pen Browning, 1882 Dimensions: 21" x 16 1/2" Location: Research Hall |
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The Ruined Chateau Oil by Pen Browning, c. 1888 Dimensions: 28" x 42" Location: Third Floor Stairwell On April 17, 1888, Robert Browning wrote to his son: |
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Robert Browning Oil by Pen Browning, May 1889 Dimensions: 60" x 42" Location: Entrance Foyer This was the last formal portrait done of Robert Browning, 77, who died at his son's home in Venice a few months later. Dr. A. J. Armstrong visited the artist in his home in Italy in 1909, where Pen told him that he considered this portrait the best likeness of his father. The gold-leaf wooden frame, designed by Pen, is filled with bursting pomegranates. The portrait was a gift to the Browning collection from the Senior Class of 1919. |
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Italian Cook (Venice) Oil by Pen Browning, [ca.1870] Dimensions: 14" x 8 1/2" Location: Third Floor Stairwell A label on the back of the painting indicates that it was purchased at the Sotheby Sale of the Brownings' belongings in 1913 and became the property of Miss R. Fairbairn. Little else is known about the painting. It appears to be an early work of the artist and was acquired for the collection in 2014 through the assistance of the Dr. Delores Gardner Endowment Fund. |
Eliza Flower, Lithograph Artist: Eliza Fox, 1848 Dimensions: 14" x 11" Location: Research Hall Music teacher and good friend to Robert Browning, some scholars believe Eliza Flower (1803 - 1846) was the inspiration for his first published work, Pauline. She definitely encouraged Browning in his desire to be a good poet. An interesting aside is the fact that her sister, Sarah Flower Adams (1805 - 1848), wrote the words for the hymn, "Nearer My God to Thee." Although Eliza set Sarah's words to music, it is not the familiar tune of today. |
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Pied Piper Artist: Charles Altamont Doyle Location: Research Hall Pen and ink wash. Here the piper is depicted as a Scottish bagpiper, rather than the red and yellow pied piper of the German legend. Doyle (1832 - 1893) became known for his somewhat macabre fantasy scenes and for being the father of Sir Arthur Conan Doyle, the creator of Sherlock Holmes. |
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Saint James the Greater, Oil painting Artist: Guercino (Giovanni Francesco Barbieri), c. 1640 Dimensions: 24 1/2 x 21" Location: Treasure Room Barbieri acquired the name "Guercino," which means "squint-eye," as the result of an injury which took the sight from one of his eyes. Guercino began his artistic career at the age of ten and later joined the ranks of remarkable young Italian artists of his day. His paintings are found in practically every important city in Italy as well as in many other European galleries. Saint James the Greater was a gift to the Library in 1959 from Robert Manning, who chose to give this particular painting because it reminded him of Browning and The Guardian Angel, another Guercino painting that Browning especially admired. |
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Charity, Oil painting Artist: Guercino (Giovanni Francesco Barbieri), c. 1600s Dimensions: framed 46" x 56" Location: Treasure Room This painting depicts the Virgin Mary and three children, using the presence of the weeping child to illustrate the title of the work. Charity was given to the Library in 1960 by Robert Manning of New York. |
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Copy of Guercino's 1640 oil painting, L'Angelo Custode Artist: Dimensions: 7' x 4' Location: Research Hall Robert and Elizabeth Barrett Browning saw Guercino's original painting in Fano and Browning was inspired to write a poem, which he called "The Guardian Angel: A Picture at Fano." In the poem, Browning wishes that the angel could come down from the painting and minister to him and, in so doing, help him to see the world "as God has made it!" This copy was commissioned in 1932 by William Lyon Phelps, Yale professor and the initial founder of The Fano Club. After his death in 1943, his family donated the painting to the Armstrong Browning Library where the tradition of The Fano Club lives on. |
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Copy of Carlo Dolci's oil painting, Annunciation Artist: Egisto Manzuoli, late 19th century Dimensions: framed 41" x 35" Location: Treasure Room The Dolci original, and its pendant the Annunciate Virgin, is in the Uffizi Gallery, Florence. This beautiful copy, boldly signed on the verso, was a personal gift in 1948 from Ray and Freddie Dudley to Dr. A. J. Armstrong. It was transferred to the Library by Mrs. Armstrong in 1959. |
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Robert and Elizabeth Barrett Browning Artist: John Carroll, 1945 Dimensions: 23" x 29" Location: Foyer of Meditation, Cloister of the Clasped Hands  One of the focal points of the Cloister, this fantasized illustration of the Brownings' courtship was commissioned to promote the power of letter-writing. Its plaque contains a line from one of Robert Browning's letters, "Dear, dear Ba...I believe that, when I have been your husband for years...if I were separated from you for a day and a letter came...my heart would move to it just as it now does." The painting was donated to the Armstrong Browning Library by the Eaton Paper Company. |
From the mid-1920s to the end of the 1950s, Samuel Henry Kress (1863 - 1955) and the Samuel H. Kress Foundation (est. 1929) amassed one of the most astonishing collections of European old master paintings, sculpture, and decorative arts ever assembled through the efforts of a private individual. Even more remarkable was the manner in which the Kress Collection was shared with the American people. The National Gallery of Art in Washington, D. C. was presented 1,800 works of art while all the rest, another 1,300 pieces, was distributed across the continent. Collections of 20 to 60 old masters brought the first Italian paintings to regional communities where Kress five- and ten-cent stores served the public, and Kress study collections introduced European art to institutions of higher learning. Smaller gifts of one to three works spread the pleasure of art even further. Initiated by Samuel Kress in the early 1930s, the distribution of art by the Kress Foundation was completed, under the guidance of his brother Rush Kress, between 1947 and 1961. The five paintings forming the Kress Study Collection at Baylor University were received in 1961 and are displayed as a unit in the Hankamer Treasure Room.
Madonna & Child Between St. John the Baptist and Three Angels Oil Painting after the style of Andrea del Sarto Artist: Unknown, Florentine school, c. 1560 Dimensions: 37" x 30" Location: Treasure Room According to art critics, Andrea del Sarto worthily represents the Golden Age of Florence. Although del Sarto was not the creator of this painting, the form and style heavily suggest that the unknown painter admired and imitated his style. Robert Browning admired the works of del Sarto and based his poem, "Andrea del Sarto," on the artist. |
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Madonna and Child Tempera Painting Artist: Follower of Pietro Lorenzetti of the Sienese school, c. 1350-1400 Dimensions: 57" x 29" Location: Treasure Room Madonna and Child is the center portion of a five-part altarpiece from a church in Sienna; it is the oldest piece in the Armstrong Browning Library's collection. Although it is not known whether the Brownings ever saw the painting, it is a fact they toured the churches of Siena in order to view the many paintings. The Brownings were lovers of art, particularly of the Italian Renaissance. Although the Madonna and Child painting is thought by many to be Medieval in style, it actually belongs to the earliest examples of Renaissance art. A humanist perspective had begun to creep into otherwise two-dimensional iconographic representations. Notice the facial contact of the Madonna with the infant, as well as the realism in the proportion of the figures, particularly that of the Christ Child. |
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The Holy Family with the Infant St. John Oil on wood Artist: Francesco Allegrini, c. 1600 Dimensions: 28" x 32 1/2" Location: Treasure Room  Francesco Allegrini was born in Gubbio, Italy, in 1587. He specialized mainly in historical projects and produced many works, in oil and fresco, for the churches and palaces of Rome. |
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Landscape With Bridge Oil Painting Artist: Francesco Zuccarelli, c. 1720 Dimensions: 44" x 56" Location: Treasure Room Zuccarelli was a noted 18th-century landscape artist and is especially well-known for his English pastoral scenes. Although born in Italy, Zuccarelli spent several years in England, eventually becoming one of George III's favorite painters. |
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Christ, the Man of Sorrows Oil on Wood Artist: Giampietrino (Giovanni Padrino), c. 1540 Dimensions: 22 1/4" x 17 1/2" Location: Treasure Room Active in the first half of the sixteenth century, Giampietrino is considered to be a north Italian of the Lombard school and a follower of Leonardo da Vinci. |
Professor A. Joseph Armstrong Artist: Wayman Adams, 1945 Dimensions: 70" x 49" Location: Research Hall Andrew Joseph Armstrong (1873 - 1954), pictured in his doctoral robes, is standing in the Browning Room, the original home of the Browning collection at Baylor University. It was his small collection of Browning books, which he donated to Baylor University in 1918, that initiated a desire to amass the world's largest Browning collection at Baylor. Through Dr. & Mrs. Armstrong's indefatigable diligence, this dream, along with the unique building in which it is housed, became a reality. |
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A. Joseph Armstrong Artist: Wayman Adams, 1952 Dimensions: 54 1/2" x 46" Location: Meditation Foyer Notice Robert Browning's intaglio ring on Armstrong's little finger--a ring that the poet wore for over forty years. Armstrong took great pride in wearing the memento while he taught his Browning course. On occasion, he would knot the ring into his tie. Armstrong's piercing gaze was long remembered by his students, not always fondly, but always with respect. |
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Mary Maxwell Armstrong Artist: Wayman Adams, 1952 Dimensions: Location: Research Hall Mary Maxwell Armstrong (1882 - 1971), wife of the founder of the Browning collection, is well remembered for her lectures on Browning's notoriously difficult poem, Sordello. She worked closely with her husband as they raised money through educational tours and cultural events to build the Browning collection at Baylor University. Much of the beauty and elegance of the Armstrong Browning Library is attributed to her influence. |
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Marrs McLean Artist: Wayman Adams Dimensions: 68" x 47" Location: Meditation Foyer Marrs McLean (1883 - 1953) and his wife, Verna, were the donors of the Foyer of Meditation in the Armstrong Browning Library. McLean, a Beaumont oil and gas developer, moved to San Antonio in the 1930s to turn to politics. He was one of the members of the Building Committee for the Library and a major supporter of Baylor University. The Rena Marrs McLean Physical Education Building, given in memory of his mother, was dedicated on the Baylor campus in October 1938. He received an honorary degree from Baylor in 1951. |
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Verna Hooks McLean Artist: Wayman Adams Dimensions: Location: Meditation Foyer Verna Hooks McLean and her husband were the donors of the beautiful Foyer of Meditation in the Armstrong Browning Library, and she was instrumental in acquiring the spectacular 18th-century Chinese temple jars for the room. She and her daughter established the Corrie Herring Hooks Series at the University of Texas Press in honor of their mother and grandmother, a lifelong nature lover and conservationist; and, after her husband's death, Mrs. McLean provided the funds for the Marrs McLean Science Building on the Baylor campus. She died in 1991 at the age of 98. |
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Pauline McLendon Artist: William Findley Dimensions: Location: EBB Salon Pauline (Mrs. Abner P.) McLendon of Waco, Texas, provided a generous donation that made it possible for A. J. Armstrong to secure for the Browning Collection the rare first edition of Robert Browning's first publication Pauline, (1833). Her portrait hangs in the Austin Moore-Elizabeth Barrett Browning Salon near many of the pieces of furniture that she provided for the room. |
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Katharine Cornell Artist: Alexander Clayton, 1956 Dimensions: Location: EBB Salon The famed Broadway actress first came to Baylor in 1934 to perform in The Barretts of Wimpole Street. One of Armstrong's great accomplishments was bringing cultural events to the Waco and Baylor community. A friendship developed between the Armstrongs and Miss Cornell, and she returned to Baylor in 1951 to participate in dedication ceremonies for the Armstrong Browning Library. During the ceremonies she presented a shadowbox replica of a scene from the play. In later years, several original Browning items were gifts of her estate. |