Brumbaugh, Thomas B. (Thomas Brendle), 1921- Search this
Extent:
6 Items (Letters, written in ink, graphite)
4 Items (Envelopes)
Type:
Archival materials
Correspondence
Date:
1890-1899
Scope and Contents:
This folder is an amalgamation of letters written by Abbott H. Thayer to his model and friend, Clara A. May. Also included is a thank-you letter from Thayer's son, Gerald, to May.
Arrangement:
Organized chronologically.
Biographical / Historical:
Abbott Handerson Thayer was born in Boston, Massachusetts on August 12, 1849 to a distinguished family. He moved from Boston to Brooklyn during his childhood, where he attended the National Academy of Design. Thayer often used his wife, Kate Bloede Thayer, her sister Gertrude, and his three children Mary, Gerald and Gladys as models. He also used Clara A. May as a model. His subjects included ethereal angels, landscapes, women, children, and flowers. When Kate died, Thayer's entire outlook on art and life changed. It had been Kate's family that introduced Thayer to the sense of idealism that comes from a German family who had immigrated to the United States. He had learned about the romanticism surrounding art and literature from the Bloedes, all of which encouraged the artist to paint perfectly beautiful figures. Later in life, Thayer established a permanent household in Dublin, New Hampshire, with his new wife, Emma Beach. He loved to paint the surrounding mountains and birds. Interestingly, Charles Lang Freer was one of Thayer's patrons.
Clara May was one of Thayer's models. May met Thayer at the summer colony of Dublin in New Hampshire, where the two families were neighbors. Their friendship lasted around ten years, but this friendship withered following May's marriage to Reverend Paine. Following her marriage, May no longer worked as a model for Thayer.
Gerald Thayer was one of Abbott Thayer's sons, who wrote an unfinished thank you letter to May which was sent along with Abbott's letter.
Local Numbers:
FSA A2009.06 2
Other Archival Materials:
Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists, 1876-1994 (bulk 1960s-1994); Also located at Archives of American Art, Smithsonian Institution.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.
Series 4: Songwriters: A "songwriter" for this series is defined as a composer, a lyricist, or both.
An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents note:
A "songwriter" for this series is defined as a composer, a lyricist, or both. The songwriters included in this online finding aid are arranged alphabetically in the Biography of Songwriters section and alphabetically in the Name and Select Title Index.
The song sheets associated with each songwriter in this series are generally arranged in the following order: General Songs; Ethnic Songs; Armed Conflict Songs or other Topical Headings; Ragtime; Instrumental; Musical Theater Production Songs; Motion Picture Production Songs; Specialized Song Sheets/Editions; Professional/Artist Copy Song Sheets; and Folios/Volumes. Songs of four or more editions (multiple editions) are usually placed in individual folders and listed separately under the appropriate category, i.e., General Songs, Topical songs, etc. Copyright dates listed in the Container List represent the latest date on any given song sheet, i.e., a song originally published in 1906, but copyrighted in 1946, will show the date 1946.
In the Container List the word "Contains" in a descriptive entry identifies a folder that contains only the song sheet titles specified. For example, Subseries 4.1, folder B "contains" three song sheets and only those three are contained in that folder. The word "Includes" in a descriptive entry identifies a folder that holds not only the song sheet title(s) named but also other song sheet title(s) not specified in the Container List. For example, folder E of subseries 4.1 "includes" (or specifies) three song sheets ("Magic Moments," "Sad Sack," and "Warm and Tender"), but, in addition, folder E contains fourteen other song sheets that are not specified.
Variations in the size of the sheet music in this series may indicate its publication date. Large song sheets-approximately 11" x 13"- were superseded in April 1919, when publishers adopted a new "standard" or "regular" size for song sheets-9 1/4" x 12 1/4"-as recommended by the National Association of Sheet Music Dealers. The probable motivation was that smaller song sheets were cheaper to produce--a conservation effort prompted by World War I.
Titles of Musical Theater Production Songs and Motion Picture Production Songs are in capital letters. Individual song titles are within quotation marks. Portraits of the artist or artists that contributed to a song's success are featured on many song sheets. Songs are filed alphabetically, by title, within each folder.
Dates after the songwriter's name in the Biography of Songwriters section of this Register refer to the songwriter's birth and death dates. Dates after a songwriter's name in the Container List of this Register refer to the dates of the song sheets in this collection for that songwriter. Where two or more songwriters were a notable team over an extended period of time, their collaboration is noted in the Biography of Songwriters and included in the Container List.
The dates in the Container List represent the latest copyright year on the song sheets. The dates are not necessarily the same as the year of the productions. Copyright dates in the Container List represent the latest date on any given piece of sheet music, i.e., a song originally published in 1906, but re-copyrighted in 1946, will show the date 1946.
Arrangement note:
Arranged alphabetically
4.1 - 4.217
4.218: Ephemera
Biographies of Song Writers:
4.42 ADAMS, STANLEY -- (8/14/1907-1/27/1994). Lyricist. Former President of ASCAP; was a leader in the successful effort for Congressional revision of copyright law. Best known song is "What a Diff'rence a Day Made."
4.43 AGER, MILTON -- (10/6/1893-5/6/1979). Composer, publishers, pianist, arranger, vaudeville accompanist, stage entertainer for silent movies. First hit was "Everything is Peaches Down in Georgia," sung by Al Jolson.
4.44 AHLERT, FRED E. -- (9/19/1892-10/20/1953). Composer, publisher. Arranger for Fred Waring. One of first songwriters to quit Tin Pan Alley for Hollywood. First hit was "I'll Get By."
4.45 AKST, HARRY -- (8/15/1894-3/31/1963). Composer. Professional pianist as a teenager. Met Berlin at Camp Upton, worked for him as staff pianist. Hits include: and "Baby Face" and "A Smile Will Go a Long, Long Way."
4.46 ALLEN, STEVE -- (12/26/1921- ). Composer, author, pianist, comedian. Toured with parents in vaudeville; worked in radio; founder and first host of NBC-TV's Tonight Show. Composed the theme from PICNIC.
4.47 ARLEN, HAROLD -- (2/15/1905-4/23/1986). Composer, author, pianist, vocalist. Played professionally at age 15. Signed by The Cotton Club to write with Ted Koehler, producing many hits. Also teamed with Yip Harburg. Write "Get Happy," "Stormy Weather," and the score for THE WIZARD OF OZ.
4.48 ARMSTRONG, HARRY W. -- (7/22/1879-2/28/1951). Composer, vocalist, pianist, producer, prize fighter. Hits include "I Love My Wife, But Oh You Kid" and "Sweet Adeline."
4.49 ASH, PAUL -- (2/11/1891-7/13/1958). Composer, author, conductor, pianist. Led his first band in 1910; became very successful bandleader. Wrote "I'm Knee Deep in Daisies."
4.50 AUSTIN, GENE -- (6/24/1900-1/24/1971). Composer, author. Sang in vaudeville, radio, films, and TV. Established as a recording star with "My Blue Heaven." Wrote "When My Sugar Walks Down the Street."
4.1 BACHARACH, BURT F. -- (5/12/1928- ). Composer and pianist. Collaborated with lyricist Hal David on a number of film scores (e.g., BUTCH CASSIDY AND THE SUNDANCE KID) and popular songs, many of which were recorded by Dionne Warwick.
4.51 BALL, ERNEST R. -- (7/21/1878-5/3/1927). Composer, pianist. Began as pianist in vaudeville, performing with his wife Maude Lambert; then worked as a song demonstrator. Successful songs include "Let the Rest of the World Go By"and "Mother Machree."
4.52 BARGY, ROY -- (7/31/1894-1/15/1974). Composer, pianist. Arranger for Paul Whiteman; led several radio show bands. Edited, played, arranged, and composed piano rolls; composed rags. From 1943-1963 was music director for Jimmy Durante.
4.53 BAXTER, PHIL -- (9/5/1896-11/21/1972). Composer, pianist, lyricist, vocalist. Bandleader in 20's and 30's. Wrote "Have a Little Dream on Me" and "I'm a Ding Dong Daddy from Dumas."
4.54 BAYES, NORA -- (1880-3/19/1928). Vocalist, composer, lyricist. Was a top performing star; known as "The Wurzberger Girl" after her first hit. The first edition of Cohan's "Over There" featured Bayes on the cover. Bayes and husband Jack Norworth wrote "Shine on Harvest Moon."
4.55 BERLE, MILTON -- (7/12/1908- ). Comedian, vocalist, lyricist, composer. Began performing in silent movies at age 5; worked in vaudeville; was a MC in clubs and theaters. Was the first big TV star. Wrote "Sam, You Made the Pants Too Long."
4.2 BERLIN, IRVING -- (5/11/1888-9/22/1989). Composer and lyricist. One of the most versatile and popular songwriters of the 20th century. Wrote songs for some of the most successful Broadway musicals and Hollywood films. Best songs were sentimental ballads performed in unique ragtime or popular styles.
4.56 BERNIE, BEN -- (5/30/1891-10/20/1943). Bandleader, composer. Was a monologist in vaudeville; played violin until he formed his own dance band in early 20's. Known as The Old Maestro. Wrote "Sweet Georgia Brown."
4.57 BRAHAM, DAVID -- (1834-4/11/1905). Composer. Born in London; moved to New York at age 18. Was orchestral leader and composer for minstrel shows, Tony Pastor's, Theatre Comique. THE MULLIGAN GUARD was the first of many collaborations with Ned Harrigan.
4.58 BREUER, ERNEST -- (12/6/1886-4/3/1981). Composer, pianist. Born in Germany, moved to US in youth. Vaudeville pianist. WWII interpreter and entertainer. Wrote "Does the Spearmint Lose Its Flavor on the Bedpost Overnight?"
4.59 BROOKS, SHELTON -- (5/4/1886-9/6/1975). Composer. Parents American Indian/African American. Pianist in Detroit cafes; moved to Chicago. Composed rages; worked as a mimic in vaudeville. Wrote "Darktown Strutters' Ball" and "Some of These Days."
4.60 BROWN, A. SEYMOUR -- (5/28/1885-12/22/1947). Author, composer, actor. Worked in vaudeville. Composed "Oh You Beautiful Doll."
4.61 BROWN, GEORGE -- ...
4.3 BROWN, LEW -- (12/10/1893-2/5/1958). Lyricist. Achieved success with a number of songs in collaboration with composer Albert Von Tilzer, and later as member of the Ray Henderson and Buddy DeSylva songwriting team on Broadway.
4.62 BROWN, NACIO HERB -- (2/22/1896-9/28/1964). Composer. First toured as piano accompanist; worked as a tailor and realtor before first successes in early 20's. One of the movies most important composers during early sound years and many years thereafter. Wrote "Singin in the Rain" and "You Are My Lucky Star."
4.63 BROWN, NACIO HERB, JR. -- (2/27/1921- ). Composer, author, publisher. Son of Nacio Herb Brown. Professional manager of publishing firms; manager of music catalogs. Songs include "Who Put That Dream in Your Eyes."
4.64 BUCK, GENE -- (8/8/1885-2/25/1957). Lyricist. Chief aide to Ziegfeld; wrote book for some of his shows. Pioneer designer of sheet music covers. Songs include "Hello Frisco" and "Tulip Time."
4.65 BULLOCK, WALTER -- (5/6/1907-8/19/1953). Lyricist. Wrote screenplays and songs for movies. Hits include "This Is Where I Came In" and "When Did You Leave Heaven?"
4.66 CAESAR, IRVING -- (4/4/1895-12/17/1996). Lyricist, composer. Wrote mostly for New York stage but began working for films in 30's. Wrote message-bearing songs for children. Wrote "Count Your Blessings" and "Tea for Two."
4.4 CAHN, SAMMY -- (6/18/1913- ). Lyricist. Wrote many successful songs for Hollywood films, notably for Frank Sinatra, and in collaboration with Charlie Chaplin, Jimmy Van Heusen, and Jule Styne.
4.67 CALLAHAN, J. WILL -- (3/17/1874-11/15/1946). Vocalist, lyricist. Started as an accountant, then singer of illustrated songs. Wrote "Smiles."
4.5 CARMICHAEL, HOAGY -- (11/22/1899-12/27/1981). Composer, lyricist, bandleader, pianist, and singer. Abandoned law profession to pursue career in songwriting. Contributed songs to a number of very popular motion pictures.
4.68 CARROLL, EARL -- (9/16/1893-6/17/1948). Composer. Produced and directed many revues. Built two theaters in New York and had a restaurant in Hollywood. Produced movies. Hits include "Give Me All of You" and "So Long Letty."
4.69 CARROLL, HARRY -- (11/28/1892-12/26/1962). Composer. Pianist in movie theaters, cafes and vaudeville. Wrote for Winter Garden productions; wrote several Broadway stage scores. Hits include "I'm Always Chasing Rainbows" and "Trail of the Lonesome Pine."
4.70 CHAMINADE, MME. CECILE -- (born in Paris. Pianist, composer. Toured the US in 1908.
4.71 CLARIBEL (CHARLOTTE ALLINGTON BARNARD) -- (1830-1869) Composer, lyricist. English. Enormously popular in her time. Her "Come Back to Erin" is often regarded as an Irish folk song.
4.72 COBB, GEORGE L. -- (8/31/1886-12/25/1942). Composer. Began as composer of rags. Wrote for Melody magazine. First hit was "All Aboard for Dixieland."
4.6 COHAN, GEORGE M. -- (7/4/1878-11/5/1942). Composer, lyricist, actor, playwright, and producer. Best remembered for elaborately choreographed dance music, flag-waving songs, and songs for musical comedies and vaudeville. Best known for his patriotic songs, "Over There" and "Yankee Doodle Dandy."
4.73 COLUMBO, RUSS -- (1908-9/2/1934). Composer; primarily a singer, featured in Gus Arnheims band. Theme song for own band was "You Call It Madness." Also wrote "Too Beautiful for Words."
4.74 CONFREY, ZEZ -- (4/3/1895-11/22/1971). Pianist, bandleader, composer. Cut many piano rolls. Solo piano pieces have become standards: "Dizzy Fingers" and "Kitten on the Keys."
4.75 CONN, CHESTER -- (4/14/1896- 4/4/1973). Composer. Manager of publishing companies before owning own firm of Bregman, Vocco & Conn. Hits include "Don't Mind the Rain."
4.76 CONRAD, CON -- (6/18/1891-9/28/1938). Composer, pianist. Worked as theater pianist and in vaudeville; wrote for stage and movies. Had publishing firm. Wrote "The Continental," first film song awarded an Oscar; also wrote "Ma" and "Margie."
4.77 CONVERSE, CHARLES CROZAT -- (10/7/1832-4/8/1918). Composer. Studied in Europe; practiced law upon return. Composed partriotic overtures and cantatas, vocal quartettes. Wrote on philosophical and philological subjects under pen name Karl Redan. Wrote "What a Friend We Have in Jesus."
4.78 COOTS, J. FRED -- (5/2/1897-4/8/1985). Composer, pianist. Accompanied vaudeville acts; worked as song plugger; composed for Schuberts shows but returned to club dates in composing independently. Wrote "Love Letters in the Sand" and "You Go to My Head."
4.79 COSLOW, SAM -- (12/27/1902). Composer, lyricist, vocalist. Wrote for Broadway and movies; co-partner in music publishing; co-founded Soundies, song-movie shorts for coin machines. Hits include "Cocktails for Two" and "Was It a Dream?"
4.80 COWAN, LYNN -- (6/8/1888- ). Composer, actor, director, vocalist, pianist. Worked in vaudeville and as a film actor. Composed background scores for early sound film, and songs for LADIES MUST LOVE. Manager of Castle Terrace Club in Okinawa. Wrote "Kisses."
4.80 COWAN, RUBEY -- (2/27/1891-7/28/1957). Composer. Pianist in film theaters at age 13. Co-founded publishing company; wrote first show for Paramount Theater in New York; headed NBCs radio talent dept. then Paramounts radio dept. Wrote "You Can Expect Kisses from Me."
4.80 COWAN, STANLEY -- (2/3/1918- 12/13/1991). Composer, author, director, publicist. Wrote special material for orchestras, musicals, films; Produced shows for USAF during WWII. Joined father's (Rubey Cowan) firm, Rogers and Cowan. Wrote "Do I Worry."
4.81 COWARD, NOEL -- (12/16/1899-3/26/1973). Composer, lyricist, actor, playwright, producer. Born in England; began professional career at age 11. Best known of many popular songs are "I'll Follow My Secret Heart" and "I'll See You Again."
4.82 CRUMIT, FRANK -- (9/26/1889-9/7/1943). Composer, author, singer, actor. Vaudeville and stage performer. Had radio series with Julia Sanderson. Known for novelty numbers such as "Abdul Abulbul Amir."
4.83 CUGAT, XAVIER -- (1/1/1900- 10/27/1990). Bandleader, composer. Born in Spain; moved to Cuba when young; studied in Berlin; gave concert tours. Worked as a caricaturist for the LA Times. Led orchestra specializing in Spanish and Latin American music. Wrote "My Shawl," his theme song.
4.84 DANIELS, CHARLES N. -- (4/12/1878-1/21/1943). Composer, publisher. Pseudonym: Neil Moret. One of most significant ragtime entrepreneurs. Wrote first motion picture title song: "Mickey." Other songs include "You Tell Me Your Dream," "Moonlight and Roses," and "Chloe."
4.85 DANKS, HART PEASE -- (4/16/1834-11/20/1903). Composer. Singer and conductor in New York churches and concert stages. Published sacred and choral works; collaborated on three operettas. Best known for popular songs such as "Silver Threads Among the Gold."
4.86 DAVIS, BENNY -- (8/21/1895- 12/20/1979). Lyricist, vocalist. Performed in vaudeville as a child. Toured with Benny Fields as accompanist to Blossom Seeley. Hits include "Baby Face" and "Margie."
4.87 DEKOVEN, REGINALD -- (4/3/1859-1/16/1920). Composer, conductor, music critic. America's first significant composer of operetta: ROBIN HOOD the first American operetta to be performed in London. Founded the Philharmonic Orchestra in Washington, D.C. in 1902. Best known song is "Oh Promise Me."
4.88 DELEATH, VAUGHN -- (9/26/1896-5/28/1943). Vocalist, pianist, composer, lyricist. Reportedly the first woman on radio, sometimes credited with originating crooning. Played vaudeville, performed on Broadway, and recorded frequently. Hits include "At Eventide" and "Ducklings on Parade."
4.89 DEMING, MRS. L. L. -- (may be wife of Legrand L. Deming, born in Connecticut 10/29/1812.
4.7 DeROSE, PETER -- (3/10/1900-4/24/1953). Composer. Formed a radio team, The Sweethearts of the Air, with May Singhi Breen, whom he subsequently married. His most famous piece, "Deep Purple," became a commercial hit when lyrics were added.
4.3 DeSYLVA, BUDDY -- (1/27/1895-7/11/1950). Lyricist. Produced a number of hit songs with George Gershwin and particularly for the singer, Al Jolson. Also worked with Jerome Kern, Victor Herbert, and later as member of the Ray Henderson-Lew Brown songwriting partnership.
4.90 DILLON, HARRY -- (1866- 2/5/1916). Brother of John and Will. Started performing career on minstrel shows.
4.90 DILLON, JOHN -- (12/5/1882-9/2/1953). Brother of Will and Harry. Followed brother Harry into ministrel shows; first vaudeville engagement was at Tony Pastor's; toured. Operated grocery store in hometown, Cortland, NY, after retirement.
4.90 DILLON, WILLIAM AUSTIN -- (11/6/1877-2/10/1966). Composer, author, actor, businessman. Worked in vaudeville, medicine and minstrel shows; toured with Harry Lauder. Successes include "All Alone" and "I Want a Girl Just Like the Girl That Married Dear Old Dad."
4.91 DIXON, HAROLD -- ...
4.8 DONALDSON, WALTER -- (2/15/1893-7/15/1947). Composer. Hired in 1919 as staff writer for Irving Berlin Inc. Wrote songs throughout the 1920s that made him one of the most popular composers of the decade. Had many collaborations, the most successful with Gus Kahn.
4.9 DRESSER, PAUL -- (4/22/1858-1/30/1906). Composer, lyricist, performer and publisher. One of the first American performers to enter the music publishing trade. Wrote songs for burlesque and vaudeville stage shows. Considered the leading American writer of sentimental ballads of the late 19th century. Best-known song: "My Gal Sal."
4.92 DUBIN, AL -- (6/10/1891-2/11/1945). Lyricist. Served overseas in entertainment unit in WWI. Biggest song successes when teamed with Harry Warren. Hits include "I Only Have Eyes for You" and "Tiptoe Through the Tulips."
4.10 EDWARDS, GUS -- (8/18/1879-11/7/1945). Composer, lyricist, impresario, and singer. Collaborated with lyricist Will D. Cobb producing several hit songs introduced in Broadway reviews, notably Ziegfeld's Follies of 1907 and 1910. Best-known songs include "School Days" and "By The Light Of The Silvery Moon."
4.93 EDWARDS, LEO -- (2/22/1886-7/12/1978). Composer, author, producer. Brother of Gus Edwards. Worked in vaudeville; was staff writer for music publishing firms; cabaret producer. Hit songs include "Isle d'Amour," "Inspiration," and the official Boy Scout song "Tomorrow's America."
4.94 EMMET, JOSEPH KLINE -- (3/13/1841-1892). Actor, composer. Performed in a minstrel company using a broken German dialect that made him famous. Several plays starring his 'Fritz' character were written for him. Successful songs were "Emmet's Lullaby" and "Sweet Violets."
4.95 ERDMAN, ERNIE -- (10/23/1879-11/1/1946). Composer. Was pianist in the Original New Orleans Jazz Band. Worked on professional staff of Chicago music publishers. Songs hits include "Nobody's Sweetheart" and "Toot, Toot, Tootsie, Goodbye."
4.96 FAIN, SAMMY -- (6/17/1902- 12/6/1989). Composer, vocalist, pianist. Was a self-taught pianist; began composing songs while in grammar school. Very successful partnership with Irving Kahal writing songs for movies. Hits include "Dear Hearts and Gentle People," "I'll Be Seeing You," and "That Old Feeling." Nominated for the Oscar 10 times; won twice.
4.97 FEIST, FELIX -- (Wrote "Can't You See Im Lonely."
4.97 FEIST, LEO -- (1/3/1869-6/1/1930). Publisher, lyricist. When early songs didnt sell well Feist partnered with Joe Frankenthaler to start what became one of the leading publishing firms. His successes include "Those Lost Happy Days" and "Smokey Mokes."
4.98 FIELD, EUGENE -- (9/3/1950-11/4/1895). Author. Newspaper columnist for Chicago Morning News. His poems were set to music.
4.99 FIELDS, DOROTHY -- (7/15/1905-3/28/1974). Author, lyricist. At age 15 sang in an amateur show by Rodgers and Hart; worked with brother Herbert as co-librettist on several Broadway shows. Most successful collaboration was with Jimmy McHugh. Wrote "I Can't Give You Anything But Love" and "I'm in the Mood for Love." Won an Oscar with Jerome Kern for "The Way You Look Tonight."
4.100 FIORITO, TED -- (12/20/1900-7/22/1971). Composer, conductor, pianist. Began as a song demonstrator. First hit song was "Toot, Toot, Tootsie, Goodbye." Formed band in early 20's and continued to lead an orchestra in the 60's. Other hits include "Alone at Last" and "Charley, My Boy."
4.101 FISHER, FRED -- (9/30/1875-1/14/1942). Composer, lyricist. Immigrated from Germany at age 25 but soon assimilated popular music idioms. Early success was "Come, Josephine, in My Flying Machine." Started composing for films in late 20's. Hits include "Dardanella" and "Your Feets Too Big."
4.11 FOSTER, STEPHEN -- (7/4/1826-1/13/1864). Composer and lyricist of popular household, plantation, and minstrel songs of the 19th century. Produced over 200 songs of two main types: sentimental ballads of hearth and home, and songs for the famous Christy's Minstrels.
4.102 FRANKLIN, DAVE -- (9/28/1895-2/3/1970). Composer, lyricist, pianist. Pianist in publishing house at age 13; vaudeville accompanist; played nightclubs in New York and European cities. Hits include "The Anniversary Waltz" and "When My Dream Boat Comes Home."
4.62 FREED, ARTHUR -- (9/9/1894-4/12/1973). Lyricist, producer. Wrote for vaudeville; managed theater in Los Angeles; produced shows. Began writing for movie musicals in 1929. Many hits include "After Sundown," "All I Do Is Dream of You," and "Singin' in the Rain."
4.103 FRIEDMAN, LEO -- (7/16/1869-3/7/1927). Composer. Studied in Chicago and Berlin. Two biggest hits were "Let Me Call You Sweetheart" and "Meet Me Tonight in Dreamland."
4.104 FRIEND, CLIFF -- (10/1/1893-6/27/74). Composer, lyricist, pianist. Wrote for Broadway and movies; was a pianist for vaudeville performers in US and England. Also worked as a test pilot. Hits include "Give Me a Night in June" and "The Merry-Go-Round Broke Down."
4.12 FRIML, RUDOLF -- (12/7/1879-11/12/1972). Composer and pianist. One of the principal exponents of traditional operetta and early musical comedy in the United States. Collaborated with Oscar Hammerstein II and others to produce the most popular American musicals of the 1920s.
4.105 FROST, JACK -- (11/25/1893-10/21/1959). Composer, lyricist. Writer with Chicago music company; wrote special material for Eva Tanguay and Trixie Friganza; worked in advertising. Hits include "When You and I Were Young Maggie Blues."
4.106 GARBER, JAN -- (11/5/1897-10/4/1977). Violinist, bandleader, composer. Played violin in Philadelphia Symphony Orchestra; formed dance band in early 20's; still conducting into the 60's. Wrote his theme song, "My Dear."
4.107 GAY, BYRON -- (8/28/1886-12/23/1945). Composer, author, explorer. Educated at US Navel Academy and was on 1933 Byrd Expedition. Successful songs include "The Little Ford Rambled Right Along" and "The Vamp."
4.108 GILBERT, L. WOLFE -- (8/31/1886-7/12/1970). Lyricist. Started as a singer in New York clubs, writing parodies of popular songs for entertainers such as Al Jolson. Moved to Hollywood where he wrote for films and the Eddie Cantor radio show. Had his own publishing firm. Hits include "Lucky Lindy" and "Waiting for the Robert E. Lee."
4.13 GERSHWIN, IRA -- (12/6/1896-8/17/1983). Lyricist. Collaborated with various composers throughout his life, at times using pseudonym, Arthur Francis. He collaborated with brother George from 1924 until the latter's death in 1937. Their first musical comedy together was LADY, BE GOOD.
4.13 GERSHWIN, GEORGE -- (9/26/1898-7/11/1937). Composer, conductor, and pianist. Composer of Broadway shows and one of America's most famous composers of popular concert music. Brought jazz and classical styles together in concert pieces, African American folk music and opera, e.g. PORGY AND BESS.
4.109 GILLESPIE, HAVEN -- (2/6/1888-3/14/1975). Lyricist. Left job as journeyman printer and began writing songs in the mid-20's. Wrote for film, theater and radio. Awarded Freedoms Foundation Award for "God's Country." Hits include "Santa Claus Is Comin' to Town" and "You Go to My Head."
4.110 GLOVER, CHARLES W -- (1806-3/23/1863). Composer. English. Violinist in orchestras of Drury Lane and Covent Garden; musical director of Queen's Theatre. "Do They Think of Me at Home" was one of his greatest successes in the USA.
4.111 GLOVER, STEPHEN -- (mid 1812-1870). Composer. English. One of his most popular songs was "What Are the Wild Waves Saying?"
4.112 GOETZ, E. RAY -- (6/12/1886-6/12/1954). Composer, lyricist, producer. Contributed to many Broadway musicals. Hits include "For Me and My Gal" and "Yaaka Hula Hickey Dula."
4.113 GOODHART, AL -- (1/26/1905-11/30/1955). Composer, pianist. Early career as radio announcer, vaudeville pianist, special material writer. With USO during WWII. Hits include "Auf Wiedersehen, My Dear," "I Apologize," and "Who Walks in When I Walk Out?"
4.114 GORDON, MACK -- (6/21/1904-3/1/1959). Lyricist, vocalist. Boy soprano in minstrel shows; comedian and singer in vaudeville. Hits include "Chatanooga Choo-Choo," "Time on My Hands," and "You'll Never Know" which won an Academy Award.
4.115 GREEN, JOHN W. -- (10/10/1908- 5/15/1989 ). Composer, arranger, pianist, ` bandleader. Accompanied various singers; formed own band. On many radio shows in New York then moved to Hollywood. MGM musical director for many years. Scored and conducted three Academy Award films. Hits include "Body and Soul" and "I Cover the Waterfront."
4.116 GUEST, EDGAR -- ( 8/20/1881-8/5/1959). Poet, Newspaperman for Detroit Free Press. Poems Syndicated in nearly 300 papers; 17 volumes of poetry published. Apeared on national radio for many years.
4.117 GUMBLE, ALBERT -- (9/10/1883-11/30/1946). Composer, pianist for publishers. Entertained troops during WWII. Hits include "Are You Sincere?" and "How's Every Little Thing in Dixie?"
4.118 HALL, WENDELL WOODS -- (8/23/1896-4/2/1969). Composer, author, singer, ukelele player. Known as "The Red-Headed Music Maker." Played the ukelele on radio and in vaudeville; made world radio tour in 20's. Worked as advertizing executive. Successful songs include "Underneath the Mellow Moon" and "Whispering Trees."
4.14 HAMMERSTEIN, OSCAR, II -- (7/12/1895-8/23/1960). Lyricist, librettist, producer, and publisher. Produced and wrote some of the most successful Broadway musicals in collaboration with composer Richard Rodgers and Jerome Kern. Many of his works later appeared in Hollywood films.
4.14 HAMMERSTEIN, OSCAR, I -- (5/8/1846-8/1/1919). Composer. An impresario who wrote several works, including orchestral pieces for use before or as intermezzi in his productions, a ballet, MARGUERITE (1896), and the operettas, SANTA MARIA (1896) and THE KOHINOOR (1893).
4.119 HANLEY, JAMES F. -- (2/17/1892-2/8/1942). Composer, pianist. Accompanist in vaudeville. Produced WWI army show TOOT SWEET. Wrote for early sound movie shorts. Hits include "Second Hand Rose" and "Zing! Went the Strings of My Heart."
4.57 HARRIGAN, EDWARD -- ...
4.15 HARRIS, CHARLES K. -- (5/1/1865-12/22/1930). Composer, lyricist, and music publisher. Known principally as a successful publisher of popular music. First publisher to use an illustration of a performer on a song sheet cover. Most successful song: "After the Ball." Cofounder of ASCAP.
4.120 HARRISON, ANNIE FORTESQUE -- (Lady Arthur Hill)(1851-1944). Composer. Best known songs include "In the Gloaming."
4.14 HART, LORENZ -- (5/2/1845-11/22/1913). Lyricist and librettist. Collaborated with composer Richard Rodgers on the scores of several successful Broadway musicals and Hollywood productions.
4.121 HAYS, WILLIAM SHAKESPEARE. -- (7/19/1837-7/22/1907). Began writing songs at age 19. Very popular because of charming melodies, easy execution of music, and lyrics that projected authentic feelings.
4.122 HEMANS, MRS FELICIA DOROTHEA -- (1794-1835). Very prolific and popular English poet. Composer for some of the songs was her younger sister Harriet Mary Browne.
4.3 HENDERSON, RAY -- (12/1/1896-12/31/1970). Composer. Collaborated extensively with lyricists Lew Brown and Buddy DeSylva. Wrote many of the hit tunes of the 1920s and 1930s. Produced music of wide popular appeal performed by Al Jolson and others on stage and in films.
4.16 HERBERT, VICTOR -- (2/1/1859-5/26/1924). Composer, cellist, and conductor. Successful particularly as composer of American operettas, of which forty (40) were written between 1894 and 1924, mostly romantic and having happy endings.
4.123 HILL, DEDETTE LEE -- (11/2/1900-6/5/1950). Collaborated with her husband, Billy Hill, and later with Johnny Marks.
4.123 HILL, BILLY -- (7/14/1899-12/24/1940). Also used nom de plume George Brown. Composer, author, pianist, violinist, conductor. Worked as a cowboy and surveyors assistant in the west. Led first jazz band in Salt Lake City. Best known songs include "In the Chapel in the Moonlight" and "The Last Roundup."
4.124 HILLIARD, BOB -- (1/28/1918-2/1/1971). Lyricist. Wrote scores for Broadway. Successes include "Our Day Will Come" and "They've Got an Awful Lot of Coffee in Brazil."
4.113 HOFFMAN, AL -- (9/25/1902-7/21/1960). Composer, lyricist, drummer. Bandleader in hometown, Seattle; drummer in NY night clubs; songwriter early 30's through 50's. Hits include "Black Coffee" and "Mairzy Doats."
4.125 HOWARD, JOSEPH E. -- (2/12/1878-5/19/1961). Composer, author, actor, singer, producer, director. Boy soprano in vaudeville; wrote Broadway stage scores; also produced and directed on Broadway. Entertainer in night clubs, radio, TV. Hits include "Goodbye, My Lady Love" and "I Wonder Who's Kissing Her Now."
4.126 INGRAHAM, HERBERT -- (7/7/1883-8/24/1910) Music Director of touring theater companies. Led own orchestra. Staff composer for Shapiro Bernstein Publishing Co. Brother of Roy.
4.126 INGRAHAM, ROY -- (12/6/1893-?) Composer, author, singer. First song published at age 17. Had own orchestra; toured in vaudeville. Wrote for several motion pictures; radio broadcaster. Wrote special material for Sophie Tucher and others. Brother of Herbert.
4.17 JACOBS-BOND, CARRIE -- (8/1861-12/1946). Composer, lyricist, and music publisher. Called "the Riley of the Music World," her songs, such as "A Perfect Day," and "I Love You Truly," are beloved by many.
4.127 JENKINS, GORDON -- (5/12/1910-5/1/1984). Composer, author, conductor, arranger. Played organ in movie theater at age 10; quit high school to play piano in speakeasy. Pianist, arranger for leading bands; Broadway radio conductor. Grammy Award for arrangement of "It Was a Very Good Year" as recorded by Frank Sinatra. Hits include "P.S. I Love You" and "When a Woman Loves a Man."
4.128 JENTES, HARRY -- (8/28/1897-1/19/1958). Composer, pianist. Successes include "He May Be Old But He Has Young Ideas" and "Put Me to Sleep with an Old-Fashioned Melody."
4.18 JOHNSON, CHARLES L. -- (12/3/1876-12/28/1950). Composer and ragtime pianist. Known for his most popular ragtime piece, "Dill Pickles" (1906); also, piano pieces that evoked American Indian culture.
4.129 JONES, ISHAM -- (1/31/1894-10/19/1956). Composer, bandleader, pianist. Formed and led outstanding dance band, touring U.S. and Europe. Many radio appearances and recordings. Equally well known as composer. Two standards are "It Had to Be You" and "I'll See You in My Dreams."
4.19 KAHN, GUS -- (11/6/1886-10/8/1941). Lyricist. Writer of lyrical material for vaudeville performances and Hollywood film musicals. Collaborated with such leading composers as Donaldson, Gershwin, Romberg, Whiting, and Van Alstyne.
4.130 KALMAR, BERT -- (2/16/1884-9/18/1947). Lyricist, publisher. Worked in tent shows and vaudeville as a child. Wrote scores for Broadway and songs for movies; wrote screenplays. Hits include "I Wanna Be Loved by You," "Three Little Words," and "Who's Sorry Now?"
4.131 KASSEL, ART -- (1/18/1896-2/3/1965). Composer, author, vocalist, saxophonist, lyricist and bandleader. Early radio and TV appearances as bandleader after service in World War I. Composed his two theme songs, "Doodle Doo Doo" and "Hells Bells."
4.132 KENNEDY, HARRY -- (circa 1800-1894). Minstrel; ventriloquist who used two dummies simultaneously. Brother William H. Kennedy was his publisher and occassional collaborator.
4.133 KENNY, NICK -- (2/3/1895- ? ). Lyricist, newspaper reporter, produced early amateur radio show; radio editor of New York Daily Mirror. Successes include "Love Letters in the Sand" and "Gone Fishin'."
4.133 KENNY, CHARLES -- (6/23/1898- ? ). Composer, violinist, author. Collaborated with brother Nick.
4.20 KERN, JEROME -- (1/27/1885-11/11/1945). Composer. Considered the most prolific composer of Broadway musicals. He extended the popularity of the musical play form by introducing songs and themes, avoiding operatic styles, and using jazz rhythms and chords instead to characterize the dramatic demands of plot.
4.134 KING, ROBERT A. -- (9/20/1862-4/14/1932). Composer. Wrote under several noms de plume including Mary Earl ("Beautiful Ohio"), R. A. Wilson, and Mrs. Ravenhall. Staff composer for music publishers. Appeared in vaudeville. Hits include "I Scream, You Scream, We All Scream for Ice Cream."
4.135 KIPLING, RUDYARD -- (12/30/1865-1/18/1936). Author, poet. Best remembered for his celebrations of British imperialism, his tales and poems of British soldiers in India and Burma, and his children's stories. He won the Nobel Prize for Literature in 1907.
4.136 KLICKMANN, F. HENRI -- (2/4/1885- ? ). Composer, pianist, violinist; arranger for Broadway musicals, music publishers, dance bands, and performers. Professional violinist, pianist, and accordianist. Successes include "Sing Me the Rosary" and "Sweet Hawaiian Moonlight."
4.137 KOEHLER, TED -- (7/14/1894-1/17/1973). Lyricist. Began music career as pianist for nickelodeon, silent film theaters. Wrote for Cotton Club, other stage shows, and films. Most successful collaboration with Harold Arlen ("Stormy Weather"). Also wrote "I Love a Parade" and "I've Got the World on a String."
4.138 KRAMER, ALEX -- (9/13/1893-8/25/1955). Composer, arranger; cellist in theater orchestras; arranger for vaudeville and muscial comedy singers. Compiled and arranged many music folios. Collaborated with wife, Joan Whitney. Hits include "High on a Windy Hill" and "Candy."
4.139 KUMMER, CLARE (Clare Rodman Beecher) -- (1/9/1888-4/21/1958). Composer, playwright. Wrote scores and librettos for Broadway. Successes include "Bluebird."
4.140 LAWNHURST, VEE -- (11/24/1905- 5/16/1992). Pianist, singer, composer. Arranged piano rolls. Original member of Roxy's Radio Gang. Successful songs include "Sunday Go to Meetin' Time."
4.141 LAWRENCE, JACK -- (4/7/1912- ? ). Composer, lyricist. Organized bands for the armed services. Wrote "Tenderly," and English Lyrics for "Ay, Ay, Ay" and "Cielito Lindo."
4.142 LEONARD, EDDIE, -- (10/18/1875-7/29/1941). Composer, author, singer, actor; professional baseball player. Performed in minstrel shows, sang in variety shows. Fought in the Spanish American War. Wrote "Ida, Sweet as Apple Cider."
4.143 LESLIE, EDGAR -- (12/31/1885-1/20/1976). Lyricist, author, publisher. Wrote special material for performers and films. Hits include "For Me and My Gal" and "Moon over Miami."
4.144 LEWIS, AL -- (4/18/1901-4/4/1967). Composer, lyricist; became a music publisher later in career. Hits include "Now's the Time to Fall in Love."
4.145 LEWIS, SAM M. -- (10/25/1885-11/22/1959). Lyricist. Started as runner in a brokerage house. Sang in cafes; wrote material for self and other performers, also for stage and movies. Hits include "Dinah," "Five Foot Two, Eyes of Blue," and "How Ya Gonna Keep' Em Down on the Farm?"
4.146 LIEBER, JERRY -- (4/25/1933- ). Lyricist. Grew up in Baltimore hearing R&B. Struggled with acting in Hollywood when met and teamed with Mike Stoller to write many hits, including "Searching."
4.147 LITTLE, JACK -- (5/28/1900-4/9/1956). Pianist, composer, lyricist, vocalist, bandleader. Had a popular radio porgram in 20's. Led a band in the 30's. Successes include "In a Shanty in Old Shanty Town."
4.148 LOESSER, FRANK -- (6/29/1910-7/28/1969). Composer, lyricist, publisher. Wrote songs for college shows and later for Army shows. Worked as newspaper reporter and caricaturist in vaudeville. Became leading writer for Broadway and Hollywood musicals. Founded own publishing company. Won Oscar and Tony Awards and the Pulitzer Prize. Among many hits are "Two Sleepy People" and "On a Slow Boat to China."
4.149 LOGAN, FREDERICK KNIGHT -- (10/15/1871-6/11/1928). Composer. Wrote sentimental ballads in collaboration with his mother, Viginia. Wrote "Missouri Waltz."
4.149 LOGAN, VIRGINIA K. -- (1800's). Mother of Frederick Knight Logan.
4.150 LOMBARDO, CARMEN -- (7/16/1903-4/17/71). Arranger and composer in brother Guy Lombardo's dance band for forty years. Played sax with heavy vibrato and sang most vocals.
4.151 LYMAN, ABE -- (8/4/1897-10/23/1957). Composer, author, singer. Led own dance orchestra, The Californians.
4.69 MacDONALD, BALLARD -- (10/15/1882-11/17/1935). Lyricist. Began writing material for vaudeville after attending Princeton. Lyricist, librettist for Broadway musicals.
4.152 MANCINI, HENRY -- (4/16/1924-). Composer. Very popular composer of songs and themes for film ("Moon River" and "The Days of Wine and Roses") and TV ("Peter Gunn" and "Mr Lucky"). Began career in Pittsburgh dance bands pre-WWII.
4.153 MARKS, EDWARD B. -- (11/28/1865-12/17/1945). Publisher. Started company with focus on popular music but added the more serious composers. Bought the Cohan Publishing Company; and was the agent for Polish and English companies. His own early song success was "The Little Lost Child."
4.154 MASTERS, FRANKIE -- (4/12/1904- ). Composer, bandleader. Led hotel and ballroom bands in New York and Chicago; on the West Coast circuit in 30's and 40's; TV shows in the 50's. Active in the midwest into the 70's.
4.155 McGLENNON, FELIX -- ...
4.156 McHUGH, JIMMY -- (7/10/1894-5/23/69 ). Composer. Early fame with score for BLACKBIRDS OF 1928. Popular composer for movies during 30's-40's. Important collaboration with many songwriters, especially Dorothy Fields. Hits include "I'm in the Mood for Love" and "When My Sugar Walks Down the Street."
4.157 McKINLEY, MABEL -- (1879?-6/7/1937) Pseudonym: Vivian Grey. Daughter of President McKinley's youngest brother, Abner. Married Dr. Hermanus Baer of Reading, PA.
4.21 MERCER, JOHNNY -- (11/18/1909-6/25/1976). Composer and lyricist with a gift for incorporating southern vernacular speech and images of country settings into songs. Wrote lyrics for Broadway musicals and words and music to many popular songs.
4.158 MERRILL, BLANCHE -- (7/23/1895-10/5/1966). Author, lyricist. Wrote special material for Eva Tanguay, Fanny Brice, and other prominent singers; also wrote for musicals. Successes include "Jazz Baby."
4.159 MERRILL, BOB -- (5/17/1921- 2/17/1998). Composer, lyricist. Leading writer of novelty songs in the 50's, including "How Much Is That Doggie in the Window" and "If I Knew You Were Comin' Id've Baked a Cake."
4.145 MEYER, GEORGE W. -- (1/1/1884-8/28/1959). Composer of many popular songs during the first half of the 20th Century, including "For Me and My Gal," "Tuck Me to Sleep in My Old Tucky Home," and "Sittin in the Corner."
4.160 MILLARD, HARRISON -- (11/27/1829-9/10/1895). Composer. Singer early in career, studied in Italy and toured England and the Continent. Returned to U.S.; wounded in the Civil War. Wrote about 350 songs and many church works. Set UNCLE TOM'S CABIN to music.
4.161 MILLARD, MRS. P. -- ...
4.73 MILLER, NED -- (8/2/1899-1/26/1990)
4.22 MILLS, KERRY -- (2/1/1869-12/5/1948). Composer and music publisher. Specialized in ragtime songs and instrumental pieces. His ragtime cakewalks and the non-ragtime piece, "Meet Me in St. Louis," popularized by Judy Garland, were particularly successful.
4.162 MOHR, HALSEY -- ...
4.163 MOORE, THOMAS -- (6/28/1779-2/26/1852). Irish poet, composer, lyricist, musician.Provided words and music to a selection of Irish songs and did much to kindle an interest in little known Irish tunes. As poet, he appealed to a wide range of tastes.
4.23 MONACO, JAMES V. -- (1/13/1885-12/17/1945). Composer. Earned reputation as a Tin Pan Alley composer playing rag music in cabarets and nightclubs. Contributed several song hits to Broadway and Hollywood musical productions, among which is the song, "You Made Me Love You," made famous by Judy Garland in 1937.
4.164 MORGAN, CAREY -- (12/25/1885-1/6/1960). Composer. Wrote special material for vaudeville and scores for Broadway. Hits include "Rain" and "My Own Iona."
4.165 MORGAN, RUSS -- (4/19/1904-8/8/1969). Bandleader, composer. Arranger for Victor Herbert, Fletcher Henderson, Louis Armstrong, Chick Webb, among many others. Developed muted wha-wha trombone style with Freddy Martin. Wrote songs for Cotton Club Revues. Musical driector for Brunswick Records.
4.166 MORSE, THEODORA -- (7/11/1890-11/10/1953). Lyricist. Wrote under pseudonyms D. A. Esrom, Dorothy Terriss, and Dolly Morse. Most famous songs written in collaboration with husband Theodore Morse: "Three O'Clock in the Morning" and "My Wonderful One."
4.167 MORSE, THEODORE -- (4/13/1873-5/24/1924). Composer. Collaborated with several lyricists including his wife, Theodora. Successes include "M-O-T-H-E-R" and "Blue Bell."
4.168 MUIR, LEWIS F. -- (1884-1/19/1950). Composer. Ragtime pianist. Hits include "Take Me to That Swanee Shore" and "Waiting for the Robert E. Lee."
4.169 NELSON, STEVE -- ( ? ). Hits include "Frosty the Snowman."
4.169 NELSON, EDWARD G. -- (3/18/1885-3/30/1969). Composer, conductor; pianist in nightclubs and cabarets; orchestra leader. Wrote material for vaudeville and songs for movies. Successes include "Peggy O'Neil."
4.169 NELSON, EDWARD G., JR. -- (3/26/1916-). Composer, author. Served with Special Services during WWII.
4.24 NEVIN, ETHELBERT -- (11/25/1862-2/17/1901). Composer. Wrote songs and short piano pieces, sometimes overly sentimental but expressive of gentler and amorous moods.
4.170 NOBLE, RAY -- (12/17/1903- ). Composer, pianist, bandleader. Established as outstanding leader of dance bands in England and then in USA after emigrating. Radio work including Burns & Allen show. Successes include "Good Night Sweetheart" and "The Very Thought of You."
4.54 NORWORTH, JACK -- (1/5/1879-9/1/1959). Vocalist, Composer, lyricist. Entertainer in vaudeville and Broadway; blackface comedian in minstrel shows. Performed and collaborated with wife Nora Bayes. Their most famous song "Shine on Harvest Moon." Wrote lyrics to "Take Me Out to the Ball Game."
4.171 OLMAN, ABE -- (12/20/1888-1/4/1984). Composer, publisher. Started as a song demonstrator; established LaSalle Music Company. Wrote for early movie musicals. Hits include "Oh, Johnny Oh" and "Down Among the Sheltering Palms."
4.172 PALEY, HERMAN -- (5/5/1879-11/4/1955). Composer, publisher, radio executive. Studied music professionally. Worked as staff composer, then executive with music publishing companies. Director of New York Stage Door Canteen shows; talent scout and composer for Fox Films.
4.173 PARISH, MITCHELL -- (7/10/1900-4/2/1993). Lyricist. Attended Columbia and NYU. Staff writer for music publisher; began writing lyrics in 20's. Among the most famous songs are "Deep Purple," "Moonlight Serenade," and "Star Dust."
4.174 PETRIE, H. W. -- (3/4/1857-5/25/1925). Composer, vocalist. Performed in minstrel shows. Successes include "Asleep in the Deep" and "I Dont Want to Play in Your Yard."
4.175 PIANTADOSI, AL -- (7/18/1884-4/8/1955). Composer, pianist; accompanist in vaudeville. Popularized ragtime when touring US, Europe, and Australia. Worked for NY publishing house. Hits include "Pal of My Cradle Days."
4.25 PORTER, COLE A. -- (6/9/1891-10/15/1964). Composer and lyricist. One of the most thoroughly trained popular songwriters, whose theatrically elegant, sophisticated, and musically complex songs contributed to America's most popular music of the 20th century.
4.176 POWELL, W. C. -- (Pseudonym: Polla)
4.114 REVEL, HARRY -- (12/21/1905-11/3/1958). Composer and pianist. Born in London, had early classical piano training. Moved to USA and accompanied Mack Gordon in vaudeville. They started writing for Ziegfeld but were in Hollywood by 1933. The team broke up in 1939. He founded Realm Music Co., a publishing house, in 1949. Successes include "Did You Ever See a Dream Walking?"
4.177 ROBERTS, LEE S. -- (11/12/1884-9/10/1949). Composer, pianist. Worked in piano manufacturing business. Developed QRS artist-recorded music rolls and catalogs. Pianist on radio. Hits include "A Little Birch Canoe and You" and "Patches."
4.178 ROBINSON, J. RUSSEL -- (7/8/1892-9/30/1963). Composer, lyricist, pianist. Began performing and composing as a teenager. Played with Original Dixieland Band; wrote songs for London revues; made piano rolls; accompanied singers. Pianist and vocal coach for radio show CHILDRENS HOUR. Hits include "Margie."
4.179 ROBISON, WILLARD -- (9/18/1894-6/24/1968). Composer, lyricist, pianist, vocalist, bandleader. Radio performer most active in 20's and 30's. Formed Deep River Orchestra; often featured African American folk music and spirituals. Radio shows "Deep River Music" and "Plantation Echoes." Hits include "Cottage for Sale."
4.14 RODGERS, RICHARD -- (6/26/1902-12/30/1979). Composer. Collaborated with Lorenz Hart and Oscar Hammerstein II, whose partnership led to a series of musicals that enjoyed unprecedented artistic, critical, and financial success in both Hollywood and Broadway in the 1930's and 1940's.
4.26 ROMBERG, SIGMUND -- (7/29/1887-11/9/1951). Composer and conductor. Composed musical scores in the traditional style of the operetta of the 1920s. Proved to be more flexible than rival Rudolph Friml in adapting to the new tastes and musical styles emerging in American music of the 1930's.
4.180 ROONEY, PAT -- (7/4/1880-9/9/1962). Composer, vocalist. Dancer-singer in vaudeville and on Broadway, first with sister, then with wife Marion Brent. Successes include "You Be My Ootsie, I'll Be Your Tootsie."
4.27 ROOT, FREDERICK W. -- (6/13/1846-?). Composer and music teacher. He was the son of George Frederick Root. One of the country's most active and successful singing teachers, F. W. Root's School of Singing describes the first of his many singing methods.
4.27 ROOT, GEORGE F. -- (8/30/1820-8/6/1895). Composer and music educator. Pseudonym: G. Friedrich Wurzel. Best known for his songs of sentiment and patriotism published during the Civil War era. Also composed over 30 hymns and gospel songs rivaling Stephen Foster in number and popular success.
4.28 ROSE, BILLY -- (9/6/1899-2/10/1966). Lyricist and producer. Provided the lyrics to some of the most successful popular songs of the 1930's and 1940's. Also produced several Broadway musicals and perhaps known more for his editing, polishing, and promoting of songs than as a lyricist.
4.181 ROSE, VINCENT -- (6/13/1880-5/20/1944). Composer, pianist, vocalist, bandleader. Early training in Italy. Formed orchestra 1904. Successes include "Whispering."
4.182 ROSENFELD, MONROE H. -- (1861-12/13/1918). Pseudonyms: F. Heiser and F. Belasco. Composer, journalist. Credited with coining the term 'Tin Pan Alley.' Wrote more than 1,000 songs.
4.183 ROSSITER, WILL -- (3/15/1867-6/10/1954). Composer, publisher. Pseudonyms: Cleve Williams and W. R. Williams. Immigrated to USA from England in 1881. Appeared at Tony Pastor's. Very successful publisher of popular music; initiated innovative marketing techniques for sheet music. Wrote "I'd Love to Live in Loveland with a Girl Like You."
4.130 RUBY, HARRY -- (1/27/1895-2/23/1974). Composer. Professional pianist at age 16; song plugger for Tin Pan Alley publishers; vaudeville performer. Had many collaborators; partnership with Bert Kalmar produced many hits including score for Marx Brothers' ANIMAL CRACKERS; wrote theme for TV series THE REAL McCOYS.
4.130 RUBY, HERMAN -- (3/15/1891-7/31/1959). Composer. Older brother of Harry Ruby. Hits include "My Sunny Tennessee" and "Cecelia."
4.184 RUSSELL, HENRY -- (12/24/1812-12/8/1900). English. Composer, pianist; sang with children's opera troupe; studied composition in Italy. Came to US, worked as organist and choirmaster, then toured as one of the few major singers of his time to present unassisted entertainment. Wrote "The Old Arm Chair" and "Woodman! Spare That Tree!"
4.185 SANDERS, JOE -- (10/15/1896-5/15/1965). Composer, pianist, vocalist, arranger, bandleader. Co-leader of the Coon-Sanders Orchestra in 20's and 30's. Known as The Old Lefthander from early days as amateur baseball pitcher. Hits include "Got a Great Big Date with a Little Bitta Girl."
4.186 SCHWARTZ, JEAN -- (11/4/1878-11/30/1956). Composer, pianist. Prolific leading composer from turn of century. Pianist in cafes, publishing houses. Teamed with William Jerome on Broadway shows and performed with him in vaudeville. Successes include "Hello Central, Give Me No Man's Land."
4.140 SEYMOUR, TOT -- ( 10/23/1889-8/31/1966). Lyricist of the 30's. Worked for New York publishing house. Wrote special material for Fanny Brice, Belle Baker, Sophie Tucker, Mae West; also songs and scripts for raido shows.
4.187 SHAND, TERRY -- (10/1/1904- 11/11/1988). Composer, lyricist. Pianist in silent movie theaters early in career. Pianist/vocalist in 30's; later had own band. Hits include "Dance with a Dolly."
4.188 SHAY, LARRY -- (10/10/1897- 2/22/1988). Composer, arranger, pianist. WWI military service. Musical director for MGM; program director for NBC radio in New York. Hits include "Get Out and Get Under the Moon."
4.144 SHERMAN, AL -- (9/7/1897-9/15/1973). Composer, lyricst. As pianist provided mood music for silent movies; pianist for publishing house. Successes include "On a Dew-Dew-Dewy Day."
4.144 SILVER, ABNER -- (12/28/1899- 11/24/1966). Composer, lyricist, pianist. Dance band pianist; worked for publishing house. Song publisher. Composed many popular songs from 1920 into 60's, including songs for Elvis Presley movies JAILHOUSE ROCK, KING CREOLE, and G.I. BLUES.
4.189 SIMONS, SEYMOUR B. -- (1/14/1896-2/12/1949). Composer, lyricist, bandleader. Wrote Michigan Union operas while attending the University. In AAF during WWI, and with USO in WWII. Wrote material for revues in London and Paris early 20's, then led dance band in US. Later record company executive. Hits include "Breezin Along with the Breeze" and "All of Me."
4.190 SKYLAR, SUNNY -- (11/11/1913- ). Composer, lyricist, author; band singer with Abe Lyman, Paul Whiteman, and others; also worked as a single act. Wrote band material for Betty Hutton and others. Hits include "Besame Mucho."
4.191 SMITH, HARRY B. -- (12/28/1860-1/2/1936). Lyricist. Librettist-lyricist of Broadway musicals 1887-1932, one of most prolific. Brother of Robert B. Smith. Collaborated with DeKoven on first American comic opera. Music and drama critic for Chicago newspapers. Adaptations of French and German operettas. Successes include "The Sheik of Araby."
4.192 SMITH, LEE OREAN -- (1874-?)
4.191 SMITH, ROBERT B. -- (6/4/1875-11/6/1951). Lyricist. Reporter for Brooklyn Eagle. Publicity for Casino Theater, wrote material for shows there. Collaborated with brother Robert B. Smith in Broadway shows. Adapted some stage shows to musicals. Successes include "All the World Loves a Lover."
4.193 SNYDER, TED -- (8/15/1881-7/16/1965). Composer, lyricst, pianist. Early career pianist in cafes and publishing houses. Hired Irving Berlin as staff pianist for his publishing company; collaborated in early songs; Berlin later became partner. Successes include "Whos Sorry Now?"
4.194 SOLMAN, ALFRED -- (5/6/1868-11/15/1937)
4.29 SOUSA, JOHN PHILIP -- (11/6/1854-3/6/1932). Composer, bandleader, and writer. Known as the "March King" and as the most important figure in the history of American bands and band music. His contributions to band brass instrumentation includes the sousaphone and a bass tuba with bells, built in the 1890's.
4.195 SPENCER, HERBERT -- (5/27/1878-8/26/1944). Composer, arranger, singer. Studied voice with Enrico Caruso. In vaudeville for 12 years. Accompanist and arranger for prominent singers. Successes include "There's Egypt in Your Dreamy Eyes."
4.196 SPINA, HAROLD -- (6/21/1906-7/18/1997). Composer, lyricist. Pianist, arranger for publishing house; wrote special material. Founder-President of Telefilm. Director and producer for record companies. Hits include "Annie Doesnt Live Here Anymore."
4.197 STEPT, SAM -- (9/18/1897-12/1/1964). Composer, lyricist, bandleader. Pianist for publishing house. Vaudevile accompanist for Mae West and Jack Norworth among others. Led dance band in early 20's. Songwriting mainly in 30's and 40's. Hits include "Don't Sit Under the Apple Tree" and "That's My Weakness Now."
4.30 STERLING, ANDREW B. -- (1874-1955). Composer and lyricist. Collaborated extensively with the popular Tin Pan Alley songwriter, Harry Von Tilzer, providing the lyrics to some of the most popular songs, including so-called coon songs of the early 1900's as "One Sunday Afternoon" and "Down Where The Cotton Blossoms Grow."
4.153 STERN, JOSEPH W. -- (1/11/1870-3/31/1934)
4.146 STOLLER, MIKE -- (3/13/1933-). Composer. Early piano lessons in New York. Moved to Los Angeles and met Jerry Lieber. First hits were "Kansas City" and "Hound Dog."
4.198 STRAIGHT, CHARLEY -- (1/16/1891-9/21/ or 10/17/1940). Composer, lyricist, pianist, bandleader. Early career in vaudeville. Leader of band in 30's. Musical director of company producing player-piano rolls. Hits include "Funny, Dear, What Love Can Do."
4.31 STYNE, JULE K. -- (12/31/1905- ). Composer. Collaborated with Sammy Cahn on several Broadway musicals. Became one of the most prolific theatrical composers of the post-WWII era, creating scores for over 20 musicals performed by such artists as Carol Channing, Mary Martin, Ethel Merman, and Barbra Streisand.
4.32 SULLIVAN, SIR ARTHUR S. -- (5/13/1842-11/22/1900). English composer and conductor. Composed comic operas whose music, written to librettos by W.S. Gilbert, represents a peculiarly English style of operetta that achieved exceptional renown in both England and the United States. One of the most widely popular of all British composers.
4.199 TAYLOR, TELL -- ...
4.200 THORNTON, JAMES -- (12/5/1861-7/27/1938). Composer, performer. Worked as a singing waiter, then toured in vaudeville, often performing with wife, Bonnie. Successes include "When You Were Sweet Sixteen."
4.201 TIERNEY, HARRY -- (5/21/1890-3/22/1965). Composer, pianist. Toured US and abroad as concert pianist. Worked for Remick publishing house. Wrote scores for several Broadway shows. Hits include "Alice Blue Gown."
4.202 TOBIAS, CHARLES -- (8/15/1898-7/7/1970). Lyricist, composer, vocalist. Prolific songwriter mid-20's into 50's. Collaborated with brothers Harry and Henry. Early career sang in vaudeville, for publishing houses, and on radio. Formed publishing company in 1923. Hits include "Those Lazy Hazy Crazy Days of Summer."
4.202 TOBIAS, FRED -- (3/25/1928-). Lyricist. Son of Charles Tobias. Wrote special material for Carol Burnett and Julius Monk, among others. Made Broadway debut as co-lyricist of Ellington's POUSSE CAFE. Wrote lyrics for TV specials THE GIFT OF THE MAGI and QUINCY. Songs recorded by Patti Page, Tony Bennett, Steve Lawrence, Elvis Presley and others.
4.202 TOBIAS, HARRY -- (9/11/1895-12/15/1994). Lyricist. Brother Charles among several collaborators; most songwriting in 30's and 40's. Wrote special material for movies. Hits include "It's a Lonesome Old Town."
2.202 TOBIAS, HENRY -- (4/23/1905 - 12/5/1997). Lyricist, composer pianist, vocalist. Wrote for vaudeville and night club performers and for radio. Pianist, singer and disc jockey; TV producer for CBS. Collaborated with brothers Charles and Harry. Directed and produced shows for summer stock and resort hotels. Hits include "What Are You Doing the Rest of Your Life?"
4.33 VAN ALSTYNE, EGBERT -- (3/5/1878-7/9/1951). Composer and lyricist. Best known for his collaboration with lyricist Harry H. Williams, with whom he wrote songs exploiting Indian themes and the popular "In The Shade of the Old Apple Tree." Later joined forces with lyricist Gus Kahn.
4.203 VINCENT, NAT -- (11/6/1889-6/6/1979). Pianist on vaudeville circuit. One of radio's "Happy Chappies." Remained active in later years despite total blindness. Wrote "I'm Forever Blowing Bubbles."
4.34 VON TILZER, ALBERT -- (3/29/1878-10/1/1956). Composer, lyricist, and publisher. Wrote some of the most popular songs of the early 20th century, and contributed songs to a number of films and Broadway productions. Like brother Harry, Albert's songs incorporate dance rhythms and slang idioms typical of Tin Pan Alley that have since become standards.
4.35 VON TILZER, HARRY -- (7/8/1872-1/10/1946). Composer, lyricist, performer, and publisher. Wrote and published over 2,000 of his own songs and other sentimental and moralistic ballads. Also wrote so-called coon songs for blackfaced minstrels and vaudeville acts of the period. Plugged and published many of the Gershwin and Berlin songs that later became famous.
4.204 WALLACE, WILLIAM VINCENT -- (3/11/1812-10/12/1865). Irish composer, pianist, violinist. Debuted as composer at age 22. Moved to Australia, then various North and South American cities; finally settled in London where he had his great success with MARITANA.
4.36 WARREN, HARRY -- (12/24/1893-9/22/1951). Composer, lyricist. Wrote songs for Broadway reviews, including several co-authored and produced with Billy Rose. Considered one of the most successful composers of American films. The wide dissemination of his music through the film medium made him one of the most influential of all 20th-century songwriters.
4.205 WASHINGTON, NED -- (8/15/1901- 12/20/1996). Lyricist. Early career in vaudeville as M.C. and agent, and writing special material. Popular lyricist from late 20's into 60's; wrote for Broadway shows and movies, including title songs. Hits include "High Noo n" and "When You Wish Upon a Star."
4.206 WAYNE, BERNIE -- ( ? ). Composed "There She Is," the Miss America Pageant Theme Song.
4.207 WAYNE, SID -- (1/26/1923-). Composer, author. Wrote songs and comedy material for TV. Popular songs include "Nintey- nine Years" and "Two Different Worlds."
4.208 WEBSTER, JOSEPH PHILBRICK -- (2/18/1819-1/18/1875). Composer and performer. Toured in concerts of popular music. Managed a Connecticut troupe, The Euphonians, and composed many of their successful songs. Public opposition to slavery forced several moves. Published over 400 songs, ballads, patriotic songs and hymns.
4.209 WEBSTER, PAUL FRANCIS -- (12/20/1907- 3/22/1984). Lyricist. After college became seaman, dancing instructor. To Hollywood mid-30's for movie work. In 50's and 60's wrote many movie and title songs; had several Academy Award nominations and awards. Hits include "Giant" and "Love Is a Many Splendored Thing."
4.210 WEIL, KURT -- (3/2/1900-4/3/1950). German. Composer, arranger, pianist. Very successful career in Germany; left in 1933 with wife Lotte Lenya, first to Paris then to US in 1935. Composed many Broadway musicals in the 40's including KNICKERBOCKER HOLIDAY ("September Song") and THE THREEPENNY OPERA, first produced in Germany.
4.37 WENDLING, PETER -- (6/6/1888-4/8/1974). Composer, lyricist, and pianist. Wrote several hit songs of the post-WWII era in partnership with Bert Kalman and Edgar Leslie. Most popular song: "Oh, What a Pal Was Mary."
4.38 WENRICK, PERCY -- (1/23/1887-3/17/1952). Composer, lyricist, pianist, and singer. Best known for his pre-WWII popular songs such as "Put On Your Old Grey Bonnet," "Moonlight Bay," and others, that became favorites of barbershop quartets and sing-alongs. Known in Tin Pan Alley as "The Joplin Kid".
4.39 WHITING, RICHARD A. -- (11/12/1892-2/10/1938). Composer and lyricist. Among the most successful Tin Pan Alley songwriters of the 1920s and 1930s. He was one of the first important Hollywood composers to began writing music for silent film and later for sound productions such as the very successful movie, HOLLYWOOD HOTEL.
4.138 WHITNEY, JOAN -- (6/26/1914-7/12/1990). Composer, lyricist, vocalist. Own radio show; sang in clubs and hotels. Formed publishing firm with husband Alex Kramer. Hits include "Candy" and "High on a Windy Hill."
4.211 WILLIAMS, GUS -- (7/19/1847-1/16/1915). Composer, actor, singer. Performed at Tony Pastor's before playing legitimate leading roles. Toured in vaudeville.
4.212 WOOODBURY, ISAAC BAKER -- (10/23/1819-10/26/1858). Composer. Studied in London, Paris. Taught music; was conductor, editor, writer. Compiled music collections. Popular songs include "Be Kind to the Loved Ones at Home."
4.213 WOODS, HARRY -- (11/4/1896-1/14/1970). Composer, lyricist. Pianist and singer while student at Harvard. Wrote for English movies mid-30's. Hits include "When the Red, Red Red Robin Comes Bob-Bob-Bobbin' Along" and "Side by Side."
4.214 WRUBEL, ALLIE -- (1/15/1905-12/13/1973). Coposer, lyricist, bandleader. Saxman in bands; led own band; theater manager. Wrote for Warner Brothers, then Disney. Hits include "Gone with the Wind" and "Zip-a Dee-Doo-Dah."
4.40 YELLEN, JACK -- (7/6/1892-4/17/1991 ). Lyricist. Permanent lyricist for Tin Pan Alley songwriter, Milton Ager. Also wrote special material for entertainer Sophie Tucker for over 20 years. A famous song by the Yellen/Ager combination was "I Wonder What's Become of Sally." "Happy Days Are Here Again" was another great hit.
4.41 YOUMANS, VINCENT M. -- (9/27/1898-4/5/1946). Composer. Wrote and produced three successful Broadway musicals. Published fewer than 100 songs, but 18 of these were considered standards by ASCAP, including "Tea For Two," "Take A Chance," and "I Want To Be Happy."
4.145 YOUNG, JOE -- ...
4.215 YOUNG, VICTOR -- (b. Chicago, 8/8/1900-11/11/1956). Composer, violinist, conductor. Worked in radio and theater as violinist, arranger, conductor. Wrote over 200 scores for movies, including SHANE. Song hits include "Stella by Starlight" and "Sweet Sue."
4.216 YOUNG, VICTOR -- (b. Bristol, Tennessee, 4/9/1889-9/2/1968). Pianist and composer. Studied and toured in Europe. Accompanist to prominent singers. Music director in Thomas A. Edison's Experimental Laboratory. Composed for about 300 movies including some of the earliest sound productions.
4.217 ZAMECNIK, JOHN S. -- (5/14/1872-6/13/1953). Composer. Classical training included time under Antonin Dvorak. Violinist in Pittsburgh Orchestra under Victor Herbert. Wrote operettas.
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana
This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 4: Songwriters forms part of the
Sam DeVincent Collection of Illustrated American Sheet Music
.
An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
Scope and Content Note:
The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."
Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.
Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.
Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them.
Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.
The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
See Appendix for a list of Milch Gallery exhibitions and checklists
Arrangement:
Records of the Milch Gallery are organized into seven series. With the exception of the alphabetical files, records are arranged by record type and then chronologically. Photographs are categorized by subject, with pictures of individuals arranged alphabetically by name, and works of art arranged alphabetically by artist.
Missing Title
Series 1: Alphabetical Files, 1911-1962
Series 2: Sales Records and Inventories, 1911-1969, undated
Series 3: Financial Records, 1914-1980, undated
Series 4: Printed Matter, 1996, 1910-1967, undated
Series 5: Photographs, 1903-circa 1944, undated
Series 6: Miscellaneous, 1916-1970, undated
Series 7: Addition to the Milch Gallery Records, 1922-1995 (Boxes 60-65, 3 linear feet)
Historical Note:
Between 1911 and 1916, prior to the establishment of the Milch Galleries, Austrian immigrant Edward Milch (1865-1953) operated the Edward Milch Galleries at 939 Madison Avenue 1911, mainly handling prints and providing framing services.
Albert Milch (1881-1951) was employed by a gilder and later a picture framer before becoming the business partner of his older brother. In 1916 they incorporated as E. & A. Milch (with Edward as President and Albert as Secretary of the corporation) and opened the Milch Galleries at 108 West 57th Street, New York City. During their partnership, Edward served as President and Albert as Secretary of the corporation. According to Joseph Gotlieb, a long-time employee, during this period Montross Gallery became inclined toward modern French art and the American artists associated with them began searching for galleries more sympathetic to their interests. "As Albert Milch was a framemaker to several of them, and as he was opening a new gallery in 1916 to specialize in American Art, some artists decided to let the Milch Galleries, and others, handle their work. It turned out to be a good arrangement for both sides, and a successful one" (letter from Joseph S. Gotleib to Susan Hobbs [National Museum of American Art], December 30, 1977).
From the beginning, Milch Galleries dealt in American art almost exclusively, representing living artists, handling the estates of recently deceased artists; in addition they acquired nineteenth century works for resale and accepted pieces on commission. Although framing and restoration services continued to be offered to customers, this aspect of the business soon diminished in importance.
Harold C. Milch (1904-1981), Albert's son, was affiliated with the business, and upon his father's retirement was appointed partner; after Albert died in 1951, Harold was sole proprietor, serving as both President and Secretary.
Milch Galleries moved to smaller quarters at 55 East 57th Street in 1947, and ten years later to 21 East 67th Street. In 1967, the name was changed to Milch Gallery and the business relocated to 1014 Madison Avenue. The gallery dissolved upon the death of Harold Milch. A third brother, David C. Milch, was also an art dealer, but was not associated with Milch Gallery.
Missing Title
1911 -- Edward Milch Galleries opens at 939 Madison Ave.
1912 -- First exhibition at Edward Milch Galleries
1916 -- Incorporation of E. & A. Milch; Edward Milch, President, and Albert Milch, Secretary; change of name to Milch Galleries and relocation to 108 West 57th St.
1918 -- Milch Galleries Art Notes begins publication
1944 -- Edward Milch retires; Albert Milch President, and Harold C. Milch [son of Albert], Secretary
1947 -- Milch Galleries moves to 55 East 57th St.
1951 -- Death of Albert Milch (1881-1951); Harold C. Milch, President and Secretary
1953 -- Death of Edward Milch (1865-1953)
1957 -- Milch Galleries moves to 21 East 67th St.
1966 -- Archives of American Art begins acquiring records of the Milch Galleries (gifts and loans from Milch Galleries)
1967 -- Relocation to 1014 Madison Ave., and name change to Milch Gallery
1981 -- Death of Harold C. Milch (1904-1981)
1986 -- Archives of American Art receives the bulk of Milch Gallery records (gift of Salander-O'Reilly Galleries)
Appendix: List of Milch Gallery Exhibitions and Checklists:
Items marked with an asterisk (*) are contained in the scrapbook rather than with the Milch Gallery exhibition catalogs.
Missing Title
Nov. 16-Dec. 7, 1912* -- Exhibition of 300 Original Sketches in Oil by 100 Well Known American Artists
Feb. 15-March 8, 1913* -- Glimpses of Nature We Love to See, Feast, and Dwell On
April 28-May 7, 1913* -- Portraits of Children and Grown-Ups by Miss Susan Ricker Knox
Oct. 18-Nov. 1, 1913* -- Small Paintings and Bronzes
Oct. 18-Nov. 1, 1913* -- Exhibition of Paintings and Sculptures by Noted American Artists
Feb. 9-21, 1914* -- Paintings by W. Herbert Dunton of The Old West
Oct. 17-31, 1914* -- Portraits in Oil, Miniatures, and Sculpture
Feb. 20-March 7, 1915* -- Paintings and Etchings by Gordon Mallet McCouch
April 26-May 8, 1915* -- Paintings by Frew W. Kost, N.A.
Nov. 7-19, 1915 -- Paintings and Sculpture by Matilda Browne
Nov. 15-30, 1915* -- Views of the Panama California Exposition and Landscapes of Southern California
Jan. 31-Feb. 12, 1916 -- Paintings by Garber, Pearson, Lathrop, and Spencer
Feb. 14-26, 1916* -- Landscapes by Walter Clark, N.A.
Feb. 14-26, 1916* -- Paintings by Guy Wiggins
Nov. 4-18, 1916* -- Opening Exhibition
Nov. 25-Dec. 9, 1916* -- Works by the Late Louis Loeb
Jan. 15-27, 1917* -- Paintings by Helen M. Turner
Jan. 30-Feb. 10, 1917* -- Paintings by Leonard Ochtman, N.A.
Feb. 14-24, 1917* -- Recent Paintings by William V. Schevill
March 6-24, 1917 -- Ten American Painters
March 13-24, 1917* -- George Bellows
March 14-24, 1917* -- Paintings by Frederick J. Waugh
March 26-April 7, 1917* -- Paintings by Howard Russell Butler, N.A.
April 10-21, 1917 -- Paintings by Harry F. Waltman and Howard Giles, and Sculptures by Willard D. Paddock
April 15-27, 1917* -- Paintings by Valentino Molina
April 24-May 5, 1917* -- Paintings by Thalia Millet
Oct. 27-Nov. 17, 1917* -- William Jean Beauley
Jan. 15-Feb. 15, 1918* -- Etchings, Dry-Point and Lithographs by Ernest Haskell
Jan. 28-Feb. 4, 1918 -- Sketches and Paintings by the "Nova Scotia Group"
Feb. 25-March 16, 1918* -- Paintings by Robert Henri
March 13-24, 1918 -- George Bellows
March 22-April 4, 1918* -- Paintings by H. Gabrielle Levey
April 8-, 1918* -- Etchings by Allen Lewis
Nov. 25-Dec. 16, 1918* -- Paintings by Edward H. Potthast, N.A.
Dec. 18-Jan. 16, 1918 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists
Dec. 23-Jan. 10, 1919* -- Etchings and Dry-Points by Ernest Haskell
Jan. 13-25, 1919* -- Paintings by Mary Prindeville
Jan. 27-Feb. 13, 1919* -- With the A.E.F., Paintings and Drawings Made at the Front by S. J. Woolf
Feb. 14-26 [1919?]* -- Paintings by Arthur C. Goodwin
Feb. 18-March 1, 1919* -- Paintings by Jerome Myers
March 3-16, 1919* -- Recent Paintings of California by William Ritschel, N.A.
March 17-29, 1919 -- Recent Paintings by Lillian Genth, A.N.A.
March 28-April 9, 1919* -- Drawings of New York City by Peter Marcus
April 8-30*, 1919 -- Paintings by Leading American Artists
April 19-May 1*, 1919 -- Paintings by Valentino Molina
May 3-22, 1919 -- Recent American Sculpture
May 5-17*, 1919 -- Recent American Sculpture in Bronze, Wood, and Terra Cotta for the Town and Country House, the Grounds, and Garden
May 20-, 1919 -- Flag Pictures and Street Scenes by Childe Hassam
Nov. 16-Dec. 6, 1919 -- Childe Hassam
Nov. 17-Dec. 6, 1919 -- Exhibition of Works in the Various Mediums by Childe Hassam
Dec. 18-Jan. 16, 1920 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists
Dec. 29-Jan. 15, 1920* -- Portraits and Other Paintings by Royston Nave
Feb. 2-14, 1920 -- George Biddle
Feb. 2-14, 1920* -- Oil Paintings, Water Colors, Pastels, Monotypes, Silver-Points and Etchings by George Biddle
Feb. 16-28, 1920* -- Paintings by Ossip L. Linde
March 1-12, 1920 -- Bruce Crane
March 1-13, 1920 -- Bruce Crane, A.N.A.
March 15-April 3, 1920 -- Willard L. Metcalf
April 5-20, 1920 -- Paintings
April 8-30 [1920] -- Exhibition of Paintings by Leading American Artists
April 15-May 1, 1920 -- Valentino Molina
Oct. 18-30 [1920?]* -- Paintings of New England and Drawings of the Devastated Towns of Flanders by George Wharton Edwards
Nov. 1-13, 1920 -- Six American Painters [Clark, Potthast, Snell, Nichols, Olinsky, and Volkert
Nov. 1-15, 1920 -- Paintings by Theresa F. Bernstein
Nov. 15-27, 1920 -- Childe Hassam
Nov. 21-Dec. 3, 1920* -- Sculpture by Gleb Derujinsky
Dec., 1920* -- Exhibition by George Biddle
Dec. 1-21, 1920 -- Etchings and Color Etchings by William Meyerowitz
Dec. 27-Jan. 28, 1921 -- Albert Delbert Smith
circa 1920 -- Ossip L. Linde
circa 1920 -- William Meyrowitz
circa 1920 -- Exhibition
Jan. 10-29, 1921 -- Exhibition of Paintings by Brush, Crane, Dewing, Metcalf, Hassam, and Murphy
Jan. 31-Feb. 12, 1921 -- American Art
Feb. 14-26, 1921 -- Guy Wiggins
Feb. 14-26, 1921 -- Arthur G. Goodwin
Feb. 28-March 12, 1921 -- Paintings by Robert Henri
March 14-April 9, 1921 -- Paintings by Gari Melchers
March 28-April 9, 1921 -- Peter Marcus
April 11-23, 1921* -- Portraits and Figure Paintings by Edith Catlin Phelps
April 11-30, 1921 -- Paintings by Willard Metcalf
May 2-30, 1921 -- American Sculpture for the Town and Country House, the Garden, and the Grounds
Oct. 18-30 [1921?]* -- Paintings and Drawings by George Wharton Edwards
Oct. 24-Nov. 5, 1921 -- Portraits and Paintings of Old New Orleans by Wayman Adams
Nov. 7-19, 1921 -- Flower Paintings and Sculpture by Mathilde Browne
Nov. 7-19, 1921 -- Paintings in Oil and Water Color by George H. Clements
Nov. 19-Dec. 3, 1921 -- Sculpture-Gleb Derujinsky
Dec. 5-31, 1921 -- Works by Abbott H. Thayer, Including Important Paintings, Water Colors, and Drawings
circa 1921 -- Exhibition
Jan. 9-21, 1922 -- Paintings by Katherine Langhorne Adams
Jan. 9-21, 1922 -- Paintings of California by Douglass Ewell Parshall
Feb. 13-March 4, 1922 -- Paintings of Cape Ann by Harry A. Vincent, A.N.A.
March 6-25, 1922* -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin
March 6-25, 1922 -- Connecticut Landscape Paintings by Wilson Irvine
March 27-April 15, 1922* -- Moonlight Motifs: Garden of the Gods, Colorado and Other Paintings by Robert Reid, N.A.
Dec. 26-Jan. 13, 1923 -- Paintings and Pastels by Henry C. White
Jan. 15-27, 1923* -- Paintings of Spain by William J. Potter
Jan. 29-Feb. 10, 1923 -- Water Colors of the South Sea Islands by William Ritschel, N.A.
Feb. 12-March 3, 1923 -- Paintings by Willard L. Metcalf
March 5-31, 1923 -- Paintings of the Far East by Leon Gaspard
March 19-31, 1923* -- Landscape Paintings by Guy Wiggins, A.N.A.
April 2-21, 1923* -- Portrait Drawings by Ercole Cartotto
April 19-May 6, 1923 -- Paintings by Leading American Artists
Oct. 1-20, 1923 -- Paintings by Sidney E. Dickinson, A.N.A.
Oct. 22- Nov. 3, 1923 -- Paintings and Sculpture by Mathilda Brown (Mrs. Frederick Van Wyck)
Nov. 5-17, 1923 -- Memorial Exhibition of Paintings by William Gedney Bunce
Dec. 11-23, 1923* -- Water Colors by James Montgomery Flagg
Jan. 14-26, 1924 -- Exhibition of Nudes, Portraits, Landscapes and Genre by Eugene Paul Ullman
Feb. 18-March 8, 1924 -- Paintings by Willard L. Metcalf
March 27-April 5, 1924 -- Connecticut Landscapes by Guy Wiggins, A.N.A.
Dec. 1-27, 1924 -- Maurice Fromkes
Jan. 5-17, 1925 -- Paintings of the Pacific Coast by Armin Hansen
Jan. 19-31, 1925 -- Martha Walter
Feb. 16-March 7, 1925 -- Willard L. Metcalf
March 9-21, 1925 -- John Noble
March 23-April 11, 1925 -- Bruce Crane
May 4-16, 1925 -- Brynjulf Strandenaes Exhibition of Portraits
May 18-30, 1925 -- Paintings by Robert Brackman
Dec. 7-31, 1925 -- Paintings by the Late Willard Metcalf
Dec. 7-21, 1925 -- Sketches by Dorothea A. Dreier,
Jan. 11-23, 1926 -- Recent Landscape Paintings by Frank V. Du Mond
Jan. 25-Feb. 13, 1926 -- Smaller Paintings by Max Bohm
Feb. 15-March 6, 1926 -- Paintings of the Sea by William Ritschel
April 13-May 2, 1926 -- Jonas Lie
April 26-May 15, 1926 -- Landscapes and Street Scenes by William Jean Beauley
Nov. 15-27, 1926 -- California Marine Paintings and Water Colors by Armin Hansen
Nov. 29-Dec. 18, 1926 -- Water Colors by Frank W. Benson
Nov. 29-Dec. 18, 1926 -- Silver-Point Drawings by Ercole Cartotto
Jan. 10-22, 1927 -- Portraits by Millie Bruhl Frederick (Mrs. Leopold Fredrick)
Jan. 24-Feb. 12, 1927 -- Paintings of Cornwall and Devonshire by W. Elmer Schofield
Jan. 24-Feb. 12, 1927 -- Etchings by Teresa Cerutti Simmons, Watercolors by Will Simmons
Feb. 14-March 5, 1927 -- Sculpture by Heinz Warneke
March 28-April 16, 1927 -- Paintings by Henry Golden Dearth
April 18-30, 1927 -- Decorative Flower Paintings by Olin Howland
April 18-30, 1927 -- Recent Water Colors by John Whorf of Boston
Oct. 10-28, 1927 -- Decorative Embroideries by Georgiana Brown Harbeson
Nov. 14-26, 1927 -- Pastels and Etchings of Cambodia and China by Lucille Douglass
Nov. 28-Dec. 24, 1927 -- Works by Gari Melchers
Nov. 28-Dec. 24, 1927 -- Sculpture by Max Kalish
Dec. 26-Jan. 14, 1928 -- Water Color Exhibition of West African Native Types by Erick Berry; Also a Group of West African Pottery and Brass Figures Made by the Natives of Nigeria
Dec. 29-Jan. 14, 1928 -- Paintings by Joacb Dooyewaard
Jan. 14-26, 1928 -- Decorative Paintings by Jane Peterson
Feb. 7-April 29, 1928 -- Alfred Hutty
Feb. 13-25, 1928 -- Water Colors by Alice Judson
March 12-24, 1928 -- Etchings of Ancient Dances by Teresa Cerutti-Simmons and Wild Life by Will Simmons
March 12-24, 1928 -- An Important Exhibition of Paintings and Pastels by John H. Twachtman
March 12-24, 1928 -- Sculpture by Heinz Warnecke
March 26-April 14, 1928 -- Water Colors by John Whorf
April, 1928 -- Water Colors by William Ritschel, N.A.
April 15-May 5, 1928 -- Portrait Drawings in Pastel by Jessie Voss Lewis
Oct. 22-Nov. 3, 1928 -- Water Colors of France and Italy, and Etchings by Louis Wolchonok
Oct. 22-Nov. 3, 1928 -- Poetic Landscapes with Figures by Henry M. Rosenberg of Nova Scotia
Nov. 19-Dec. 1, 1928 -- Water Colors by Frank W. Benson
Nov. 19-Dec. 1, 1928 -- Water Colors of Architectural Subjects in France, Also Landscape and Figures by William de Leftwick Dodge
Dec. 1-28, 1928 -- Alfred Hutty
Dec. 3-24, 1928 -- Important Exhibition of Early and Recent Works by Childe Hassam of the American Academy of Arts and Letters
Dec. 3-24, 1928 -- Still Life Paintings by Ruth Payne Burgess
Dec. 20-Jan. 8, 1929 -- Drawings by Frank di Gioia
Dec. 20-Jan. 8, 1929 -- Memorial Exhibition, Water Color Sketches by Thomas Moran, N.A.
Dec. 27-Jan. 14, 1929 -- Erick Berry
Dec. 27-Jan. 14, 1929 -- Helen K. McCarthy Memorial Exhibition
Dec. 29-Jan. 14, 1929 -- Paintings by Jacob Dooyewaard
circa 1928 -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming
Jan. 28-Feb. 9, 1929 -- Painitings of Western Life by F. Tenney Johnson
Jan. 28-Feb. 9, 1929 -- Paintings and Water Colors by Alice Judson
Feb. 11-23, 1929 -- Paintings and Drawings by Max Bohm
Feb. 11-23, 1929 -- Landscapes and Marines by Jay Connaway
Feb. 25-March 9, 1929 -- Water-Colors by Harold Putnam Browne
Feb. 25-March 9, 1929 -- Paintings by Truman Fassett
March 11-23, 1929 -- Recent Water Colors by C.E. Polowetski
March 11-23, 1929 -- Louis Ritman
March 25-April 6, 1929 -- Landscapes by Frank Vincent Du Mond
March 25-April 6, 1929 -- Water Colors by Armin Hansen of California
March 25-April 6, 1929 -- Sculptures by Roy Sheldon
April 8-20, 1929 -- Water Colors by John Whorf, Distinguished Young Boston Artist
Oct. 21-Nov. 2, 1929 -- Corners in Spain, An Exhibition of Paintings by Wells M. Sawyer
Nov. 4-17, 1929 -- Recent Sculpture by Heinz Warnecke
Nov. 4-16, 1929 -- Paintings of Ireland and Other Scenes by Power O'Malley
Nov. 18-30, 1929 -- Group of Recent Paintings by Hayley Lever
Nov. 18-30, 1929 -- Recent Water Colors and Etchings by Louis Wolchonok
Dec. 2-21, 1929 -- Paintings by Maurice Fromkes
Jan. 30-Feb. 11 [192?] -- Water Colors of Greek Temples in Sicily by Wm. De Leftwich Dodge
Feb. 2-15 [192?] -- Figure Paintings by Murray Bewley
March 15-April 3 [192?] -- Paintings by Willard L. Metcalf
March 28-April 16 [192?] -- Paintings by Henry Golden Dearth
April 2-21 [192?] -- Landscape Paintings by Bruce Crane, N.A
Oct. 17-29 [192?] -- Water Colors of the Rivera by Ferris Connah
Oct. 18-30 -- Paintings and Drawings by George Wharton Edwards
Oct. 25-Nov. 13 [192?] -- Recent Landscapes by John F. Carlson, N.A.
Oct. 25-Nov. 13 [192?] -- John F. Carlson
[192?] -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming
Nov. 19-Dec. 1 [192?] -- Water Colors of Architectural Subjects in France, also Landscape and Figures by William De Leftwich Dodge
Jan. 20-Feb 1, 1930 -- West African Water Colors by Erick Berry
Jan. 20-Feb. 1, 1930 -- Paintings by Nelson C. White
Feb., 1930 -- Thelma Wood
Feb. 3-15, 1930 -- Paintings by Horace Brown
Feb. 17-March 1, 1930 -- Paintings by Francis Speight
Feb. 17-March 1, 1930 -- Paintings by Ruth Payne Burgess
March 3-15, 1930 -- Paintings by John Noble
March 17-29, 1930 -- Russian Paintings by Irwin D. Hoffman, Also a Group of Recent Watercolors
March 17-29, 1930 -- Alexander Warshawsky
March 31-April 12, 1930 -- Memorial Exhibition, Paintings and Watercolors of Sigurd Skou
March 31-April 12, 1930 -- Emmanuel Andrew Cavacos
April 14-26, 1930 -- Water Colors by John Whorf
Oct. 20-Nov. 1, 1930 -- Recent Paintings of Lake Como by Charles Warren Eaton
Nov. 3-15, 1930 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass
Nov. 17-29, 1930 -- Joseph Szekely
Nov. 17-29, 1930 -- Important Exhibiton of Paintings by a "Group of Americans"
Dec. 1-13, 1930 -- Diana Thorne and Canine Portraiture
Dec. 1-13, 1930 -- Recent Paintings of Ireland by Power O'Malley
Dec. 1-13, 1930 -- Paintings by Charles M. Cox of Boston
Jan. 19-31, 1931 -- Portraits by Jere R. Wickwire
Jan. 20-Feb. 1, 1931 -- Nelson C. White
Jan. 24-Feb. 7, 1931 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass
Feb. 2-24, 1931 -- Recent Paintings by Lillian Gentle
Feb. 2-24, 1931 -- Impressions of India and Palestine by Ruth Coleman
Feb. 16-28, 1931 -- Watercolors of Vermont Scenes and Other Views by Ruth Payne Burgess
Feb. 16-28, 1931 -- Martha Walter Recent Work in Oil and Watercolor
March 2-14, 1931 -- Recent Paintings by Alice Judson
March 2-28, 1931 -- Paintings & Drawings by Gari Melchers
March 16-28, 1931 -- Recent Watercolors by Harold Putnam Brown
March 30-April 11, 1931 -- Paintings by Louis Kronberg
March 30-April 11, 1931 -- Watercolors by John Whorf
April 13-25, 1931 -- Americans by American Artists, Exhibition of Portraits
April 13-25, 1931 -- Louis Kronberg
April 13-25, 1931 -- Portraits and Crayon Heads by Ferris Connah
April 13-May 2, 1931 -- Abbott H. Thayer
Sept. 22-Oct. 6, 1931 -- Water Colors by Gladys Brannigan, Alice Judson, Margery Ryerson
Oct. 19-30, 1931 -- Portraits by William Steene
Nov. 2-7, 1931 -- Portraits and Sketches by Maria Kammerer under the Patronage of Countess Laszlo Szechenyi
Nov. 9-21, 1931 -- Paintings by Bessie Lasky
Nov. 23-Dec. 5, 1931 -- Recent Oils, Water Colors and Etchings by Joseph Margulies
Dec. 7-21, 1931 -- Recent Paintings by George Wharton Edwards
Dec. 7-19, 1931 -- Paintings and Etchings of African and American Big Game by Major A. Radclyffe Dugmore
Dec. 7-19, 1931 -- Watercolors of Yucatan, "Land of the Mayas" by William de Leftwich Dodge
Dec. 20-Jan. 8, 1932 -- Water Colors of the Yellowstone and Mexican Series by Thomas Moran, N.A.
Jan. 11-23, 1932 -- Paintings, Watercolors and Etchings of Animals by Sybilla Mittell Weber
Jan. 25-Feb. 6, 1932 -- Paintings by George Oberteuffer, Member of the Salon d'Automne, Paris
Feb. 8-March 5, 1932 -- Important 19th and 20th Century American Painters
March 7-19, 1932 -- Paintings by Mrs. B. King Couper
March 7-19, 1932 -- Drawings by Maurice Sterne, Ernest Fiene, Alexander Brook, yasuo Kuniyoski, Bernard Karfiol, Peggy Bacon, and Leon Kroll
March 28-April 9, 1932 -- Watercolors by John Whorf
April 11-30, 1932 -- Forty Years of American Art
Oct. 3-15, 1932 -- New Paintings by American Artists
Oct. 19-Nov. 5, 1932 -- Paintings by Stephen Etnier
Nov. 7-30, 1932 -- Paintings by Edward Bruce
circa 1932 -- Recent Paintings by Stephen Etnier
Jan.30-Feb. 25, 1933 -- Important Exhibition of Paintings by Thomas Eakins
March 6-25, 1933 -- 19th and 20th Century Watercolors
March 27-April 14, 1933 -- Paintings by Francis Speight
April 17-May 6, 1933 -- Water Colors by John Whorf
May 15-31, 1933 -- 19th Century American Landscape Artists
Nov. 27-Dec., 1933 -- Water Colors by Emil Holzhaur
Feb. 26-March 17, 1934 -- Paintings by Stephen Etnier
March 19-April 7, 1934 -- Water Colors by John Whorf
April 16-May 5, 1934 -- Bali Studies by Maurice Sterne
June-Aug., 1934 -- Paintings by American Artists
Sept., 1934 -- Paintings by American Artists
Oct. 15-Nov. 3, 1934 -- New and Recent Paintings by American Artists
Nov. 5-21, 1934 -- Paintings by Sidney Laufman
Nov. 26-Dec., 1934 -- Recent Vermont Landscapes by Edward Bruce
circa 1934 -- American Figure Paintings of the 19th and 20th Century
Jan. 7-26, 1935 -- Paintings and Watercolors from the Samuel Halpert Estate
Feb. 4-28, 1935 -- Small Paintings by 19th and 20th Century American Artists
March 4-22, 1935 -- Recent Paintings by Stephen Etneir
March 25-April 13, 1935 -- Water Colors by John Whorf
April 22-May 11, 1935 -- Figure and Landscape Studies by Leon Kroll
May 20-June, 1935 -- Group Exibhition of Paintings
Summer, 1935 -- Paintings by American Artists
Oct. 1-26, 1935 -- Paintings by Childe Hassam
Oct. 28-Nov. 16, 1935 -- Watercolors by Millard Sheets
through Dec., 1935 -- Paintings by Americans
Jan. 1936 -- Paintings by Americans
Feb. 3-29, 1936 -- Important Exhibition of 19th and 20th Century American Painters
March 2-21, 1936 -- Stephen Etnier
March 30-April 19, 1936 -- Watercolors by John Whorf
May 18-June, 1936 -- Paintings by American Artists
Summer, 1936 -- Paintings by American Artists
September, 1936 -- Paintings by American Artists
Oct. 12-31, 1936 -- Contemportary Viewpoint
through Nov. 30, 1936 -- 19th and 20th Century American Figure Paintings
circa 1936 -- Landscapes--Contemporary Viewpoint
Jan. 11-30, 1937 -- Selected Landscapes
Feb., 1937 -- Contemporary American Sculpture
March 15-April 3, 1937 -- Watercolors by Millard Sheets
April 12-30, 1937 -- John Whorf
April 27-May 16, 1937 -- Maurice Sterne
May, 1937 -- Paintings by American Artists
Summer, 1937 -- Paintings
Oct. 1-15, 1937 -- Recent Watercolors
Oct. 18-Nov. 6, 1937 -- Paintings by Lucille Blanche
Nov. 8-30, 1937 -- Paintings by American Artists
Dec. 6-24, 1937 -- Watercolors by Lester Field
Jan. 3-22, 1938 -- Recent Paintings by Stephen Etnier
Jan. 24-Feb. 5, 1938 -- Paintings by Margaret Cooper
Feb. 7-26, 1938 -- Colonial Portraits
March 7-26, 1938 -- Recent Oils and Watercolors by Millard Sheet
April 4-23, 1938 -- Recent Watercolors by John Whorf
Summer, 1938 -- Paintings by American Artists
through Oct., 1938 -- Paintings by American Artists
Oct. 24-Nov. 12, 1938 -- Recent Watercolors by Karl Oberteuffer
Nov. 21-Dec. 17, 1938 -- Paintings for the Home by American Artists
Jan. 16-Feb. 4, 1939 -- Recent Paintings by Floyd Clymer
Feb. 6-25, 1939 -- Harry Hering
March 6-31, 1939 -- Figure Paintings by American Artists
April 3-22, 1939 -- Recent Watercolors by John Whorf
May 15-June 3, 1939 -- Recent Watercolors by Millard Sheets
Summer, 1939 -- Selected Group of Paintings by American Artists
Sept., 1939 -- Paintings and Watercolors by American Artists
through Oct. 13, 1939 -- Recent Paintings by a Group of American Artists
Oct. 16-Nov. 4, 1939 -- Recent Paintings by Saul Schary
Nov. 13-Dec. 2, 1939 -- Toreros and Dancers of Spain and Mexico by Carlos Ruano Llopis
Dec., 1939 -- Paintings for the Home
Nov. 5-17 [193?] -- Table Portraits by Eulabee Dix
[193?] -- Paintings by American Artists
Jan. 2-27, 1940 -- Stephen Etnier
Feb. 12-March 2, 1940 -- Recent Watercolors by Robert Carson
March 11-30, 1940 -- Daniel Serra Paintings
April 8-27, 1940 -- Recent Watercolors by John Whorf
April 28-May 18, 1940 -- Rubin Recent Paintings
through June 29, 1940 -- Paintings by a Selected Group of American Artists
through Sept. 28, 1940 -- Summer Exhibition of Paintings by a Selected Group of Early and Contemporary American Artists
Oct. 1-19, 1940 -- Recent Paintings by a Selected Group of American Artists
Oct. 21-Nov. 9, 1940 -- Recent Watercolors by Allen Ingles Palmer
Nov. 18-Dec. 7, 1940 -- Helen Sawyer
Dec., 1940 -- Selected Paintings for the Home, and A Group of Original Studies in Color by Maurice Sterne
Jan. 13-Feb. 8, 1941 -- Watercolors by American Artists
Feb. 17-March 15, 1941 -- Paintings by Stephen Etnier, Sidney Laufman, and Francis Speight
April 7-26, 1941 -- Recent Watercolors by John Whorf
April 28-May 17, 1941 -- Remembrances of South America and British West Indies by Manicol
May 19-June 30, 1941 -- Group of Paintings by Selected Contemporary American Artists
Summer, 1941 -- Exhibition of Selected Paintings by American Artists
Sept., 1941 -- A Selected Group of Paintings by Americna Artists
Oct. 6-25, 1941 -- Recent Paintings by a Selected Group of American Artists
Oct. 27-Nov. 15, 1941 -- Eliot O'Hara Watercolors
Nov. 17-Dec. 5, 1941 -- Recent Paintings by Jay Connaway
Nov. 17-Dec. 6, 1941 -- Recent Watercolors by Richard A. Kimball
Dec. 8-27, 1941 -- Edith Blum Paintings
Jan. 5-24, 1942 -- Recent Paintings by Stephen Etnier
through Feb. 28, 1942 -- Selected Paintings by a Group of Contemporary American Artists
March 9-28, 1942 -- New Talents Presented by the Gloucester Society of Artists
April 6-25, 1942 -- Recent Watercolors by John Whorf
May, 1942 -- Selected Paintings by Contemporary American Artists
June 2-13, 1942 -- Yun Gee
Summer, 1942 -- Selected Paintings by Early and Contemporary American Artists
Summer, 1942 -- Paintings by Selected American Artists
Oct. 5-31, 1942 -- Recent Paintings by a Selected Group of American Artists
Nov. 9-30, 1942 -- Watercolors by American Artists
Jan. 18-Feb. 6, 1943 -- Paintings by Yovan Radenkovitch
April 4-24, 1943 -- Recent Watercolors by John Whorf
April 26-May 15, 1943 -- Paintings and Watercolors by Childe Hassam
May 25-June 5, 1943 -- Exhibition by Gladys Irene Cook
June, 1943 -- Selected Paintings by American Artists
Summer, 1943 -- Exhibition of Paintings by American Artists
Sept., 1943 -- Paintings by a Selected Group of American Artists
Oct. 4-23, 1943 -- Paintings by Yun Gee
Nov., 1943 -- Recent Paintings by a Selected Group of American Artists
Jan. 24-Feb. 12, 1944 -- Recent Watercolors by James Fitzgerald
Feb. 14-March 4, 1944 -- Paintings by Sidney Laufman
March 6-25, 1944 -- Paintings by Jessie Ansbacher
April 3-22, 1944 -- Recent Watercolors by John Whorf
May, 1944 -- Paintings by Important American Artists
Summer, 1944 -- Exhibition of Paintings by a Selected Group of American Artists
Summer, 1944 -- Exhibition of Selected Paintings by a Group of American Artists
Oct. 2-21, 1944 -- Recent Paintings by Jay Connaway
Oct. 23-Nov. 11, 1944 -- Harry Hering
Nov. 13-Dec. 2, 1944 -- Paintings by Hobson Pittman
Dec., 1944 -- Paintings for the Home by American Artists
Jan. 3-13, 1945 -- Paintings by Therese Steinhardt
Jan. 22-Feb. 10, 1945 -- Louis Ritman
Feb. 18-, 1945 -- Memorial Exhibition, Paintings and Pastels by William Henry Singer, Jr., N.A.
Nov. 19-Dec. 7, 1963 -- New Paintings by Aaron Bohrod
April, 1964 -- Watercolors and Pastels
April 21-May 9, 1964 -- Grigory Gluckmann
May 13-29, 1964 -- Frank di Gioia Recent Paintings
Oct., 1964 -- Group Exhibition
Nov. 3-21, 1964 -- Stephen Etnier
Nov. 24-Dec. 12, 1964 -- Thomas Blagden
Jan., 1965 -- Comtemporary American Artists
Feb. 2-14, 1965 -- Figure Paintings by Murray Bewley
Feb. 2-14, 1965 -- Exhibition by George Biddle
Feb. 11-23, 1965 -- Paintings and Drawings by Max Bohm
Feb. 14-26, 1965 -- Paintings by Arthur C. Goodwin
Feb. 16-28, 1965 -- Water Colors by Matilda Browne
Feb. 16-March 6, 1965 -- Water Colors by Adolf Dehn
March, 1965 -- 19th and 20th Century American Artists
March 1-13, 1965 -- Bruce Crane, N.A.
March 6-25, 1965 -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin
March 26-April 7, 1965 -- Paintings by Howard Russell Butler, N.A.
March 23-April 10, 1965 -- Paintings by Dan Lutz
March 28-April 16, 1965 -- Paintings by Henry Golden Dearth
April 2-21, 1965 -- Landscape Paintings by Bruce Crane, N.A.
April 13-May 1, 1965 -- Paintings by Louis Bosa
April 16-28, 1965 -- Water Colors and Etchings by Adolphe W. Blondheim
May, 1965 -- Gallery Contemporaries
Oct. 25-Nov. 13, 1965 -- Recent Landscapes by John F. Carlson, N.A.
Oct. 26-Nov. 13, 1965 -- Twenty-Four New Paintings by Aaron Bohrod, Artist in Residence, University of Wisconsin
Nov. 2-14, 1965 -- Paintings by Ann Crane
Nov. 5-17, 1965 -- Memorial Exhibition of Paintings of Venice by Wm. Gedney Bunce, N.A.
Nov. 7-19, 1965 -- Paintings and Sculpture by Matilda Browne
Nov. 16-Dec. 4, 1965 -- Electra Bostwick
Dec. 7-30, 1965 -- Recent Drawings and Watercolors of European Countries and North Africa by Frank di Gioia
Jan. 11-29, 1966 -- Georges Schreiber Watercolors: 1963-1965
Jan.-Feb., 1966 -- 19th and 20th Century American Artists
Feb.-March, 1966 -- Group Exhibition
June, 1966 -- Group Exhibition
Oct. 11-29, 1966 -- Thomas Blagden
Nov. 1-19, 1966 -- Stephen Etnier
Nov. 22-Dec. 10, 1966 -- Pleissner
Jan. 24-Feb. 11, 1967 -- Xavier Gonzalez
April, 1967 -- Group Exhibition
April 18-May 6, 1967 -- Grigory Gluckmann
July, 1967 -- Group Exhibition
undated -- Etchings and Color-Etchings
undated -- Etchings of China and Cambodia by Lucille Douglass
undated -- Thomas Jefferson Bust in Bronze by Robert Aitken, N.A.
undated -- Paintings by Ossip L. Linde
undated -- Etchings by William Meyerowitz
undated -- Recent Screens and Panels by Roy Mac Nicol
undated -- Summer Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists
undated -- Paintings by Clement
undated -- Important Works in Paintings and Sculpture by Leading American Artists
Jan. 3-14, undated -- Armin Hansen
Jan. 8-27, undated* -- Recent Etchings by William Meyerowitz
Jan. 8-31, undated -- Group of American Figure Paintings, 19th and 20th Century
Jan. 9-21, undated -- Paintings by Katherine Langhorne Adams
Jan. 16-28, undated -- Paintings by Dewitt Parshall, N.A., and Douglass Parshall, N.A.
Jan. 23-Feb. 11, undated -- Paintings by Bruce Crane, Elliott Daingerfield, Granville Smith, and F. Ballard Williams
Jan. 27-Feb. 11, undated -- Willam de Leftwick Dodge
Jan. 28-Feb. 16, undated -- Paintings by Gari Melchers
Jan. 29-Feb. 10, undated -- Paintings of the California Coast by Armin Hansen
Jan. 30-Feb. 11, undated -- Sigrud Skou
Feb. 13-25, undated -- Water Colors by Alice Judson
Feb. 13-25, undated -- Paintings by Guy Wiggins, N.A.
Feb. 13-March 11, undated -- Paintings by H.T. Keasbey
Feb. 15-March 5, undated -- Frederic James
Feb. 17-March 1, undated -- Silver Point Drawings by Thelma E. Wood
Feb. 18-March 6, undated -- Landcapes, Nature Moods Expressed in Terms of Light by Julie Mathilde Morrow
Feb. 18-March 8, undated -- Paintings of Venice, Rome and French Landscape, also Pastel Drawings of the Battle Sectors of the 26th Division, A.E.F. by J. Alden Twachtman
Feb. 27-March 10, undated -- Portrait Busts and Drawings by Alexander Portnoff
March 5-17, undated* -- Pastels of the Hudson River by Arthur C. Goodwin
March 7-16, undated -- Paintings of Africa and Spain by Lillian Genth
March 7-26, undated -- Sigurd Skou
March 8-20, undated -- Paintings by Sigurd Skou
March 10-22, undated -- MacDowell Club of New York City Annual Exhibition of Paintings
March 22-April 10, undated -- Paintings of the Cathedrals of France by Pieter Van Veen
March 26-April 12, undated -- Paintings by E. Martin Hennings
March 26-April 14, undated -- Recent Etchings by Elias M. Grossman
March 28-April 16, undated -- Martha Walter Water Colors of Spain and North Africa
April 5-17, undated -- Paintings by Ernest L. Blumenschein, Victor Huggins, Walter Ufer
April 7-19, undated -- Figure Paintings by Louis Ritman
April 12-23, undated -- Portraits and Figure Paintings by Edith Catlin Phelps
April 12-24, undated -- Paintings of American Gardens by Abbott Graves
April 16-28, undated -- Portrait Drawings in Pastel by Jessie Voss Lewis (Mrs. H.L. Daingerfield Lewis)
April 19-May 1, undated -- Paintings by Valentino Molina
April 21-May 3, undated -- Paintings of Tahiti and California by William Ritschel, N.A.
April 21-May 3, undated -- Leonard Lopp, Glacier Park Artist
April 22-May 15, undated -- Sculpture for House, Garden & Grounds by Leading American Artists, and Pottery by Clara L. Poillon
April 24-May 5, undated -- Paintings by Thalia Millett
April 26-May 15, undated -- Dan Lutz, Mighican Summer and Mexican Sojourn
April 26-May 15, undated -- William H. Singer
April 27-May 16, undated -- Recent Paintings by Gluckmann
May 3-28, undated -- Exhibition of Sculpture for Garden and Grounds by Leading Sculptors
May 5-17, undated -- Recent American Sculpture in Bronze, Wood and Terra Cotta for the Town and Country House, Grounds and Garden
Oct. 11-23, undated -- Paintings by Anna Heyward Taylor
Oct. 25-Nov. 13, undated -- Water Colors by Alice Judson
Oct. 27-Nov. 15, undated -- Paintings and Etchings by William Auerbach-Levy
Oct. 30-Nov. 11, undated* -- Connecticut Landscape Paintings by Robert Nisbet, A.N.A.
Oct. 31-Nov. 12, undated -- Paintings of China and Tibet by Alice Job
Oct. 31-Nov. 14, undated -- Drawings by James Wilkie
Nov. 5-17, undated -- Paintings of Venice
Nov. 15-27, undated* -- Water Colors by Childe Hassam
Nov. 16-Dec. 5, undated -- Recent Etchings by Alfred Hutty
Nov. 16-Dec. 5, undated -- Paintings by W. Elmer Schofield
Nov. 17-29, undated -- Paintings and Etchings by Power O'Malley
Nov. 18-30, undated -- Recent Work in Water Color and Etching by Louis Wolchonok
Nov. 19-Dec. 1, undated -- Winter Landscapes in Water Color by Walter Launt Palmer, N.A.
Nov. 19-Dec. 1, undated -- Painter Friends, Robert H. Nisbet, Guy C, Wiggins, Edward C. Volkert, Wilson Irvine, George M. Bruestle, and Carl J. Nordell
Nov. 23-, undated -- Landscapes by Ault, Brook, Coleman, Karfiol, Ritman, Speight, Sterne, and Weber
Nov. 23-Dec. 6, undated -- Portraits of America's Most Distinguished Women by Leon Gordon
Nov. 24-Dec. 3, undated -- Sculpture by Gleb Derujinsky
Nov. 26-Dec., undated -- Exhibition of Recent Vermont Landscapes by Edward Bruce
Nov. 26-Dec. 5, undated -- Alfred Hutty
Nov. 27-Dec. 9, undated -- Paintings by Sigure Schou
Dec. 1-27, undated -- Works Painted in Spain by Maurice Fromkes
Dec. 1-25, undated -- Annual Holiday Exhibition of Selected Paintings of Limited Size
Dec. 3-29, undated -- Recent Paintings, Water Colors, and Etchings by Hilde Hassam, N.A., of the American Academy of Arts and Letters
Dec. 6-30, undated -- Selected Paintings for the Home by American Artists
Dec. 14-Jan. 2, undated -- Recent Paintings by George Shillard
Dec. 20-Jan. 8, undated -- Selected Small Paintings for the Home
Dec. 27-Jan. 12, undated -- Helen K. McCarthy Memorial Exhibition
Dec. 30-Jan. 18, undated -- Paintings by Stewart McDermot
Dec. 31-Jan. 12, undated -- Second Annual Exhibition in Pure Water Color by The Aquarellists
Provenance:
Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift.
Stuart Feld of Hirschl & Adler Galleries donated an additional .8 linear feet of records in 1995. Zachary Ross of Hirschl & Adler Galleries donated 2.2 linear feet in 2014.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.
Scope and Contents:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.
Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.
Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.
Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.
Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.
Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.
Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.
Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.
Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.
Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.
This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.
Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.
Arrangement:
The collection is arranged as 11 series.
Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.
Missing Title
Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)
Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)
Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)
Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)
Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)
Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)
Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)
Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)
Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)
Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)
Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)
Biographical / Historical:
John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.
John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.
The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.
During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.
Related Materials:
Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.
Separated Materials:
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
Provenance:
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Scope and Contents:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.
There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.
Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keeffe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.
E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.
Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.
Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.
Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.
Biographical / Historical:
Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.
E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966.
Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.
While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).
Related Materials:
Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.
Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Files consist of Henry-Russell Hitchcock's personal and professional correspondence, as well as subject files relating to academic research, teaching, curatorial interests, and professional associations. Subject files are comprised mainly of correspondence and printed material, with a small number of photographs that mostly relate to exhibitions and writings. After 1932, copies of Hitchcock's outgoing letters are almost always included, making the files from 1932-1987 almost complete.
The correspondence includes large numbers of letters from prominent architectural historians, architects, artists, preservationists, museum directors and curators. Also included is correspondence with students, friends, relatives, publishers, and representatives of organizations and institutions.
Among the correspondents of note are: Bernard Berenson, Eugene Berman, Leonid Berman, Lyonel Feininger, Brendan Gill, Robert Goldwater, George Howe, Lincoln Kirstein, J. J. P. Oud, Erwin Panofsky, Kingsley Porter, Paul J. Sachs, R. M. Schindler, Theodore Sizer, E. Baldwin Smith, Peter van der Meulen Smith, James Soby, Victor Spark, Harold Sterner, John Summerson, Virgil Thomson, Paul Vanderbilt, Theo Van Doesburg, Helmut von Erffa, and Gordon Washburn. Other important correspondents represented in a decade or more of correspondence include: Jere Abbott, Winslow Ames, Everett A. (Chick) Austin, Alfred H. Barr, Agnes Rindge Claflin, John Coddington, Walter Cook, John Coolidge, Henry (Harry) Sayles Francis, George Heard Hamilton, Ada Louise Huxtable, Philip C. Johnson, William Jordy, George N. Kates, Edgar Kauffmann, Jr., Richard Krautheimer, Phyllis W. Lehmann, Thomas J. McCormick, Agnes Mongan, Lewis Mumford, Nikolaus Pevsner, A. Kinglsey Porter, Willebald Sauerlander, Vincent Scully, Helen Searing, James Thrall Soby, Dorothy Stroud, John Summerson, Virgil Thomson, Emily Tremaine, Paul Vanderbilt, Rudolph Wittkower, and Frank Lloyd Wright.
See Appendix for a list of individuals, organizations, and subjects in Series 2
Arrangement note:
Files are arranged with a single alphabet for each year.
Appendix: Individuals, Organizations, and Subjects in Series 2:
Below is an index to individuals, institutions, organizations, and a small number of subject files, found in Series 2: Alphabetical Files. The index indicates the name and the alphabet year(s) in which each can be found.
Hitchcock did not follow strict alphabetical schema when organizing his files and filing eccentricities for the letters D, M, N, and V are explained below. The original arrangement has been left in place due to the difficulties and time involved in re-arranging the material within multiple alphabets.
Note on filing order for D's: Names beginning with the prefix "de" (e.g. De Cordova) are all filed before names beginning with the letters "de" e.g. Deerfield Academy.
Note on filing order for M's: Names beginning with the prefix "Mac" and "Mc" are all filed after names beginning with Ma. They are interfiled according to the first and subsequent letters following the prefix e.g. McIntyre, Mackay, McKean, MacLaren.
Note on filing order for N's: Proper names beginning with the word "new" (e.g. New American Library) are all filed before names incorporating the syllable "new" e.g. Newark Public Library.
Note on filing order for V's: Names beginning with the prefix "van" (e.g. Van Derpool) are all filed before names beginning with the syllable "van" e.g. Vancouver Hotel.
Ackerman, James S. (1948, 1952-1955, 1960, 1964, 1966)
Ackworth, Angus (1945)
Adams, Anthony (1960)
Adams, Florence B. (1948)
Adams, Frances S. (1965)
Adams, Frederick (1949)
Adams, Henry (1974)
Adams, Nicholas (1976-1978)
Adams, Philip R. (1952)
Addis, Reid M. (1974-1975)
Addison Gallery of American Art (1953-1954)
Addison, John (1982, 1984)
Adler, David (1928)
Agtmaal, J. G. van (1958)
African Studies, International Congress of (1978)
Ahda Artzt Gallery (1964)
Air Ministry (1946)
Aitken, Dott and Son (1946-1947)
Akron (1948)
Alabama Polytechnic Institute (1955)
Aladdin Office Services (1957)
Albany Institute of History and Art (1966, 1969)
Albers, Joseph (1946)
Albrecht, Otto (1927)
Albright Art Gallery (1947)
Albright-Knox Art Gallery (1962)
Aldrich, Frances T. (1948)
Alexander, Robert L. (1951, 1956-1958, 1960-1961, 1963-1965, 1967-1968, 1975-1977, 1986)
Alexander, Dr. and Mrs. Samuel Allen (1958)
Alexander, William (1968)
Alfa (1958)
Alfieri, Bruno (1959, 1964-1965, 1968-1969)
Alfonsin, Anthony (1983)
Alford, John (1946, 1955)
Alford, Roberta (1961)
Alinari (1958)
Allen, Mr. and Mrs. Eliot D. (1953)
Allen, F. P. (1961)
Allen, W.G. Russell (1945, 1947, 1952-1953, 1956)
Allen and Unvin, Ltd. (1978, 1980)
Allert de Lange, C. V. (1956)
Allison, George E. (1948)
Allstate Insurance (1948)
Altree, Guy (1975)
Altschul, Frank (1952)
Alumnae Association [Smith College] (1952) ( -- see also -- : Smith College Alumnae Association)
Ambassadeurs Club (1946)
America-Italy Society (1958)
American Academy in Rome (1950, 1958-1959, 1983)
American Academy of Arts and Sciences (1953-1954, 1957-1958, 1961-1963, 1965, 1970, 1973, 1976, 1981)
American Antiquarian Society (1935, 1939, 1947, 1952, 1955)
American Architectural Books (1937, 1945, 1961)
American Association for State and Local History (1963)
American Association of Architectural Bibliographers (1958-1959, 1961, 1963-1964, 1966, 1970)
American Association of Museums (1952, 1955, 1962)
American Association of Schools of Architecture (1982)
American Association of University Professors (1948, 1981-1982)
American Association of University Women (1948, 1958)
American Automobile Association (1962)
American Collector -- (1947)
American Committee on Renaissance Studies (1954)
American Council of Learned Societies (1950, 1961, 1963, 1980)
American Embassy, London (1962)
American Express (1952, 1955)
American Federation of Arts (1942, 1947-1948, 1952, 1955, 1958, 1962, 1974)
American Friends Service Committee (1951)
American Historical Association (1942)
American Historical Review -- (1943, 1952)
American Institute of Architects (1942, 1945, 1948, 1950, 1952-1955, 1957, 1959, 1961-1962, 1964, 1969-1970, 1972-1973, 1978, 1980)
American Institute of Planners (1945)
American Life Foundation (1972)
American Museum in Britain (1961)
American National Theatre and Academy (1952)
American Peoples Encyclopedia -- (1953)
American Philosophical Society (1943)
American Quarterly -- (1949, 1952-1953, 1955)
American Science and History Preservation Society (1981)
American Scholar -- (1948, 1982)
American Society of Architectural Historians (1945-1947)
American Society of Planners and Architects (1946)
American State Capitols Research Project, Victorian Society in America ( -- see -- : Victorian Society in America, American State Capitols Research Project)
Burnham Library, Art Institute of Chicago (1945, 1971) ( -- see also -- : Ryerson and Burnham Libraries; Art Institute of Chicago; Chicago, Art Institute of)
Burns, Howard (1968)
Burns, John (1952, 1983)
Burroughs, T.H.B. (1967)
Burton, Christopher (1963)
Burton, Emily (1952)
Burton, Michael (1953, 1956)
Bush, Lucile (1965)
Bush, Martin H. (1963)
Bush-Brown, Albert (1952, 1956-1958, 1977)
Bush-Brown, Harold (1954, 1965)
Butler, Jeanne F. (1972)
Butler, L. D. (1967)
Butler, Ruth (1957)
Butterfield, Victor (1945, 1947)
Butterick, George F. (1978)
Cabral, Edward (1980)
Cadbury-Brown, John (1955)
Cadbury-Brown, H. T. (Jim) (1956, 1958)
Cahill, Fred V. (1957)
Cahn, Elizabeth (1977)
Calder, Sandy (1938, 1955-1956)
Caldwell, Ian (1975-1976)
Calendars (see: B.1955)
California (1965)
California Institute of Technology (1948-1949)
California Palace of the Legion of Honor (1950)
California, San Jose State University (1979)
California, University of (1951-1952, 1961, 1964, 1966-1967, 1971, 1973, 1976, 1980)
Callisen, Sterling A. (1941)
Callisen, Sterling A. and Sally (1945)
Cambridge [Mass.] Historical Society (1967)
Cambridge University (1962, 1964, 1966)
Campagnie Francaise d'Aeronautiques (1956)
Campanella, Gaspare (1970)
Campbell, Colin G. (1978)
Campbell, Malcolm (1975)
Canada, Atomic Energy Commission of (1973)
Canada Council (1971)
Canada, National Archives of (1956)
Canada, National Gallery of (1926, 1960)
Canada, Royal Architectural Institute of (1960)
Canfield, Abigail and Cass (1975)
Canner and Co. (1949)
Caples, Sara Elizabeth (1969-1970)
Car (European) (1965)
Car (1966)
Cardiff Public Library (1946)
Carey, Jane F. (1973)
Carey T. (1973)
Carlhian, Jean Paul (1952-1953, 1966, 1971, 1973)
Carling, E .B. (1947-1948)
Carlisle, Anna (1956)
Carlson, Ralph (1979)
Carnegie Book Shop (1952)
Carnegie Institute (1955, 1985)
Carnegie Institute of Technology (1947, 1954)
Carpenter, G. R. (1946)
Carpenters Company of Philadelphia (1973)
Carr, Gerald (1968)
Carre Gallerie (1947-1949)
Carrington, Robert (1953, 1970)
Carroll, Martha 1975
Carrott, Richard G. (1955-1956, 1959-1963, 1965, 1967-1969, 1971-1979, 1981-1986)
Carter, Amon E. (1960)
Carter Foundation (1961)
Carter, Lady Bonham (1956)
Carter, Edward C. (Bobby) (1926, 1944-1948, 1960)
Carter, Ernestine (1947, 1952, 1962-1963, 1968, 1978-1979, 1983) ( -- see also -- : Carter, John and Ernestine)
Carter, Gwendolyn (1952)
Carter, John 1941, (1946, 1948, 1952, 1954, 1959)
Carter, John and Ernestine (1936, 1945) ( -- see also -- : Carter, Ernestine)
Carter, Norman F. (1952, 1954, 1959)
Casabella-Continuita (1961, 1965)
Casanelles, Enric (1959)
Cascieri, Arcangelo (1954)
Case Western Reserve University (1972-1973)
Cassidy, Victor M. (1974)
Cassilly, Carolyn (1974)
Casson, Hugh (1948, 1955)
Cassy, Edmund J. (1964)
Cast Iron Architecture, Friends of (1970, 1973-1974)
Castano Galleries (1963)
Castro, Dicken (1955-1957, 1960-1961)
Catholic University of America (1963)
Catlin, Stanton L. (1952, 1956)
Catsoulis, Evangelos (1981, 1983)
Causey, Andrew (1983)
Cavanagh, Tom R. (1949)
Cement and Concrete Association (1954)
Center for Inter-American Relations (1969)
Central Corporate Library (1960)
Central Council for the Care of Churches (1955)
Central National Bank of Middletown (1946)
Central Office of Information (1955-1956)
Centrum (1963)
Century Association (1972-1973, 1975-1977, 1979-1980, 1982, 1984)
Chelmsford and District Chapter, Society of Architects (1962)
Cheltham, Charles (1962, 1964)
Chermayeff, Serge (1939, 1946-1948, 1950, 1954)
Chernow, Barbara (1982)
Chesapeake and Ohio Railway Co. (1948)
Chevojon Freres (1956, 1958)
Chicago Architectural Landmarks, Commission on (1964)
Chicago Architectural Photographing Co. (1956, 1958, 1966)
Chicago, Art Institute of (1937, 1944, 1945, 1951, 1960, 1978) ( -- see also -- : Art Institute of Chicago; Burnham Library Ryerson; Burnham Libraries)
Chicago, Arts Club of (1951-1952)
Chicago Committee on Architectural Landmarks (1960)
Chicago Historical and Architectural Landmarks, Commission on (1969-1970, 1973, 1975)
Chicago School of Architecture Foundation (1967)
Chicago, University of (1947, 1953, 1957, 1961-1962, 1973, 1986) ( -- see also -- : University of Chicago)
Chickering, A. H. (1954)
Childs, Charles D. (1951-1952, 1955)
Childs, Maurice F. (1952, 1955)
Chittenden, A. J. (1947)
Christian Science Monitor -- (1948)
Christiansen, Erwin O. (1946)
Christmas Cards (1952, 1983, undated)
Church, Robert M. (1951-1952, 1954-1955)
Churchill, Agnes (1948)
Cincinnati (1969)
Cincinnati Art Museum (1955-1956, 1960-1961)
Cincinnati Astronomical Society (1935)
Cincinnati Modern Art Society (1948)
Cincinnati, University of (1966)
Cistercian Order (1958)
City Art Museum of St. Louis ( -- see -- : St. Louis, City Art Museum of)
City University of New York (1970, 1974-1976, 1978)
City [of Springfield, Mass.] Library Association (1954)
Ciucci, Giorgio (1970)
Claflin, Agnes Rindge (1948-1949, 1952, 1956, 1959, 1961, 1966, 1973, 1977-1978) ( -- see also -- : Rindge, Agnes)
Clapp, Verner W. (1953)
Clark Art Institute (1973, 1986)
Clark, G. R. (1946)
Clark, James (1973)
Clark, Orton Loring (1952)
Clark, Robert J. (1960, 1963-1971, 1974-1975, 1980)
Clark, Ronald W. (1956)
Clark, Susan (1975)
Clark, Willene B. (1976)
Clarke, M. L. (1962)
Clarke, Marian (1947-1948, 1950)
Clarke, Peter (1946)
Clausen, Meredith (1987)
Clayton, B. D. (1971-1972)
Clayton, Barry (1965)
Clerehan, Neil (1953)
Clews, Mrs. Henry (1955)
Clifton-Raymond Associates (1968)
Clifton-Taylor, Alec (1984)
Clinton [Conn.] Historical Society (1947)
Close, Elizabeth (1960)
Clough, R. T. (1959)
Club of Odd Volumes (1948-1950, 1952-1957, 1961-1965, 1968-1970)
Coddington, John (1945-1949, 1951, 1956-1957, 1959, 1961-1962, 1968-1970, 1977, undated)
Coe, Bill (1958)
Coe, R. E. (Ted) (1962)
Coe, Ralph T. (1953, 1955, 1974)
Coffin, David R. (1965, 1968, 1973)
Cogswell, Dorothy (1951, 1959, 1962)
Cohen, Alfred (1946)
Cohen, Joan L. (1954-1957, 1960, 1963-1965)
Cohn, David N. (1984)
Cohn, Suzanne (1968)
Colby College (1968)
Cole, Dorothy (1958)
Cole, Harry (1957)
Coletti, Joseph (1961)
Coletti, Paul (1957)
Colgate University (1976, 1978)
Colibris Editora Ltda. (1962, 1964-1965, 1967)
Colin, Mrs. Ralph F. ( 1955)
Collaborazione Culturale, Instituto per la (1962)
College Art Association (1940, 1946-1953, 1955-1959, 1961-1964, 1966, 1969-1971, 1973-1979)
Colliers Encyclopedia -- (1947-1949, 1958-1959)
Collins, Cecil (1956)
Collins, Colin (1955)
Collins, Elizabeth (1959)
Collins, George R. (1960-1961, 1964, 1968, 1975-1976, 1979, 1983)
Collins, Peter (1964-1965, 1967-1968)
Colonial Travel Bureau (1955)
Columbia Historical Society (1982)
Columbia University 1937, 1939-1941, 1945, 1947-1948, 1954-1956, 1958-1959, 1961, 1964-1969, 1971, 1973-1977, 1979-1983, 1985-1986 ( -- see also -- : Avery Library; Avery Study Center, Columbia University)
Columbia University, Temple Hoyle Buell Center for the Study of American Architecture (1984)
Columbus Gallery of Fine Arts (1948-1949)
Colvin, Howard M. (1959)
Colwell, Miriam (1976)
Combs, Tom (1975)
Comite Francais D'Historie de L'Art (1967)
Commercial Credit Corporation (1947)
Committee for the Centennial Exhibition of New England Architecture (1957)
Committee for the Preservation of Architectural Records (1979)
Committee on Education and Labor, U. S. Congress (1954)
Committee on Government and Art (see: Government and Art, Committee on)
Community Arts Center (1945)
Community Chest (1958)
Comparative Studies in Society and History -- (1958)
Conant, Kenneth G. (1946-1947, 1952, 1973)
Concrete Quarterly -- (1955)
Condit, Carl W. (1963)
Condolence Letters [on death of mother] (1952)
Conference Board of Associated Research Councils (1948, 1951)
Congress on the History of Art, Twentieth International (1960-1961)
Conlon, Kathleen M. (1969)
Connaissance des Artes -- (1959)
Connecticut Automobile Assigned Risk Plan (1946-1947)
Connecticut College (1938-1942, 1944, 1947, 1953, 1956, 1963, undated)
Connecticut Commission on the Arts (1968)
Connecticut, Department of Agriculture (1937)
Connecticut State Department of Consumer Protection (1986)
Haskell, Douglas (1945, 1951-1952, 1954-1955, 1958)
Haskell, Henry C. (1946)
Haskell, Rosamund (1966)
Hasler, Charles (1962)
Hasselmann, Dorothy S. (1945)
Hatch, J. D. (1948-1949)
Hatchards Booksellers (1963-1964)
Hatje, Gerd (1959-1965, 1980)
Hattis, Phyllis (1966)
Hauf, Harold (1951)
Haupt, Otto (1963)
Hausen, Marika (1965-1966)
Haverkamp-Bergman, Egbert (1971, 1973)
Havinden, Ashley (1948, 1952, 1961)
Havinden, Margaret 1946, 1953
Havinden, Margaret and Ashley (1950)
Hawksmoor Committee (1962)
Hawthorne Books (1979)
Haydon, Harold (1961)
Hayes, Bartlett (1954)
Hayes, Marian (1954-1955, 1959, 1962, 1968, 1970)
Heath and Co. (1961)
Heaton, E. W. (1959)
Hecht, Jean (1956)
Hecht, Lynn S. (1962-1964, 1966)
Heckel, Louise (1960)
Hecksher, Morrison (1970, 1973-1974)
Hedge, Alice Payne (1948, 1953-1954, 1956, undated)
Hedge, E. Russell (1959-1963)
Hedge, Henry R. (1954, 1956-1958)
Hedge, Mrs. Henry R. (1953)
Hedge, Mrs. William R. (1947, 1953)
Hedrich, E. T. (1956)
Hedrich, J. O. (1969)
Heil, Bernard (1958)
Heilkamp, Detlef (1971)
Heimsath, Clovis B. (1952)
Heine, Georgette (1970)
Heintzelman, Arthur W. (1956)
Heinz, Thomas A. (1978-1981)
Heinzel, Brigitte (1967, 1969)
Heiser, Bruce E. (1953-1954)
Heisner, Beverly F. (1967)
Held, Mr. and Mrs. Julius (1965)
Heleniak, Kathryn Moore (1975)
Helm, Francis and Mary (1948)
Hemmenway, Mary (1948-1950, 1954)
Henderson, Pat Milne (1957, 1964) ( -- see also -- : Milne-Henderson, Pat)
Henderson, M. (1958)
Hendricks, Gordon (1967)
Henley, Helen B. (1941)
Hennessey, William J. (1975-1977)
Hennings, John (1955)
Henry (1973)
Henry, Anne Wythe (1972, 1975)
Henry, Barklie [Buzz] (1959)
Hentrich, Helmut (1957, 1959-1960, 1963-1976, 1978-1981, 1985)
Hentschel, Walter (1969)
Herald Tribune -- (1945)
Herbert, Gilbert (1970)
Herget, John T. (1960)
Hergert, Elizabeth (1963)
Heron, Patrick (1952-1954, 1956, 1979)
Herrmann, George (1960)
Herschman, Judith (1979)
Hersey, George L. (1959-1963, 1967-1968, 1971-1972, 1975
Hershberger, Howard (1960, 1961, 1963)
Herve, Lucien (1956-1957)
Herzog, Marion Rawles (1967, 1970)
Hesketh, Peter Fleetwood (1969)
Hesse (1956)
Hessler, Herman (1971)
Heyl, Bernard (1959-1963)
Hibbard, Don J. (1976)
Hibbard, Howard (1962, 1968)
Highest, Gilbert (1954)
Hill, Draper (1960)
Hill, Frederick and May (1968)
Hill, Oliver (1946, 1949, 1955)
Hiner, Walter (1946)
Hines, Thomas S. (1967, 1972, 1981)
Hirschl and Adler Galleries (1968)
Historic American Buildings Survey (1973)
Historical Society of Pennsylvania ( -- see -- : Pennsylvania, Historical Society of) -- History News -- (1963)
Hitchcock, Alice Davis [mother, Mrs. Henry Russell] (1925, 1940, 1942-1943, 1946-1950)
Hitchcock, Mr. and Mrs. Carl (1955)
Hitchcock, Charles D. (1940, 1971)
Hitchcock, Harriet (1963)
Hitchcock, Dr. and Mrs. Henry Russell [parents] (1928-1929, undated)
Hitchcock, June (1979-1980)
Hitchcock, Mrs. Peter S. (1964)
Hoag, John D. (1952, 1955-1956, 1959, 1961-1965, 1967-1968, 1970-1971, 1976)
Hochman, Elaine S. (1973, 1976)
Hodge, Alan (1957)
Hodge, Philip G. (1951)
Hodgkinson, Ianthe (1966)
Hofer, Philip (1945-1947, 1949, 1951-1952, 1959, 1961, 1968)
Hoffman, Donald L. (1964, 1969-1970, 1978)
Hoffmann, Werner (1956)
Hofstra College (1952)
Hogan, Austin (1940)
Hojer, Gerhard (1967, 1970, 1973)
Holcomb, Donald M. 1956
Holderbaum, James (1962, 1964, 1966, 1968)
Holdet, L. A. (1946)
Holdin, Harrison (1976)
Holiday Inn (1972)
Holland (1964, 1967)
Holland-America Line (1958, 1971)
Holman, William G. (1981)
Holmegaards Glasvaerk (1960)
Holmes, J. P. (1953)
Holser, Clifford B. (1952)
Holt, Rinehart and Winston (1972)
Holzbog, Tom (1967)
Homolka, Larry J. (1965-1967)
Hooker, Arthur (1952)
Honour, Hugh (1966)
Hood, Graham (1971)
Hooker, John (1953)
Hooper, S. C. (1954)
Hoover, Donald (1952)
Hoover, Kathleen O'Donnell (1948-1949, 1951)
Hope, Henry R. (1943, 1945-1950, 1954, 1957, 1959, 1962)
Hopping, D.M.C. (1955-1956)
Hordczak, Theodore (1956)
Horn, Estelle (1950)
Horn, Milton (1946, 1949, 1951-1952)
Horn, Walter (1958)
Horne, Mr. and Mrs. Bernard S. (1955)
Hornsey, Borough of (1946)
Horsburgh, Patrick (1952-1955)
Horta Committee (1960)
Hosken, Franziska Porges (1963)
Hotel Grande Bretagne (1961)
Hotel Inghilterra (1961)
Housend, Brian (1956)
House Beautiful -- (1928)
Housing (1945)
Houston (1959, 1967)
Houston, University of (1953-1954)
Howard, Charles (1956)
Howard, Tom (1945)
Howard University (1961-1962)
Howarth, Thomas (1953-1957, 1959-1960, 1962-1963, 1966)
Howe, George (1945, 1949, 1951, 1953)
Howe, Hester (1954, 1956)
Howe, Lawrence (1955)
Howe, Mrs. Lawrence (1945)
Howe, Stewart S. (1954)
Howe, Thomas C. (1953, 1954)
Howlett, D. Roger (1965)
Howland, Richard H. (1952-1954, 1959, 1961)
Hoyle, Henry D. (1969)
Hoyt, Deming (1960)
Hoyt, Natalie (1947, 1949-1951, 1956, 1959, 1963)
Hoyt, Nelly (1968)
Hubbard, L. Kent (1937)
Hubbard, R. J. (1959)
Hubbard, Ray (1978)
Hubbard, Russell (1949)
Huber, Erna (1963-1964, 1966, 1970-1971)
Huber, Erna and Charlie (1983)
Hudnut, Claire (1948)
Hudnut, Helen (1947-1948)
Hudnut, Joseph (1945, 1951)
Hudson River Conservancy Society, Inc. (1945)
Huemer, Frances (1955)
Huff, William S. (1958, 1965)
Hughenden Manor (1950)
Hughes, Richard (1953-1954)
Hughes, Talmadge C. (1945)
[Hugnet?], Georges (undated)
Hulst, Roger d' (1973)
Hulton Press (1957)
Hundertmark, Dieter (1960)
Hunn, Robert (1970)
Hunter, Anna C. (1955)
Hunter, Bob (1954)
Huntington, C. (1955)
Huntington, Constant (1952)
Huntington, David C. (1961, 1963-1965, 1967-1968, 1971)
Huntington, J. D. (1951)
Huntington, James L. (1954-1955, 1957-1959, 1963-1965)
Huntington, John (1955)
Huntington, Trudy (1952)
Huse, Norbert (1975)
Hussey, Alfred R. (1949)
Hussey, Mary (1954, 1962)
Huxley Brothers (1951, 1954)
Huxtable, Ada Louise (1947, 1950, 1957-1958, 1961-1962, 1969, 1971, 1982-1983)
Hyams, N. (1948)
Hyde Hall, Inc., Friends of (1965)
Hyman, Isabelle (1977)
Iber, Howard John (1972, 1974)
Illinois Institute of Technology (1950, 1954)
Illinois, University of (1947, 1949, 1965, 1979)
Ilmanen, William (1954, 1956)
Imperial Institute (1956)
Inaya, Beata (1956)
In the Nature of Materials -- (1968-1969) ( -- see also -- : Wright, Frank Lloyd)
Income Tax (1956-1957, 1972)
India International Center (1964-1965)
Indiana University (1948, 1953, 1966)
Indiana, University of (1945, 1961)
Indianapolis, Art Association of (1948)
Information Agency, U.S. (1955)
Information Service, U.S. (1961)
Inghilterra Hotel (1960)
Inglis, F. C. (1954)
Ingraham, David (1941)
Ingraham, Henry A. (1945, 1947)
Innendekoration (1963)
Inspector of Foreign Dividends (1956)
Inscoe, Eva Jane (1983)
Institute for Advanced Studies (1963)
Institute for Architecture and Urban Studies (1975)
Institute of Contemporary Art (1948-1949, 1953-1954, 1956, 1961, 1963-1964, 1976)
Institute of Fine Arts, New York University (1949, 1956-1957, 1960, 1967) ( -- see also -- : New York University)
Institute of International Education (1955)
Institute of Landscape Architects (1952)
Instituto di Storia dell'Arte (1961)
Instituto Italiano di Cultura (1958)
Instituto per la Collaborazione Culturale (1965) ( -- see also -- : Collaborazione Culturale, Instituto per la)
Insurance (1970)
Insurance Company of America (1963)
Intercultural Publications, Inc. (1953)
International Architecture Students Conference (1949)
International Congress of African Studies (see: African Studies, International Congress of)
International Encyclopedia of Architecture, Engineering, and Urban Planning -- (1976-1977)
International Design Conference (1955)
International Information Administration (1952)
International Publications, Inc. (1954)
International Union of Architects, Sixth Congress (1960)
International University of Art (1970)
Ireland, Royal Institute of Architects of (1962)
Irving, Robert Grant (1968)
Irvy, Benjamin (1981)
Isham, Gyles (1954)
Isis -- (1961, 1964)
Isley, Natelle (1956)
Italian Institute (1956)
Ivins, William M. (1936)
Jack, William A. Park (1936)
Jackson, Esther (1953)
Jacobi, Frank (1952)
Jacobs Antiques (1948-1949)
Jacobs, Robert A. (1965)
Jacobs, Stephen (1966)
Jacobus, John [Jake] (1957-1962, 1964-1966, 1969-1971, 1980-1981)
Jacobus, John [Jake] and Marion (1963)
Jaffe, Michael (1952-1956, 1958-1964, 1966, 1968, 1973, 1977, 1986)
Jaffe, Ronald (1952)
James, Evan (1946)
James, George (1952)
James, Philip (1952, 1958)
Jamieson, K. I. (1953)
Janis Gallery (1949)
Janis, Sidney (1950)
Jansen, Dick (1953-1954, 1961-1962)
Jansen, Dick and Ellen (1955)
Janson, H. W. (1959-1962, 1972, 1975, 1977, 1983)
Janson, Peter (1978, 1982)
Jarrett, James (1958-1959, 1981)
Jeannert, Marie-Louise (1982)
Jefferson National Expansion Memorial (1947)
Jemma, Manuela (1965)
Jenkins, Frank I. (1955-1956, 1958, 1960-1961, 1964-1967)
Jennings, Nancy Gillespie (1970)
Jerome Hotel (1955)
Jerome, T. T. (1947)
Jersey City, N. J. (1981)
Jewell, Jim (1953, 1956)
Joedicke, Jurgen (1963)
Johanneson, Eric (1969)
John, Dorothy (1954)
Johns Hopkins University (1952, 1965, 1967-1971, 1973-1975)
Johnson Art Collection (1926-1927)
Johnson, Buffie (1948)
Johnson, Donald Leslie (1977)
Johnson Gallery, Museum of Modern Art (1984)
Johnson, J. R. (1969)
Johnson, J. Stewart (1968, 1976)
Johnson, James R. (1946-1951, 1953-1954, 1958-1959, 1966, 1978, 1983)
Johnson, Laura (1945)
Johnson, Margaret (1952)
Johnson, Peter 1977, 1979
Johnson, Philip C. (1934, 1945-1967, 1969, 1973, 1975, 1978-1979, 1981-1983, undated) ( -- see also -- : -- Nineteenth Century American Architects -- [with Philip Johnson])
Neutra, Richard (1928, 1940-1941, 1954, 1969, undated)
Neville, Elizabeth (1964)
Neville, Richard G. (1958)
Neville, Harriett Elizabeth (1966)
New American Library (1952)
New Amsterdam Casualty Co. (1948)
New England Antiquities, Society for the Preservation of (1972-1973) ( -- see also -- : Preservation of New England Antiquities, Society for the; Society for the Preservation of New England Antiquities)
New England Architecture, Committee for the Centennial Exhibition of (1957)
New England Quarterly -- (1955)
New Gallery (1963)
New Haven Festival of Arts (1959)
New Haven Preservation Trust (1964, 1966-1969)
New Jersey Historical Society (1962)
New Jersey Society of Architects (1957)
New Liberty (1952)
New London (1976)
New Mexico, University of (1957)
New Watson Hotel (1955)
New York Central Railway (1956)
New York City (1972)
New York City, Art Commission of (1983)
New York City Planning Commission (1972)
New York Graphic Society (1970
New York Herald Tribune -- (1947)
New-York Historical Society (1950-1951, 1961-1962, 1969)
New York State Association of Architects (1949)
New York State, Temporary Commission on the Restoration of the Capitol (1980-1981)
New York, State University of (1952)
New York Times -- (1947-1948, 1957, 1960-1961)
New York University (1945-1949, 1951-1954, 1958, 1960-1961, 1968-1986) ( -- see also -- : Gray Art Gallery; Institute of Fine Arts) New York University Seminar (1977, 1980)
Porter-Phelps-Huntington House, Inc. (1953, 1955-1957)
Porter-Phelps-Huntington Foundation (1962-1964, 1967)
Portnoy, Martin (1986)
Portsmouth Priory (1949)
Posener, Julius (1964-1966, 1968-1969)
Postmaster, Western District, London (1956)
Potter, Brooks ( 1956)
Potter, Inc. (1969)
Powell, Herbert ( 1963)
Powell, Philip (1952)
Powell, Philip and Moya (1954)
Praeger, Inc. (1962-1963, 1967-1971, 1973)
Prairie School Press (1963, 1966, 1968, 1970)
Prakapas, Eugene J. (1974, 1985)
Prats, Joan (1956)
Pratt and Whitney Aircraft (1945)
Praz, Mario (1955-1956)
Prentice-Hall, Inc. (1962)
Pre-Raphaelite Decorative Arts Exhibition (1971)
Preservation League of New York (1981)
Preservation of New England Antiquities, Society for the (1956, 1963, 1966) ( -- see also -- : New England Antiquities, Society for the Preservation of; Society for the Preservation of New England Antiquities)
Preservation Society of Newport Co. [Rhode Island] (1948, 1955) ( -- see also -- : Newport Co. [Rhode Island], Preservation Society of)
Prestel Verlag (1975)
Preston, James (1963)
Preusser, Robert (1957)
Prey, Pierre du (1968-1969)
Preziosi, Donald (1981)
Price, Eric J. (1946)
Price, Paton (1949)
Priest, Allen (undated)
Primex Trading Co. (1950)
Prince, Charlotte (1969)
Princeton University (1945-1947, 1951-1952, 1955, 1957-1958, 1963, 1972, 1974-1978, 1985)
Prior, Harris K. (1947-1949, 1951, 1954-1956, 1962)
Reinhardt, Phyllis A. (1953-1955, 1960-1961, 1967-1968)
Reinhold Books (1957, 1959)
Reinhold Publishing Co. (1954)
Reinink, A. W. (1964, 1966-1967, 1969-1972)
Renaissance Conference (1945)
Renaissance Quarterly -- (1970)
Renaissance Society of America (1954, 1956-1958, 1961)
Renascence (1955)
Rensselaer Polytechnic Institute (1947, 1986)
Research Publications (1970-1971)
Residenz Verlag (1968)
Revista de Occidente Argentinia -- (1949)
Rewald, John (1977)
Rewald, S. (1976)
Rheinisches Museum (1958)
Rheinland Landschaftsverband (1956)
Rhode Island (1968)
Rhode Island Architecture -- (1939, 1968)
Rhode Island School of Design (1949-1950, 1952, 1956, 1982-1983)
Rhoads, William B. (1969)
Ribner, Jonathan (1979)
Rice, Davis and and Daley (1946-1949)
Rice Institute (1958)
Rice, Norman (1966)
Rich, Daniel Catton (1981)
Rich, Frances (1966)
Richards, Brian (1955)
Richards, Charles R. (1928)
Richards, Jim (1950, 1956)
Richards, Jim and Kit (1955)
Richards, John M. (1946, 1947, 1952, 1954, 1965)
Richardson (1956)
Richardson, A. E. (1945, 1954)
Richardson, Douglas (1971-1972, 1974-1976)
Richardson, Douglas Scott (1966)
Richardson, E. P. (Ted) (1953, 1955)
Richardson, H. H. (1974, 1978, 1982)
Richardson, Joseph P. (1973)
Richmond (1947, 1965)
Ricketson, John H. (1963)
Rickey, George W. (1961)
Rider, Fremont (1950)
Rietveld (1963)
Rijksmuseum (1956)
Rindge, Agnes (1930, 1945, 1947) ( -- see also -- : Claflin, Agnes Rindge)
Ringling Museum of Art (1948-1949, 1952)
Riopelle, Chris (1979-1982, 1984)
Ripley, Dillon (1958)
Ritter, John C. (1962)
Riverside, University of California at (1966)
Robb, David M. (1945, 1953, 1959)
Roberts, Abby B. (1941)
Roberts, Laurance (1959)
Robertson, Jacques (1955)
Robertson, Nancy (1959)
Robie House, Committee for the Preservation of the (1962-1965, 1967)
Robinson and Cleaver (1960-1961)
Robinson, Cervin (1962)
Robinson, Franklin W. (1981)
Roche, Kevin (1966, 1974-1975)
Rochester (1967)
Rochester Memorial Art Gallery (1949)
Rochester, Print Club of (1949-1950)
Rochester, University of (1970)
Rockefeller, Mr. and Mrs. David (1967)
Rockefeller, Mr. and Mrs. John D., 3rd (1955)
Rockefeller, Winston (1957)
Rococo Architecture in Southern Germany -- (1967-1968)
Rodman, Selden (1949)
Roe, Albert S. (1961)
Rollins, Clara B. (1950)
Romaine, Lawrence B. (1941, 1946-1953, 1955, 1958, 1961)
Rome (1959)
Roop, Ellen (1967)
Roos, Frank J. (1938, 1947)
Roosevelt University (1957-1958)
Rorimer, James J. (1955)
Roscoe, Field (1952)
Rose, Francis (1947, 1949-1954, 1956, 1964, undated)
Rose, Frederica (1955)
Rose, Laura (1976)
Rosebery, Earl of (1952)
Rosenberg, Arthur M. (1951)
Rosenberg, Eugene (1956)
Rosenberg, George (1976)
Rosenberg, Jim (1954)
Rosenblum, Robert H. (1952-1953, 1956-1969, 1972, 1982)
Rosenthal, Julius (1948)
Rosenwald, Lessing J. (1948)
Rosett, Francis (1957-1958)
Rosever, Kenneth M. (1952)
Ross, Marian Dean (1941, 1947, 1952-1954, 1956, 1960-1962, undated)
Ross, Marvin C. (1957, 1962)
Ross, Robert W. (1925, undated)
Roth, Leland (1970, 1973-1974, 1976, 1978, 1982)
Rothenberg, Jacob (1952)
Rowaan, H. (1963)
Rowe, Barbara C. (1958)
Rowe, Brian and Colin (1952)
Rowe, Colin (1953-1956, 1960-1961, 1964, 1977)
Rowland, Browse and Delbanco (1952)
Rox, Henry (1953, 1945)
Royal Archaeological Institute of Great Britain and Ireland (1955)
Royal Architectural Institute of Canada ( -- see -- : Canada, Royal Architectural Institute of)
Royal Automobile Club (1956)
Royal College of Art (1953)
Royal Institute of British Architects (1936, 1946-1957, 1959, 1962, 1968, 1970, 1975, 1981,1986)
Royal Society of Arts (1950, 1953, 1955-1956, 1959-1962, 1964, 1966-1967, 1969-1970, 1972, 1975-1976, 1978-1980, 1983, 1985-1986)
Royal Vangorcum Ltd. 1965
Rub, Timothy (1978-1982, 1986-1987)
Rubin, Don (1970)
Rubin, Joan Carpenter (1980)
Rudd, J. William (1961, 1963, 1966)
Rudisill, Richard (1964)
Rudolph, Paul (1950, 1952-1954, 1963-1964, undated)
Rueger, Charles (1954)
Rufford Travel (1954-1955)
Ruggie Agency (1949-1950, 1952-1955, 1961)
Rusch, Basil (1955)
Rusk, W. S. (1935)
Ruskin Society of America (1951, 1953)
Russell, A. LeBaron (1947)
Russell, Beverly (1975)
Russell, Christopher A. (1953)
Russell, Gordon (1956)
Russell, Mr. and Mrs. William G. (1954)
Russian Review -- (1955)
Rutgers University (1955, 1972-1973, 1982, 1985)
Rutledge, Anna Wells (1951, 1955, 1957, 1962, 1966)
Ryan Studios (1958)
Ryder, Arthur (1949)
Ryerson and Burnham Libraries, Art Institute of Chicago (1949) ( -- see also -- : Burnham Library; Art Institute of Chicago; Chicago, Art Institute of)
Saarinen, Aline B. (1962)
Saarinen, Eero (1957, 1963-1964)
Sabin Coal Co. (1954-1955)
Sachs, Paul J. (1925-1926, 1928, 1951-1952, 1955)
Saint, Andrew (1982, 1986)
St. George's Gallery Books (1959, 1964-1965, 1968, 1970, 1977-1978)
St. James Press (1978)
St. John's University (1961)
St. Louis, City Art Museum of (1961, 1966)
Salmon and Son (1954)
Salto Liberia (1962)
Saltonstall, Gladys (1928)
Saltonstall, Leverett (1953)
Salzberg Seminar in American Studies (1959)
Salzburg (1953)
Samoset Garage (1946)
Samson, Miles D. (1984)
Samuel, Godfrey (1948, 1952, 1956, 1959)
San Antonio Fine Arts Forum (1958)
Sanborn, Herbert J. (1960)
San Jose State University ( -- see -- : California, San Jose State University)
Smith, Alexander Mackay (1949) ( -- see also -- : Mackay-Smith, Alexander)
Smith and Sons (1953)
Smith, Anna L. (undated)
Smith, Betty (1928-1929)
Smith College (1946-1964, 1966-1973, 1975-1976, 1978, 1981-1982) ( -- see also -- : Department; Kennedy Fund)
Smith College Alumnae Association (1954) ( -- see also -- : Alumnae Association)
Smith, E. Baldwin (1946-1947, 1953)
Smtih, Edith (1928-1929)
Smith, Fred S. (1928)
Smith, Mrs. Frederick (1945)
Smith, G. E. Kidder (1957, 1961, 1963, 1965)
Smith, George Walter Vincent Museum (1961)
Smith, Gertrude D. (1972)
Smith, Hinchman and Grulls Associates, Inc. (1976)
Smith, Kathryn (1976-1980, 1983, 1986)
Smith, Linn (1947)
Smith, Meg (1972, 1974)
Smith, Patricia Anne (1950)
Smith, Peter van der Meulen (1927-1928)
Smith, Robert C. (1950-1952, 1956)
Smith, Sidney (1947)
Smith, Vincent (1971)
Smith, William and Son (1949)
Smithson, Peter (1966)
Smithsonian Associates (1975)
Smithsonian Institution (1967, 1976, 1979)
Smyser, H. M. (1965)
Smyth, Craig Hugh (1951-1952, 1956, 1983)
Snow, Florence (1955)
Snow, Wilbert (1945)
Snowden, Ernest (1927-1928)
Snyder, John (1974)
Soby, James Thrall (1945-1950, 1954-1955, 1957-1958, 1960-1961, 1968, 1977, 1979)
Soby, Nellie (1951-1953)
Societe Editions de France (1958)
Society for the Preservation of Long Island Antiquities ( -- see -- : Long Island Antiquities, Society for the Preservation of)
Society for the Preservation of New England Antiquities (1948, 1972, 1975) ( -- see also -- : New England Antiquities, Society for the Preservation of; Preservation of New England Antiquities, Society for the)
Society of Architectural Historians (1949-1985, 1987)
Society of Architectural Historians of Great Britain (1958-1980, 1983-1986)
Society of Mayflower Descendants ( -- see -- : Mayflower Descendants, Society of)
Solomon, Arthur and Marny (1975)
Solomon, Pringle (1948)
Somerset Co. [N.J.] Park Commission (1970)
Somerwil, J. (1962)
Sommer, Clifford C. (1958)
Sommer, Frank (1970)
Sonne, Fi (1955-1956)
Sonnenberg, Benjamin (1972)
Sorem, Lucia (1961)
Soria, Martin (1958)
Sotheby Parke Bernet, Inc. (1971, 1982)
Southern California, University of (1966, 1968)
Southern Regional Education Board (1966)
Spaeth, John W. (1945-1946)
Spark, Victor (1948, 1971)
Spear, Dorothea (1955)
Speed Art Museum ( -- see -- : Louisville, J. B. Speed Art Museum)
Speed, Herbert (1946)
Speirs, Bruce (1982)
Spence, Basil (1963-1964)
Spence, Eleanor (1954)
Spencer, Brian (1973-1974)
Spencer, Stephen (1956)
Spencer, Walter L. (1975-1976, 1978)
Sperling, Harry G. (1955)
Speyer, Darthea (1952)
Spokes, P. S. (1955)
Sprague, Joan Forrester (1960)
Sprague, Paul (1973, 1980, 1983)
Springarn, J. E. (1938)
Springfield [Mass.] (1980-1981)
Springfield [Mass.] City Planning Department (1971)
Springfield [Mass.] Museum of Fine Arts (1949, 1954)
Springfield [Mass.] Republican (1944-1945)
Springfield [Miss.] Art Museum (1949)
Staatsarchiv (1966)
Stabile, Elizabeth (1963)
Stadt Koln (1957)
Stahl, Frederick A. (Tod) (1969-1970)
Staib, Hermann (1966, 1968-1969, 1974)
Staley, Karl A. (1953)
Stamm, Gunther (1979)
Stamp, Gavin (1978, 1985)
Stanford University (1985)
Stanton, Phoebe B. (1952-1954, 1958, 1965, 1968, 1970)
Staples Press (1950)
Starr, Mrs. Nathan C. (1952)
State Department, U. S. (1955, 1956, 1958) ( -- see also -- : Department of State; United States Department of State)
State Department, U.S. Information Agency (1957)
State Historical Society of Wisconsin ( -- see -- : Wisconsin, State Historical Society of)
Stebbins, Theodore E. (1965-1969, 1972-1973, 1977-1978)
Wright, Frank Lloyd, Home and Studio Foundation (1977, 1984)
Wright, Frank Lloyd, and -- In the Nature of Materials -- (1941)
Wright, John Lloyd (1968)
Wriston, Barbara (1952-1953, 1956, 1960, 1962, 1967)
Wurm, Heinrich (1966)
Wurster, William W. (1943-1944, 1946,-1948, 1950, 1951-1957, 1959, 1961)
Wurster, William W. and Catherine 1945
Wyoming, University of (1975)
Xenakis, Jason (1958)
Yale Review -- (1966-1968, 1970)
Yale University (1947-1960, 1962-1963, 1965-1979, 1982, 1986)
Yardley, Michael (1975-1978)
Yeon, John (1954)
York City Art Gallery (1958)
York Institute of Architectural Study (1957-1959, 1961)
York, University of (1962, 1970)
Yorke, R.F.S. (1952)
Youell, William (1948)
Young, E. A. (1947)
Young, Elaine (1962)
Young, Elizabeth (1961)
Young, Paul E. (1949)
Young, Mr. and Mrs. Wilfred B. (1954-1955)
Youritzin, Glenda Green (1974)
Zacchwatowicz, Jim (1963)
Zador, Anna (1970, 1972)
Zarnecki, George (1953)
Zaroff, Anne T. (1975)
Zawisa, Bernard J. (1952-1953, 1956)
Zenith Corp. (1969-1970)
Zenobi Sarto (1963)
Zerkowitz, A. (1957)
Zevi, Bruno (1952)
Zewicher, Mrs. Victor K. (1950)
Zimmerman Brothers (1963-1966, 1969)
Zimmerman, Mrs. Isadore (1952)
Zodiac Revue -- (1959-1969)
Zorn, Kate (1979)
Zubarec, Michael (1956-1957)
Zwemmer, A. (1946-1948, 1955, 1959)
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Henry-Russell Hitchcock papers, 1919-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.
Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:
Missing Title
Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)
Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.
Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.
In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.
Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.
In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.
Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. The collection documents Kuh's career as a pioneer modernist art historian and as the first woman curator of European Art and Sculpture at the Art Institute of Chicago. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Scope and Content Note:
The papers of art historian, dealer, critic, and curator Katharine Kuh measure 12 linear feet and date from 1875-1994, with the bulk of the material dating from 1930-1994. Found within the papers are biographical material; correspondence with family, friends and colleagues; personal business records; artwork by various artists; a travel journal; writings by Kuh and others; scrapbooks; printed material; photographs of Kuh and others; and audio recordings of Kuh's lectures and of Daniel Catton Rich reading poetry.
Biographical material consists of copies of Kuh's birth certificate, resumés, passports, award certificates, honorary diplomas, and address books listing information about several prominent artists and colleagues.
Four linear feet of correspondence offers excellent documentation of Kuh's interest in art history, her travels, her career at the Art Institute of Chicago, her work as a corporate art advisor, and as an author. There are letters from her mother Olga Woolf, friends, and colleagues. There is extensive correspondence with various staff members of the Art Institute of Chicago, the First National Bank of Chicago, and The Saturday Review. Also of interest are letters from artists and collectors, several of whom became life-long friends including Walter and Louise Arensberg, Cosmo Campoli, Serge Chermayeff, Richard Cox, Worden Day, Claire Falkenstein, Fred Friendly, Leon Golub, Joseph Goto, David Hare, Denise Brown Hare, Jean Hélion, Ray Johnson, Gyorgy and Juliet Kepes, Len Lye, Wallace Putnam, Kurt Seligmann, Shelby Shackelford, Hedda Sterne, and Clyfford Still. Many letters are illustrated with original artwork in various media.
There are also scattered letters from various artists and other prominent individuals including Josef Albers, George Biddle, Marcel Breuer, Joseph Cornell, Stuart Davis, Edwin Dickinson, Joseph Hirshhorn, Daniel Catton Rich, and Dorothea Tanning.
Personal business records include a list of artwork, Olga Woolf's will, inventories of Kuh's personal art collection, miscellaneous contracts and deeds of gift, receipts for the sale of artwork, files concerning business-related travel, and miscellaneous receipts.
Artwork in the collection represents a wide range of artist friends and media, such as drawings, watercolors, paintings, collages, and prints. Included are works by various artists including lithographs by David Hare and a watercolor set, Technics and Creativity, designed and autographed by Jasper Johns for the Museum of Modern Art, 1970.
Notes and writings include annotated engagement calendars, travel journals for Germany, a guest book for the Kuh Memorial gathering, and many writings and notes by Kuh for lectures and articles concerning art history topics. Of interest are minutes/notes from meetings for art festivals, conferences, and the "Conversations with Artists Program (1961). Also found are writings by others about Kuh and other art history topics.
Six scrapbooks contain clippings that document the height of Kuh's career as a gallery director and museum curator. Scrapbook 6 contains clippings about Fernand Léger, the subject of a retrospective exhibition at the Art Institute of Chicago in 1953.
Additional printed material includes clippings about Kuh and her interests, a comprehensive collection of clippings of Kuh's articles for The Saturday Review, exhibition announcements and catalogs, calendars of events, programs, brochures, books including Poems by Kuh as a child, and reproductions of artwork. Of particular interest are the early and exhibition catalogs from the Katharine Kuh Gallery, and rare catalogs for artists including Jean Arp, Alexander Calder, Marc Chagall, Jean Dubuffet, Marcel Duchamp, Stanley William Hayter, Hans Hofmann, Wassily Kandinsky, Paul Klee, Franz Kline, Le Corbusier, Ludwig Mies van der Rohe, and Pablo Picasso.
Photographs provide important documentation of the life and career of Katharine Kuh and are of Kuh, family members, friends, colleagues, events, residences, and artwork. Several of the photographs of Kuh were taken by Will Barnet and Marcel Breuer and there is a notable pair of photo booth portraits of Kuh and a young Ansel Adams. There are also group photographs showing Angelica Archipenko with Kuh; designer Klaus Grabe; painters José Chavez Morado and Pablo O'Higgins in San Miguel, Mexico; Kuh at the Venice Biennale with friends and colleagues including Peggy Guggenheim, Frances Perkins, Daniel Catton Rich, and Harry Winston; and "The Pre-Depressionists" including Lorser Feitelson, Robert Inverarity, Helen Lundeberg, Arthur Millier, Myron Chester Nutting, and Muriel Tyler Nutting.
Photographs of exhibition installations and openings include views of the Katharine Kuh Gallery; Fernand Léger, Man Ray, and László Moholy-Nagy at the Art Institute of Chicago; and Philip Guston, Jimmy Ernst, Seymour H. Knox, Franz Kline, Robert Motherwell, and Mark Rothko at the Albright-Knox Art Gallery in Buffalo, New York. There are also photographs depicting three men posing as Léger's "Three Musicians" and the visit of Queen Elizabeth II to the Art Institute of Chicago. There is a photograph by Peter Pollack of an elk skull used as a model by Georgia O'Keeffe.
Additional photographs of friends and colleagues include Ivan Albright, Alfred Barr, Alexander Calder, Marc Chagall, Willem De Kooning, Edwin Dickinson, Marcel Duchamp, Claire Falkenstein, Alberto Giacometti, poet Robert Graves with Len Lye, Philip Johnson, Gyorgy and Juliet Kepes, Carlos Mérida, José Orozco, Hasan Ozbekhan, Pablo Picasso, Carl Sandberg, Ben Shahn, Otto Spaeth, Hedda Sterne, Adlai Stevenson, Clyfford Still, Mark Tobey, and composer Victor Young.
Photographs of artwork include totem poles in Alaska; work by various artists including Claire Falkenstein, Paul Klee, and Hedda Sterne; and work donated to the Guggenheim Museum.
Four audio recordings on cassette are of Katharine Kuh's lectures, including one about assembling corporate collections, and of Daniel Catton Rich reading his own poetry. There is also a recording of the Second Annual Dialogue between Broadcasters and Museum Educators.
Arrangement:
The collection is arranged as 9 series. Undated correspondence, artwork, and photographs of individual artists are arranged alphabetically. Otherwise, each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1945-1992 (Box 1; 16 folders)
Series 2: Correspondence, 1908-1994 (Boxes 1-5, 13-14, OV 15; 4.0 linear feet)
Series 3: Personal Business Records, 1941-1989 (Box 5; 19 folders)
Series 4: Artwork, 1931-1986 (Boxes 5, 13-14, OVs 15-23; 1.7 linear feet)
Series 5: Notes and Writings, 1914-1994 (Boxes 5-7; 1.7 linear feet)
Series 6: Scrapbooks, 1935-1953 (Box 7; 8 folders)
Series 7: Printed Material, 1916-1992 (Boxes 7-10, 13, OV 22; 3.0 linear feet)
Series 8: Photographs, 1875-1993 (Boxes 10-13; 1.2 linear feet)
Series 9: Audio Recordings, 1977 (Box 12; 1 folder)
Biographical Note:
Katharine Kuh (1904-1994) worked primarily in the Chicago area as an modern art historian, dealer, critic, curator, writer, and consultant. She operated the Katharine Kuh Gallery from 1935-1943 and was the first woman curator of European and Art and Sculpture at the Art Institute of Chicago.
Katharine Kuh (née Woolf) was born on July 15, 1904 in St. Louis, Missouri, the youngest of the three daughters of Olga Weiner and Morris Woolf, a silk importer. In 1909, the family moved to Chicago, Illinois. While traveling with her family in Europe in 1914, Katharine contracted polio, causing her to spend the next decade in a body brace. During this time of restricted movement, she developed an interest in art history through the collecting of old master prints.
After her recovery, Katharine Woolf attended Vassar College where one of her professors, Alfred Barr, encouraged her to study modern art. She graduated from Vassar in 1925 and received a master's degree in art history from the University of Chicago in 1929. Later that year, she moved to New York to pursue a Ph.D. in Renaissance and medieval art at New York University.
In 1930, Katharine Woolf returned to Chicago and married businessman George Kuh and began to teach art history courses in the suburbs of Chicago. After divorcing George Kuh in 1935, she opened the Katharine Kuh Gallery, the first gallery devoted to avant-garde art in Chicago. It was also the first gallery to exhibit photography and typographical design as art forms, and featured the work of Ansel Adams, Josef Albers, Alexander Calder, Wassily Kandinsky, Fernand Léger, and Man Ray, among others. From 1938 to1940, Kuh was the Visiting Professor of Art at the University School of Fine Arts, San Miguel, Mexico.
After the Katharine Kuh Gallery closed in 1943, Kuh was hired by museum director Daniel Catton Rich to fill a position in public relations at the Art Institute of Chicago. During the following years, Kuh edited the museum's Quarterly publication, took charge of the museum's Gallery of Interpretive Art, and began a long term relationship with Rich. In 1946, Kuh was sent on a special mission for the U. S. Office of Indian Affairs to make a detailed study of Native American totemic carvings in Alaska.
In 1949, Kuh persuaded Mr. and Mrs. Walter Arensberg of Los Angeles to exhibit their collection of modern art, creating the first post-war exhibition of modern art in Chicago. She published her first book Art Has Many Faces in 1951, and in the following year, she began writing art criticism for The Saturday Review. In 1954, Kuh was appointed the first woman curator of European Art and Sculpture at the Art Institute. She assembled the American contribution for the Venice Biennale in 1956 and during these years, Kuh helped acquire many of the works of modern art currently in the museum's collection.
A year following Daniel Catton Rich's 1958 resignation from the Art Institute of Chicago, Kuh also resigned and pursued a career in New York as an art collection advisor, most notably for the First National Bank of Chicago. In 1959, Kuh was made art critic for The Saturday Review, and she continued to publish books, including The Artist's Voice in 1962, Break-Up: The Core of Modern Art in 1965, and The Open Eye: In Pursuit of Art in 1971.
Katharine Kuh died on January 10, 1994 in New York City.
Provenance:
The Katharine Kuh papers were donated in several installments from 1971 to 1989 by Katharine Kuh and in 1994 by her estate. Artwork was donated in 1995 by Kuh's former employer, the Art Institute of Chicago.
Restrictions:
Authorization to quote, publish or reproduce requires written permission until 2019. Contact the Archives of American Art Reference Services department for additional information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
5.3 Linear feet (Boxes 1-6, OV 47; Reels 5708-5717)
Type:
Archival materials
Date:
1923-1986
Scope and Contents note:
Correspondents in this series include a wide range of international architects, designers, and artists who interacted with Breuer. The letters discuss his training and the execution of his hundreds of architectural projects and designs for furnishings. Researchers will find the letters between Breuer and his Bauhaus colleagues, including Josef Albers, Herbert Bayer, Walter Gropius, and László Moholy-Nagy, of particular interest.
Appendix A: List of Notable Correspondents from Series 2: Correspondence
Arrangement note:
The files are arranged chronologically, with the undated letters arranged alphabetically according to the correspondents' surnames.
Appendix A: List of Notable Correspondents from Series 2: Correspondence:
Missing Title
Aalto, Alvar, 1964 (1 invitation): to reception honoring Aalto
Abercrombie, Stan (architect), 1964-1977 (8 letters)
Abramovitz, Max (Harrison & Abramovitz, Architects), 1947 (3 letters) and 1963 invitation from Brandeis University in honor of Abramovitz
Harry N. Abrams, Inc., 1975 (2 letters): from Breuer's office Académie d'Architecture, 1976-1979 (4 letters)
Acme Laboratory Equipment Company, 1950 (1 letter): from Breuer's office ács, Gábor and Anikó, 1956 (1 letter)
Agel, Jerome B. (Agel & Friend), 1959 (1 letter): includes press release
Agostini, Edward (Becker and Becker Associates), 1969 (1 letter): from Breuer's office
Airflow Refrigeration, 1954: (1 letter): from Breuer's office
Alabama Polytechnic Institute, 1947 (1 letter)
Albers, Josef ("Juppy") and Anni (Black Mountain College), 1933-1958 (11 letters): a 1956 letter includes miscellaneous typescripts by Albers and clippings; a 1965 letter to the Phoenix Art Museum from William A. Leonard of the Contemporary Arts Center concerns an Albers exhibition and includes a list of works; a 1967 letter from Breuer to National Institute of Arts and Letters includes a typescript concerning Albers
Alexander, H. J. W. (Architectural Association), 1957-1958 (4 letters)
Alpern, Robert, 1964 (letter from Breuer)
B. Altman & Company, 1951 (1 letter)
Aluminum Company of America (ALCOA), 1946-1964 (2 letters)
Aluminum Import Corporation, 1946 (2 letters)
Alvarez, Raúl J., 1968 (1 letter)
American Academy in Rome, 1947-1961 (4 letters): request recommendations for Frederic S. Coolidge, Arthur Myhrum, and Thomas B. Simmons
American Academy of Arts and Letters, 1965-1978 (10 letters): a letter 1967 is a nomination by Walter Gropius for Sigfried Giedion's honorary membership in American Academy of Arts and Letters and National Institute of Arts and Letters; see National Institute of Arts and Letters
American Academy of Arts and Sciences, 1977 (1 letter)
American Academy of Political and Social Science, 1946 (1 letter)
American Arbitration Association, 1960-1968 (52 letters)
American Church in Paris, 1966 (1 letter): from Robert F. Gatje
American Council for Emigres in the Professions, Inc., undated: letter introduces Viola Kondor
American Craftsmen's Council (Mrs. Vanderbilt Webb), 1967 (1 letter)
American Designer's Institute, 1947 (convention schedule)
American Export and Isbrandtsen Lines, 1963 (1 letter)
American Federation of Arts, 1958-1967 (8 letters)
American Field Service, 1956 (1 ): letter from Breuer on behalf of Danielle Eyquem
American Fork & Hoe Company, 1944 (1 letter)
American Hungarian Studies Foundation (August J. Molnár), 1964-1968 (10 letters): a 1967 invitation is to George Washington Awards Dinner in honor of Breuer, Watson Kirkconnel, and Hans Selye
American Institute of Architects, 1946-1976 (45 letters): membership applications for Edward Larrabee Barnes, Landis Gores, John MacL. Johansen, George Sherman Lewis, A. McVoy McIntyre, Robert Hays Rosenberg, Bernard Rudofsky); a 1963 letter from Breuer's office concerns a Skyscraper Architecture survey team from Japan; a 1968 letter concerns the Comité Organizador de Los Juegos de la XIX Olimpiada
American Institute of Architects, College of Fellows, 1976 (1 letter): from Breuer's office
American Institute of Architects, Jury of Fellows, 1960 (3 letters): from Breuer
American Institute of Architects, Library Buildings Award Program, 1967 (1 letter): from Breuer's office
American Institute of Architects, New York Chapter, 1945-1963 (16 letters)
American Institute of Decorators (Richard F. Bach), 1956 (1 letter)
American Institute of Interior Design in Switzerland (Charles D. Gandy and Susan Zimmermann), 1977-1978 (2 letters)
American-Jewish Congress: see Commission on Community Interrelations (CCI)
American Library Association, 1951-1968 (2 letters)
American Planning and Civic Association, undated: membership notice
American Press Institute, 1974-1975 (5 letters): from Breuer
American Radiator and Standard Sanitary Corporation, 1947 (1 letter): from Breuer
American Shakespeare Festival, 1954 (1 letter): from Breuer's office
American Society for Church Architecture, 1965-1966 (4 letters)
American Society for Friendship with Switzerland, 1969 (1 letter)
American Society of Interior Decorators, 1976 (1 letter): from Breuer's office
American Society of Planners and Architects (ASPA), 1945-1947 (12 letters)
Anderson, Lawrence B., 1945-1965 (2 letters): see American Society of Planners and Architects (ASPA)
András, Ivánka, 1957 (1 letter)
Andrews, Robert, 1956 (1 letter)
Aoyagi, Nobuo, 1964 (1 letter)
Aoyagi, Tetsu, 1965 (1 letter)
Arbelaez, Carlos, 1952 (1 letter): from Breuer)
Architects & Engineers Institute, 1959 (1 letter)
Architects' Collaborative, 1946-1959 (3 letters): see McMillan, Louis and Peggy
Architectural Association, London, 1965-1969 (7 letters): see project file for UNESCO for correspondence with Edward J. Carter Architectural Design, 1960 (1 letter): from Ernesto Fuenmayor and Manuel Sayago of Centro Profesional del Este)
Architectural Forum, 1960 (1 letter): from Leonard J. Currie
Architectural Group, (W. D. Wilson), 1947 (1 letter)
Architectural League of New York, 1947-1975: (26 letters and minutes from 6 meetings): see Ketchum, Morris
Architectural Record, 1946-1959 (9 letters)
Architectural Students Association, 1958 (1 letter)
Architecture Formes Fonctions, 1971 (3 letters): includes a typescript "Design Research in Concrete" for July 1971 magazine
Architektur + Wohnwelt, 1975 (3 letters)
Argan, Giulio Carlo, 1955-1957 (6 letters)
Arizona, University of, 1974 (1 letter): from Breuer's office
Bergen County Cut Stone Company, 1967 (1 letter): from Breuer's office
Bergen, Emiel, 1956 (1 letter)
Berger, Donald (North Dakota Agricultural College), 1953 (1 letter)
Berger, George, 1950 (1 letter)
Berger, Otti, undated and 1934-1937 (7 letters)
Berger, Sanford and Helen (architects), 1945 (1 letter): from
Breuer to László Moholy-Nagy and Ludwig Mies Van der Rohe introducing the Bergers
Berger, Stephen E., 1959 (1 letter)
Berizzi, Sergio, 1959 (4 letters): letters of introduction
Berko, Franz, 1946-1947 (5 letters): including one from László Moholy-Nagy
Berlin Interbau, (International Building Exhibition), 1957 (1 letter): from mayor of Berlin
Berndt, Marianne, 1933 (1 letter)
Berti, Vincent, 1974 (1 letter): from Breuer's office
Better-Philadelphia Exhibition (Richard A. Protheroe, Harry
B. Nason, Hugh B. Sutherland), 1947 (1 letter)
Bevington, Alistair M., 1959 (1 letter): includes résumé
Bevington, Mariette (stained-glass designer), 1967 (1 letter): to Herbert Beckhart
Bharadwaj, Ajaya, 1955 (2 letters)
Biasini, E. J. (French prime minister), 1972 (1 letter)
Biddle, Mrs. Francis, 1962-1968 (3 letters): includes a funeral announcement for her husband)
Biddle, George, 1965 (4 letters): 3 from Breuer
Bier, Justus (University of Louisville), 1938 (3 letters)
Bigeleisen, Jacob (University of Rochester), 1970 (1 letter) Ronald S. Biggins and Associates, 1958 (1 letter)
Bijenkorfbeheer N.V., Amsterdam, 1967-1974 (2 letters): from Breuer
Bill, Alexander H., Jr., undated (1 calling card)
Blake, Peter (architect), undated and 1950-1976 (41 letters): a 1958 letter from Breuer is illustrated with a hand-drawn map by
Blake of Easthampton property
Blanton, John A., 1951 (1 letter)
Blaustein, Morton K., 1963-1965 (2 letters)
Bliss, Douglas P. (Glasgow School of Art), 1947 (1 letter): from Breuer
Bloeme, Sidney, 1963 (1 memorandum): from James S. Plaut
Blum, Kurt (photographer), 1974 (1 letter): from Breuer's office
Bode, Paul (architect), 1956 (1 letter)
Bodri, Ferenc, 1967-1975 (3 letters): 2 1975 letters from Breuer
Boehringer Ingelheim, Ltd., 1975 (1 letter): from Breuer
Bogner, Walter, 1938-1960 (4 letters): see Project File for UNESCO
Boissonnas, Eric and Sylvie, undated and 1960-1978 (20 letters)
Bollingen Foundation, 1964 (1 invitation): to reception in honor of Sigfried Giedion
Bonaparte, Mrs. Robert L., 1955 (1 letter)
Bonomi, Maria, undated and 1958 (2 letters)
Bookman, Mrs. John, 1964 (1 letter)
Borbíró, Virgil (Hungarian architect), 1945-1956 (2 letters): includes Borbíró's obituary
Borglum, Paul, 1950 (1 letter): see Project File for UNESCO
Born, Karl, 1968 (1 letter): from Breuer
Borsódy, István ("Stephen"; historian; Hungarian Legation) and Zsóka, 1946-1965 (5 letters): 1951 letter includes a biographical sketch of Borsódy by Aladár Szegedy-Maszák
Bortfeldt, Hermann (Büro Willy Brandt), 1963 (1 letter)
Bosch, Robert, 1934 (2 letters)
Bosserman, Joseph Norwood, 1963-1967 (2 letters)
Bosshard, J., 1956 (1 letter)
Boston Architectural Center, 1968 (1 letter)
Boston Redevelopment Authority, 1970 (1 letter)
Boston Society of Architects, 1946 (1 letter): from Breuer to John R. Abbott
Botond, Stephen G. ("Pista"; architect), 1958-1960 (2 letters): includes wedding announcement for Botond and Patricia Potter Luce
Bouchet, Maxime, 1953 (5 letters)
Bourget, Inc., 1955 (2 letters): from Breuer's office
Bower, John, 1954 (1 letter)
Bozzola, Vittorio, 1964 (2 letters)
Bradford, Carol (Mrs. Amory H. Bradford), 1951 (1 letter): from Breuer
Brandon-Jones, John, 1958 (1 letter)
Brandstätter, Elsbeth, 1936-1937 (2 letters)
Brassaï, Gyula Halász (Romanian photographer), undated (1 calling card): no signature
Peter Bratti Associates, 1974-1975 (2 letters): from Breuer
Bratti, Peter (A. Tozzini Tile Works, Inc.), 1958 (1 letter)
Braun, Wolfgang, 1968 (1 letter): from Breuer
Braziller, George, 1966 (1 letter)
Bremer, Paul and Nina, 1975 (2 letters)
Breuer, Constance (née Leighton), 1947-1982 (22 letters): from Breuer and Breuer's office; a 1967 letter, 1967, from French filmmaker Gerard Calisti is routed from Robert Osborn; an invitation from M. Knoedler and Company concerns reception for Lina Kandinsky
Breuer, Francesca, undated and 1966-1973 (3 letters): includes a letter of recommendation from Tician Papachristou
Breuer, Hermina, 1950 (1 telegram): from Breuer
Brewer-Cantelmo Company, Inc., 1966 (3 letters): from Breuer's office
Brewer, Joseph, 1965 (1 letter)
Brewster, George W. W., Jr., undated and 1946 (2 letters)
Brey, David M. (architect), 1950 (1 letter)
Breydert, Katherine, 1946 (1 letter)
Brickel/Eppinger, Inc., 1963 (3 letters)
Brigham, Richard C., 1954 (1 letter)
Brion, Maud (secretary to Eric Cercler), 1966-1972 (10 letters)
Brissenden, Norine (Mrs. P. R. Brissenden), 1947 (1 letter)
British Chair Company, 1954 (1 letter): from Breuer's office
General Electric Appliances, Inc., 1947 (1 letter)
General Electric Company, 1943-1950 (6 letters)
General Fireproofing Company, 1943-1946 (4 letters)
Georges, Alexandre (photographer), 1974-1976 (2 letters): from Breuer's office
Geraghty, Margaret, 1960 (1 letter): from Breuer's office
Gerbman, Joyce, 1968 (1 letter): from Breuer
Giedion-Welcker, Sigfried and Carola, undated and 1932-1976 (62 letters): see Congrès Internationaux d'Architecture Moderne (CIAM; Chapter for Relief and Post-War Planning)
Grimball, Henry G. (Harvard University), 1950 (1 letter)
Gropius, Walter ("Pius") and Ise ("Pia"), undated and 1933-1969 (120 letters): see Harvard University, Graduate School of Design; Project File for UNESCO
Grosse Pointe Public Library, 1960 (1 letter)
Grossi, Olindo (Architectural League of New York), 1957 (4 letters): see Pratt Institute; see Project File for UNESCO
Grosswirth, M. (New York University, College of Engineering), 1958 (1 letter)
Gröte, Dr. Andreas and Laura, 1961-1967 (3 letters)
Gröte, Ludwig and Gertrud Maud, 1956-1967 (5 letters)
Groupe Espace, 1952-1954 (5 letters)
Gruber, Gerd, 1965-1967 (2 letters)
Gruber, Richard D. (Independent Oil Company of Connecticut, Inc.), 1970 (1 letter)
Gruzen, Barney Sumner, 1956 (1 letter): from Breuer
Gstrein, Kassian, 1936 (1 letter)
Guenther, Carl Frederic, 1958 (1 letter)
Guerrero, Pedro E. (photographer), 1955 (1 letter): from Breuer
Solomon R. Guggenheim Museum, 1964 (1 letter): concerns the loan from Breuer of an Alexander Calder work
Guilford Leather Company, 1950 (1 letter): from Breuer
Gumbel, Robert W., 1950 (1 letter)
Gutheim, Polly (Mrs. Frederick A. Gutheim), 1946 (1 letter)
Haas, Robert (Ram Press), 1954-1957 (8 letters): from Breuer's office
Hächler, W. (architect), 1956 (1 letter): from Breuer
Hack, Lynda, 1968 (1 letter): from Breuer
Hackett, Gabriel D. (photographer), 1963 (1 letter)
Hackley Art Museum, 1977 (3 letters)
Hagenbach, Marguerite: see Arp, Hans Jean
Hagerty, Francis (Hagerty Company), 1945 (2 letters)
Hagerty, John, 1958 (1 letter)
Haggerty, Brian (Sacred Heart Seminary), 1964 (1 letter)
Hagmann, John S. (and Robert A. M. Stern), undated (1 letter)
Hagood, M. Lindsey (Virginia Polytechnic Institute, Architectural Speakers Committee), 1952 (3 letters)
Hahn, Alexander, 1957-1958 (2 letters)
Halász, Dezso (International Union of Local Authorities), 1957-1959 (3 letters)
Halász, Ferenc, 1959 (2 letters)
Halborg, Rev. John E. (Evangelical Lutheran Church of the Advent), 1968 (1 letter)
Hall, John Hughes (Nardin & Radoczy), 1956-1957 (2 letters)
Halprin, Lawrence, 1966-1970 (2 letters)
Halverson, Marvin (National Council of the Churches of Christ in the USA), 1955-1956 (4 letters)
Halvorson, Roy E., 1956-1971 (4 letters)
Hambuechen, Dr. Eva-Dorothee, 1937 (1 letter)
Hamer, R. D. (Aluminium Laboratories Ltd.), 1946 (1 letter)
Hammett, Ralph W., 1975 (1 letter): from Breuer's office
Hancy, L., 1975 (1 letter): from Breuer's office
Hansen, Thomas L. (University of Colorado, Boulder), 1956 (1 letter)
Hanson, B. (Mrs. John Hanson), 1955-1967 (3 letters)
Haraszty, Eszter, undated and 1956 (2 letters)
Harbert, Guido, 1950 (1 letter)
Hardoy, Jorge Ferrari (architect), 1965 (1 letter)
Hendry, Charles E. ("Chick"; University of Tornoto), 1950 (2 letters): see Commission on Community Interrelations (CCI) of the American Jewish Congress
Henin, Mme. S., 1956 (2 letters)
Henze, Wilfried, 1964 (1 letter)
Herbe, Paul (architect), 1963 (1 letter)
Herford, Julius G., 1945 (1 letter)
Herman, Harold M., undated (1 letter)
Hermanson, Ray T. (Trynor & Hermanson, Architects), 1957 (1 letter)
Herrera, Alberto Rodriguez (El Recreo, Centro Profesional del Este), 1960 (1 letter): from Breuer's office
Herrey, Hermann (architect), 1946-1947 (3 letters)
Herter, Susan and Chris, undated (1 letter)
Hertner, W. (architect), 1939 (1 letter)
Hertzell, Tage (Meningsblad for Unge Arkitekter), 1956 (1 letter)
Hervé, Lucien, 1960 (4 letters): see Project File for UNESCO
Herz, Alexandra, 1965-1967 (2 letters)
Hess, Orvan W., 1976 (1 letter)
Hester, James M. (New York University, Washington Square), 1963-1970 (2 letters)
Hetényi, George, 1954 (1 letter)
Heyer, Paul O., 1965-1970 (11 letters)
Heyman, Marla, undated (1 letter)
Heywood-Wakefield Company (Mr. Greenwood, Mr. Paul Posser), 1944 (6 letters)
Higgins, Ambrose S. (architect), 1947 (1 letter)
Hill, Albert Henry, 1950-1951 (2 letters)
Hill and Knowlton, Inc., 1974 (1 letter): from Breuer's office
Hill, Henry and Heather, 1950-1964 (7 letters): see Project File for UNESCO
Hirschfeld, Ludwig, undated and 1935-1963 (18 letters)
Hirshhorn Museum and Sculpture Garden, 1975 (2 letters): from Breuer
Hudnut, Joseph ("Vi"; Harvard University) and Claire, undated and 1946-1947 (3 letters): see American Society of Planners and Architects (ASPA); Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning; Harvard University, Graduate School of Design
Hug, Hattula Moholy-Nagy (daughter of László Moholy-Nagy), 1976 (1 letter)
Hungarian Alumni Association, undated (1 letter): includes a hand-drawn map, 8 photographs of Hungarian cityscapes, 4 photographs of city views, and a drawing of the facade of a building
Hunter, Louise, 1947 (1 letter)
Hurley, Jane C., 1947 (1 letter): from Breuer
Hurwitz, Joe, 1968 (1 letter): from Breuer
Hutchhausen, Walther, 1937 (1 letter)
Hutchins, John Jay (Law Offices of S. G. Archibald), 1963-1969 (14 letters): see Project File for UNESCO
Hutton: E. F. Hutton Company, 1946-1951 (7 letters)
Huygens, W., 1957 (1 letter)
Ichban [?], Hans ("Zero"), undated and 1939 (2 letters)
Ikuta, Tsutomu, 1951 (1 letter)
Illinois, University of, Chapter of AIA, 1959 (2 letters)
Illinois, University of, Urbana, 1957-1964 (4 letters)
Ilmanen, J. William, 1955-1956 (2 letters)
Immanuel, M., 1946 (2 letters)
India, ambassador from, 1965 (1 invitation): to Nehru
N.V. Induventa, 1935 (1 letter)
Ingrand, Max, undated (2 letters)
Institute der Schwestern, Baldegg, Switzerland, 1970-1975 (5 letters): 4 from Breuer
Institute for Advanced Study, Princeton University, 1970 (1 letter)
Institute of Contemporary Art, 1954-1956 (3 letters): see Project File for UNESCO
Institute of Contemporary Art, Department of Design in Industry, 1951 (3 notices of meetings)
Institute of Design, Illinois Institute of Technology, 1953-1959 (6 letters)
Institute of International Education, 1960-1961 (4 letters)
Instituto Internazionale di Arte Liturgica, 1970 (1 letter)
Interiors Incorporated, 1975 (1 letter): from Breuer
Interiors International, 1963 (4 letters)
Interiors magazine, 1950 (1 letter)
International Bank for Reconstruction and Development, 1975 (1 letter): from Breuer
International Business Machines Corporation (IBM), 1963-1974 (4 letters): 2 from Breuer
International Business Machines (IBM) Deutschland, 1970 (1 letter)
International Congress for Engineering Education, 1947 (2 letters)
International Congress for Modern Architecture: see Congrès Internationaux d'Architecture Moderne (CIAM)
International Contract Furnishings, Inc., 1975 (1 letter): from Breuer
International Design Conference, Aspen, Colorado, 1953-1955 (4 letters)
International Lighting Review, 1961 (1 letter)
International Rescue Committee, Inc., undated (1 letter)
Iowa State College, 1960 (1 letter): see Myers, John S.
Iran, empress of, 1975 (1 letter): from Breuer
Irving & Casson/A. H. Davenport Company, 1945 (1 letter): see Commission on Community Interrelations (CCI)
Irving, Michael H. (Irving and Jacob), undated and 1968-1971 (4 letters)
Kennedy, John Fitzgerald, 1961-1963 (3 letters): from the White House
Kennedy, Robert Woods (first architect in Gropius-Breuer office, Cambridge, Massachusetts), undated and 1950 (3 letters): see American Society of Planners and Architects (ASPA)
Kennerly, Albert (Kennerly Construction Company, Inc.), 1947 (1 letter)
Keogh, Eugene J. (Halpin, Keogh & St. John), 1970 (1 letter)
Kepes, György (architect) and Juliet, undated and 1924-1978 (29 letters)
Maas, Carl ("Happy"/"Hap"; editor, House Beautiful), 1937-1946 (6 letters)
Maas, Walter, 1947 (1 letter): from Breuer
Macomber, George A. (Cambridge Trust Company), 1947 (2 letters)
Madison, Bob, 1951 (1 letter)
I. Magnin, San Francisco, 1961 (1 letter): from Breuer's office
Magyar Album, 1956 (1 letter)
Magyar épitomuvészek Szövetsége magazine, 1956-1977 (4 letters)
Maki, Fumihiko (Harvard University), 1963 (1 letter) George E. Mallison Importing Company, 1950-1955 (2 letters)
Manders, Dave, 1968 (1 letter): from Breuer
Mandl, Zoltán, 1939 (1 letter)
Manfred, Ernest F., 1966 (1 letter)
Mang, Karl (architect), 1967 (1 letter)
Manitoba, University of, Students' Architectural Society, 1953 (1 letter)
Mantel, H. J., 1951 (1 letter)
Manton, Mr. and Mrs. John, 1967 (1 letter): from Breuer's office
Marbleloid, Inc., 1946 (1 letter)
Marine-Air-Research Corporation, 1946 (1 letter): from Breuer
Maroy, Jean-Paul, 1981 (1 letter): from Robert F. Gatje William L. Marshall, Ltd., 1944-1947 (8 letters)
Marson, Bernard A. (architect), 1968 (1 letter)
Marston, Natalie (Institute of Contemporary Art), 1951 (1 letter)
Martens, Michel (Hedendaagse Kerkelijke Kunst), 1956-1957 (2 letters)
Martignetti, Antonio, 1956 (1 letter)
Martin, J. L. (architect), 1938 (1 letter)
Martin, Leslie and Sadie, undated and 1954 (3 letters)
Mary College and the Annunciation Priory, 1963-1976 (6 letters)
Massachusetts Institute of Technology, Art Committee, 1968 (1 letter)
Massachusetts Institute of Technology, Office of the President, 1961-1965 (2 letters)
Massachusetts Institute of Technology Press, 1975 (1 letter): from Breuer's office
Massachusetts Institute of Technology, School of Architecture and Planning, 1958-1960 (4 letters)
Massachusetts, University of, Amherst, 1968 (1 letter)
Massenot, J. P. (éditions Techniques), 1974 (1 letter): from Breuer's office Master, Dipak C. (Master Sathe and Kothari, Architects), 1968 (1 letter): from Breuer
Mathews, Joseph F., 1956 (1 letter)
Maucher, Helmut, 1976 (1 letter): from Breuer's office
Maurer, Laurie, undated (3 letters)
Mauser Kommandit-Gesellschaft, 1966 (1 letter)
Mayekawa, Kunio, 1963 (1 letter)
McClean-Smith, Betty, 1940 (1 letter)
McComb, Peter K. and Karen, 1954-1956 (4 letters)
McGarry, Ann M., 1947 (1 letter)
McGill University, Montreal, 1967 (1 letter)
McGlynn Associates, Inc., 1956 (1 letter)
McGrath, Raymond (Office of Public Works, Dublin, Ireland), 1937-1969 (9 letters)
McGraw-Hill Publications, 1967 (1 letter)
McGuinness, William J. (Pratt Institute), 1951 (1 letter)
McIntyre, A. McVoy, 1950-1951 (2 letters)
McLaughlin, Peter, 1959 (1 letter)
McMillan, Louis and Peggy (Architects' Collaborative), 1945-1946 (2 letters)
McVitty, John D., 1946 (1 letter)
John O. Meadows Associates, Ltd., 1984-1985 (2 letters)
Medical Economics, 1960 (1 letter)
Meier, Richard Alan, undated and 1957-1967 (5 letters)
Meldrum, Andrew, 1956 (1 letter): from Breuer
Meller, Herbert, 1969-1970 (4 letters)
Mellon, Mary, 1938 (1 letter)
Meng, John J. (Hunter College), 1963 (1 letter)
Menken, Julian (Julian Menken and Associates), 1964 (1 letter)
Merit Studios, Inc., 1965 (1 letter): from Breuer's office
Merle, André (André Merle Associates, Architectural Engineers), 1946 (1 letter)
Merrill and Holmbren, Architects, 1954 (1 letter): concerns Campbell Building Company
Merrill, Ruth P., 1950-1964 (2 letters)
Metropolitan Milwaukee War Memorial, Inc., 1945 (4 letters): 1 to Walter Gropius
Metropolitan Museum of Art, 1944-1975 (8 letters)
Metropolitan Structures, Inc., 1974 (2 letters): from Breuer's office
Metropolitan Washington Board of Trade, 1969 (2 letters)
Meunier, John, 1957 (1 letter)
México, Consulado Honorario de, 1938 (2 letters)
Meyer-Bohe, Walter, 1975 (1 letter): from Breuer's office
Michaëlis, Lorenz S. (Swiss doctor), undated (1 letter)
Michel, John (General American Transportation Corporation), 1947-1948 (2 letters)
Michelson, Val (architect), 1970 (1 letter)
Michigan, University of, Ann Arbor, 1957-1963 (19 letters)
Middelhauve, Dr. F. G., 1963 (1 letter)
Mies Van der Rohe, Ludwig, 1945 (1 letter): from Breuer introducing Sanford L. and Helen Berger, architects
Mihályfy, Károlyné, 1966 (1 letter)
Millar, L. R., 1935 (1 letter)
Millard, Charles W., 1957 (1 letter)
Miller Company, 1945-1947 (2 letters)
Miller, Flora W. (Mrs. G. MacCulloch Miller), undated (1 letter)
Miller, H. Wisner, 1968-1969 (2 letters)
Herman Miller Furniture Company, 1951-1954 (4 letters): from Breuer
Miller, Rev. John (St. Charles Seminary), 1975 (1 letter): from Breuer
Miller, Richard J., 1955 (1 letter)
Miller, Steve, 1968 (1 letter): from Breuer
Milliken, W. H. (Binney & Smith Company), 1951 (1 letter)
Mills, Mrs. Edward E., 1954 (1 letter): from William W. Landsberg
Mills, Willis N. (Sherwood, Mills and Smith, Architects), 1960-1969 (2 letters)
Ministre d'état Chargé des Affaires Culturelles, 1963 (1 letter): from Breuer
Minnesota Society of Architects, 1958 (1 letter)
Minnesota, State of, Board of Registration, 1954 (2 letters)
Minnesota, University of, 1953 (1 letter)
Miró, Joan, 1959-1963 (2 letters): 1 from Breuer
Mitchell and Ritchey, 1947 (2 letters)
Mitchell, Mary, 1954 (1 letter): from Breuer's office
Miya & Company, 1956 (1 letter): from Breuer's office
Modern Industry, 1947 (1 letter)
Modern Master Tapestries, Inc., 1974-1975 (4 letters): from Breuer's office
Moffett, Toby, 1974 (1 letter)
Moholy, Lucia, 1957-1958 (5 letters)
Moholy-Nagy, László ("Lakci") and Sibyl, 1934-1955 (40 letters): includes a 1946 exhibition catalog for a Walter Gropius exhibition at the School of Design, Chicago; see also Hug, Hattula Moholy-Nagy
Moldcast Products, Inc., 1950 (1 letter): from Breuer's office
Molitor, Joseph W. (photographer), 1955-1975 (5 letters): 4 from Breuer
Molnár, Farkas (Hungarian architect), undated and 1933-1940 (25 letters)
Mongan, Agnes, 1938 (1 letter)
Montague, Harvey, 1968 (1 letter): from Breuer
Montgomery, Elizabeth (Mrs. Wilmot), 1950 (1 letter)
Moore, Henry, 1946-1962 (13 letters): 6 from Breuer
Moore, Joe A., 1945 (2 letters)
Moore, Paul S. (architect), 1966-1967 (3 letters)
Morassutti, Mangiarotti, 1961 (1 letter)
Moretti, Bruno, 1936 (1 letter)
Morgan, Alice, 1939 (1 letter)
Morgan, Sherley W. (Princeton University), 1952 (3 letters)
Móricz, Miklós, 1947 (1 letter)
Morrell, Mrs. Ben, 1965 (1 letter): from Breuer's office
Sydney Morrell & Company, Inc., 1973-1976 (4 letters)
Morris, Walter (Fuller & Smith & Ross, Inc.), 1950 (1 letter)
Morrow, Margot, 1950 (1 letter): from Breuer's office
Mory, Bob, 1968 (1 letter): from Breuer
Moschette, Angela, 1950 (1 letter)
Motherwell, Robert, 1968 (1 letter)
Muguruza Otaño, José María (architect), 1935-1967 (3 letters)
Mulford, Edwin H., 1966 (1 letter): from Breuer's office
Murray, J. A. (University of Toronto School of Architecture), 1947-1956 (3 letters)
Murrow, Mrs. Edward R., 1961 (1 letter)
Musée des Arts Décoratifs, 1969 (2 letters)
Museu de Arte Moderna do Rio de Janeiro, 1954 (1 letter)
Museu de Arte Moderna do São Paulo, 1956 (1 letter concerning IV Bienal de S. Paulo)
Museum of Contemporary Crafts, 1967 (7 letters)
Museum of Modern Art, New York, 1941-1976 (49 letters)
Museum of Science and Industry, Chicago, 1967 (3 letters)
Museum of the City of New York, 1959 (2 letters)
Muskat, Irving E., 1968 (2 letters)
Mutsu, Masako, 1964-1965 (2 letters): from Breuer
Myers, John S. and Shirlee, 1955-1959 (4 letters)
Myers, Ralph E., 1958 (2 letters)
Myers, Robert L., 1950 (1 letter)
Nadeau, Eleanor Saxe, 1950 (1 letter)
Nader, Fouzieh, 1972 (2 letters)
Nagare, Masayuki, 1963-1965 (6 letters): 5 letters from Breuer
Nagel, Chester (architect), 1968 (1 letter)
Nagy Iván, Dr. Vitéz (Ministry Secretary), undated (1 letter)
Najibullah, Yousof, 1968 (1 letter): from Breuer
Napier, Frieda (Mrs. Ian Napier), undated and 1937 (7 letters)
Nathan, Carl H. (Suncraft), 1945 (1 letter)
National Academy of Sciences/National Research Council, undated (1 letter)
National Citizens for Johnson and Humphrey, 1964 (1 letter)
National Committee of Arts, Letters and Sciences for John F. Kennedy for President, 1960 (2 letters)
National Concrete Masonry Association, 1958-1959 (7 letters)
National Council of American Soviet Friendship, Inc., Architects' Committee, 1944-1945 (13 letters)
National Council of American Soviet Friendship, Inc., Building Industry Committee, 1946 (6 letters)
National Council of Architectural Registration Boards, 1946-1959 (5 letters): request recommendations for Jean Bodman Fletcher, I. M. Pei, and Richard G. Stein
National Council of Churches, 1955 (1 letter)
National Council on Schoolhouse Construction, 1951 (1 letter)
National Institute of Arts and Letters, 1965-1968 (47 letters): 1967 letter from Breuer includes typescripts concerning Josef Albers and Constantino Nivola; 1968 encloses a letter from Philip Johnson; see American Academy of Arts and Letters National Society of Interior Designers, Inc., 1958 (1 letter) National Terrazzo & Mosaic Association, 1955 (1 letter from Murray S. Emslie)
National Trust for Historic Preservation, 1975 (2 letters): from Breuer's office
Pack, Nancy (Mrs. Howard Meade Pack), undated and 1953 (2 letters)
Paine Furniture Company, 1946 (1 letter)
Pajor, Zoltán, 1938-1947 (7 letters)
Palestrant, Stephen, 1963 (1 letter)
Palmer Physical Laboratory, Princeton, New Jersey, 1945 (1 letter)
Papachristou, Tician and Judy, undated and 1967-1974 (6 letters)
Papadaki, Stamo, 1945-1951 (14 letters): see Commission on Community Interrelations (CCI) of the American-Jewish Congress; Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning
Praeger, Frederick A. (Frederick A. Praeger, Inc.), 1959-1969 (19 letters): includes a 1959 transcript of Praeger's conversation with Breuer concerning the publication of a book on Breuer's life work
Pratt Institute, 1953-1969 (11 letters)
Présentè, G. M., 1954 (1 letter): see Project File for UNESCO
Prestressed Concrete Institute, 1970 (1 letter)
Price, Thomas M., 1946 (1 letter)
Prichard, Theodore J. (University of Idaho), 1946-1950 (3 letters)
Schawinsky, Xanti and Irene, undated and 1934-1964 (14 letters)
Schecter, Jack H. (architect), 1950 (1 letter)
Schendell, Hal, 1947 (2 letters): to Eliot Noyes
Schickel, William J., 1964 (1 letter)
Schillinger, Emilio F., 1964 (1 letter)
Schleifer, Fritz, 1934 (1 letter)
Schlemmer, Tut (Mrs. Oscar Schlemmer), 1960-1965 (3 letters)
Schlesinger, Alajos, undated (1 letter)
Schmalenbach, Werner (Kunstsammlung Nordrhein-Westfalen), 1976 (2 letters)
Schmid, Elsa, 1950 (1 card): sent jointly with J. B. Neumann
Schmidt, Benno C. (J. H. Whitney & Company), 1970 (1 letter)
Schmidt-Gellerau, Karl, 1934 (3 letters)
Schmieg & Kotzian, 1945 (1 letter)
Architekturbüro Joachim Schmitz, 1974 (1 letter): from Breuer's office
Schnall, Ben (photographer), undated (2 letters) vSchneck, Adolf G. (architect), 1947-1950 (2 letters)
Schneider-Manzell, Toni (Biennale Christlicher Kunst der Gegenwart Salzburg), 1964 (2 letters)
Robert Schoelkopf Gallery, undated (1 invitation): to meet Walker Evans
Schoendorff, Ellen G., 1937 (1 letter)
Schömer, Ervin (architect), 1974-1975 (6 letters)
Schorer, Mark, 1960 (1 letter): from Breuer
Schultz, Lili, 1964 (1 letter)
F. Schumacher & Company, 1954-1964 (2 letters): from Breuer's office
Schuster, Mathias and Gerda (Schuster & Geiger), 1950-1964 (3 letters)
Schweighofer, Dr. Fritz, 1960 (1 letter)
Science Illustrated, 1955 (1 letter): from Breuer
Scitorszky, Hanna, 1966 (1 letter)
Scott, Stuart N. (Dewey, Gallantine, Bushby, Palmer & Wood), 1958 (1 letter)
Seagram-Distillers Corporation: see Kessler-Gallacher & Burton
Sears, Roebuck and Company (Arthur M. Wood), 1974 (1 letter): from Breuer concerning luncheon for Alexander Calder
Segal, Georgette, 1954 (1 letter): from Breuer's office
Seghers, Pierre, 1963 (1 letter)
Segner, Marvin H., and John C. R. O'Neill (consulting engineers), undated (1 letter)
Segre, Mr., 1959 (2 letters): from Breuer
Seidel, Bert (architect), 1955 (2 letters)
Seidler, Harry (architect, Black Mountain College), 1946-1978 (24 letters)
Sekey, Sue, 1968 (1 letter): from Breuer
Selinger, Hans, 1956 (1 letter)
Selwood, Christopher, 1958-1959 (2 letters): see also Gardner-Medwin, R. J.
Selye, Hans, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Selye, and Watson Kirkconnell
Semrad, Peter H., 1957 (1 letter)
Senix Aerial (Don Preuss), 1947 (1 letter)
Sert, José Luis (architect) and Moncha, 1945-1970 (7 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee; Project File for UNESCO
Setzer, H. O. (Spartan Tire & Recapping Company), 1947 (3 letters)
Sevely, Marvin, 1951 (1 letter): from Breuer's office
Seyton, Mrs., 1954 (1 letter)
Shackleton, Edwin, 1951 (1 letter)
Shand, James (Art and Technics, Ltd.), 1950 (1 letter)
Shankland, Graeme, 1939 (1 letter)
Shannon, Edgar Finley (University of Virginia), 1967 (1 invitation): to Founder's Day Exercises
Sharon Forest Service Company, Inc., 1950 (5 letters)
Shattuck, George, 1946 (1 letter): from Breuer
Shelton Roofing Company, Inc., 1956 (1 letter): from Breuer's office
Vitrum magazine (Centro Informazioni e Studi per le Applicazioni del Vetro nell'Edilizia e nell'Arredamento; C.I.S.A.V.), 1955 (1 letter)
Vogel, George S. (Temple Israel, Cortlandt), 1951 (1 letter)
Voigt, James D. (Voigt and Fourré, Architects), 1958 (4 letters)
Volante, Julio C., 1955-1963 (2 letters)
von Debschitz, Irene, 1935 (1 letter)
von Erffa, H., 1951-1968 (2 letters)
von Meyerburg, Henrietta [?], undated (1 letter)
von Moltke, Wilhelm Viggo, 1946-1958 (4 letters)
von Segesser, Beat and Francisca, 1968-1975 (1 letter, plus 4 from Breuer)
Wachsmann, Konrad (architect/designer, General Panel Corporation), 1945-1965 (8 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee
Wadsworth, Suzanne G., 1975 (1 letter): from Breuer's office
Wagner, Martin (Harvard University), 1946 (2 letters)
Senator Wagner Memorial Dinner, 1965 (1 invitation): from mayor of New York
Walker and Company, 1966-1967 (2 letters): includes a typescript about Breuer; see also Heyer, Paul O.
Walker Art Center, Center Arts Council, 1959-1962 (12 letters)
Walker, H. E. L. (Universal Moulded Products Company, Ltd.), 1943 (1 letter)
Walker, Ralph (AIA), 1951 (1 letter): from Walter Gropius
Walker, Vicki, 1968 (1 letter): from Breuer
Ward, Ernest and Priscilla (Sprague Electric Company), 1946 (2 letters)
Washington University, St. Louis, Missouri, 1975 (1 letter): from Breuer
Watson, Arthur K. (U.S. Embassy, Paris), 1970-1972 (2 letters)
Watson, Thomas, 1970 (1 letter)
Wattjes, Professor J. G., 1935 (1 letter)
Webb & Knapp (Canada), Ltd., 1963 (3 letters)
Weidler, Charlotte (Bauhaus Ausstellung), 1968 (1 letter)
Weidlinger, Paul, 1946: see Project File for UNESCO
Weidlinger Associates, 1983-1984 (2 letters)
Weiner, Paul L., 1950-1966 (2 letters)
Weinstein, Jerry, 1945 (1 letter)
William H. Weintraub & Company, Inc., 1943-1947 (3 letters)
Weiz [?], Tiberio, 1939 (1 letter)
Weizenblatt, Sprinza, 1946-1963 (20 letters)
Wenzler, William P. (architect), 1965-1968 (4 letters)
Weren, Edward C., 1946 (1 letter)
Werner, Ingrid, 1963 (3 letters)
Wertz, Mr. (Der Finanzminister des Landes Nordrhein-Westfalen), 1974 (1 letter): from Breuer
West China Development Corporation, 1947 (1 letter)
West Coast Stained Shingle Company, 1950 (1 letter): from Breuer
Westcott and Mapes, Inc. (architects and engineers), 1970 (1 letter)
Western Arts Association, 1959 (4 letters)
Western Reserve University, 1958 (5 letters)
Westport Public Library, 1975 (1 letter): from Breuer
Zahedi, H. E. Ardeshir (ambassador of Iran), 1974-1975 (4 letters): from Breuer
Zanuso, Marco (architect; Olivetti), 1957 (1 letter): from Breuer
Zechlin, Hans Josef, 1950 (1 letter)
Ziegler, Barbara, 1947 (1 letter)
Ziegler, Frank, 1974 (1 letter): from Breuer
Ziegler, Richard, undated (1 letter)
Zwick, Virgil J., 1959 (1 letter)
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the microfilming of this collection was provided by the Gerta Charitable Trust. Funding for the digitization of the microfilm was provided by the Terra Foundation for American Art.
Walker, Hudson D. (Hudson Dean), 1907-1976 Search this
Extent:
3.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1909-1989
Scope and Contents:
Biographical material, correspondence, business records, writings and notes, printed material, scrapbooks, and photographs document Nordfeldt's career as a painter and instructor, and his widow's involvement after his death in exhibitions, biographies, and sales of his work.
REELS D166-D167: Biographical material includes a biographical sketch by Stanton L. Catlin, several letters from Nordfeldt's first wife Margaret to his second wife, Emily, and his nephew, Leonard Olson, in response to requests for biographical information, and biographical documents; correspondence of Emily and B.J.O., 1909-1959, with museum directors, gallery owners, patrons, artists, friends, universities, and others, mainly regarding the sale and exhibitions of his paintings and his teaching positions; artists' statements; exhibition catalogs; photographs of Nordfeldt; an excerpt from The Man on the Hilltop, by Arthur Davison Ficke; 5 sketchbooks; 3 scrapbooks; and an extensive catalog of Nordfeldt's paintings compiled by Emily, containing photographs and descriptive information.
Among the correspondents are Dewey Albinson, Watson Bidwell, Gina Knee Brook, Victor Candell, Howard N. Cook, Edward L. Davison, Howard Devree, William Dickerson, Constance Forsyth, Harriet Hanley of Harriet Hanley Gallery, Raymond Jonson, William Lester, A. Hyatt Mayor, Georgette Passedoit of the Passedoit Gallery, his student Roberta Shelton, Homer Saint-Gaudens, and Hudson D. Walker. Some of the letters are illustrated.
UNMICROFILMED: Resumes; correspondence, undated, 1923-1979, includes excerpts of letters from Nordfeldt to Constance Forsyth, 1942-1943 and Emily Abbott Nordfeldt, 1944; Emily Abbott Nordfeldt's correspondence with art collectors, art dealers, galleries and museums regarding exhibitions, gifts and sales of Nordfeldt's work; with Nordfeldt's biographers F. Van Deren Coke and J. Douglas Hale; and with the University of Minnesota, University Gallery, 1970-1972 regarding a Nordfeldt exhibition and the Nordfeldt Fund established by Emily; receipts and other business records; 1944-1979; writings and notes by Emily, ca.1930-1950, and others including the preface by Sheldon Cheney for Nordfeldt, the Painter by Coke, 1972;
a transcript of an interview with Raymond Jonson by Coke; printed material, including clippings, 1912-1984, exhibition catalogs, posters and announcements, undated, 1915-1991, notably a catalog of Nordfeldt's etchings shown at the Arthur H. Hahlo & Co. with an introduction by Robert W. Bruere, 1915; reproductions of graphic work for The Outlook and Harper's Monthly Magazine, 1910; miscellaneous printed material; a scrapbook of clippings and printed material, 1971-1980; photographs of Nordfeldt, undated 1910-1955, of the Santa Fe Players' production of "Grumpy," 1921; 3 photo albums of works of art, ca. 1930-1940; 10 seconds of motion picture film; and 2 sketches by Nordfeldt.
Biographical / Historical:
Painter, etcher, block printer, engraver, lithographer, watercolorist, teacher; Santa Fe, N.M. and Lambertville, N.J. Born in Tullstorp, Scania, Sweden, and came to the United States in 1891. Taught at the Minneapolis School of Art and the University of Texas. Moved to Lambertville, N.J. in 1937 from Santa Fe, N.M.
Provenance:
Material on reels D166-D167 lent for microfilming 1963 by Emily Abbott Nordfeldt, Bror's widow. In 1991 her estate donated additional material as well as portions of the previously microfilmed material. Material previously lent but NOT subsequently donated includes portions of the biographical material; several letters; artists' statements; a few personal photographs; the 5 sketchbooks; items from the scrapbooks; and the catalog of paintings. (The collection file contains a list of specific reel and frame numbers.)
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of painter Abraham Walkowitz date from 1904-1969, and measure 2.9 linear feet. Found within the papers are biographical material; letters from artists, friends, and art collectors; business records; four interview transcripts; notes and writings; exhibition announcements, cataloges, and other printed material; and photographs of Walkowitz, friends, colleagues, and artworks.
Scope and Content Note:
The papers of painter Abraham Walkowitz date from 1904-1969, and measure 2.9 linear feet. Found within the papers are biographical material; letters from artists, friends, and art collectors; business records; four interview transcripts; notes and writings; exhibition announcements, catalogs, and other printed material; and photographs of Walkowitz, friends, colleagues, and artworks.
Biographical material consists of autobiographical notes, a citizenship certificate, membership and registration cards, medical records, and address books.
Letters, with scattered responses from Walkowitz, are primarily from colleagues including artists John Taylor Arms, George Biddle, Paula Eliasoph, Ivan G. Olinsky, Walter Pach, Alfred Stieglitz, Carl Van Vechten, and Max Weber, Boston art collector Louis Schapiro, publisher E. Haldeman-Julius, writer Horace Traubel, and dancers Elizabeth Duncan and Maria-Theresa Duncan, the sister and adopted daughter of Isadora Duncan respectively. Individual letters are primarily from the diverse group of notable people to whom Walkowitz had sent copies of his books. Also found are letters from art organizations and museums.
Business records consist of documents concerning the will of art collector George M. Dunaif, letters of acknowledgement of gifts of art work donated by Walkowitz to various museums, and miscellaneous financial material. Transcripts are of three interviews with Walkowitz and an interview with Walkowitz and Frank Kleinholz. Notes and writings include lists of names, addresses, and art work, miscellaneous lecture notes, and writings by Walkowitz and by others. Printed material consists of clippings, exhibition announcements and catalogs, reproductions of art work, and books by Walkowitz, and by Walkowitz and E. Haldeman-Julius.
The photographs series contains the most significant material in the collection. The majority of photographs are of Abraham Walkowitz, taken by many notable photographers including Arnold Genthe, Lotte Jacobi, Arnold Newman, Alfredo Valente, Carl Van Vechten, and Clarence White. Also found are photographs of friends and colleagues, as well as photographs of art work by Walkowitz and others.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material 1906-1944 (Box 1, 5; 8 folders)
Series 2: Correspondence, 1906-1966 (Box 1; 0.8 linear feet)
Series 3: Business Records, 1930-1956 (Box 1; 5 folders)
Series 4: Interview Transcripts, 1944-1958 (Box 1; 5 folders)
Series 5: Notes and Writings, 1904-1949 (Box 1-2; 26 folders)
Series 6: Printed Material, 1910-1969 (Box 2, 5; 0.8 linear feet)
Series 7: Photographs, 1904-1958 (Box 2-5; 0.9 linear feet)
Biographical Note:
Abraham Walkowitz (1878-1965) was a painter in Brooklyn, New York. Walkowitz was born in Tumen in Siberian Russia, the son of Jacob and Rita Schulman Walkowitz. Following the death of his father, a lay rabbi and cantor, in the late 1880s, Walkowitz immigrated to the United States with his mother and siblings and settled in the Lower East Side of New York City.
Walkowitz began his study of art at the Educational Alliance, at Cooper Union, and at the National Academy of Design. In early adulthood he worked as a sign painter and taught at the Educational Alliance from 1900 to 1906. He managed to save enough for passage to Paris where he continued his studies at the Académie Julian under Academic painter Jean-Paul Laurens. During this time, Walkowitz met Max Weber who introduced him to Matisse, Picasso, and Gertrude and Leo Stein. They exerted a considerable influence on Walkowitz's artistic development toward abstraction. Weber also introduced him to Isadora Duncan, whose style of improvisational dance inspired Walkowitz to create over 5,000 drawings and watercolors of her dancing form over the next four decades.
Walkowitz returned to New York in 1907 and laid claim to being the first to exhibit truly Modernist paintings in the United States with his exhibition at the Haas Gallery in 1908. After 1909, he became an intimate of Alfred Stieglitz's 291 Gallery where he became a regular exhibitor along with Arthur Dove, Marsden Hartley, and John Marin, among others. Walkowitz's work appeared in landmark avant-garde exhibitions including the 1913 Armory Show, the Forum Exhibition of 1916, the People's Art Guild showings of contemporary art from 1915-1917, and the inaugural show of the Société Anonyme in 1920.
When interest in the Modernist movement diminished during the 1930s, Walkowitz's career also diminished, but he continued as an avid member and officer in the Society of Independent Artists. In the mid-1940s, he explored the varieties of the modernist vision in the form of an exhibition of 100 portraits of Walkowitz by 100 artist colleagues. The result was widely discussed and was featured in Life magazine in 1944. In 1945, Walkowitz travelled to Kansas to reunite with his colleague, E. Haldeman-Julius, to publish in a series of books concerning Walkowitz's art work. He also executed a series of drawings of the barns and strip mines in the area. But by 1946, glaucoma had begun to impair Walkowitz's vision, leading to his eventual blindness. Also in the mid-1940s, Walkowitz lost the contents of his studio to fire.
In 1963, Walkowitz received the Marjory Peabody Award of the National Institute of Arts and Letters. His work is represented in the collections of the Newark Museum, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston.
Abraham Walkowitz died on January 26, 1965 in Brooklyn, New York.
Related Material:
Also found at the Archives of American Art is an oral history interview of Abraham Walkowitz conducted by Abram Lerner and Mary Bartlett Cowdrey, December 8 and 22, 1958.
Provenance:
Portions of the papers were donated in 1959 by Abraham Walkowitz; in 1966 by Dr. Rosa E. Prigosen, the artist's niece; in 1981 through a transfer of material from the National Museum of American Art/National Portrait Gallery Library; and in 1996 by Howard and Lila Schulman.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York Search this
The papers of printmaker and painter Adolf Dehn measure 6.6 linear feet and date from 1912-1987. The collection contains extensive correspondence, as well as writings, exhibition announcements, catalogs, clippings, invoices, receipts, legal documents, scrapbooks, artwork, and photographs. There is also scattered correspondence of Virginia Dehn, mostly concerning her husband Adolf Dehn.
Scope and Content Note:
The papers of printmaker and painter Adolf Dehn measure 6.6 linear feet and date from 1912-1987. The collection contains extensive correspondence, as well as writings, exhibition announcements, catalogs, clippings, invoices, receipts, legal documents, scrapbooks, artwork, and photographs. There is also scattered correspondence of Virginia Dehn, mostly concerning her husband Adolf Dehn.
Found within the biographical materials are several address books, official travel documents, exhibition price lists, and a biographical sketch.
Correspondence, both personal and business, makes up the bulk of this collection. Dehn maintained long friendships with many fellow artists and his correspondence includes letters from Aaron Bohrod, Federico Castellon, Albert Christ-Janer, Wanda Gág, Gustav Goetsch, George Grosz, Reginald Marsh, Elizabeth Olds, Abraham Rattner, Boardman Robinson, Frederick Shane, William Smith, and Benton Spruance. Additional notable correspondents include print dealer and curator Carl Zigrosser; journalists Max Eastman, Joseph Freeman, Frederick Kuh; editor Scofield Thayer, and his former wife, the Russian dancer Mura Dehn (neé Tsiperovitch). Business correspondence includes letters from art schools, associations, museums, and galleries affiliated with Dehn, including the Weyhe Gallery; Associated American Artists, a gallery that promoted American art to the middle classes; and the Kennedy Gallery, which represented the Dehn estate upon the artist's death. There is also correspondence from companies and organizations that commissioned commercial work from Dehn, such as greeting card publisher, American Artists Group . Finally the correspondence of Virginia Dehn includes letters to and from the University of Missouri Press related to the publication of Adolf Dehn Drawings and condolence cards and letters from friends and associates after the Adolf Dehn's death in May 1968.
Writings include manuscripts for Adolf Dehn's manual on painting technique, Watercolor, Gouache, and Casein Painting (Studio Publications, 1955), as well as his entries on technique and watercolor painting for Encyclopedia Britannica. Writings by others includes the catalog Adolf Dehn Drawings, prepared by his wife Virginia Dehn, and published in 1971 by the University of Missouri Press. There is also a journal with handwritten poems attributed to Eileen Hall Lake.
Printed materials consists of exhibition announcements and catalogs from galleries featuring Dehn's work including the Weyhe Gallery and Associated American Artists; art school brochures and newsletters from programs which Dehn attended or taught; and newspaper and magazine clippings including examples of his editorial cartoons, which appeared in The Liberator, The New Yorker, and Vanity Fair, among other publications as well as clippings of news items related to the artist. This series also includes examples of Dehn's commercial work, such as book covers, calendars, and Christmas cards. Additional similar printed materials can be found in the scrapbooks. Artwork consists of only a few sketches attributed to Dehn, others to Eileen Lake Hall, and an etching by S.W. Hayter.
Dehn is well documented through numerous photographs, both alone and with others, including a portrait by the renowned photographer André Kertész. Additional vintage photographs include Dehn with family members, friends, and a series of photographs taken with his wife, Virginia Dehn at Atelier Desjobert, where he had been making lithographs since the 1920s.
Arrangement:
The collection is arranged into 8 series:
Missing Title
Series 1: Biographical Material, circa 1920-1968 (Box 1; 10 folders)
Series 2: Correspondence, 1919-1982 (Boxes 1-4; 3.75 linear feet)
Series 3: Writings, circa 1920-1971 (Boxes 4-5; 0.25 linear feet)
Series 4: Financial Records, 1936-1965 (Box 5; 0.5 linear feet)
Series 5: Printed Materials, circa 1915-1987 (Boxes 5-6; 1.2 linear feet)
Series 6: Scrapbooks, 1912-1968(Boxes 6-7; 0.5 linear feet)
Series 7: Artwork, circa 1920-1945 (Box 6; 3 folders)
Series 8: Photographs, circa 1912-1961 (Boxes 6 and 8; 7 folders)
Biographical Note:
Adolf Dehn (1895-1968) was well-known for his drawings, lithographs and watercolors which satirically chronicled the social and political milieu of his times, as well as poetic landscapes, many of which depicted the rolling hills and farmlands of his native Midwest. Although he worked mostly in New York, Dehn also spent substantial time traveling and working in Europe, the Middle East, South America, and the American mid-west.
Dehn was born on a farm in Waterville, Minnesota on November 22, 1895, he began his formal art education in 1914 at the Minneapolis School of Art (currently known as the Minneapolis College of Art and Design). As a student, his drawings were featured in the school's humor journal, The Minne-Ha-Ha and by 1917 he had published his first drawing in one of his favorite political journals, The Masses. Later that year he and fellow Minneapolis School of Art student Wanda Gág were among a select group of art students nationwide who won scholarships to the Art Students League of New York. After only eight months in New York, however, Dehn was drafted into the Army to serve in the final months of World War I, but he proclaimed himself as a conscientious objector and was sent to Camp Wadsworth in South Carolina for several months.
Dehn returned to New York, where his friend and mentor Boardman Robinson introduced him to lithography through the master printer George Miller and brought him to the Weyhe Gallery to meet Carl Zigrosser, an avid supporter of American printmakers. However, he soon left New York for Europe in September 1921 where he spent most of the following eight years. There he traveled with his sketchbooks to the cafes and opera houses of Berlin, Paris, and Vienna, as well as on hiking trips in the Alps. He became friends with the poet E.E. Cummings, Scofield Thayer, editor of The Dial, who published many of his drawings, and met the German artist, George Grosz, whose work he so admired. In addition to The Dial, his satirical drawings of jazz-age entertainments and European cafe life also appeared in , The Liberator, Jugend, Vanity Fair, and Simplicissimus. Finally during his stint in Europe, Dehn met and married the Russian dancer Mura Tsiperovitch. They were married in Vienna in 1926, but divorced sometime in the early 1930s.
Unfortunately Dehn's return to the United States coincided with the Great Depression of 1929 and sales of his work were slim. However in the 1930s, The New Yorker and Vogue began to publish his work. He continued to work in lithography and returned to Paris to work at the Atelier Desjobert, the print studio with whom he worked most closely throughout his life. In the late 1930s, Dehn began working in watercolors, mostly rural landscapes, and had a one man show of works in his new medium at Weyhe Gallery in 1938. In 1939 Dehn traveled through the Southwest and Mexico on his first Guggenheim Fellowship (he was awarded his second in 1951).
By the 1940s Dehn was an active member of both the American Artists Group and Associated American Artists; both organizations sought to popularize contemporary American Art, primarily through reproductions of fine art prints and commercial use of artists' designs on greeting card, calendars, and even wall paper. Appreciation for his lithographs and watercolors grew, and along with it his recognition. He also taught art classes a few summers; in the late 1930s at Stephens College, Columbia, Missouri where his friend Albert Janner-Christ was head of the art department and in the early 1940s at the Colorado Springs Fine Arts Center, where friend and mentor Boardman Robinson was the director. In 1955 he published Watercolor, Gouache, and Casein Painting, a manual on technique. Throughout the rest of his life he continued to travel, not only returning to Europe, but also visiting Afganistan, Cuba, Haiti, and a trip to Venuzuala on assignment from Standard Oil to document the oil industry there. On many of his later trips, he was accompanied by his wife, fellow artist, Virginia Engleman Dehn, whom he had married in November 1947.
Near the end of his long career, Dehn was elected in 1961 to the National Academy of Design as a full academician. He was later elected to the National Academy of Arts and Letters. After his death in 1968, his wife Virginia worked with the University of Missouri Press on the catalog Adolf Dehn Drawings (Columbia: University of Missouri, 1971).
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 287 contains printed materials, including exhibition announcements, catalogs, magazines, and newspaper and magazine clippings. After filming, these materials were transferred to the Smithsonian American Art Museum/National Portrait Gallery Library. Reels 2938-2939 include 750 letters from Adolf Dehn to various family members. This material was returned to the lender and is not described in the collection container inventory.
Provenance:
The Adolf Dehn papers were donated in several installments from 1966 to 1985 by Adolf Dehn and his wife Virginia. Dehn's sisters, Viola Dehn Tiala and Olivia Dehn Mitchell, separately donated additional materials in 1971 and 1972. Olivia Dehn Mitchell also loaned the Archives letters from Adolf in 1983 for microfilming. Finally in 1989, Lillian Morrison, a friend and editor, donated a published book of Mura Dehn's poetry and a four page draft of a letter signed by Adolf Dehn.
Restrictions:
Use of originals requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Correspondence found in this series is with both family members and business colleagues, reflecting both aspects of Cunningham's life.
See Appendix for a list of notable correspondents from Series 2.
Arrangement note:
Correspondence is arranged chronologically with undated correspondence at the beginning of the series, followed by dated correspondence.
Appendix: Notable Correspondents from Series 2:
The following provides a list of notable correspondents from Series 2: Correspondence, showing dates of correspondence. Entries marked with an asterisk (*) indicate letters written by Imogen Cunningham.
Missing Title
Al: Apr 21, 1969*
Al and Phil: Jul 07, 1968*; Jan 02, 1969*; Nov 29, 1969*
Alfred: Dec 28, 1968*; Jul 12, 1969*
Arvilla: Feb 22, 1953
Barbara and Dave: Jul 09, 1968*; May 19, 1971*
Becky: undated
Bess: Mar 19, 1969*
Betsey: Dec 05, 1954*
Betty: Nov 17, 1970*
Beverley: Jan 24, 1966*
Bill: May 08, 1973*
Boris: Aug 28, 1957*
Caroline: Apr 05, 1971*; Jun 28, 1971
Cathy: Jan 06, 1969*
Charis: May 10, 1976
David and Laura: Dec 28, 1974*
Dick: May 29, 1970*; Oct 16, 1970
Dick and Perry: Apr 05, 1975*
Dory and Paul: Sep 14, 1964*
Ed: Nov 19, 1968*; Mar 12, 1969*
Ellen: Dec 16, 1965*; Oct 30, 1974*
Elsa and Joe: undated
Ethel and Willard: Dec 01, 1953*
Evelyn: May 02, 1970
Florence: Mar 10, 1969
Frances: undated; Jul 12, 1966*
Frank: May 15, 1965*
Gael: Sep 02, 1971*
Helen: May 08, 1963*; Jun 02, 1965*; Dec 31, 1973*
Jan: Aug 03, 1974*
Jane and Steve: Jul 07, 1974*
Jean: Jan 06, 1969*; mentioned in letter dated Feb 07, 1969*
Jei?: May 03, 1961
Jim: May 29, 1974
John: Dec 25, 1971*; May 05, 1974
Jose: Jul 06, 1968*
Lato: Feb 17, 1965
Lilli ann: Nov 02, 1971*
Liz: Jan 08, 1965*;
Liz and Louis: Jan 12, 1972*
Liz and Peter: Dec 1951
Maggie: Jan 04, 1971
Margaret: Sep 06, 1964*; Feb 28, 1966*; Mar 04, 1966; Nov 12, 1968*; Feb 11, 1972*; Sep 12, 1973*
Mary: Apr 04, 1967*; Apr 15, 1967; Jun 19, 1967*; Nov 25, 1969; Apr 12, 1970; Aug 31, 1970*; Nov 08, 1970*; Apr 23, 1974; Jan 31, 1976
Mia: Oct 08, 1958*
Midge: Jun 14, 1967*
Mildred: Nov 12, 1965
Nancy: Oct 22, 1966*; Apr 03, 1971*
Neil: Feb 18, 1961*: Nov 17, 1960*; Apr 27, 1962*
Otto and Virika?: Jun 18, 1976
Pat (Goucher College): undated; May 15, 1956; Feb 06, 1964*
Patience: Nov 24, 1959*
Paul: Jun 06, 1970
Peg: Feb 15, 1966
Peggy: Aug 30, 1970*
Phil: Oct 07, 1961
Ruth: Mar 20, 1955*
Ruth (jewelry maker): Aug 10, 1967
Samuel: Aug 12, 1968*
Thur: Dec 15, 1956
Tina (Cunningham relative): Feb 08, 1974; Feb 19, 1974*
Trevor, Thomas, Allen and Stan: Apr 09, 1970*; Mar 28, 1974*
Trisha: [Dec 1973]
831 Photographic Gallery: Jan 15, 1971; Jan 26, 1971*; Apr 10, 1971; Apr 17, 1971*; Apr 11, 1972; May 02, 1972; May 22, 1972*; Jun 07, 1972*; Jul 05, 1972; Jul 11, 1972*; Feb 21, 1974; Mar 06, 1974*
Aalto, Alvar: Jun 08, 1962; Jun 16, 1962*; Jul 02, 1962; Aug 03, 1963*; Sep 9, 1963
Adams, Ansel and Virginia: mentioned in [undated] letter from Cunningham to an unidentified correspondent; undated; Mar 01, 1941; Aug 03, 1949; Mar 28, 1951; Apr 02, 1951 (letter from Minor White); Aug 04, 1952; Jan 10, 1963; Apr 04, 1963; Dec 22, 1963; Jan 03, 1964; Jan 22, 1964*; Jan 23, 1964; Jan 28, 1964*; Feb 07, 1964; Feb 10, 1964*; Feb 12, 1964; Mar 09, 1964*; Mar 18, 1964*; Mar 22, 1964; Mar 26, 1964; Mar 28, 1964*; Apr 09, 1964*; May 21, 1964; Sep 17, 1964*; Sep 18, 1964; Dec 09, 1964; Feb 12, 1965; Jan 12, 1966; Jan 24, 1967; [Apr 12, 1966]; Feb 09, 1967*; Feb 13, 1967; May 22, 1967; May 24, 1967; May 25, 1967; Jun 14, 1967; Aug 14, 1967*; May 05, 1968; Jun 10, 1968*; Jun 14, 1968; Jan 25, 1969; Mar 10, 1969; Jun 04, 1969; Jul 16, 1969*; Jul 19, 1969; Aug 12, 1969*; Aug 13, 1969; Aug 21, 1969*; Dec 09, 1969*; Feb 06, 1970*; Feb 11, 1970; Apr 10, 1970; Jun 15, 1970*; Jul 05, 1970*; Jul 12, 1970; Sep 15, 1970; Dec 14, 1970; Feb 15, 1971; Apr 23, 1971*; Aug 05, 1971; Mar 26, 1972*; Aug 18, 1972; Apr 11, 1973; Jun 30, 1973*; Jul 02, 1973; Dec 13, 1973*; Dec 16, 1973; Feb 20, 1975*; Feb 21, 1975; May 19, 1975*; Feb 22, 1976 (2)
Adams: Ansel Adams Gallery (manager, Bill Turnage): Jul 06, 1973; Jul 13, 1973*; Oct 10, 1973; Oct 21, 1973; Feb 20, 1974*; Mar 19, 1974; Mar 28, 1974*; (workshop director, Norman Locks) Aug 13, 1974; Aug 25, 1974*; Oct 22, 1974*; Oct 23, 1974; Oct 30, 1974; Feb 24, 1975; Sep 01, 1975
AFRO: Aug 26, 1958*
After Dark: Jul 24, 1974
Afterimage: Jul 20, 1973
Ainsworth, Mr.: Oct 16, 1967*
Airame, Jacqueline: Jul 13, 1972; Jul 19, 1972*
Akin, Mrs.: Feb 18, 1965*
Alai, Heshmat: Mar 26, 1939
Album: Dec 12, 1969; Dec 17, 1969*; Jan 01, 1970; Feb 23, 1970; Mar 04, 1970*; Mar 11, 1970*; Mar 20, 1970*; Apr 21, 1970; Jun 24, 1970; Jul 05, 1970*; Sep 02, 1970*; Sep 07, 1970; Sep 14, 1970*; Oct 25, 1970*
Alexander, Jesse: Nov 25, 1974; Dec 03, 1974*
Alinders: Jul 22, 1968*
Allan, Fran: [Dec 24, 1972]; Dec 24, 1972*
Allen, Mary: Mar 11, 1971; Mar 26, 1971*; Aug 02, 1971; Aug 19, 1971*; Nov 02, 1971*; Nov 05, 1971
Allied Arts: Feb 03, 1974*
Alston, Elizabeth: see -- Look
Ameri, Victor: see Batten, Barton, Durstine & Osborn
American Academy of Arts and Sciences: May 10, 1967; Jun 18, 1967*; Mar 19, 1970; Feb 07, 1973*; Oct 15, 1974; Dec 02, 1974*; Feb 14, 1975; May 22, 1975*
American Broadcasting Company, San Francisco: Feb 12, 1965; Feb 19, 1965*
American Film Institute: Feb 19, 1971
American Foundation for the Blind, Inc.: Jan 15, 1965*; mentioned in letter dated Jan 05, 1974 from Witkin Gallery; Jan 18, 1974*; Feb 25, 1974
American Society of Magazine Photographers: Sep 18, 1958; Oct 17, 1963; Jul 14, 1965; Jul 16, 1965 (2); Sep 01, 1965; Sep 10, 1965*; Sep 14, 1965*; Sep 19, 1965*; Oct 12, 1965*; Oct 15, 1965; Nov 28, 1966*; Jan 04, 1967; also see -- Infinity
American West Publishing Company: May 03, 1973; May 07, 1973
American Women in the Arts: Sep 24, 1974; Oct 01, 1974*
Ampliaciones y Reproducciones Mas: Aug 02, 1968 (in Spanish); Sep 23, 1968 (in Spanish); Nov 18, 1968 (in Spanish); Nov 29, 1968 (in Spanish); Dec 22, 1968*; Jan 04, 1969 (in Spanish); Jun 06, 1969 (in Spanish); Aug 11, 1969*
Amthor Imports, Inc.: Jun 26, 1967
Anderson, Arnold: Mar 22, 1967; Mar 29, 1967*
Anderson, Michael and Karen: Oct 08, 1969 (photograph of their new baby)
Anderson, Ruth: Jan 06, 1957*
Anderson, Laura, and Polly Blank: Sep 29, 1956 (2); Dec 26, 1956*; Jan 06, 1957; Feb 08, [1957]; Feb 12, 1957*; [Jul 03, 1957]; Jul 10, 1957*; Jan 30, 1958*; Nov 17, 1959*; Mar 1966; Jan 21, 1967; Feb 04, 1967*; Feb 13, 1967; Jul 17, 1967*; Jul 26, 1968*; May 16, 1970*; Jan 01, 1972; Jun 25, 1974; Dec 18, 1974*; Apr 11, 1976*; May 31, 1976 (2); Jun 29, 1976
Andrews, Alice: see Eastman: George Eastman House
Angel Island Publications, Inc.: Jul 24, 1962; Aug 22, 1962*; Nov 19, 1962; Dec 15, 1962*
Angiulo, Anton: Jul 24, 1974 (including a photograph of Cunningham)
Anglim, Paule: Sep 30, 1974
Aperture: Jan 05, 1958; Jan 15, 1958; Feb 23, 1958; Sep 13, 1958; Dec 28, 1959; Feb 25, 1961; Feb 23, 1964; Dec 08, 1964; Dec 30, 1964*; Jan 18, 1965*; Feb 02, 1965; Mar 12, 1965*; Sep 20, 1965; Jan 17, 1966*; Feb 08, 1967; Nov 01, 1968*; Jan 16, 1970; Jan 16, 1970*; Jun 12, 1970; Dec 05, 1970; Dec 05, 1970*
Aphra: Feb 12, 1971*; Mar 11, 1971; Nov 16, 1971*; Apr 24, 1972; May 10, 1972*
Arizona State University: Feb 18, 1962; Apr 14, 1962*
Arizona: University of Arizona: Aug 06, 1975; Mar 1976; Apr 08, 1976; May 14, 1976; May 27, 1976
Armitage, Merle: Oct 1955; Aug 22, 1966*
Arnold, Mary: Dec 07, 1960*; Mar 22, 1962*
Arrow: Apr 10, 1970*; Jul 07, 1970*
Art Commission, City and County of San Francisco: see San Francisco: Art Commission
Artibus Asiae -- (Switzerland): Jun 03, 1958
Art Institute of Chicago: Oct 17, 1963; Nov 08, 1963*; Apr 15, 1964*; Apr 25, 1964; Apr 29, 1964; Apr 29, 1964*; May 12, 1964*; May 14, 1964; May 20, 1964*; Jul 17, 1964; Jul 21, 1964; Jul 28, 1964*; Aug 24, 1964*; Sep 23, 1964; Oct 02, 1964; Oct 17, 1964; Dec 09, 1964*
Artweek: Jun 05, 1974; Jun 07, 1974*
Asawa, Ruth: Nov 30, 1956*; Dec 24, 1959*; Sep 15, 1965; Sep 19, 1965*; Nov 27, 1971* (letter of recommendation); Mar 28, 1973*; also see San Francisco: Art Commission, City and County of San Francisco
Aspen Institute for Humanistic Studies: Dec 10, 1951; Apr 22, 1952*
Association du Salon National de la Photographie: Nov 16, 1960; Nov 16, 1961
Atherton, Mrs.: Oct 29, 1967*
Atkins, Carol: see Writings
Aurelius, Vagadu and Robin: [Jan 1968]; Dec 25, 1968; Mar 13, 1971*
Austin, Sin_____ W.: Nov 02, 1967
Axvall, Lydia Strong: Jan 21, 1966*; Feb 01, 1966; Dec 22, 1968*; Mar 07, 1969; Mar 10, 1969*; Apr 16, 1969; Apr 19, 1969
B., H.: Oct 14, 1944
Baar, Betty: Oct 09, [1962]*; May 01, 1963; May 07, 1963*; Jul 09, 1963; Jul 25, 1963*; Aug 02, 1963*; Mar 31, 1964; Apr 09, 1964*; Jan 08, 1965*; Nov 02, 1974
Bacigalupi, Elkus & Salinger: Dec 02, 1959 (re Partridge vs. City and County of San Francisco); Dec 06, 1959*
Baer, Frances and Morley: Mar 07, 1965
Baer, Nancy: see American Women in the Arts
Baliken, L.: Jun 08, 1963
Ballinger, Jinny: Jul 20, 1966
Barcelon-Burger Management Corp.: Aug 01, 1975
Barchfield, Agnes and John: [Apr 11, 1976]
Barnabas, Father: see Mount Angel Abbey Library
Barnes, Marion and Eric: Nov 09, 1973
Bartlett, Lincoln: Dec 12, 1967*; Mar 31, 1970; Jun 20, 1970*; Dec 23, 1972*; Apr 15, 1973; Jun 13, 1973; Jul 09, 1973*; Dec 05, 1973*; Apr 18, 1975; Apr 08, 1976
Bathhouse Gallery: Oct 18, 1971; Jan 07, 1972 (including exhibition announcement); Feb 03, 1972; Mar 09, 1972*; Mar 10, 1972; Mar 14, 1972*; Mar 23, 1972; Mar 26, 1972; Apr 11, 1972*; Jun 09, 1972
Batten, Barton, Durstine & Osborn: Jun 21, 1967* (2); Aug 05, 1967*
Bayard, Edward: Mar 07, 1975*
Bay Area Funeral Society, Inc.: Aug 23, 1973
Bay Area Photographers: Oct 02, 1959; Oct 18, 1959*
Baylis, Douglas: Nov 28, 1971 (death announcement)
Beal, June: May 12, 1973*; Jun 23, 1973*
Beckham, Alicemarie: Mar 01, [1968]; Dec 17, [1969]
Bender: Albert M. Bender & Co., Inc.: Nov 06, 1970*
Bender: Albert M. Bender Memorial Trust: Jun 14, 1951; Mar 22, 1960; Apr 19, 1960
Benjamin, Evelyn: Jun 10, 1963
Bennett, Gordon: Jan 18, 1974
Bennett, Judith: Dec 01, 1966; Dec 12, 1966*
Benvenuto, Elio: Mar 28, 1973*; also see San Francisco: Art Commission, City and County of San Francisco
Bernstein, David: Aug 31, 1971; Sep 05, 1971*
Berriault, Gina: Nov 13, 1966; Nov 28, 1966*; Dec 05, 1966
Bertanelmer: see Hader, Berta and Elmer
Best, Signe (Mrs. Charles Best): Oct 06, 1957; Oct 08, 1974*
Bez, J. Nicholas: Feb 02, 1970; Mar 13, 1970; Nov 12, 1970*; Nov 12, 1970*; Sep 05, 1971*; also see West Coast Airlines
Bibliotheque Nationale: Oct 12, 1959*; Jun 11, 1969; Nov 08, 1969; Dec 11, 1969; Dec 29, 1969*; Jan 09, 1970; Apr 01, 1970*; Apr 28, 1970; Jul 22, 1970*; Aug 06, 1970; Jun 23, 1973; Jul 06, 1973*; Jul 28, 1973; Sep 07, 1973*; Sep 15, 1973; Oct 10, 1973*; Oct 23, 1973; Nov 03, 1973*
Biod, Karin: [Sep 1964]
Biod, Sigrid: Sep 1964
Bishop, G. Paul: Jan 14, 1971; Jan 09, 1973*
Bissantz, Betty: see Goodwin, Betty
Bissantz, Edgar and Jean: undated (5); May 30, 1948*; Mar 29, 1959; Jul 03, 1959; Nov 17, 1959; Dec 10, 1959; Dec 16, 1959*; Jan 05, 1960*; Jan 17, 1960*; Jan 21, 1960; Feb 12, 1960; Nov 21, 1960; Feb 22, 1961; Aug 05, 1961; Dec 18, 1961; May 21, 1962 (including a photograph of Joan); May 28, 1962*; Feb 05, 1963*; Feb 06, 1963*; Feb 20, 1963; Mar 20, 1963; Mar 27, 1963*; Apr 13, 1963*; Apr 25, 1963; May 14, 1963; May 27, 1963; Jun 13, 1963; Jun 17, 1963*; Jul 09, 1963*; Sep 24, 1963*; Sep 28, 1963*; Oct 26, 1963 (2); Nov 09, 1963*; Nov 20, 1963; Nov 28, 1963; Dec 01, 1963*; Dec 19, 1963; Dec 25, 1963 (photo card of Edgar); Jan 21, 1964* (including a blueprint of a house facade); Jan 27, 1964; Feb 17, 1965*; Jul 03, 1964*; Jul 19, 1964*; Sep 22, 1964*; Oct 27, 1964*; Dec 21, 1964*; Feb 01, 1965*; Feb 26, 1965; Mar 01, 1965*; Mar 14, 1965; Apr 16, 1965*; Apr 22, 1965; May 18, 1965; May 27, 1965; Jun 02, 1965*; Jun 17, 1965*; Jun 30, 1965*; Aug 14, 1965*; Aug 16, 1965; Aug 20, 1965*; Dec 08, 1965; Jan 09, 1966*; Jan 16, 1966*; Feb 28, 1966*; Mar 07, 1966*; Oct 02, 1966*; Nov 27, 1966; Jan 20, 1967; Jan 26, 1967*; [Feb 1967]*; Feb 06, 1967*; Mar 17, 1967*; Apr 16, 1967; Jun 19, 1967*; Jul 21, 1967*; Oct 10, 1967; Oct 12, 1967*; Oct 24, 1967; Oct 29, 1967*; Apr 15, 1968; Apr 22, 1968*; May 20, 1968*; Sep 12, 1968; Nov 10, 1968; Nov 21, 1968*; Dec 16, 1968; May 19, 1969; Jul 05, 1969*; Jul 21, 1969; Nov 16, 1969*; Nov 27, 1969 (including photograph); Jan 24, 1970; Aug 06, 1970*; Nov 04, 1970*; Dec 19, 1970; Jan 08, 1971*; May 16, 1971; Aug 05, 1971; Nov 02, 1971*; Nov 19, 1971*; Nov 22, 1971*; Feb 16, 1972*; Sep 06, 1972*; Jan 23, 1973; Feb 12, 1973; Apr 25, 1973*; Aug 23, 1973; Nov 13, 1973; Aug 24, 1974
Blackmarr, Philip M.: [1972] (resume)
Blank, Polly: see Andreson, Laura
Bobtoy (Chin): Aug 18, 1974
Boguszewski, Christina: Apr 04, 1949
Bookworks, The: Dec 20, 1974; Dec 28, 1974*
Boston Arts Festival: Apr 14, 1964; Aug 05, 1964
Bourke-White, Margaret: Dec 20, 1958*; Jun 24, 1971
Bourne, Frank: Sep 17, 1964*
Boyd, Collin: [Aug 23, 1974]; Aug 23, 1974*
Boyd, Nicholas: undated
Brandt, Bill: Dec 15, 1962*
Bransten, John: Jan 18, 1971; May 21, 1974*; May 31, 1974; Nov 12, 1974
Brassai family: Mar 18, 1974*
Breitenbach, Edgar and Margaret: Sep 05, 1962; Jan 11, 1963; Aug 30, 1963; Sep 07, 1963*; Sep 11, 1963; Nov 09, 1963*; Nov 18, 1963; May 25, 1965*; Jun 16, 1965; Jun 30, 1965*; May 03, 1968*; also see Library of Congress
Breitenbach, Margaret and Joseph: Dec 13, 1951; Dec 30, 1956*; Jul 19, 1958*
Breuer, Penelope: Mar 28, [1964]; May 13, 1964*; Apr 26, 1965*; May 15, 1965
Bristol, Bobbie (Horace Bristol, Jr.): Feb 09, 1957*; Feb 12, 1957; Feb 17, 1957*; Apr 09, 1958; Apr 14, 1958*; Apr 18, 1958*; Jul 10, 1958; Jan 26, 1960*; Jan 28, 1960; Jul 15, 1971*; May 27, 1972*
Bristol, Horace and Virginia: Jan 06, 1947; Nov 25, 1947; Feb 11, 1948; Feb 20, 1948; Feb 22, 1948*; Mar 11, 1948; May 03, 1948; Jun 22, 1948; Aug 14, 1948; Oct 03, 1948; Dec 06, 1949*; Dec 15, 1949; Jan 23, 1950; Jan 31, 1950*; May 17, 1950; Jun 05, 1950*; Oct 27, 1950; Nov 12, 1950*; Dec 03, 1950*; Jan 30, 1951*; Feb 08, 1951*; Mar 03, 1951; Apr 22, 1951; Sep 16, 1951*; Nov 11, 1951; Nov 24, 1951*; Jun 26, 1952*; Jul 08, 1952*; Dec 01, 1952; Aug 14, 1953; Sep 20, 1953*; Jul 11, 1956 (notification of Virginia's death); Dec 05, 1956; Dec 09, 1956*; Dec 20, 1956; Jan 08, 1957; Jan 20, 1957; Feb 26, 1957*; Mar 05, 1957 (marriage to Masako); Mar 13, 1957; Mar 19, 1957; Jun 18, 1957*; Nov 29, 1957; Dec 05, 1957*; Jul 04, 1958*; Jan 08, 1959*; Oct 13, 1959*; Sep 14, 1960; Nov 23, 1960; Nov 25, 1960*; Dec 02, 1960; Feb 21, 1961; Feb 25, 1961*; Mar 03, 1961; Mar 11, 1961*; Aug 11, 1961; Feb 23, 1962; Sep 22, 1962*; Jan 25, 1963; Mar 08, 1963*; Mar 22, 1963; May 26, 1963; Jun 12, 1963*; Jul 08, 1963; Oct 22, 1963; Dec 02, 1963; Dec 05, 1963*; Dec 12, 1963; Mar 09, 1964; Mar 27, 1964; Mar 29, 1964; Jul 03, 1964*; Sep 11, 1965*; Jan 18, 1967; Jan 24, 1967* (letter about Bristol); Apr 23, 1971*; May 03, 1971; Sep 02, 1971; Sep 08, 1971*; Mar 29, 1972*; Sep 10, 1972; Oct 01, 1972*
Britton, E. S.: Nov 16, 1947
Broadwater, Mr.: Jan 01, 1960*
Broadway High School Alumni Association: Dec 01, 1972*; Dec 09, 1972; Sep 06, 1974; Sep 08, 1974
Brooks Institute: Jun 02, 1975*
Brooks Institute Alumni Association: May 08, 1975
Brooks, Verena: Sep 28, 1974; Dec 20, 1974
Broughton, Irv: Oct 25, 1974*
Broughton, James, and Suzanna Hart: undated; Dec 08, 1952 (wedding announcement); Feb 18, 1965; Feb 14, 1969; Jun 20, 1970; Jul 25, 1970; Nov 22, 1970; Nov 26, 1970*; Dec 18, 1970* (2 receipts); [Dec 31,] 1970
Broun, Elizabeth: Jan 21, 1970; Nov 19, 1973; Nov 25, 1973*; Nov 30, 1973; Dec 05, 1973*; also see Kansas: University of Kansas
Brown, Emily: Oct 02, 1974; Oct 19, 1974*
Bruton, Esther: undated; Jan 11, 1974; Jan 17, 1974*
Bruton, Margaret and Helen: undated*; undated; Apr 09, 1970; Jan 22, 1971; Mar 21, 1971*; Jun 18, 1971*
Bry, Michael: Oct 04, 1974 (in German)
Buck, K. Robert: Sep 16, 1974; Oct 25, 1974*; Oct 30, 1974
Bullen, Reese: Apr 22, 1966; Dec 16, 1968
Bullock, Wynn and Edna: Nov 09, 1965; Nov 10, 1965*; Aug 07, 1973*; Apr 29, 1974*; May 24, 1974; Mar 23, 1976 (2); Jun 28, 1976
Bunnell, Peter: May 28, 1960; Sep 18, 1960; Oct 12, 1960*; Oct 21, 1960; Feb 13, 1961; Feb 18, 1961*; Feb 23, 1961; Aug 30, 1961; Jan 08, 1962; Feb 03, 1962; Apr 01, 1962*; Apr 09, 1962; Aug 08, 1962*; Aug 16, 1962; Sept 24, 1962; Sep 26, 1962; Nov 29, 1962; Dec 21, 1962; Jan 16, 1963; Mar 22, 1968*; Sep 29, 1968*; Jul 14, 1969*; Sep 27, 1970*; Mar 11, 1971*; also see Museum of Modern Art
Burlingame, Paul: Aug 03, 1970*; Aug 04, 1970 (with photograph); Aug 06, 1970; Aug 10, 1970*; Dec 03, 1970 (including 2 photographs); Jan 26, 1971; Mar 04, 1971; Mar 18, 1971
Burns, Robert: Jul 10, 1967*
Burstein, Beth: Mar 09, 1969*; Nov 19, 1970; Jun 24, 1976
Butler, Catherine: see Johnson, Catherine
Butler, John: undated (6); Dec 10, 1919; Nov 04, 1920 (including a photograph of Butler); Oct 05, 1946*; Oct 15, 1946; Oct 21, 1946*; Oct 24, 1946; Oct 31, 1946*; Aug 23, 1949; Mar 24, 1950; Aug 31, 1950; Oct 05, 1951*; Oct 12, 1951; Dec 14, 1951*; Jan 18, 1953; Nov 12, 1956*; Jun 21, 1957*; May 13, 1958*; Aug 03, 1958*; Dec 07, 1958*; Jan 07, 1959*; Jun 19, 1959*; Sep 23, 1959*; Jan 13, 1960; Jan 15, 1960*; Dec 19, 1960; Dec 25, 1960*; May 17, 1962*; Oct 12, 1962*; Feb 07, 1963*; Feb 19, 1963; May 08, 1963*; Dec 28, 1963*; Mar 08, 1965; Mar 08, 1965*; Jul 09, 1965*; Jul 28, 1965*; Nov 10, 1965*; Nov 09, 1966*; Dec 29, 1966*; Jul 05, 1968*; Jan 12, 1969*; Feb 03, 1969*; Mar 17, 1969; Jul 24, 1969*; Jul 05, 1970*; Aug 30, 1970*; Sep 19, 1973*
Butler, Richard and Carol: Sep 02, 1972 (wedding announcement)
Byers, Horace: Jan 10, 1929
Byron, Jim: Dec 06, 1965 (2)
C., Jack: undated
Caen, Herb: undated (2); Aug 17, 1962; Feb 02, [1964]; Aug 28, 1966*; Oct 16, 1967*; Apr 15, 1970*; May 1970; Sep 23, 1971; Jan 06, 1973*; Jan 24, 1973; also see -- San Francisco Chronicle
California Academy of Sciences: Apr 27, 1976; Feb 10, 1983
California Arts Commission: Feb 09, 1971 (including a booklet of clippings about a University of Santa Clara exhibition)
California Association of Women Deans and Vice-Principals: Mar 12, 1965
California College of Arts and Crafts: Nov 13, 1967; Nov 05, 1970; Nov 17, 1970*; Nov 20, 1970; Apr 23, 1971; Jun 29, 1971; Apr 07, 1972; Apr 16, 1972*; May 10, 1972; May 18, 1972; Jul 19, 1972*; Aug 22, 1972; Dec 07, 1972; Jan 1973; Jan 11, 1973; Feb 12, 1973
California Institute of the Arts: Feb 28, 1972; Mar 09, 1972*; Nov 01, 1972; Nov 07, 1972*
California League for American Indians: Mar 1961 (form letter)
California Living: Jul 05, 1972*
California Physicians' Service: Mar 16, 1966
California State University: Nov 12, 1972
California: University of California at Berkeley: Dec 11, 1956; Mar 14, 1961; Jan 05, 1962; Feb 15, 1962; May 22, 1962; May 24, 1962*; May 29, 1962; Jun 15, 1962; May 14, 1967; Jul 07, 1967; Jun 28, 1968; Jul 23, 1969; Aug 08, 1969 (2); Aug 10, 1969*; Sep 02, 1969*; Sep 04, 1969; Sep 24, 1969; Sep 24, 1969*; Sep 25, 1969; Sep 25, 1969*; Apr 24, 1970; Jul 23, 1970; Sep 07, 1972; Apr 10, 1973; Jun 01, 1973; Jun 07, 1973*; Jun 12, 1973; Jan 24, 1974; Feb 03, 1974*; Jan 27, 1976; Aug 27, 1982
California: University of California at Los Angeles: Apr 28, 1958*; May 13, 1958; May 20, 1958; Mar 09, 1960; Mar 28, 1960; Sep 07, 1960; Oct 14, 1960*; Dec 01, 1960; Apr 25, 1961; Jun 01, 1974*; Jun 21, 1974; Sep 17, 1974; Nov 20, 1974*
California: University of California at San Diego: Aug 31, 1970; Sep 14, 1970*
California: University of California at San Francisco: Apr 13, 1973* (2)
California: University of California at Santa Cruz: May 05, 1970; Aug 27, 1974
California: University of California Extension at Irvine: Nov 15, 1974; Nov 23, 1974*
California: University of California Extension at Santa Cruz: Dec 08, 1970; Dec 16, 1970*
California: University of California Extension Center, San Francisco: Jul 14, 1967*; Sep 13, 1973; Sep 15, 1973
California: University of California Press: Mar 30, 1956; Apr 20, 1956*
Call, Hughes: Jul 16, 1969*; Jul 02, 1976 (letter of condolence to Gryffyd Partridge)
Callahan, Harry: May 19, 1949
Camera: Apr 21, 1973 (letter to Witkin Gallery); Mar 07, 1974*; Jun 03, 1974*; Nov 17, 1974*; Jun 07, 1975*
Campbell, Jack: Aug 10, 1965*; Nov 27, 1971* (letter of recommendation); Jul 30, 1973; May 03, 1974*
Carr, Steve: also see Writings
Carter, William: May 01, 1975; May 20, 1975*; May 22, 1975
Case, Charles Albert: Feb 08, 1956; Feb 17, 1956; Jan 10, 1957; Jun 27, 1958; Jul 15, 1958*; Apr 04, 1959*; Feb 27, 1961*
Casebeer, Vern: Mar 04, 1971; Mar 14, 1971; Mar 26, 1971*
Casler, Chris: Jan 11, 1973
CBS News: Jun 18, 1975; Mar 30, 1976; Jun 04, 1976
Center for Creative Photography: see Arizona: University of Arizona
Center for Humanities, Inc.: Jun 05, 1974; Jun 07, 1974*
Center for Visual Studies: Jan 16, 1973*
Center of the Eye, Inc.: Mar 23, 1970; Mar 24, 1970; Jun 20, 1970*
Chaney, Verne: Dec 13, 1971; Jan 03, 1972; Feb 08, 1972*; Dec 28, 1974*
Chappell, Walter: Dec 01, 1972* (recommendation by Cunningham to Guggenheim Foundation); also see Eastman: George Eastman House
Cheney, Hal: Sep 23, 1972*
Chilberg, Mabel: Dec 22, 1966; Aug 03, 1970*; Aug 08, 1970
Chin, Bobtoy: see Bobtoy
Chinn, Benjamin: undated
Chipp, Herschel: May 05, 1967
Christian Science Monitor: May 29, 1959; Jun 01, 1959; Jun 11, 1959*; Aug 10, 1959; Aug 14, 1959*
Christy, George: May 28, 1974; Jul 30, 1974*
Ciabattari, Jane: see -- Aphra
Cincinnati Art Museum: Mar 07, 1960
Citizens' Vigilance Committee: Aug 14, 1962; Sep 08, 1962* (letter to Board of Supervisors, San Francisco); Sep 08, 1962* (letter to Recreation and Park Commission, San Francisco)
Clayden, Marian: Dec 22, 1974*; May 12, 1976
Cleaver, Virginia: Jul 08, 1974*
Clergue, Lucien: Oct 31, 1972 (6 photographs of Cunningham by Clergue); Apr 04, 1973*; Sep 07, 1973*; Jan 15, 1974*; mentioned in letter dated Feb 01, 1974; Feb 16, 1974
Close-Up: see Polaroid Corporation
Coates, L. D.: Jan 15, 1968
Coburn, Alvin Langdon: Apr 14, 1913; Feb 19, 1953*; Jun 02, 1960; [Jan] 1964; Sep 10, 1964
Coe, Gertrude: Mar 20, 1960; Feb 21, 1966; Feb 28, 1966*; Dec 10, 1966; May 12, 1967*
Coe, Lucy Campbell: Jun 07, [1966]; Sep 13, 1966*; Dec 11, 1966*; Dec 23, 1966; May 30, 1967*; Jun 19, 1967*; Jun 18, 1973 (including a photograph of Elsa Walsh by Cunningham)
Coelen, Leslie: Mar 13, 1971*
Cohan, Mr.: Apr 16, 1965*
Coke, Van Deren: Feb 27, 1969* (including resume)
Cole, Howard: Mar 09, 1967; Mar 17, 1967*; Mar 17, 1967*; May 26, 1967; May 29, 1967*; Jul 06, 1967; Aug 30, 1973
College of Marin: Nov 06, 1967; Nov 11, 1967*; Jan 02, 1968; Jan 05, 1968*; Jan 19, 1968*
Colum, Padraic: Apr 20, 1956*
Colwell, Larry: Dec 03, 1958; Jun 01, 1959*; Apr 12, 1960; Jan 09, 1961*; Jan 18, 1961; Feb 15, 1961*; Apr 20, 1961*; May 02, 1961; Aug 25, 1961; Dec 08, 1964; Feb 14, 1965*; Oct 13, 1965*; Sep 09, 1966; Sep 23, 1966; Oct 02, 1966*; Nov 09, 1966; Dec 21, 1966*; Jan 17, 1967; May 02, 1967*; May 02, 1968*; Nov 10, 1968; Dec 29, 1969*
Comer, Deirdre and Tony: undated (2); Nov 17, 1960*; Feb 07, 1966*; Apr 29, 1969*
Comer, Molly and Fred: undated (2; including a photograph of their view of the river); Jan 29, 1944 (2); Dec 1949 (including 2 photographs of their house); Jun 02, 1951*; Jan 24, 1952*; Jul 18, 1952*; Aug 04, 1952; Dec 02, 1952*; Feb 13, 1953*; Nov 11, 1953*; Nov 27, 1953; Nov 18, 1954; Jan 05, 1955; Nov 19, 1955
Conde Nast Publications, Ltd.: May 12, 1961
Connelly & Associates: Jul 16, 1964*
Connor, Linda: Dec 15, 1973 (including photograph by Connor)
Conrad, Barnaby: Mar 19, 1976
Constantine, Mildred: Oct 13, 1974*
Cook: Thomas Cook & Son: Jan 21, 1960 (re voyage on the BERLIN)
Cooper, Thomas: Sep 20, 1970; Sep 20, 1970*; Nov 09, 1971; Nov 12, 1971*; Nov 16, 1972; Dec 03, 1972*; Sep 20, 1973; Feb 26, 1975
Cooper Union for the Advancement of Science and Art: Jul 16, 1956
Corbett, A.: Jun 04, 1970
Costello, Allison: undated
Couchman, Bea: Feb 26, [1967]; Jan 05, 1968; Jan 10, 1968*; Jan 26, 1970*; Aug 18, 1970*; May 27, 1971; Aug 06, [1973];
Cowll, Sidney: Mar 24, 1974*
Cranbrook Academy of Art: Apr 22, 1976
Crane, Barbara: Feb 11, 1971; Jun 04, 1971*; Nov 24, 1971* (letter of recommendation); Nov 27, 1971* (letter of recommendation); [Apr 1973]*; May 26, 1973
Craven, George and Rachel: Mar 20, 1960; Oct 12, 1960*; Oct 21, 1960; Nov 16, 1960*; Apr 20, 1962*; Apr 26, 1962; [Dec 1963]; Mar 13, 1964*; Apr 09, 1964*; Jun 30, 1964*; Oct 03, 1964; Mar 07, 1966; Mar 10, 1966*; Mar 24, 1966*; Mar 25, 1966; May 02, 1966; May 04, 1966*; Oct 05, 1966*; Dec 21, 1969; Sep 07, 1972 (booklet ?The Group f/64 Controversy" by Craven enclosed in letter to Cunningham from University of California at Berkeley)
Crawford & Conover, Inc.: Aug 06, 1965
Crawford, Earl: Feb 17, 1975; Mar 24, 1975*
Creative and Extraordinary Person Project: Sep 01, 1974
Creative Camera: Feb 10, 1971; Jun 16, 1971; Jun 29, 1971*; Jul 08, 1971*
Crispino, Miss: Jul 06, 1968*
Crockett, Candace: Feb 11, 1974; Feb 17, 1974*
Crouch, Steve: Jan 25, 1960*; Jun 06, 1968; Jun 18, 1968*
Crowder, Katherine Kerr: Jun 21, 1965; Jun 27, 1965*
Crowell: Thomas Y. Crowell Company: Feb 12, 1962; Feb 26, 1962; Mar 02, 1962; Mar 06, 1962
Crowninshield, Frank: May 09, 1935; Jun 10, 1935*; Jun 13, 1935
Cunningham: Imogen Cunningham Trust: Mar 01, 1976; also see Morrison & Foerster; also see entry under Financial Material
Cunningham, John: May 24, 1974*
Cunningham, June and Alan: Jun 27, 1976
Cunningham, Lynn: Jan 07, 1972; Feb 09, 1972*; Aug 11, 1972*; May 02, 1973; May 16, 1973*
Cunningham?, Min: 1910*
Cunningham, Pearl: 1909 (3)*; 1910 (6, including a photograph of a woman drinking beer while holding a cigarette)
Cunningham Press: Jan 12, 1974*
Cunningham, Roger and Doris: Dec 25, 1967 (including photo Christmas card); Feb 15, 1968; Jul 15, 1968*; Aug 08, 1968; Dec 06, 1968; Dec 07, 1968 (including photo Christmas card); Apr 27, 1969*; May 11, 1969; Dec 13, 1969 (including photo Christmas card); Feb 25, 1970; Mar 03, 1970*; May 21, 1970; May 27, 1970 (including obituary for Nellie Cunningham); Jun 11, 1970; Apr 16, 1971*; Jan 11, 1972; [Apr 29, 1974]; May 08, 1974*; May 16, 1974; May 23, 1974*; Mar 31, 1975*; Apr 21, 1976*; Apr 27, 1976; Nov 30, 1979; Nov 30, 1979
Cunningham, Mr. and Mrs. T. N.: Mar 31, 1975*
Cushing, Nancy: undated; Jun 30, 1976 (letter of condolence to Gryffyd Partridge)
Dadd, Mary: see McEwan, Mary
Dafoe, Dottie and Leslie: Apr 07, 1970; Nov 12, 1970*; Nov 12, 1970*; Dec 11, 1973
Dahl, Arthur L.: Nov 20, 1970*
Daily Express: Jul 07, 1960
Dallas Museum for Contemporary Arts: Dec 11, 1967
Daniel, Edna: Aug 24, 1961; Feb 20, 1963; Feb 26, 1969*; also see California: University of California at Berkeley
Danieli, Fidel: Aug 09, 1974; Oct 28, 1974*
Dater, Judy: Nov 27, 1971* (letter of recommendation); July 1973; Dec 04, 1974* (letter of recommendation); Oct 28, 1979
Daveney, Paula: Sep 07, 1943*; Feb 03, 1948; Jul 10, 1956 (letter from Berta Hader); Mar 02, 1971*; Oct 19, 1973*; Mar 11, 1974*; Sep 14, 1974*; Mar 10, 1975 (filing of Daveney's will); see Personal business records
David: Peter M. David Gallery: Nov 18, 1974; Nov 22, 1974*
Davidos, Rajan and Kimiko: Jan 05, 1969*; Apr 09, 1969; Apr 13, 1969*; also see Photographs
Davies, Louise: undated (3); Mar 04, 1971*; May 16, 1973*
Davies, Ralph: Sep 20, 1970*
Davis, Phil: May 20, 1974; May 25, 1974*; Jun 18, 1974; Aug 20, 1974*
DAY AT NIGHT (television program): Apr 25, 1974; May 03, 1974*
Dearborn, Betty: Apr 10, 1967; Jun 19, 1967*
Dearborn-Massar: see Massar, Phyllis
Dearborn Stove Company: Apr 21, 1965*
DeCordova and Dana Museum and Park: Nov 15, 1961; Mar 07, 1968*
DeGoff, Sidney: Oct 19, 1974*
Deitch, Donna: Jan 07, 1972; Jan 19, 1972*; Feb 24, 1975*; Mar 23, 1976; Apr 01, 1976*
Denny, Grace: Feb 06, 1967; May 06, 1967; Aug 24, 1967
Desmarais, Charles: Oct 11, 1974
Detroit Free Press: Sep 15, 1965; Sep 21, 1965; Oct 25, 1965
Deutsch, Barbara: Feb 18, 1974
De Young Museum: Nov 21, 1970 (letter from Janet Partridge)
De Young Museum Society: Jun 24, 1970
Dhaemers, Mrs.: Mar 04, 1966*
Diablo Valley College: Aug 15, 1972; Nov 15, 1972
Diamond, Martin: Oct 02, 1974; Feb 24, 1975*
Dickinson-Chetham, Helen: Dec 10, 1960*; Aug 28, 1962 (letter to Dorothy MacDonald); Jun 03, 1963
Dinsdale, Elizabeth: Sep 02, 1968; also see Cunningham, Roger
Dixon, Constance (daughter of Maynard Dixon): Jun 30, 1976 (letter of condolence to Gryffyd Partridge)
Dixon, Edith: Nov 1946 (re death of Maynard Dixon)
Dmitri, Ivan: see Photography in the Fine Arts
Dommeyer, Frederick C.: Oct 01, 1965; Jun 21, 1966
Doniach, Sarah: Mar 03, 1970; Mar 12, 1970*
Donnelley, Adelaide: [Mar 29, 1972]; Mar 29, 1972*; Jun 10, 1972*; Jun 28, 1972
Donoho, David: undated (2); Sep 30, 1963; Feb 15, 1965; Mar 01, 1966; Mar 03, 1966*; Dec 12, 1966; Jan 02, 1967; Jan 04, 1967*; Mar 08, 1967; Apr 03, 1967; Apr 11, 1967; May 11, 1967; May 17, 1967; May 24, 1967; May 30, 1967*; Jun 02, 1967; Jul 27, 1967; Aug 01, 1967; Aug 07, 1967; Sep 17, 1967; Sep 29, 1967*; Oct 07, 1967*; Nov 05, 1967; Jul 03, 1968; Jul 08, 1968*; Jul 11, 1968; Sep 27, 1968*; Sep 29, 1968; Oct 13, 1968; Nov 12, 1968; Dec 03, 1968; Dec 24, 1968; Mar 12, 1969*; Mar 16, 1969; May 20, 1970; Mar 23, 1971; Mar 27, 1971*; Apr 20, 1972*; May 21, 1974; Jun 05, 1975; Jun 29, 1975; also see San Jose State College
Dooley: Thomas A. Dooley Foundation, Inc.: see Chaney, Verne
Doubleday & Company, Inc.: Nov 12, 1970; Nov 26, 1970*
Dowling, Ed and Muriel Peterson: Jul 18, 1958*; Aug 29, 1965*
Doyle, Kathleen: undated
Dresden, Maud: May 31, 1910 (2) (a postcard with a photograph of Dresden and Cunningham; and a postcard with a photograph of Dresden and Omer Foisie)
Dreyfus, Emile: Sep 26, 1955 (including 2 photographs of ?old fogies" playing card game)
Drummond, Katherine: Apr 20, 1961*; Oct 07, 1961; Dec 29, 1963*; Jan 27, 1964; Jan 03, 1967; Sep 22, 1968*
Duarte, Carlota: Apr 28, 1976
Ducasse, Mabel and Curt (Brown University): Sep 17, 1956; Dec 25, 1956; Jan 10, 1959*; Dec 07, 1960; Dec 14, 1960*; Dec 29, 1963*; Jan 10, 1964; Jan 20, 1964*; Feb 22, 1964*; Oct 07, 1964; [Jan 1965]; Feb 05, 1966; Feb 12, 1966; Feb 14, 1966*; Feb 26, 1966; Mar 01, 1966*; Mar 25, 1966; Apr 05, 1966*; Oct 16, 1966; Nov 10, 1966*; Dec 27, 1966; Apr 26, 1967*; Apr 29, 1967; May 23, 1967*; May 24, 1967; May 26, 1967*; Jun 07, 1967; Jun 08, 1967; Jun 18, 1967*; Jun 27, 1967; Aug 14, 1967*; Nov 26, 1967*; Dec 15, 1968*; Jan 06, 1969*; Dec 14, 1969; Dec 29, 1969*; Jan 08, 1970; Feb 02, 1970; Mar 08, 1970*; Mar 17, 1970; May 25, 1970; Jun 12, 1970*; mentioned in letter dated Sep 27, 1975
Dunham, Dorothea: Apr 08, [1976]
Duskin, Mr.: undated*
E., Charline: Feb 14, 1967*; Apr 04, 1968; Apr 10, 1968*; Mar 17, 1970
E., W.?: Jul 08, 1960
Eakins Press: Apr 30, 1976*
Eastman: George Eastman House: Jun 25, 1958; Nov 27, 1958*; Feb 05, 1959*; Apr 21, 1959; Jun 23, 1959; Jul 06, 1959*; Jul 16, 1959; Aug 10, 1959; Aug 18, 1959; Sep 04, 1959*; Nov 17, 1959*; Nov 23, 1959; Dec 20, 1959*; Jan 01, 1960*; Feb 12, 1960*; May 12, 1960; Jul 15, 1960; Sep 21, 1960; Oct 14, 1960; Nov 02, 1960; Dec 23, 1960; Dec 30, 1960; Mar 21, 1961*; Apr 06, 1961*; Apr 03, 1962; May 18, 1962*; May 24, 1962; Jun 05, 1962*; Jul 10, 1962; Aug 03, 1962; Nov 28, 1962*; Jan 11, 1963; Jan 17, 1963*; Nov 20, 1963*; [Dec 1963]; Apr 25, 1964*; Jun 08, 1964*; Jul 08, 1964; Jul 28, 1965*; Jun 29, 1967*; Apr 04, 1968*; Aug 14, 1969*; Sep 17, 1969*; Sep 30, 1969; Jul 07, 1970*; Aug 25, 1970; Sep 04, 1970*; Sep 21, 1970; Sep 28, 1970*; Oct 08, 1970; Oct 16, 1970*; Oct 20, 1970; Aug 04, 1971*; Dec 20, 1971; Jan 22, 1972*; Apr 26, 1972*; mentioned in letter dated Feb 18, 1976; also see International Museum of Photography; also see White, Minor
East Shoreline Charter Service: May 04, 1968
Eastwood, Alice: see Printed Material
Eckbo, Royston and Williams: Feb 10, 1947 (including notes and blueprints for landscaping Cunningham's yard in Green Street); Jun 09, 1947*; Sep 21, 1947*
Ecko, Evans: Apr 10, 1976
Edison Street Gallery: Mar 03, 1975; Apr 04, 1975*
Edwal Scientific Products Corp.: Mar 14, 1961*
Edwards, Norman: Aug 08, 1962*; Sep 20, 1962
Eitner, Lorenz: see Stanford University
Elkus, Jonathan, Marilyn and Ian: Dec 14, 1965*; May 1973
Ellegood, Donald: see Washington: University of Washington Press
Elliot, Ralph: Mar 21, 1962*
Embarcadero Center: Sep 20, 1972; Sep 29, 1972*
Emerson, Donna: undated (including a photograph of Emerson)
Emmons, Donn: Nov 12, 1974
Encyclopaedia Britannica: Jun 04, 1965; Jun 15, 1965*; Mar 17, 1971; Mar 22, 1971*; Apr 06, 1971; Apr 16, 1971*; Nov 10, 1971; Nov 23, 1971*; Jan 14, 1972; Jan 21, 1972*; Jan 25, 1972; Jan 28, 1972*; Feb 02, 1971; Feb 10, 1972; Feb 19, 1972*
English, Christopher: Jul 06, 1973; Jul 13, 1973*
Eng-Skell Company: Jan 05, 1959
Epstein, Ellen: Jan 09, 1968*
Epstein, Mrs. Jacob: Nov 21, 1963*
Erceg, Don and Jo (Joseph): Mar 01, 1965; Oct 18, 1965; Jun 21, 1966*; Sep 20, [1966]; Sep 26, 1966*; Nov 09, 1966*; Nov 13, 1966; Nov 25, 1966*; Jan 06, 1967; Jan 25, 1967*; Jun 21, 1967*; Jul 04, 1967; Jul 19, 1967*; Nov 07, 1967; Jul 05, 1968*; Jan 24, 1970*; May 03, 1971*; also see Lynch: Douglas Lynch Associates
Erpen, Gustave: Feb 06, 1966*
Esalen Institute: Apr 20, 1964; Apr 23, 1964*
Ets-Hokins, Jeremy: Sep 18, 1974*
Everyday Art Quarterly: Feb 13, 1948
Exchange National Bank of Chicago: Jan 24, 1968
f/64, Group: Sep 07, 1972 (booklet ?The Group f/64 Controversy" by George M. Craven enclosed in letter from University of California at Berkeley)
Faber and Faber, Ltd.: Jan 26, 1970; Jan 31, 1970* (2); Feb 17, 1970
Falkner von Sonnenburg, Erwin: undated (in German); Jan 03, 1955 (in German); Aug 28, 1967*; Sep 23, 1968 (in German); Oct 19, 1968*; Dec 15, 1968*; Jan 12, 1969*; Jan 28, 1969 (in German); Feb 04, 1969*; Mar 11, 1969 (in German); Apr 16, 1969 (in German); Apr 23, 1969; Nov 28, 1970*; Jun 23, 1971*; Dec 13, 1971 (in German); Dec 25, 1971*; Apr 07, 1972 (in German); Feb 14, 1973 (in German); Jul 26, 1973*; Aug 21, 1973 (in German); Aug 01, 1974 (in German)
Falkner von Sonnenburg, Helene: May 1952 (in German); Jul 10, 1952; Aug 07, 1952; Sep 14, 1952*; Oct 15, 1952*; Nov 10, 1952*; Jan 05, 1953*; Jan 19, 1953*; Jan 27, 1953; Feb 02, 1953*; Feb 09, 1953*; Feb 25, 1953*; Apr 10, 1953*; May 19, 1953*; Jul 10, 1953*; Aug 20, 1953*; Oct 15, 1953 (death notice); mentioned in letters dated Dec 01, 1953*; Mar 19, 1954; May 14, 1954; May 24, 1954
The Family Circle: May 27, 1954*; Jun 07, 1954*; Jun 11, 1954; Jul 21, 1954; Jul 24, 1954*; Jan 25, 1955*; Jan 31, 1955; Jul 19, 1955; Jul 29, 1955; Aug 10, 1955; Sep 12, 1955*
Farley, Mr. and Mrs. William: Sep 22, 1948
Fascioni, Anna: Mar 23, 1971
Feininger, Andreas: Sep 19, 1937
Feininger, Lyonel and Julia: mentioned in [undated] letter from unidentified correspondent; Dec 14, 1951*; Feb 12, 1952*; Mar 18, 1952 (2); Mar 20, 1960
Feminist History Research Project: Jan 03, 1973
Fenno, J. (Jake?): May 27, 1968; May 30, 1968*
Ferry, Frances: Jan 30, 1966; [Mar 1969]; Apr 14, 1969*; Apr 19, 1969*; Jun 22, 1969*; Jul 11, 1969*; Sep 02, 1971*; Oct 16, 1975
Film Dynamics: May 21, 1973*
Finley, Mr. and Mrs. R. W.: Mar 31, 1975*
Finnegan, Josephine: Jul 05, 1972*; Jul 09, 1972
Fisher, Lois: mentioned in letter dated Mar 10, 1955
Focus Gallery: Nov 16, 1966; May 13, 1970; May 18, 1970*; May 30, 1970 (receipt for works); Apr 30, 1973; May 16, 1973; May 21, 1974; Apr 19, 1975; Jun 26, 1979; Jun 03, 1980
Foisie, Omer: see Dresden, Maud
Folger, Mr.: Feb 24, 1966*
Forbes, John D.: Jun 14, 1967*; Jun 17, 1967
Ford, Mr.: Nov 27, 1967*; May 21, 1968*
Forth, Robert: Jan 18, 1973*
Fortune: Mar 27, 1946
Fort Worth Art Center: Feb 27, 1956
Foster, Eve: Nov 13, 1957*; May 17, 1959*; Jan 18, 1960; Dec 10, 1960*
Foster (Zlatovski), Jane: undated; Oct 30, 1952; Dec 19, 1956; Jul 09, 1957* (including clippings about her indictment); see Notes for Foster's excerpts from -- My Ten Years as a Counterspy -- by Boris Morros, 1959
Foster, W. E.: Aug 14, 1957 (including clippings about Jane and George Foster's indictments)
FR Corporation: Feb 09, 1960
Franke & Heidecke: Apr 13, 1959; Jun 05, 1959*; Jun 18, 1959
Frankel, Peg: undated; Nov 28, 1983
Frankenstein, Alfred: see -- San Francisco Chronicle
Freed, Arthur: Aug 17, 1970
Freehe, Clifford: photograph of Freehe contained in letter from Dick Muffley dated May 19, 1974; also see Washington: University of Washington, Seattle
Freemesser, Bernard: Apr 09, 1969; Sep 24, 1973; Oct 27, 1973*; also see Oregon: University of Oregon
Friedman, Marian: [Apr 11, 1976]; May 07, 1976*
Friedman, Mickey: Apr 03, 1975; Jan 12, 1976; Jan 21, 1976; Mar 17, 1976*; Sep 22, 1976 (letter of condolence to Gryffyd Partridge)
Friends of Photography (gallery): Oct 12, 1971*; [May 31, 1973]; Jun 19, 1973; Feb 02, 1974*; May 14, 1974
Friends of the San Francisco Public Library: see San Francisco Public Library
Fuller, Pat: Apr 27, 1974; May 05, 1974*
Fuller, R. Buckminster: Mar 31, 1965
G., P. K.: Jul 05, 1968*
Gaelen, Leslie H.: May 16, 1961*; Nov 21, 1969; Nov 26, 1969*; Apr 29, 1970; Mar 20, 1971; Mar 26, 1971; Mar 31, 1971; May 11, 1971*; May 14, 1971*; Mun 03, 1971; Jun 09, 1971*
Galen, William: Mar 04, 1965; Aug 16, 1965
Gardner, Chrissie: Feb 18, 1968*; Aug 18, 1974*
Gardner, Juanita: Oct 16, 1972
Garnett, William: Dec 04, 1969*; May 09, 1970
Garrod, Richard: Feb 25, 1971
GAUSE (Western Managers of World Personalities): Mar 10, 1955; Mar 13, 1955*
Geddes, Norman Bel: Jun 27, 1932; Jul 07, 1932
Geen, Elizabeth: Mar 30, 1969*
Geldermann, Jessie and Arturo: Jun 12, 1958; Feb 02, 1959*; Feb 06, 1966*
General Foods Corp.: Nov 08, 1966*
Geske, Norman: see Nebraska: University of Nebraska
Gibbons, Mrs.: Jan 13, 1969*
Gichner, Lawrence: May 14, 1970; May 27, 1970*; Sep 14, 1970*
Gilbert, Arnold: Dec 02, 1969; Dec 15, 1969*; Dec 22, 1969; Feb 10, 1970*; Feb 16, 1970; Feb 19, 1970*
Gilbert, Jeffrey: Feb 05, 1976
Gill, Anne and Elwood: Oct 15, 1968; Oct 19, 1968*
Gillet, Anne: Feb 25, 1976 (including a term paper about Cunningham and 2 photographs of details on Cunningham's house)
Gilpin, Laura: May 31, 1959; Jun 04, 1959*; Feb 21, 1976*; Apr 17, 1976
Gisbon, Helen: Jan 28, 1958*
Glaezer, Rabbi: Oct 30, 1966
Glaser, Leslie: Jul 09, 1974*
Glenn: Jack Glenn Gallery: Mar 25, 1974; Apr 05, 1974; May 02, 1974; May 08, 1974*; May 09, 1974; Aug 23, 1974; Oct 04, 1974*
Golden Gate Magazine: May 08, 1961
Goldschmidt, Lisa: [Feb 07, 1969]; Feb 07, 1969*
Goldsmith, David: Jan 22, 1974*; Jan 19, 1975
Goldsmith, John: Oct 17, 1974
Goldsmith, T.: Nov 21, 1973
Goldstein, Virginia (Vagadu Aurelius' mother): Feb 07, 1971; Feb 27, 1971*
Goldstine, Daniel: Jul 05, 1964*
Goldstine, Edgar N.: undated; Jul 10, 1976 (letter of condolence to Gryffyd Partridge)
Goodger-Hill, G.: see Writings
Goodhue, Dr.: Sep 04, 1959* (2); Dec 07, 1972*
Goodwin, Betty: Nov 01, 1974
Goodwin, David: Dec 25, 1969 (photo Christmas card); Jul 22, 1970*; Jun 03, 1970; Dec 25, 1973; Apr 11, 1976
Gordon, Richard: Oct 11, 1974
Gorsline, Jerry: Sep 03, 1968
Grady, Jim: Nov 26, 1956*
Graham: Martha Graham Dance Co.: Apr 29, 1976*
Grant, Cary: Oct 24, 1970*
Grant, Verne: undated; Oct 24, [1974]; Nov 20, 1974
Graves, Morris: Apr 13, 1969*; Feb 23, 1972*; Jun 11, 1973*; Jun 30, 1973; Jul 05, 1973*; Jul 30, 1973; Aug 17, 1973*; Sep 03, 1973*; Dec 21, 1973
Graves, Wallace: Nov 12, 1972
Gray, Burt: Oct 11, 1974*
Grey, Abby and Benjamin: Jan 24, 1965; Feb 10, 1965*
Grieve, Ginger: Feb 04, 1976 (including a photograph of Grieve)
Grotch, Stanley: Nov 16, 1971*; Jan 08, 1971*
Grover, Oliver D.: Jun 26, 1912
Grubb, Erica: see Washington: University of Washington Press
Guggenheim: John Simon Guggenheim Memorial Foundation: undated* (2; one re Gini Dodge Leonard); Nov 30, 1956* (re Ruth Asawa Lanier); Nov 03, 1959 (recommendation for Cunningham from Theodore Roethke); Nov 16, 1959*; Feb 10, 1960; Nov 22, 1966; Dec 21, 1966* (re Thomas Knight); Jan 30, 1967*; Nov 22, 1967; Dec 07, 1968*; Aug 28, 1969; Sep 15, 1969*; Feb 20, 1970; Mar 20, 1970 (2); Mar 23, 1970 (telegram awarding fellowship); Apr 02, 1970; Apr 04, 1970*; Apr 08, 1970; Apr 09, 1970; Apr 21, 1970 (2); Apr 27, 1970 (2); Apr 30, 1970*; May 14, 1970; Jun 01, 1970*; Jun 08, 1970; Jul 26, 1970*; Jul 29, 1970; Sep 11, 1970; Oct 28, 1970*; Nov 18, 1970*; Dec 04, 1970; Dec 11, 1970; Dec 18, 1970*; Dec 22, 1970; Jan 11, 1971*; Jan 15, 1971; Jan 27, 1971; Jan 30, 1971*; Feb 22, 1971*; Mar 03, 1971; Mar 07, 1971*; Mar 11, 1971; Mar 14, 1971*; Apr 07, 1971; Apr 26, 1971; May 02, 1971*; May 11, 1971; Aug 04, 1971*; Aug 06, 1971; Aug 13, 1971; Dec 02, 1971*; Dec 06, 1971; Dec 09, 1971; Dec 25, 1971*; Feb 24, 1972; Feb 29, 1972*; Jun 10, 1972*; Jun 13, 1972; Nov 21, 1972; Dec 01, 1972* (including recommendations by Cunningham for Bill Heick and Walter Chappel); May 03, 1973*; Oct 30, 1974*; Nov 20, 1974; Dec 04, 1974* (letter of recommendation for Judy Dater); Dec 10, 1974
Guillumette: Paul Guillumette, Inc.: Jul 17, 1953
Gustafson, Egil: mentioned in letter dated Nov 02, 1974
Gustaitis, Rasa (Rasa Gustaitis Moss): Dec 24, 1969
Gustin, Paul and Ina: Aug 19, 1965*; Oct 07, 1965
Guthrie, Helen: see MacDonald, Dorothy and Helen
Gutman, Judith Mara: Apr 25, 1971
Haberstitch, David: see Smithsonian Institution; see Writings
Hader, Berta and Elmer: undated; Jul 10, 1956; Aug 22, 1956; Sep 11, 1965*; Jul 22, 1968*; May 01, 1969; Dec 28, 1969; Apr 20, 1971*; Jun 21, 1973; mentioned in letter Oct 19, 1973*; Feb 21, 1974*; Feb 25, 1974; Feb 25, 1975*
Hagan, R. A.: Apr 12, 1975 (poem by Hagan)
Hagberg, Jochen: see Writings
Hagel, Hansel, and Otto: Feb 24, 1965; Apr 22, 1968*; Oct 26, 1973
Hagen, Charles: see -- Afterimage
Hall, James Baker: Mar 14, 1976
Hall, Norman: Dec 09, 1960*,Dec 17, 1960; May 12, 1961; Oct 07, 1962*; May 05, 1963*; Nov 21, 1963*; Dec 30, 1963; Feb 22, 1964*; Jun 11, 1965*; Sep 22, 1968*; Oct 07, 1968; Oct 11, 1968*; Jul 22, 1969*; Nov 25, 1969*; also see -- London Times; -- also see -- Photography
Halprin, Ann: Nov 1970
Hammid, Hella: Apr 25, 1964*; Jan 22, 1967*; Oct 07, 1968*; Aug 27, 1969*; Apr 25, 1972 (letter of recommendation)
Handbook Co.: Mar 28, 1972*
Hansen family: Dec 25, 1968 (including photograph)
Harcourt Brace Jovanovich, Inc.: Feb 07, 1973; Feb 14, 1973; Feb 18, 1973*
Harmon family: Dec 25, 1962
Harnden, Betsey: Jan 20, 1973*
Harootian, Koren Der: Dec 28, 1956
Harper's Bazaar: Jan 07, 1963*; Nov 07, 1970*; Jan 1971 (2)
Harrington, La Mar: see Henry Gallery
Harris, Eugenia: May 11, 1975*
Harrison, Halstead: undated
Harrison, Lynne: Oct 27, 1965; Nov 02, 1965*; Dec 26, 1965; Apr 05, 1966; Oct 16, 1966; Nov 03, 1966*; Mar 08, 1967*; Mar 25, 1967; Feb 08, 1968; Feb 11, 1968*; Aug 09, 1968*; Oct 05, 1973; Jan 23, 1974; Mar 27, 1974*; Apr 23, 1974*; Sep 30, 1974; Oct 02, 1974*
Hartman, Louis: Dec 29, 1967*
Hauberg, John: Mar 28, 1972; Apr 17, 1972*
Haupt, Hanna: Feb 09, 1961 (in German)
Haupt, Peter and Dorle: Jan 25, 1959*; Nov 29, 1960*; Sep 07, 1961 (in German); Dec 14, 1965*; Jul 27, 1967; Aug 28, 1967*; Jul 06, 1968*; Sep 23, 1968*; Nov 24, 1968; Dec 08, 1968*; Jan 10, 1969; Aug 29, 1969*; Jan 03, 1969; May 24, 1971*; Sep 16, 1972; Oct 04, 1972; Jun 09, 1973; Oct 06, 1973; Dec 03, 1974*
Haupt, Otto: Aug 08, 1960 (in German)
Haven, Tom: [Jul 25, 1973]; Jul 25, 1973*
Haynes, Bruce and Joan (Partridge): Aug 30, 1967; Sep 26, 1967*; Dec 29, 1967*; Jan 17, 1968; Jan 31, 1968; Apr 04, 1968*; Jan 05, 1969*; Feb 02, 1969; Feb 05, 1969*; Apr 13, 1969*; Feb 29, 1972*; Jun 07, 1974*; Nov 18, 1974*
Healey, Myrtle: undated calling card
Heick, Bill: undated; mentioned in letter dated Dec 01, 1972*
Heick, Helen: Oct 09, 1958 (including a typescript of Heick's ?On a Freighter to Japan" and a reprint of her "A Panacea Called Haramaki"); Dec 16, 1960*
Heinecken, Robert: see California: University of California at Los Angeles
Heino, Vivica: Mar 25, 1971*; May 05, 1972*
Hellman, Lillian: Dec 02, 1973*; Dec 26, 1973
Helps, Bob: [Jan 31, 1974]; Jan 31, 1974*
Henod Textiles: undated
Henry Gallery (University of Washington, Seattle): May 05, 1958; May 15, 1958*; Jul 27, 1960 (2); Aug 03, 1960 (letter from Gryffyd Partridge); Aug 23, 1960*; Mar 26, 1961*; Mar 17, 1964; Mar 19, 1964*; Mar 30, 1964; Apr 16, 1964*; Apr 20, 1964 (2); Apr 24, 1964*; Aug 30, 1964*; Sep 16, 1964; Sep 27, 1964*; Oct 15, 1964; Dec 10, 1964; Dec 30, 1964*; Jan 12, 1965; Jan 18, 1965*; Mar 30, 1965; Mar 31, 1965; Apr 01, 1965*; Apr 21, 1965*; Jun 04, 1965; Jun 17, 1965; Jun 20, 1965; Jun 23, 1965*; Jun 27, 1965*; Jul 20, 1965; Aug 05, 1965*; Nov 10, 1965*; Jan 03, 1966; Jan 14, 1966; Jan 21, 1966*; Jan 24, 1966; Jan 30, 1966*; Feb 11, 1966; Apr 06, 1966; Jun 20, 1966*; Jun 21, 1966; Jul 04, 1966*; Aug 03, 1966; Aug 09, 1966*; Sep 14, 1966; Oct 21, 1966*; Dec 02, 1966; Dec 11, 1966*; Dec 21, 1966; Feb 02, 1967*; Jun 18, 1967*; Oct 31, 1967; Nov 09, 1967*; Sep 15, 1970*; Sep 28, 1970; Nov 07, 1970*; Nov 24, 1970; Jan 16, 1971*; Jan 26, 1971; Feb 24, 1971; Mar 03, 1971*; Apr 26, 1971; Jun 09, 1971; Jun 16, 1971*; May 08, 1972; Jul 11, 1972; Mar 01, 1973; Mar 28, 1973*; Apr 10, 1973; May 07, 1973*; Oct 17, 1973*; Dec 18, 1973; Jan 18, 1974*; Jan 21, 1974; Feb 06, 1974; Feb 07, 1974*; Feb 12, 1974; Feb 20, 1974; Mar 05, 1974*; Mar 20, 1974; Mar 27, 1974*; Mar 28, 1974; Apr 21, 1974; Apr 26, 1974*; May 05, 1974*; May 06, 1974*; May 10, 1974 (including 5 installation photographs from Cunningham's exhibition); Jun 04, 1974
Heron, Edith: Mar 07, 1974
Herrick, Mariam and Francis: Apr 14, 1971; Dec 1973; Dec 26, 1974; May 30, 1975*
Herring, Frances: Apr 15, 1970
Hershey, Ann: see KPIX 5
Heyman, Therese: undated (2); Feb 26, 1965*; Dec 20, 1965; Apr 25, 1969; Apr 13, 1970; Feb 22, 1971*; Apr 29, 1971; Mar 09, 1974*; Feb 11, 1975 (letter from Cunningham's lawyers, Morrison & Foerster); also see Oakland Museum
Hiatt, Mary: Apr 30, 1970; Jul 12, 1976 (letter of condolence to Gryffyd Partridge)
High, Dennis: mentioned in letter dated May 10, 1976
Higman, Harry W.: Apr 25, 1953; Jun 08, 1965*; Jun 08, 1965*
Himelfarb, Harvey: Mar 27, 1971
Hoffman, Lee: Jun 09, 1972; Jun 15, 1972*; Dec 19, 1972; Jan 06, 1973*
Hoffman, Michael E.: see -- Aperture
Holder, Preston: Mar 21, 1966; Apr 12, 1966*; Sep 12, 1966; Sep 13, 1966*; Sep 18, 1966; Oct 11, 1966; Oct 30, 1966*; Jan 23, 1967; Nov 18, 1968; Nov 19, 1968*
Holger, Zelda: Feb 28, 1976
Holt, Rinehart & Winston, Inc.: Sep 26, 1972*; Oct 11, 1972; Oct 16, 1972*; Oct 18, 1972
Holub, Leo: Aug 20, 1969*; Aug 24, 1969; Dec 25, 1973; Jan 1975; Jun 21, 1976
Homestead Productions: Jan 07, 1971
Hooykaas, Else Madelon: Jan 02, 1971; Jun 09, 1971*; Jun 16, 1971; Jan 12, 1972
Hoover, Herbert (the office of Herbert Hoover): May 21, 1935*; Jun 4, 1935; Oct 05, 1935; Oct 09, 1935*; Feb 25, 1936; Feb 28, 1936*; Apr 22, 1936; Apr 29, 1936*; May 06, 1936; May 13, 1936*
Hosoe, Eikoh: Dec 25, 1974
Howell, Thekla and Robinson: [Jan 1966]; Dec 25, 1968; Feb 08, 1969*
Humboldt State College: Jan 21, 1965 (2); Jan 10, 1966; Jan 13, 1966*; Jan 30, 1966*; Feb 22, 1966; Mar 01, 1966*; Jul 01, 1966*; Sep 24, 1966*; Sep 30, 1966; Oct 05, 1966*; Mar 04, 1968*; Apr 05, 1968; Jul 04, 1968*; Feb 06, 1970*
Hume, Portia Bell: Mar 16, 1942; Mar 20, 1942*; May 03, 1942; May 24, 1942*
Hunt Institute for Botanical Documentation: Mar 01, 1974; May 24, 1975*
Huppe: Sep 07, 1973*
Hurd, Mrs.: Aug 09, 1968*
Illinois: University of Illinois: Jan 14, 1965; Feb 01, 1965*; Mar 17, 1965; Mar 26, 1965*; Apr 09, 1965
Imada, Kinji: Jul 07, 1968*; Dec 25, 1971*
Image Circle: Apr 05, 1971*
Indiana University: Oct 31, 1958; Dec 02, 1958
Infinity: Oct 23, 1965*; Nov 07, 1965*; Jan 26, 1966*; Jun 03, 1966*; Jun 20, 1966*; Oct 04, 1966; Oct 14, 1966*; Oct 19, 1966*; May 24, 1967*; also see American Society of Magazine Photographers
Ingalls, David: Feb 22, 1972
Inokuma, Geniciro: Nov 25, 1955
Institute of International Education: Jan 10, 1965*; Mar 26, 1965*; May 03, 1971
International Invitational of Photography: see Volunteer Service Photographers
International Museum of Photography: Feb 10, 1972; May 03, 1972; Jun 16, 1972*; Nov 10, 1974*; also see Eastman: George Eastman House
Iowa: University of Iowa: Nov 14, 1967; Nov 22, 1967*; Nov 24, 1967*; Dec 04, 1967; Jan 04, 1968; Jan 04, 1968; Jan 13, 1968*; Mar 04, 1968*; Oct 29, 1968; Nov 10, 1968*; Nov 16, 1968; Apr 08, 1969; May 26, 1971
Irwin, Clare: undated; Oct 08, 1960*; Nov 04, 1968*; Jan 10, 1969; Feb 25, 1969*; Mar 11, 1969*; Aug 30, 1970*; Sep 11, 1970; Dec 15, 1970; Mar 26, 1971*; Mar 31, 1971; Apr 02, 1971*; Apr 10, 1971; Dec 15, 1971*; May 10, 1972*; May 26, 1972; Jun 08, 1972*; Oct 05, 1972; Oct 19, 1972*; Sep 18, 1973; Nov 30, 1973*; Jan 24, 1974*; Apr 09, 1974; May 23, 1974*; Feb 26, 1976; Mar 06, 1976*; Oct 20, 1976
Irwin? family: Jul 19, 1967 (in German)
Irwin, Melanie: Sep 24, 1971
Iselin, Leni: Aug 25, 1961; Sep 19, 1961; Sep 23, 1961; Oct 17, 1961; Mar 02, 1962; Apr 29, 1962*; May 19, 1962; May 25, 1962*; Jun 12, 1962*; Oct 23, 1962*; Jan 08, 1963*; Mar 29, 1963*; Jul 18, 1963*; Nov 26, 1963*; Jan 03, 1964*; Jun 02, 1964*; Aug 07, 1964*; Nov 17, 1964*; Jun 18, 1967*; Jul 10, 1967*
Istituto Editoriale Domus: Aug 11, 1958; Aug 17, 1958*; Aug 26, 1958
Jackson, Herbet: Oct 16, 1967
Jacobs, Ken: May 21, 1973*
Jameson, Catherine E.: see Marple, Warren
Janis: Sidney Janis Gallery: Feb 23, 1976
Jay, Bill: see -- Album
Jobert, Muriel: Jan 12, 1960*; Jul 19, 1960; Dec 11, 1960*; Nov 20, 1962; Feb 05, 1964*; Sep 17, 1964*; Dec 12, 1966*; Jan 12, 1967; Feb 04, 1967*; Jun 19, 1967*
Johnson, Catherine: Jan 20, 1968
Johnson, Lyndon B.: Jun 14, 1965 (invitation to reception at the White House)
Johnson, Tom: see College of Marin
Jones, George: Sep 07, 1971; Nov 10, 1971
Jones, Laura: undated
Jourdan, Alda: Jan 15, 1956
Jourdan, Erven: Feb 27, 1976
Junior League of Oakland: Oct 19, 1967
Junior League of San Francisco: Nov 15, 1951; Aug 05, 1965
Ka_____, Kay: [Feb 1973]
Kalamazoo Institute of Arts: Mar 16, 1961; May 22, 1961*; May 24, 1961; Jan 05, 1962
Kalina, Judith: Oct 1972; Mar 14, 1975; May 30, 1975*; Aug 31, 1975
Kalkman, Robert Rodgers: Jan 23, 1973
Kanaga, Consuelo: undated; Mar 05, 1961; Mar 12, 1961*; Jan 06, 1962; May 02, 1968*; May 08, 1968; Feb 25, 1969*; mentioned in letter dated Oct 1972
Kansas: University of Kansas: Mar 05, 1974
Kantor, Jayne: Oct 07, 1974; Oct 13, 1974*; Oct 18, 1974; Jan 15, 1975
Kelly, Dorothea: Jan 04, 1964, (including photograph of a painting in a stairway)
Kelly, Jain: see Witkin Gallery
Kemp, Edward: see Oregon: University of Oregon
Kennedy, Lawton: Feb 16, 1966*
Kent State University Press: Jun 24, 1970
Kewell, Jeanne: Jun 07, 1954; Jun 17, 1954*; Jun 26, 1954; Jul 20, 1954*
Khounta, Penelope: Apr 18, 1973
Kier, Mary Alice: Apr 19, 1971
Kilgore, Don: May 12, 1974; May 25, 1974*; May 25, 1975
Kim-Le, Richard: Apr 01, 1976*
Kingston, Rodger: Dec 22, 1974
Kirkman, Tom: Apr 24, 1972; Jun 24, 1972*; Jun 27, 1972
Kismaric, Carole: see Snyder: Norman Snyder Studios, Inc.
Klemmer, Ruth: Dec 21, 1973 (including 2 photos circa 1916)
Klingenberg, Grace: Jan 07, 1963
Knight, Tom and Katy: Dec 21, 1966* (letter to Guggenheim re Thomas Knight); Jan 21, 1974; Jan 25, 1974*; also see Humboldt State College
Knopf: Alfred A. Knopf, Inc.: Mar 04, 1976; Mar 09, 1976*
Kolbrener, Bob: Dec 02, 1974
Kolisch, Marian Wood (granddaughter of Charles Erskine Scott Wood): Sep 28, 1974
Korty, John: May 21, 1970 (2); Jun 04, 1970*; Jul 20, 1970 (letter from Museum of Modern Art); Jan 24, 1972; Mar 07, 1973; Jan 1974 (3); Feb 09, 1974*; Mar 06, 1976
Koryhut, Wanda: Aug 21, 1957; Aug 30, 1957
Kosmak, Evelyn and George: Jun 19, 1964; Sep 24, 1970
Kouns, John: Nov 27, 1971* (letter of recommendation)
KPIX 5: Apr 07, 1971; Jun 03, 1975 (2); Jun 03, [1975] (2)
KQED: undated; May 12, 1965; Feb 15, 1966; Jun 14, 1971; Aug 07, 1971; Dec 15, 1971*; May 04, 1972; Jun 14, 1972; May 02, 1974; May 01, 1975
Kraft, Jim: undated
Kralka, Ania: Feb 05, 1966; Feb 13, 1967*; May 12, 1967*; Nov 08, 1970*; Jan 1976
Krannert Art Museum: see Illinois: University of Illinois
Krasnow, Peter: May 27, 1976
Krotki, K. J. and Ania: Apr 01, 1961; Dec 25, 1962 (photo Christmas card); Dec 25, 1963 (photo Christmas card); Mar 16, 1970; Jan 18, 1972
Krotta, Krysia: Feb 10, 1959*; Jun 24, 1959; Aug 21, 1959*; Dec 12, 1959*; Nov 25, 1960*; Feb 21, 1961*; Mar 03, 1961*; Mar 09, 1961; Mar 26, 1961*; Apr 13, 1976*
Lane, William and Saundra: Nov 12, 1968*; Jan 31, 1969*; Feb 27, 1969*; mentioned in letter dated Mar 12, 1969*; Apr 14, 1969*; Apr 18, 1969; Apr 29, 1969*; Jul 30, 1969*; Sep 17, 1969*; Nov 15, 1969; Dec 11, 1969*; Dec 17, 1969; Jan 13, 1970*; Mar 04, 1970*; Aug 24, 1970; Sep 25, 1970*; Oct 20, 1970*; Nov 16, 1970*; Dec 08, 1970; Jul 23, 1971* (2)
Lange, Dorothea: undated; Apr 24, 1958*; Apr 18, 1963*; May 17, 1971 (Dorothea Lange Purchase Award given to Cunningham)
Lanier, Addie Laurie: undated*
Lanier, Eiko: Feb 10, 1963*; Feb 22, 1964*; also see Photographs
Lanier, Ruth Asawa: see Asawa, Ruth
La Paz Pottery: Jun 13, 1973*
Larson, Jerry: see Mount Angel Abbey Library
Laszlo, Ernie: see Writings
Latent Image (Gallery): Mar 19, 1971
Laub, Randolph (Ohio Silver [gallery]): May 14, 1973*; Jun 28, 1973; Jul 24, 1973*
Laughlin, Clarence John: Jan 06, 1952
Laurel, Stan: mentioned in letter dated Feb 22, 1976
Lavenson, Alma: Aug 19, 1953*; Jun 25, 1954*; Dec 07, 1959*; Apr 12, [1968]; Jul 31, 1968*
Lee, Alan W. S.: Jan 11, 1913 (including 14 photographs of China); Apr 17, 1916; Oct 26, 1917; Jan 05, 1918; Mar 1918; Aug 21, 1918 (including 8 photographs of Japanese ceramics); Jan 07, 1919; May 09, 1919; Jun 11, 1919; Jan 14, [1920]; Mar 23, 1920; Apr 14, 1920; May 13, 1920; Jul 17, 1920; Sep 13, 1920; Oct 17, 1920; Dec 01, 1920; Feb 03, 1921; Feb 13, 1921; May 29, 1921; Sep 20, 1921 (including a photograph of the Thames River and Tower Bridge, 4 of Peking, one of a Nagasaki fountain, and one of Poyang Lake); Nov 25, 1921; Jan 09, 1922; Feb 09, 1922; Apr 05, 1922; Aug 24, 1922; Nov 28, 1922; Jan 19, 1923; Aug 31, 1923; Feb 09, 1924; Aug 13, 1924; Mar 23, 1926; Dec 01, 1926; Jan 28, 1927; Jun 02, 1927; Aug 26, 1932; Feb 22, 1934; Oct 18, 1934; Jan 04, 1937 (including 3 photographs of Diplomatic Corps ceremony); Jul 12, 1938; Aug 11, 1939; Aug 31, 1939; Jan 19, 1940
Lee, Hannah Simms: Jan 19, 1957; Feb 12, 1957*; Jun 11, 1965*; Mar 03, 1971*; Mar 13, 1971*
Leefe, Miriam: May 31, 1963*; [Jun 1963]; Aug 07, 1963*; Sep 27, 1963*; Nov 23, 1963*
Lemkin, Mari: Aug 02, 1962; Aug 06, 1962*
Lentz, Bernard: Mar 13, 1958; Nov 23, 1958; Jan 02, 1960; Feb 07, 1960
Leonard, Gini Dodge: Nov 12, 1971; also see undated letter from Cunningham to the Guggenheim Foundation
Leonard, Joanne: Jun 16, 1974
Leone, Anna: Feb 07, 1969*
Leslie, Caird: May 05, 1956*; Dec 10, 1961
Levi Strauss and Company: mentioned in letters dated Sep 20, 1972 and Sep 29, 1972*
Lewis, Carol: Sep 17, 1975
Library of Congress: mentioned in [undated] letter from Cunningham to unidentified correspondent; Jul 14, 1949; Nov 16, 1949; Sep 05, 1962; Dec 03, 1962; Mar 18, 1963; Mar 27, 1963*; May 07, 1963; May 20, 1963*; Jul 08, 1963*; Jul 17, 1963; Jul 30, 1963; Nov 14, 1963; Nov 20, 1963*; Dec 30, 1963*; Feb 18, 1964; Mar 19, 1964*; Mar 26, 1964; Apr 07, 1964*; Apr 15, 1964; Apr 24, 1964*; Jun 04, 1964; Oct 08, 1964
Life: Dec 29, 1959*; Sep 19, 1969*; Oct 02, 1969; Oct 27, 1969; Mar 13, 1970 (2); May 06, 1970; Jan 14, 1972*; Aug 31, 1972; Oct 03, 1972; Oct 09, 1972*; Nov 03, 1972*; Nov 06, 1972*; Dec 29, 1972*; Jan 05, 1973; Jan 26, 1973
LIMELIGHT (exhibitions): Sep 17, 1954; Oct 06, 1954*; Oct 21, 1954*; Jan 10, 1955; Jan 21, 1955*; Mar 08, 1955; Apr 01, 1955*; Apr 25, 1955; Sep 14, 1955; Oct 03, 1955*; Nov 10, 1955*; Feb 24, 1956; Mar 25, 1956*
Linenthal, Alice Adams: Jul 23, 1966
Liston, Mrs. J. Glen: see Western Association of Art Museums
Littlejohn, David: Jun 05, 1970*
Locks, Norman: see Adams: Ansel Adams Gallery
Logan: Reva and David Logan Foundation: Feb 17, 1970; Apr 13, 1970*; Sep 13, 1971*; Nov 16, 1971*; Aug 03, 1973; Mar 25, 1974; Jun 05, 1975
London Times: Dec 30, 1963
Look: Dec 05, 1969; Dec 09, 1969*; Dec 24, 1969*; Jan 09, 1970; May 12, 1970*; May 25, 1970; Mar 13, 1971*; Mar 20, 1971*; Feb 1973; Mar 28, 1973*
Lovatt?, Bill: Jan 06, 1961*
Loveless family: Mar 09, 1971*
Ludington, Wright: Feb 13, 1953
Lushington, Beatrice: Jul 19, 1976
Luther, Dr. R. and Ida: Sep 28, 1923 (in German); Aug 01, 1927 (in German)
Lynch: Douglas Lynch Associates Graphic Design: Sep 20, [1966]
Lyons, Nathan: Nov 20, 1963; Jun 29, 1967*
MacCormack, Robert: Dec 04, 1956*
MacDonald, Dorothy and Helen (Helen MacDonald Guthrie): undated; Mar 09, 1961; Aug 28, 1962 (letter from Helen Dickinson-Chetham); Jun 30, 1965*; Aug 31, 1965*; Jan 24, 1966*; Jul 02, 1966*; Sep 01, 1966*; Jan 03, 1967*; May 29, 1967*; Jul 31, 1967*; Aug 02, 1967; Aug 14, 1967*; Oct 29, 1967*; [Jan 1968]*; Jan 01, 1968 (letter from Joan and Bruce Haynes); Mar 20, 1968*; Mar 27, 1968; Jun 10, 1968*; Jul 05, 1968*; Jul 19, 1968*; Apr 15, 1969*; Apr 20, 1970*; Apr 30, 1970; [Jul 1970]; Jul 19, 1970*; Nov 18, 1970*; [Nov 21, 1970]; Jan 16, 1971*; Jan 30, 1971*; Jul 26, 1971*; Oct 07, 1972*; [Dec 25, 1973]; Feb 14, 1974; [Feb 14, 1974]; Feb 20, 1974*; Mar 26, 1974*; May 16, 1974; Jun 24, 1974 (letter to Gryffyd Partridge); Oct 03, 1974*; Nov 21, 1974*; Dec 28, 1974*; Jun 25, 1976 (letter of condolence to Gryffyd Partridge)
Macfadden Publications, Inc.: Jul 22, 1942
MacGalliard, Wally: Jun 03, 1972; Jun 07, 1972*
MacKay, Alastair: Jun 05, 1972*; Jul 30, 1973*; Aug 11, 1973; Aug 27, 1973*
Mackland, Ray: Feb 10, 1960*
Macmillan Company: Jun 23, 1936; Aug 08, 1939; Aug 31, 1939*
Maddox, Miss (of Atrium): Jun 01, 1966*
Madison Art Center: May 25, 1973; Jun 28, 1973; Jan 15, 1974; May 07, 1974*
Maimone, Paul: Jul 10, 1974; Nov 08, 1974*
Malanga, Gerard: Mar 21, 1973
Malarkey, Mr.: Jul 08, 1965*
Malcolm, Ida Parton: Jul 23, 1967*
Mandel, Mike: Aug 22, 1975 (including 3 postcards designed by Mandel and a baseball card picturing Cunningham holding a ball and glove); Nov 13, 1975
Mann, Margery: undated (3); Jan 08, 1966; Oct 04, 1966 (letter to -- Infinity -- including a typescript "Imogen Cunningham" by Mann); Sep 25, 1967 (letter to Don Ellegood); Aug 09, 1968*; Oct 10, 1968 (letter from Ellegood); Oct 14, 1968*; mentioned in letter dated Apr 29, 1969; Aug 10, 1969; Apr 1970; May 18, 1970 (letter from Washington Press); Feb 08, 1971*; Mar 03, 1971*; Nov 16, 1972; Mar 30, 1973*; Sep 08, 1973*; Feb 06, 1974*; Apr 24, 1974; Aug 21, 1974 (letter from Cunningham's lawyers, Morrison, Foerster, Holloway, Clinton & Clark); Aug 27, 1974 (2); also see Writings
Manning, Harvey: see Washington: University of Washington, Seattle
Manself Press: Oct 26, 1974
Marcus, Lynn: undated
Maring: Dennis E. Maring & Co.: Nov 13, 1975
Marks, Milton (State Senator, Wash.): Nov 24, 1970; Nov 26, 1970*
Marple, Warren, Lorna, and Elliot: Jun 25, 1965; August 1966*; Apr 15, 1974 (2); May 18, 1974; May 21, 1974*; Dec 21, 1974
Martinez, Caroline, Zoura, and Al: Apr 24, 1974; Feb 25, 1975*; Jun 29, 1976
Masclet, Daniel: [Dec 1960] (in French); Dec 06, 1960*; Nov 16, 1961; Jun 13, 1963*
Massachusetts Institute of Technology: Jan 10, 1968; Jan 29, 1968; Feb 25, 1968; Mar 25, 1968; Apr 11, 1968; May 20, 1968; Jun 05, 1969; May 25, 1970; also see White, Minor
Massar, Phyllis: undated (2); Dec 20, 1963; Oct 01, 1969; Oct 08, 1969*; Apr 11, 1970; Aug 08, 1970; Aug 14, 1970*; Sep 03, 1970; Sep 10, 1970*; Sep 14, 1970; Sep 15, 1970*; Oct 01, 1970; Oct 05, 1970*; Oct 17, 1970; Nov 08, 1970; Nov 12, 1970*; Dec 11, 1970; Feb 22, 1971*; Feb 28, 1971; Mar 05, 1971; Mar 12, 1971; Jan 05, 1973; Jan 08, 1973*; Mar 07, 1973; Mar 19, 1973*; Mar 29, 1973; Apr 09, 1973; Apr 25, 1973; Mar 27, 1974*; Jun 23, 1974; Jul 23, 1974; Dec 15, 1974
Mathias, Mr.: Dec 12, 1967*
Mattison, Ethel and Jack: Nov 09, 1947; Dec 25, 1966; Jan 24, 1967*; Oct 12, 1968*
Maugham, W. Somerset: mentioned in letter dated Jun 10, 1936
Mayer, Grace M.: see Museum of Modern Art
Mayer, Helene: see Falkner von Sonnenburg, Helene
Mayer, Ida: Jan 03, 1955 (in German)
Mayes, Elaine: Nov 27, 1971* (letter of recommendation)
Mazzeo family: Dec 31, 1959*
McBride, Mary Margaret: Jan 10, 1961; May 06, 1969; Oct 24, 1970*
McCabe, Darlene: Jan 26, 1976
McCann-Erickson, Inc.: Dec 22, 1970; Dec 30, 1970*; Feb 04, 1971*; Feb 12, 1971*; Mar 05, 1971
McCarthy: Oct 14, 1959*
McCarthy, Jane: Nov 07, 1970
McClatchy, Phebe: Nov 26, 1951
McDougal, Littell & Company: Feb 11, 1970
McEwan, Mary: undated (4); Oct 11, 1954*; Nov 18, 1954*; Dec 26, 1954*; Jan 02, 1955; Jan 14, 1955*; Feb 02, 1955; Feb 25, 1955*; Feb 28, 1955*; Mar 14, 1955*; Mar 27, 1955; Apr 20, 1955; May 11, 1955; May 29, 1955*; Jun 23, 1955; Jul 14, 1955*; Aug 03, 1955; Aug 30, 1955; Sep 22, 1955; Oct 03, 1955*; Oct 12, 1955; Oct 21, 1955 (2); Nov 22, 1955; Dec 11, 1955*; Jan 06, 1956; Jan 16, 1956*; Jan 10, 1956*; Apr 22, 1956 (married to Rex Dadd); Jun 06, 1958; Jun 27, 1958*; Dec 1958; Mar 16, 1959; May 04, 1959; Sep 27, 1959*; Jan 01, 1960*; Feb 13, 1960*; Nov 29, 1960*; Feb 13, 1961; Feb 26, 1961*; May 16, 1961*
McGraw, Dick: Dec 25, 1966; Jun 15, 1967*; Mar 08, 1968*
McGraw-Hill Book Company, Inc.: Mar 29, 1961
McHugh, Vincent: Mar 11, 1970; May 15, 1970; May 21, 1970*
McIntosh, Jenny: Dec 19, 1947
McKee, Tasheira & Wahrhaftig: May 11, 1939 (divorce decree)
McLeod, James: Jun 11, 1970 (letter from Beatrice Roethke); Jul 05, 1970*; Jul 11, 1970*
McLuhan, Teri: see Outerbridge & Dienstfrey
McMinn, Helen: Jan 28, 1972
Mees, Kenneth: Jul 19, 1957*; Jul 26, 1957; Feb 05, 1958*; Jun 01, 1958*; Aug 26, 1958*
Melchert, Ralph (Ramel): Sep 19, 1973
Meltzer, Milton: Jan 27, 1976
Menapace, John: Mar 06, 1969; May 31, 1970*; Jun 10, 1970; Jun 18, 1970*
Mendocino Art Center: Feb 15, 1971; Feb 22, 1971*
Mendocino Historical Research, Inc.: Mar 04, 1976
Menninger, Edwin: undated
Merrill, Forrest: Oct 21, 1974*
Mesaros, Ron: Oct 02, 1970; Oct 11, 1970*
Metcalf: Addison M. Metcalf Collection of Gertrude Steiniana: Mar 23, 1955; Sep 22, 1955*; Sep 26, 1955; Oct 11, 1955
Metropolitan Museum of Art: Jul 12, 1969*; Jul 21, 1969; Aug 11, 1969*; Aug 13, 1969; Aug 16, 1969*; Dec 16, 1969; Dec 21, 1969*; Jan 14, 1970; Feb 22, 1970*; Apr 30, 1970; May 07, 1970*; May 14, 1970; May 31, 1970*; Jun 16, 1970; Nov 30, 1970; Mar 11, 1971; Mar 17, 1971; Mar 22, 1971*; Apr 14, 1971; Feb 20, 1973; Mar 02, 1973*; Mar 08, 1973; Mar 17, 1973* (2); May 15, 1973*; May 31, 1973; Jul 17, 1973
Metzker, Ray: Sep 14, 1960; Dec 06, 1960*; Feb 12, 1962; Apr 27, 1962*
Miles, Josephine: Apr 02, 1973
Miller, Barbara J.: undated
Mills College: Mar 19, 1954; May 14, 1954; May 24, 1954; Jan 27, 1956; Feb 27, 1956*; Apr 11, 1956; Apr 14, 1956*; May 29, 1958; Feb 22, 1965; Apr 08, 1970*; Sep 06, 1973; Sep 08, 1973*; Feb 11, 1975; Feb 25, 1975; Apr 04, 1975*; May 13, 1975*
Minard, F.: Dec 29, 1966
Mind's Eye (gallery): Oct 25, 1973
Minneapolis Institute of Arts: Mar 29, 1957
Mocy?, Robert: Apr 04, 1965
Model, Lisette: May 21, 1970; Jun 11, 1971
Modern Photography: Dec 12, 1950 (typescript of "A Passion for the Medium" by Christina); Feb 27, 1951; Aug 11, 1953; Jul 06, 1954*; Apr 14, 1955; Jan 13, 1956*; Aug 23, 1957*; Feb 01, 1968; Aug 08, 1968; Apr 18, 1972
Moholy-Nagy, L.: Jan 04, 1941
Monk, Heidi: Apr 02, 1969; Apr 14, 1970
Monterey Peninsula College: Jan 21, 1970; Jan 26, 1970*; Jan 27, 1970; Mar 03, 1970; Mar 04, 1970; Mar 11, 1970*; Apr 15, 1970*
Moon, Orrin C.: see Mendocino Art Center
Moore, Richard: May 22, 1975
Morais, Ka: Feb 10, 1976
Morais, Ken: mentioned in letter dated May 10, 1976
Morgan, Barbara and Willard: Jan 09, 1967; Apr 10, 1968*; Dec 26, 1969*; Nov 29, 1970; Dec 03, 1970*
Morgan, Edith: Oct 14, 1953; Jan 03, 1955*; Jun 30, 1957*
Morgan Guaranty Trust Co.: Aug 16, 1969*
Morley, S. Griswold: Oct 09, 1961; Jul 14, [1962]; Jul 08, 1968*; Aug 09, 1968*; also see Printed Material
Morris, Mark: Apr 09, 1974
Morrison, Foerster, Holloway, Clinton & Clark: Aug 21, 1974 (letter to Marjorie Mann); Aug 21, 1974 (letter to Gryffyd Partridge); Sep 11, 1974; Feb 11, 1975 (letter to Theresa Heyman); Feb 18, 1975 (letter to Gryffyd Partridge and Adrian Wilson); Feb 27, 1975; Mar 17, 1975
Morros, Boris: see Notes for Jane Foster's excerpts from -- My Ten Years as a Counterspy -- by Morros, 1959
Mount Angel Abbey Library: Apr 03, 1970; Aug 30, 1971; Sep 06, 1971*; Sep 24, 1971*; Oct 07, 1971; Oct 17, 1971*; Nov 07, 1971*; Nov 08, 1971; Nov 26, 1971; Dec 02, 1971*; Dec 17, 1971; Jan 07, 1972*; Feb 14, 1972; Mar 16, 1974*; also see Photographs
Mozesson, Phiz: mentioned in letter dated Dec 16, 1970*
Mozley, Anita: Apr 08, 1973*; Jun 09, 1973; Jun 15, 1973*
Ms.: Nov 25, 1974; Apr 26, 1975*
Muffley, Dick: Jul 06, 1968*; May 04, 1973 (including a photograph of himself, 2 of his house, and 4 of an atom smasher); May 19, 1973*; May 17, 1974*; May 19, 1974 (including 3 vacation photographs and a photograph of Cliff Freehe)
Munson-Williams-Proctor Institute: Jan 09, 1957; Feb 16, 1957*; Feb 19, 1957*; Feb 21, 1957; Feb 28, 1957
Museum of Fine Arts, Springfield, Mass.: Jun 03, [1974]; Aug 13, 1974; Aug 16, 1974*
Museum of Modern Art: undated; Apr 02, 1937; Sep 17, 1941; Sep 25, 1941*; Oct 22, 1946; Oct 28, 1946; Jan 01, 1960*; Mar 01, 1960; Mar 14, 1960; Apr 08, 1960; Apr 12, 1960; Jun 02, 1960; Nov 03, 1960; Dec 30, 1960; Jan 10, 1961*; Jan 16, 1961; Feb 01, 1961*; Feb 03, 1961; Feb 07, 1961*; May 19, 1961; Apr 04, 1962; May 29, 1962; May 30, 1962; Mar 26, 1963; Apr 05, 1963*; May 03, 1963; May 20, 1963; May 30, 1963*; Jun 04, 1963; Jun 16, 1963*; Jul 02, 1963; Jul 04, 1963*; Jul 08, 1963*; Jul 22, 1963; Aug 07, 1963*; Aug 12, 1963; Oct 16, 1963*; Oct 28, 1963; Oct 31, 1963; Nov 08, 1963*; Dec 12, 1963; Jan 25, 1964*; Jan 29, 1964; Apr 13, 1964; Apr 21, 1964; Jun 01, 1964; Jun 08, 1964; Sep 21, 1964*; Sep 29, 1964; Jan 02, 1965*; Jan 06, 1965; Jul 15, 1965 (2); Jul 28, 1965* (2); Sep 30, 1965; Oct 12, 1965*; Oct 20, 1965; Nov 14, 1965; Jul 28, 1966*; Jul 31, 1966; Aug 11, 1966; Sep 01, 1966*; Sep 06, 1966; Nov 09, 1966*; Dec 01, 1966; Dec 07, 1966; Jan 25, 1967 (2); Apr 03, 1967; Apr 07, 1967*; Apr 10, 1967*; May 23, 1967; Jun 17, 1967; Dec 09, 1967; Feb 13, 1968; May 15, 1968; Jun 13, 1968; Jul 11, 1968; Sep 12, 1968*; Oct 09, 1968; Oct 21, 1968; May 10, 1969; Jul 14, 1969*; Sep 05, 1969; Sep 08, 1969; Apr 09, 1970; Apr 21, 1970; Jul 20, 1970 (letter to John Korty); Nov 18, 1970; Mar 08, 1971; Aug 04, 1971*; Sep 07, 1971*; Feb 16, 1972; Apr 10, 1973*; Dec 18, 1974; Dec 24, 1974*; Jun 09, 1975; also see Steichen, Edward
Myers, Evelyn: Jan 29, 1958*
Nathan, Joan: Jul 07, 1969*
National Council on the Aging, Inc.: Jan 23, 1973 (including booklet "Older Americans and the Arts: A Human Equation")
National Institute of Arts and Letters: Jan 05, 1961*
National Organization for Women: Jun 18, 1974
NBC: see TONIGHT SHOW
Nebraska: University of Nebraska: Nov 03, 1965; Nov 20, 1965*; Mar 17, 1966; Apr 04, 1966*; Apr 25, 1966; Jun 02, 1966*; Jun 14, 1966; Jul 19, 1966; Jul 25, 1966*; Jul 28, 1966; Aug 26, 1966*; Sep 06, 1966; Sep 12, 1966*; Nov 01, 1966; Nov 10, 1966*; Nov 16, 1966; Dec 21, 1966*; Mar 17, 1967*; Mar 23, 1967
Neevel, Paul: see Writings
Nesbit, Norman: Mar 30, 1969*
Neumann, J. B.: see New Art Circle
Neumeyer, Fred (Alfred): Apr 15, 1970
New American Library: Jul 08, 1966*; Jul 10, 1967; Jul 19, 1967*
New Art Circle (J. B. Neumann, Dir.): Oct 22, 1937
Newberry, James H.: Sep 13, 1969
New Directions: Apr 01, 1963*; Jan 22, 1964*
Newhall, Beaumont and Nancy: mentioned in [undated] letter from Cunningham to unidentified correspondent; Aug 26, 1957; Aug 05, 1967*; Aug 09, 1967; Aug 12, 1967*; Jan 24, 1968; Feb 02, 1968*; May 03, 1968*; Sep 17, 1969; Sep 23, 1969; Mar 03, 1971 (including resume for Beaumont Newhall); Mar 09, 1971*; Jul 17, 1974; Jul 24, 1974*; Aug 15, 1974; also see Eastman: George Eastman House; also see Writings
Newman, Arnold: Sep 02, 1969*; Dec 31, 1969; Jan 06, 1970*; Jan 16, 1970*; Apr 17, 1970; Aug 03, 1970*
New York Graphic Society, Ltd.: Sep 25, 1974; Oct 01, 1974*; Oct 16, 1974; Feb 25, 1976; Mar 09, 1976*; Mar 12, 1976
New York Times: May 02, 1973; May 06, 1973*
New York Times Book Review: Oct 31, 1966*; Nov 03, 1966
Nicastro, Peter: see Writings
Nord, Ina: Dec 10, 1950
Nordberg, Rod: Feb 06, 1975; Feb 19, 1975*
Norman, Dorothy: Oct 28, 1959*; Nov 02, 1959; Nov 05, 1959
Norman, Mrs. P.: Oct 08, 1973*; Jun 07, 1974*; Oct 15, 1974*; Nov 21, 1974*
Norris University Center: see Northwestern University
Northwestern University: Apr 22, 1975
Norton: W. W. Norton & Company, Inc. Katherine Barnard): Jan 08, 1957; Jan 18, 1957*; Jan 21, 1957; Feb 02, 1957*
Noskowiak, Sonya: Jan 08, 1974*; Dec 25, 1974
Novack, Ellen: Aug 27, 1967; Apr 22, 1973
Noyes, Pat and Dick: Feb 06, 1966*; Jan 25, 1967; Feb 06, 1967*; Jul 31, 1967*; Sep 26, 1967*; Oct 12, 1967; Oct 29, 1967*; Jun 02, 1968; Sep 13, 1968*; Jan 04, 1969*; Jan 11, 1969; Apr 28, 1969; Jul 15, 1969; Jul 25, 1969*; Dec 12, 1969*; Dec 29, 1969*; May 16, 1970; Jan 24, 1971; Apr 01, 1971*; Nov 16, 1971*; May 24, 1972; Jun 08, 1972*; [May 1973] (including a photograph of a mountain range; Oct 24, 1973; Nov 30, 1973*; [Dec 02, 1973]; Dec 02, 1974; Jan 27, 1975*; Jul 22, 1976 (letter of condolence to Gryffyd Partridge)
Oakland Art Museum: Mar 11, 1963; Mar 14, 1963*; Mar 19, 1963; Jul 07, 1967; Oct 14, 1968; Dec 27, 1973; Mar 11, 1974; Mar 28, 1974; Aug 27, 1974; Oct 23, 1974; Jan 08, 1974; Jan 16, 1975*; Jan 22, 1975*; Feb 25, 1975; Mar 18, 1975; Apr 14, 1976; Jun 03, 1976; also see Heyman, Therese
Oakland Museum Association: Dec 20, 1965; Apr 25, 1969
Oakland Public Museum: Nov 15, 1957; Nov 25, 1957; May 17, 1971
Oka, Jane: Jun 30, 1976 (letter of condolence to Gryffyd Partridge)
O'Keeffe, Georgia: undated Christmas card; Feb 08, 1971*; Feb 16, 1971; May 02, 1971; Jan 31, 1972; Feb 04, 1974*; Feb 11, 1974; Jan 31, 1975; Mar 16, 1976; Mar 24, 1976*; Apr 02, 1976
Oklahoma: University of Oklahoma Press: Dec 16, 1957; Jan 03, 1958*; Jan 24, 1958; Jan 17, 1958*; Jan 31, 1958; Feb 25, 1958; Mar 07, 1958*
Olsen, Cynthia: Sep 29, 1970; Oct 24, 1970*
Oregon: University of Oregon: Sep 23, 1965; Feb 23, 1966; Feb 28, 1966*; Mar 07, 1966; Apr 11, 1966; Apr 12, 1966*; Nov 16, 1966; Nov 25, 1966*; Dec 14, 1966; Feb 03, 1967; Feb 06, 1967*; Feb 20, 1967; [Mar 1967]; Apr 17, 1967; Apr 24, 1967; May 01, 1967; May 25, 1967; Jun 21, 1967*; Jun 23, 1967; Jul 27, 1967; Jul 28, 1967*; Aug 02, 1967*; Aug 31, 1967; Sep 05, 1967; Sep 06, 1967; Sep 17, 1967*; Sep 26, 1967; Oct 06, 1967*; Oct 07, 1967*; Oct 11, 1967; Oct 13, 1967*; Apr 09, 1968; Apr 17, 1968*; Apr 19, 1968*; May 17, 1968; Mar 16, 1969; Mar 30, 1969*; Apr 25, 1973; Nov 16, 1974; Dec 02, 1974*
Orion Service & Trading Co., Inc.: Aug 08, 1958; Aug 17, 1958*
Orpet, Mildred: Feb 03, 1958; Feb 06, 1958*
Oskar, Keri: Sep 14, 1972; Sep 19, 1972*
Ostroff, Eugene: see Smithsonian Institution
Otis, Norman: Apr 08, 1949
Outerbridge & Dienstfrey: Mar 10, 1972
Owings, Margaret Wentworth: undated (4)
Ozenfant, Amedee: Oct 05, 1939; Nov 25, 1939; [1940]; Feb 26, 1940
P., J.: Feb 26, 1975
Pacific Telephone and Telegraph Company: Jan 16, 1952; Jan 20, 1952*; Oct 29, 1968*; Nov 07, 1968; May 01, 1969*
, Christina: Dec 12, 1950 (typescript of "A Passion for the Medium" by for -- Modern Photography)
Palfi, Marion: Apr 13, 1976
Palmer, Jon: undated
Palmer, Phil: Dec 01, 1965
Parasol Press: Jan 15, 1974*
Park, David: mentioned in letter dated Dec 26, 1961 from United States Information Agency
Park, Henry (Susan Park's son): May 10, 1970; Dec 07, 1972
Park, Susan: May 05, [1968]; Oct 31, 1968; Jul 24, 1969*; Aug 21, 1969*; Nov 21, 1969*; Nov 30, 1969; Dec 06, 1969*; Jan 03, 1972; Dec 07, 1972; Jan 17, 1973*; Dec 04, 1973
Parker, Elizabeth: May 20, 1960 (including a Cunningham photograph of Parker, circa 1906)
Parker, Fred: see Pasadena Art Museum
Parkin, John: May 08, 1974*; Apr 08, 1976; Jul 14, 1976 (letter of condolence to Gryffyd Partridge)
Parrish, Martha Cunningham: Feb 15, 1968; Jul 19, 1968*
Partridge, Bruce: Jun 07, 1966; Jan 03, 1974
Partridge, Gryffyd, Janet, Rym, and Loren: undated (3); Mar 30, 1943; Sep 03, 1943*; [1944]; Jul 14, 1946*; Feb 28, 1954; Jun 19, 1958; Nov 05, 1958*; Nov 05, 1958 (2); Oct 11, 1959*; Apr 14, 1960*; Apr 18, 1960; Apr 18, 1960; Apr 21, 1960*; Apr 30, 1960*; May 08, 1960*; May 18, 1960*; May 26, 1960; May 28, 1960*; Jun 04, 1960*; Jun 07, 1960*; Aug 03, 1960 (letter to Henry Gallery); Aug 05, 1960*; Feb 27, 1961; Apr 03, 1961; Jun 22, 1961; Aug 31, 1961; Sep 05, 1961; Sep 09, 1961*; Sep 13, 1961; Sep 18, 1961; Sep 21, 1961; Sep 29, 1961; Oct 08, 1961; Oct 19, 1961; Nov 10, 1961; Nov 13, 1961; Nov 21, 1961; Nov 27, 1961; Nov 27, 1961*; Dec 01, 1961; Jan 01, 1962; Apr 18, 1963*; Mar 12, 1965*; Apr 18, 1965*; Nov 27, 1966 (announcement of Loren's wedding to Frank Tose); Apr 19, 1967; Jun 01, 1968*; Jun 27, 1968*; Jul 04, 1968*; Jul 05, 1968; Jul 11, 1968*; Jul 22, 1968; Jul 27, 1968*; Aug 07, 1968*; Aug 09, 1968*; Aug 11, 1968*; Jan 24, 1970*; Nov 21, 1970 (2); Jun 21, 1971*; Aug 19, 1971; Feb 03, 1973*; Apr 30, 1974 (letter from Padraic); Jun 24, 1974 (letter from Dorothy MacDonald); Aug 21, 1974 (letter from Cunningham's lawyers, Morrison, Foerster, Holloway, Clinton & Clark); Aug 27, 1974; Sep 20, 1974; Feb 18, 1975 (letter from Cunningham's lawyers, Morrison & Foerster); also see Partridge, Loren
Partridge, Loren: Oct 04, 1968*; Oct 05, 1968; Oct 11, 1968*; Oct 17, 1968; Oct 31, 1968*; Nov 12, 1968*; Nov 21, 1968*; Dec 05, 1968*; Dec 08, 1968; Dec 14, 1968*; Jan 25, 1969*; Mar 03, 1969*; May 03, 1969*; Jun 04, 1969*; Jun 16, 1969*; Jun 21, 1969; Jul 19, 1969; Jul 22, 1969*; Jul 23, 1969*; Aug 09, 1969; Aug 09, 1969*; Sep 03, 1969; Oct 08, 1969*; Aug 02, 1971; Jan 27, 1974*; Feb 25, 1974*
Partridge, Padraic, Marjorie, and Kayla: undated (27); Aug 24, 1942; Sep 14, 1942; Jun 12, 1947; Sep 10, 1947; Nov 03, 1947; Dec 18, 1947; Jan 16, 1950; Sep 11, 1951 (Kayla's birth announcement); Jun 24, 1960; Sep 16, 1960; Jan 14, 1961*; May 09, 1961; Jan 10, 1962; May 20, 1962*; Jun 09, 1962*; Jul 23, 1962; Sep 10, 1962*; Dec 31, 1962; Sep 05, 1964*; Jan 18, 1965*; Mar 07, 1965*; Mar 25, 1965 (including 4 poems by Kayla); Apr 18, 1965* (2); Aug 11, 1965*; Aug 11, 1965; Aug 14, 1965*; Jan 12, 1966*; Feb 01, 1966*; May 08, 1966*; Aug 07, 1966; Aug 10, 1966*; Oct 04, 1966*; Nov 13, 1966*; Dec 1966; Dec 05, 1966*; Jan 04, 1967*; May 18, 1967; May 22, 1967*; Sep 22, 1967*; Oct 04, 1967*; Dec 03, 1967*; Feb 14, 1968*; Apr 10, 1968*; May 23, 1968*; Jul 07, 1968*; Sep 27, 1968*; Nov 30, 1968*; Jan 15, 1969; Mar 12, 1969*; Jul 23, 1969*; Dec 12, 1969*; Apr 01, 1972; Jan 11, 1973; Jan 12, 1974*; Jan 23, 1974; Jan 24, 1974*; Jan 26, 1974; Jan 29, 1974; Jan 31, 1974*; Feb 12, 1974*; Mar 08, 1974*; Apr 05, 1974*; Apr 16, 1974*; Apr 30, 1974 (letter to Gryffyd); May 12, 1974; May 27, 1974*; Jun 08, 1974*; Aug 13, 1974*; [Sep 11], 1974; Sep 14, 1974*; Sep 15, 1974*; Sep 28, 1974; Oct 02, 1974*; Nov 07, 1974; Nov 07, 1974; Dec 01, 1974*; Dec 24, 1974*; Dec 26, 1974*; Dec 27, 1974*; Feb 22, 1975*; Feb 28, 1975*; Mar 17, 1975; also see Photographs
Partridge, Roi and May Ellen: undated (6); Jun 16, 1958; Sep 13, 1958; Nov 07, 1958; Nov 12, 1958; Apr 15, 1960*; Dec 16, 1961; Sep 01, 1964; Mar 03, 1965; Apr 07, 1967; Apr 22, 1967; Apr 24, 1967*; Jan 06, 1968*; Apr 12, 1968; May 23, 1968; Nov 29, 1968*; Dec 27, 1968; Jul 23, 1969; Aug 12, 1969*; Aug 19, 1970; Dec 22, 1971*; Apr 1972 (poem to Rym); Sep 21, 1973; May 09, 1974; May 22, 1974*; May 22, 1974* (2); Apr 05, 1975; Jan 01, 1976; Jan 21, 1976; Feb 10, 1976; Feb 14, 1976; Apr 19, 1976; Jun 30, 1976 (letter to Gryffyd Partridge)
Partridge, Rondal, Elizabeth, Joan, Joshua, Aaron, Betsy, and Meg: undated (5); Jul 07, 1940; Sep 27, 1953*; Jan 04, 1959; Jan 03, 1960; Jul 24, 1960; Oct 14, 1961; Dec 17, 1961; Sep 29, 1962; Dec 26, 1962; Feb 08, 1965*; Apr 08, 1965*; May 04, 1965*; Apr 18, 1965*; May 10, 1965; Jun 07, 1965*; Jun 20, 1965*; Jul 03, 1965; Jul 07, 1965*; Jul 08, 1965*; Aug 04, 1965*; Aug 26, 1967 (announcement of Joan's wedding to Bruce Haynes); Jul 14, 1968*; Jul 31, 1968*; Aug 23, 1968*; Oct 14, 1968*; Dec 29, 1973; Jan 17, 1974*; Nov 29, 1974*
Pasadena Art Museum: Sep 29, 1969; Nov 19, 1969*; Oct 20, 1970; May 14, 1974
Pascal, Naomi: undated
Patkowska, Marja (Maryla): Nov 06, 1963; Sep 10, 1964; Sep 11, 1965*; Sep 25, 1965; Aug 06, 1967*; Dec 08, 1968*; Feb 08, 1973*Feb 10, 1973*
Pattee, Hilary: Oct 03, 1967; Oct 10, 1967*; Feb 02, 1968
Penick: S. B.Penick & Company (botanical products): Jul 14, 1950
Penington, Ruth: undated; Apr 04, 1974*; May 18, 1974*; May 22, 1974; May 28, 1974*; Apr 02, 1975*; Jun 10, 1975*; Aug 05, 1975 (2)
Percival, Willa: Sep 05, 1968; Feb 09, 1969*
Perry, Mrs.: May 04, 1957*
Phillips, Michael: May 25, 1972*
Phoenix College: Aug 10, 1969; Aug 28, 1969*; Sep 11, 1969; Dec 02, 1969; Dec 09, 1969*; Apr 04, 1975*
Photographer's Gallery: Nov 28, 1973*; May 22, 1974; May 29, 1974*
Photographer's Place: [Mar 31,] 1976
Photographic Society of China: Nov 27, 1962
Photography: Mar 29, 1954; Jan 31, 1955; Feb 15, 1955*; Apr 30, 1955*; Aug 30, 1955; Oct 06, 1955; Feb 02, 1956*; Oct 13, 1957*; Oct 17, 1957; Nov 12, 1958*; Jan 28, 1959*; Feb 03, 1959; Apr 29, 1959; Oct 21, 1959*; Nov 24, 1959*; Jan 01, 1960*; Feb 19, 1960; Oct 16, 1960; Feb 03, 1961; Mar 10, 1961*; Mar 24, 1961*; Apr 07, 1961; May 05, 1961*; May 09, 1961*; Oct 17, 1961; May 04, 1962; Jul 20, 1962; Aug 01, 1962; Aug 10, 1962*; Oct 07, 1962*; Jun 04, 1963; Jun 07, 1963*; May 10, 1965*
Photography in the Fine Arts: Apr 03, 1961; Feb 08, 1963*; Jun 21, 1966; Jun 22, 1966*; Jul 07, 1966; Jul 08, 1966*; Jul 12, 1966*; Jul 26, 1966; Oct 19, 1966 (2); Oct 28, 1966; Nov 04, 1966; Nov 09, 1966*; Dec 09, 1966; Dec 12, 1966*
Photography of the World: Oct 30, 1956
Photography Publishing Corp.: Sep 16, 1953
Photography Year Book: see -- Photography
Piaskowski, Nata: Jul 14, 1976 (letter of condolence to Gryffyd Partridge)
Pi Beta Phi Fraternity: undated; May 03, 1961; Nov 28, 1969*; Apr 05, 1970; May 1970; May 30, 1973; May 17, 1974*; Mar 18, 1991
Polaroid Corporation: Mar 09, 1965*; Feb 03, 1966*; May 01, 1973; May 04, 1973*
Polish Embassy: Mar 03, 1961*
Pond-Smith, David: Oct 26, 1974
Poon, Irene: mentioned in letter dated Dec 07, 1968; May 03, 1976; May 04, 1976*
Porter, Allan: see -- Camera
Porter, Bern: undated (2); May 24, 1960; Feb 05, 1964*
Posner, Irina: May 20, 1976
Powell, Jim: Feb 14, 1975
Prism: Apr 12, 1974
Professional Photographers of Northern California, Inc.: Dec 18, 1962; Jan 04, 1963*
Protze, Jens: Jun 06, 1972*
Publications Photo-Cinema Paul Montel: Nov 07, 1962 (in French)
Purcell, Victor: Dec 29, 1960; Jan 31, 1961*; Feb 28, 1961; Jun 04, 1961
Pynchon, Peter: [Sep 1965]; Apr 11, 1966
Quaker, Anna: Jul 07, 1959*
Quivira Bookshop and Photograph Gallery: Mar 28, 1972
Rado, Charles: see Guillumette: Paul Guillumette, Inc.
Raffner, Jim: [Dec 1973]*
Rags: Jul 17, 1970*; Aug 11, 1970*; Aug 24, 1970; Aug 27, 1970*
Ramsing, Roy: Aug 17, 1969
Randlett, Mary: Feb 18, 1971; Feb 27, 1971*
Random House, Inc.: Feb 01, 1971; Feb 15, 1971*; Jan 18, 1972; Jan 21, 1972*; Apr 15, 1976; Apr 17, 1976*
Rasmussen, Karen, Margarete, and Steendeiler?: [Dec 1960]; Mar 30, 1961*; Dec 25, 1961; Feb 07, 1966*
Ratcliffe, M. S.: Jan 01, 1973
Ray, Man: mentioned in letter dated Oct 17, 1961; Jan 12, 1969*
Reed, Gervais: see Henry Gallery
Reed, Robert: Oct 31, 1967
Reese, Lynn: [Dec 31, 1971]; Jul 22, 1974; also see Writings
Reimers, Margaret (Peggy): Feb 01, 1965*; Jan 13, 1969*; Mar 16, 1974*
Reynard, Jessica: Jan 27, 1967; Feb 15, 1967*
Reynoso, Louise: Jun 02, 1966*; Feb 16, 1967
Rhodes, Daniel: Jul 09, 1968*; [Jan 1969]; Jun 15, 1970; Aug 04, 1970*; Jun 09, 1971*
Richmond Art Center: Feb 10, 1967
Riordan, Dan: Sep 18, 1962 (including a calling card and a photograph of a stunt rider and horse)
Rioux, Seggei John: May 21, 1975*
Rivera, Diego: mentioned in letter dated Feb 22, 1931
Roberts, Jackie Paul: Jun 19, [1962]; Jul 01, 1962*
Robertson, Clark: Nov 06, 1967; Dec 28, 1969*
Rochester Institute of Technology: Jan 09, 1970; Feb 18, 1970*
Rockford College: Mar 15, 1967
Roerich: Nicholas Roerich Museum: Feb 24, 1960
Roethke, Beatrice and Theodore: Aug 22, 1959; Oct 29, 1959*; Nov 03, 1959 (recommendation to Guggenheim for Cunningham from Theodore Roethke); Nov 11, 1959; Dec 08, 1961; mentioned in letter dated Sep 15, 1965; Oct 21, 1968; Oct 30, 1968*; Jun 11, 1970 (letter to James McLeod); Sep 12, 1971; [Sep 12, 1971]*; May 05, 1972*; May 17, 1972; Oct 14, 1972
Rusk, Virginia Foisie: Jan 06, 1969*; Dec 02, 1971*
Russell, Elizabeth H.: Sep 08, 1954
Rustin, Arnold and Jean: Apr 05, 1965; Apr 24, 1965; Apr 28, 1965; May 04, 1965*; Jun 07, 1965*; Jun 16, 1965; Jun 21, 1965*; Aug 09, 1965*; Mar 05, 1967; Mar 09, 1967*; Sep 16, 1967*; Nov 26, 1967*; Feb 17, 1969*; Sep 20, 1970*; Dec 23, 1971*
Rustin, Debbie: undated*; Dec 10, 1961; Apr 22, 1968; Apr 30, 1968*; May 05, 1968; May 25, 1968; May 30, 1968*; Aug 12, 1968; Sep 03, 1968; Sep 10, 1968 (including photograph); Sep 10, 1968*; Sep 17, 1968; Sep 29, 1968*; Oct 28, 1968; Nov 04, 1968; Nov 23, 1968*; Nov 29, 1968; Jan 31, 1969; Feb 03, 1969*; Dec 02, 1970*; Jan 30, 1971; Mar 03, 1971*; Apr 13, 1971; May 11, 1971*; May 10, 1974; Jul 27, 1974
Ryan, Elaine: Nov 22, 1971
S., B.: Aug 23, 1963*; Sep 30, 1963*; Oct 08, 1968*
S., Thomas: Feb 22, 1931
St. Petersburg: Museum of Fine Arts: Apr 07, 1972
Sandahl, Margaret: [May 1965]; May 13, 1965*
Sands, Don: mentioned in letter dated Mar 06, 1969
San Francisco: Art Commission, City and County of San Francisco: Mar 08, 1973; Mar 28, 1973*; Apr 14, 1973; Sep 10, 1973; Sep 12, 1973*
San Francisco Art Institute: Oct 21, 1970; Jun 21, 1971; Jun 24, 1971*; Apr 17, 1973
San Francisco Chronicle: Feb 23, 1965*; Feb 26, 1965*; Nov 20, 1970*; Sep 23, 1971
San Francisco Examiner: Oct 27, 1969; Nov 09, 1969*
San Francisco International Film Festival: Dec 11, 1966*
San Francisco Museum of Art: Jun 18, 1952; Dec 04, 1964; Mar 19, 1965 (letter to John Humphrey from Phil Palmer); Jul 09, 1965; Sep 23, 1969; Feb 25, 1971; Apr 12, 1973; Feb 19, 1975; Apr 15, 1975
San Francisco Psychoanalytic Institute: Apr 14, 1959; Apr 15, 1959*
San Francisco Public Library: Apr 12, 1973; Apr 16, 1973; Feb 20, 1975; Apr 30, 1975
San Francisco State College: Mar 19, 1964; Mar 20, 1964*; Mar 09, 1965*; Apr 09, 1965*; Jan 14, 1969; Jan 28, 1969 (2); Feb 10, 1969; May 14, 1971
San Francisco Women Artists: Apr 13, 1970 (2); Apr 18, 1970*
San Jose State College: Sep 07, 1965; Mar 22, 1967; Mar 29, 1967*; Apr 03, 1967; Jul 03, 1968; Nov 12, 1968; Jun 01, 1971; also see Donoho, David
Santa Barbara Museum of Art: Apr 03, 1972; Aug 24, 1972*; Nov 21, 1972; Jan 09, 1973*; Mar 29, 1973; Apr 26, 1973*; May 07, 1973; Sep 07, 1973*; Nov 06, 1973; Nov 16, 1973*; Nov 27, 1973; Mar 28, 1974*; Apr 03, 1974; May 03, 1974*; Oct 28, 1974*; Nov 18, 1974; Nov 25, 1974
Santa Clara: University of Santa Clara: May 20, 1966; Feb 09, 1971 (including a booklet of clippings about a University of Santa Clara exhibition)
Santa Rosa-Sonoma County Free Public Library: Feb 24, 1971
Saturday Evening Post: May 24, 1962*; Jul 25, 1962*
Savage, Naomi: Sep 03, 1970; Sep 10, 1970*; Dec 06, 1970; Jun 06, 1971*
Sawahata, Alfred: [1943]; Feb 17, 1943; Mar 08, 1943; Apr 07, 1943; Aug 27, 1944; Jan 26, 1945; Feb 21, 1945; Apr 08, 1945; Mar 19, 1946; Dec 27, 1949; Nov 19, 1950*; Jun 27, 1976 (letter of condolence to Gryffyd Partridge)
Saxton (U.C. Medical School): Jun 07, 1940
Schaefer, Nance: Oct 09, 1973; Oct 29, 1973*
Schaeffer: Rudolph Schaeffer School of Design: Jan 08, 1967; Nov 05, 1974; Jul 06, 1976
Schappert, Liz: Mar 11, 1969*; Jan 07, 1974*
Scherbatsky, Serge and Phoenix: Feb 26, 1969*; Sep 18, 1973; Nov 14, 1973; Oct 19, 1974*; Mar 24, 1975; May 28, 1975*
Schoener, Allon T.: Dec 02, 1955; Dec 07, 1955*; Feb 05, 1956; Feb 15, 1956*; Feb 27, 1956*; Sep 02, 1956; Dec 02, 1956; Dec 09, 1956*; Jan 01, 1957; Jan 30, 1957*; Feb 18, 1957*; Feb 24, 1957; Feb 26, 1957*; Mar 10, 1957; Apr 06, 1957*; May 19, 1957; Jun 18, 1957*; Nov 08, 1957*; Dec 04, 1957; Dec 26, 1957; Jan 07, 1958*; Mar 10, 1958*; Dec 20, 1958*; Oct 03, 1960; Jan 09, 1973*; Feb 03, 1973*; May 02, 1973*; [Dec 25, 1973]; Jan 07, 1975*; Jan 20, 1975
Schoener, Ida and Harry: Jan 06, 1957; Jan 24, 1957*; Oct 03, 1960
Schoener, Jason and Virginia: Dec 08, 1964; Jun 11, 1965*
Schott-Hawks, Susan: Nov 12, 1973
Schultz, Carl: [Apr 05, 1971*]; Apr 05, 1971
Sculthorp, Esther: Apr 05, 1969*
Seagram: Joseph E. Seagram & Sons, Inc.: Jun 06, 1974; Jun 07, 1974*; Jul 11, 1974
Seattle Art Museum: Jun 30, 1957; Jul 16, 1957; Jan 28, 1959*; Feb 02, 1959; Jun 12, 1959 (letter from Gerdes, Montgomery & Miller re photo of Alfred Salmony); Oct 03, 1964; Dec 08, 1970; Dec 23, 1970*; Jan 22, 1971*; Jan 25, 1971; Jan 26, 1971; Jan 28, 1971*; Feb 08, 1971; May 11, 1971; May 14, 1971*; Jul 04, 1971*
Seattle: Office of Public Services: May 06, 1974*
Seaver, Keven: Aug 02, 1974
Seiberling (Steinberg), Dorothy: see -- Life
Selz, Peter: see California: University of California at Berkeley:
Semanco, Al and Bill Sonnenstahl: Apr 18, 1973
Shad's Gallery (Shedrich Williams, director): Feb 20, 1974*; Oct 12, 1974; [Oct 11, 1974]; Jan 20, 1975*; Mar 19, 1975*
Shaftel, Stanley: Aug 05, 1974
Shapiro, Norman: Oct 17, 1966; Dec 11, 1966*
Shartsis, Arthur: Mar 30, 1975*; Jun 13, 1975*; Aug 19, 1975; Sep 11, 1975; Sep 12, 1975; Sep 22, 1975; Sep 25, 1975; Nov 21, 1975; Jan 20, 1976; Feb 18, 1976; Mar 02, 1976; Mar 29, 1976; Jun 02, 1976
Sheeler, Charles: Feb 17, 1956
Shelton, Sybil: Sep 29, 1973
Shen Yao: Mar 31, 1955; Dec 11, 1955*; Oct 07, 1965*; Oct 12, 1965; May 07, 1968; Jun 12, 1970; Jan 05, 1971; Jun 21, 1971; Jan 26, 1972; Dec 30, 1972*; May 31, 1973; Jun 12, 1973*; Dec 21, 1973*; Mar 07, 1974; Mar 15, 1974*; Nov 15, 1974*; Jan 10, 1975; Jan 13, 1975*; Jul 31, 1975; Feb 23, 1976; Mar 29, 1976; Apr 23, 1976
Siegel, Arthur: undated
Siembab: Carl Siembab Gallery: Jun 10, 1968; Sep 13, 1968; Sep 17, 1968*; Sep 19, 1968; Oct 04, 1968*; Nov 04, 1968*; Nov 18, 1968; Nov 30, 1968*; Dec 27, 1968*; Mar 10, 1969*; Apr 24, 1969*; Apr 24, 1969; Jul 11, 1969*
Silverman, Jan Edward: Oct 23, 1974; Oct 28, 1974*
Sinel, Jo: Jun 25, 1942; Sep 30, 1964*; Jan 08, 1967
Siskind, Aaron: undated (see Siegel, Arthur); Feb 03, 1968*; Feb 26, 1968
Sivertz, Victorian: Oct 14, 1974; Oct 22, 1974*
Slack, Charles: May 18, 1971; May 24, 1971*
Slattery, Paul: Jan 27, 1940
Smit, R. H.: Jul 25, 1971*
Smith, Ethel Sabin: May 20, 1970 (2); Sep 21, 1970*; Jul 30, 1973*; Aug 27, 1973*
Smith, Henry Holmes: Jun 13, 1970; Jul 20, 1970*; Oct 09, 1970; Feb 02, 1971*
Smith, W. Eugene: Apr 13, 1975
Smithsonian Institution: Jul 11, 1968; Jul 23, 1968; Aug 01, 1968*; Aug 12, 1968; Sep 06, 1968; Oct 14, 1968*; Dec 28, 1968*; Jan 05, 1969*; Jan 13, 1969; Jan 13, 1969*; Jan 26, 1969; Feb 03, 1969*; Feb 08, 1969*; Mar 08, 1969*; Jul 14, 1969*; May 18, 1970; Jun 03, 1971*; Jun 09, 1971*; Jul 08, 1971*; May 29, 1974; Sep 05, 1974*; Jul 09, 1976 (letter of condolence to Gryffyd Partridge); also see Writings; also see Photographs
Snowden, Earl of: Dec 06, 1965 (letter signed by his secretary)
Snyder: Norman Snyder Studios, Inc.: Mar 04, 1976; Mar 19, 1976*
Sobel, Dr.: Mar 10, 1966*
Society for the Engouragement of Contemporary Arts: May 13, 1974
Society for Photographic Education: Apr 09, 1969
Solari, Paolo: see Photographs for gallery installations
Solem, Arnie: Jul 20, 1967
Sonnenburg: see Falkner von Sonnenburg, Erwin
Sonnenstahl, Bill: see Semanco, Al
Sonoma League for Historic Preservation: Dec 16, 1970
Sooy, Francis: see California: University of California at San Francisco
Southern Pacific Company: Dec 06, 1941; Dec 08, 1941*; Dec 23, 1941
Spear, Ann: Jul 27, 1957
Spencer, Paul: Aug 20, 1971
Spink & Gaborc, Inc.: Feb 12, 1965
Staempfli Gallery, Inc.: Jan 24, 1962
Stahlman, George: Oct 01, 1974; Oct 08, 1974*; Oct 19, 1974
Stammer, Ron: Jul 17, 1969*
Standard Pyroxoloid Corp.: Mar 12, 1969*; May 20, 1970*
Stanford University: Jan 23, 1967*; Feb 01, 1967; Feb 04, 1967; Feb 08, 1967; Feb 09, 1967; May 30, 1967*; Aug 20, 1969*; Sep 12, 1969; Jul 03, 1972; Jul 19, 1972*; Jul 27, 1972
State: U.S. Department of State: Jun 08, 1971; Jun 14, 1971*
Stauffacher, Jack Werner: Feb 17, 1965
Steichen, Edward: May 06, 1950*; May 22, 1950; Nov 17, 1959*; Jul 14, 1965; Jul 19, 1965*; Mar 17, 1969 (invitation)
Stein, B. F.: Jun 13, 1975*
Stein, Gertrude: see Metcalf: Addison M. Metcalf Collection of Gertrude Steiniana
Steinberg, Stefanie: Jan 07, 1973; Dec 25, 1973
Steinert, Otto: Dec 30, 1972*; mentioned in letter dated Jan 07, 1973 from Stafanie Steinberg; mentioned in letter dated Feb 01, 1974; Feb 07, 1974*; Feb 17, 1974*; Feb 28, 1974 (in German); Mar 01, 1974* (in German); Mar 25, 1974 (in German); Jun 03, 1974*
Stettner, Mr.: Jun 22, 1966*
Stewart, Mrs.: Jul 16, 1965*
Stieglitz: Alfred Stieglitz Archives, Yale University Library: Aug 30, 1961; Jan 08, 1962; Feb 03, 1962; Apr 09, 1962; Sep 26, 1962; Nov 29, 1962; Dec 21, 1962; Jan 16, 1963; also see Bunnell, Peter
Stieglitz, Jean (Alfred's niece): Feb 05, 1967; Feb 02, 1969; Feb 05, 1969*; Apr 19, 1969*; Apr 24, 1969; Apr 28, 1969*
Strand, Paul and Hazel: mentioned in [undated] letter from Cunningham to unidentified correspondent; Mar 18, 1960*; Mar 24, 1960; May 06, 1960; Jan 09, 1971*; Feb 23, 1971; Mar 26, 1971*; Jan 1973 (including photos of a house and 2 landscapes); Apr 14, 1973
Stratford, Hugh: Dec 19, 1966; Jan 06, 1967*
Straub, Bernice, and Maple Young: undated
Streeta, H. V. (Associated Press): Feb 04, 1967
Strother, John: Sep 23, 1971
Struss, Karl: Jan 25, 1919; Jan 1959; Jun 02, 1975; Jun 08, 1975*; Jun 21, 1975; Sep 15, 1975; Oct 11, 1975
Tatlock, Hugh: Dec 20, 1964*; Jan 07, 1965; Apr 21, 1965*; Jan 19, 1967; Jul 31, 1967*; May 28, 1971; Jun 23, 1971*; Jan 12, 1972; Nov 08, 1972*; Nov 13, 1972
Taussig, Arthur: Jul 20, 1973; Oct 13, 1973; Oct 20, 1973*
Taylor, Adrian: Apr 07, 1972; Apr 12, 1972*
Teatro Municipale: Feb 10, 1983
TeeJay Publications: Oct 31, 1974; Nov 23, 1974*
Telford, John: see Edison Street Gallery
Thomas, Michael: Jun 23, 1973*; Sep 26, 1974; Oct 03, 1974*
Thomas, Randy: see Mind's Eye
Thompson, Carol: see California: University of California at Berkeley
Thomson, Kristyne: May 13, 1974*
Tice, George: May 23, 1970; Mar 24, 1975*
Tice, Opal: Apr 21, 1967*
Time, Inc.: Dec 09, 1969*; Oct 13, 1975
Time-Life Books: Oct 11, 1969*; Dec 04, 1969; Dec 10, 1969; Dec 15, 1969; Feb 03, 1970; Feb 10, 1970; Feb 12, 1970*; Apr 13, 1970*; May 28, 1970*; Jul 19, 1970*; Aug 29, 1970*; Apr 30, 1971*; Jun 30, 1971*; Nov 16, 1971; Nov 19, 1971*; Nov 29, 1974*
Toklas, Alice B.: Dec 22, 1952*; Jan 07, 1953; Oct 21, 1954*; Nov 07, 1954; Jun 12, 1960; Sep 06, 1964*
Tomoko, Bobby: Jan 02, 1965
TONIGHT SHOW: Mar 24, 1976*; Apr 13, 1976; Apr 21, 1976*; also see Photographs
Toth, Dr. Tas: Nov 04, 1966; Jan 25, 1967*
Troeller, Linda: Jul 10, 1973
Trumbull, Harlan and Dorothy: Apr 27, 1965; Jul 09, 1965*; Jul 19, 1965; Apr 05, 1968; May 13, 1974*; May 17, 1974
Tucker, Anne: Jan 24, 1974
Tucker, Kay: Nov 14, [1968]; Nov 17, 1968; Sep 18, 1973 (including a photograph of Yankee Beach)
Turnage, Bill: Oct 22, 1974*; Oct 30, 1974; also see Adams: Ansel Adams Gallery
Tuttle, Lyle: undated
Tynan, Kenneth ( -- The New Yorker): -- Jan 29, 1960
Ulman, Elinor: undated (5); Apr 10, 1968*; Jan 26, 1971*; Mar 17, 1972*; [Apr 05, 1974]; Apr 05, 1974*; Sep 07, 1974*; Sep 27, 1974; Nov 17, 1974*; Feb 29, 1975
Ulrich, David: Sep 07, 1972; Sep 26, 1972*
U.S. Camera -- magazine (Tom Maloney): Apr 05, 1940*; Aug 25, 1941; Sep 02, 1941*; Feb 10, 1954; Mar 29, 1954; Apr 08, 1955*; Apr 30, 1956*; Jun 29, 1957*; Jan 12, 1959; Jan 19, 1959*; Jan 1969; Feb 27, 1969*; Oct 12, 1969* (2); also see Vestal, David
United States Information Agency: Jan 14, 1961*; Apr 04, 1961; Dec 26, 1961; Jun 06, 1971*;
Unte_____, Liesel: Jul 08, 1968*
Unteutsch, Liesel: May 1, 1969* (in German)
Untitled (gallery): May 04, 1976; May 13, 1976*; Jul 19, 1976 (letter of condolence to Gryffyd Partridge)
Valeska, Lette: Sep 20, 1973; Oct 20, 1973*
Valvo, Ninfa: see Stanford University
Vanasse, Sally: Apr 30, 1969
Van der Zee, John: May 27, 1972*; also see International Museum of Photography
Van Dyke, Milton: Dec 23, 1969 (photo Christmas card)
Van Dyke, Willard: Jul 28, 1947*; Apr 28, 1957*; Nov 05, 1960; Dec 15, 1960; Sep 14, 1965; Dec 01, 1966; May 14, 1967*; Jun 11, 1967; Feb 02, 1968*; Feb 17, 1968; May 15, 1968; May 19, 1968*; Jul 05, 1968*; Jul 11, 1968; Mar 16, 1970*; Apr 13, 1970*; Feb 07, 1972*; Dec 07, 1972*; May 03, 1973; [Feb 06, 1974]*; Feb 06, 1974*; Nov 25, 1974; May 11, 1975*; Jun 28, 1976 (letter of condolence to Gryffyd Partridge); also see Museum of Modern Art
Vanity Fair: May 09, 1935; Jun 10, 1935*; Jun 13, 1935
Van Meter, Bruce and Barbie: undated (2); Mar 04, 1968*; Feb 17, 1969*; Sep 19, 1969; Dec 25, 1969; Dec 29, 1969*; Mar 08, 1971; Mar 11, 1971*; Jul 25, 1971*; Aug 03, 1971; Dec 05, 1971*; Apr 29, 1976*
Vaughan, Carolyn H.: May 21, 1971; Dec 10, 1971; Dec 15, 1971*; Jan 17, 1972; Jan 21, 1972*; Feb 03, 1974* (letter of recommendation)
Vera (the designer): Mar 21, 1961*
Vestal, David: Apr 23, 1969*; Dec 08, 1969
Vignes, Michelle: Sep 30, 1974
Viking Press: Dec 13, 1956*; Jan 07, 1957
Virginia Slims Books of Days: May 22, 1973; Jun 07, 1973*
Visual Dialogue Foundation: Mar 16, 1970*
Vodman, Mary Ann: Aug 25, 1973; Mar 28, 1974*
Voelckers, Frau: Jul 31, 1947*; Jun 28, 1948; Jul 02, 1949*; Aug 14, 1949*; Feb 27, 1950*; Nov 27, 1950*; Aug 01, 1952*; Jan 09, 1953*; Dec 08, 1954*; Jan 14, 1955; Dec 26, 1955*
Voelckers, Renate: Dec 24, 1969*
Volckers, Maria Therese: Dec 20, 1958; Jan 11, 1959*; Jul 13, 1961 (in German); Jun 10, 1965*
Volunteer Service Photographers: Dec 1974
Vondras, Radek: undated
von Probpsoc.?, Jan: Aug 06, 1969*
von Sonnenburg: see Falkner von Sonnenburg, Erwin
Voyages: [Aug 12, 1968]; Dec 23, 1968*; Dec 31, 1968; Jan 06, 1969*; Jan 08, 1969; Mar 12, 1969*; Mar 26, 1969
Voystock, Thomas: May 1973
Wagstaff, Samuel: Apr 11, 1975; Apr 16, 1975*
Wahrhaftig, Alma: Jun 20, 1976
Wahrhaftig, Clyde: Jun 09, 1957; Aug 20, 1957
Waite, Esther: Jul 22, 1976
Walkinshaw, Jean: undated
Walsh, Elsa: Aug 12, 1960; Aug 30, 1965; Oct 06, 1965*; Jan 19, 1971; Oct 06, 1972*; Oct 10, 1972*; mentioned in letter dated Jun 18, 1973; Jun 25, 1973*; Jun 30, 1973; May 27, 1975*; Jul 06, 1976 (letter of condolence to Gryffyd Partridge)
Warden, J. E.: Aug 07, 1947
Warnecke: John Carl Warnecke and Associates: May 16, 1961; Dec 01, 1961; Dec 01, 1961*; Apr 25, 1962*; Jul 19, 1962; Jul 08, 1963*
Washington: University of Washington, Seattle: Jan 20, 1965; Feb 02, 1965; Mar 03, 1965; Mar 09, 1965*; Mar 12, 1965; Mar 19, 1965*; May 14, 1965; Mar 19, 1965*; Jul 28, 1965; Jun 21, 1967*; Jan 22, 1970*; Mar 14, 1974; Mar 26, 1974*; Apr 24, 1974; May 17, 1974*; Jun 03, 1974; Jun 21, 1974; Jun 25, 1974; also see Henry Gallery; also see Photographs
Washington: University of Washington Alumni Association: Feb 27, 1974; Mar 01, 1974*; Apr 04, 1974; Apr 29, 1974; May 05, 1974*; May 06, 1974*; May 10, 1974; May 14, 1974*; Jun 05, 1974*; Jul 25, 1974; Aug 03, 1974*
Washington: University of Washington Libraries: May 06, 1976
Washington: University of Washington Press: Jul 12, 1965; Jul 24, 1965*; Jul 26, 1965; Jul 29, 1965*; Jul 30, 1965; Sep 21, 1965; Oct 23, 1965*; Mar 16, 1966; Apr 04, 1966*; May 10, 1967; Sep 25, 1967; Sep 29, 1967; Apr 30, 1968; May 09, 1968*; Sep 29, 1968*; Oct 10, 1968; Nov 04, 1968*; Feb 26, 1969*; Apr 16, 1969; Apr 29, 1969; Apr 30, 1969*; Jun 19, 1969 (including contract); Jul 14, 1969*; Jul 18, 1969; Sep 15, 1969*; Sep 17, 1969*; Sep 22, 1969; Oct 08, 1969*; Oct 27, 1969; Nov 21, 1969; Nov 25, 1969*; Dec 09, 1969; Dec 23, 1969*; Jan 02, 1970; Jan 22, 1970*; Jan 27, 1970; Apr 09, 1970; Apr 26, 1970*; Apr 30, 1970; May 16, 1970*; May 18, 1970; Jun 17, 1970*; Jul 05, 1970*; Jul 28, 1970*; Aug 04, 1970; Aug 11, 1970*; Aug 14, 1970; Sep 14, 1970*; Sep 22, 1970; Sep 22, 1970*; Sep 30, 1970*; Oct 07, 1970; Oct 11, 1970*; Oct 14, 1970; Oct 15, 1970; Oct 16, 1970*; Oct 30, 1970; Nov 06, 1970*; Nov 16, 1970; Nov 17, 1970; Nov 20, 1970; Nov 26, 1970; Dec 07, 1970*; Dec 11, 1970; Dec 23, 1970*; Dec 28, 1970; Jan 05, 1971; Jan 16, 1971*; Jan 19, 1971; Feb 08, 1971*; Feb 10, 1971 (2); Feb 16, 1971*; Feb 23, 1971; Mar 11, 1971*; Mar 17, 1971; Mar 15, 1971*; Mar 29, 1971; May 02, 1971*; May 04, 1971; Jun 01, 1971; Jun 09, 1971*; Jun 16, 1971; Jun 22, 1971; Jun 27, 1971*; Jul 01, 1971; [Jul 01, 1971]*; Sep 13, 1971*; Sep 17, 1971; Feb 29, 1972*; Mar 02, 1973; Mar 28, 1973*; Apr 04, 1973; Oct 01, 1973; Nov 26, 1973; Dec 31, 1973*; Jan 10, 1974; Jan 21, 1974*; Jan 27, 1974 (including contract); Feb 05, 1974; Feb 09, 1974*; Feb 20, 1974; Mar 07, 1974*; Mar 13, 1974; Mar 30, 1974*; Apr 01, 1974; Apr 18, 1974; May 05, 1974*; May 07, 1974; May 24, 1974*; May 29, 1974 (2); Jun 03, 1974*; Sep 22, 1974*; Oct 25, 1974*; Oct 29, 1974; Oct 31, 1974; Dec 22, 1974*; Dec 26, 1974; Jan 07, 1975; Jan 27, 1975; Feb 02, 1975*; May 12, 1975; May 29, 1975*; Oct 16, 1975; Jan 09, 1976; Jan 14, 1976; Feb 27, 1976; Mar 17, 1976; Mar 23, 1976; Apr 19, 1976*; May 20, 1976; Jun 04, 1976; Jun 24, 1976
Watkins, Malcolm and Joan: Mar 13, 1969; Apr 14, 1969*; Sep 10, 1970*; Oct 24, 1970; Oct 25, 1970*; Oct 26, 1970*; Feb 15, 1971*
Watterston, Henning: Dec 11, 1948*; Feb 10, 1949*; Feb 21, 1949*; Mar 18, 1949*; Aug 01, 1949*; Nov 19, 1949*; May 22, 1950*; Dec 04, 1951*; Jan 12, 1954*; Jan 03, 1956*; Feb 22, 1971; Feb 26, 1971*
Weaver, Gay: Jun 01, 1974
Webb, Lucille and Todd: Dec 11, 1971 (including photograph of the Webbs)
Weber, Al: Apr 12, 1971
Wehr, Wesley: Feb 06, 1974
Welpott, Jack: Nov 27, 1971* (letter of recommendation); mentioned in letter dated May 15, 1974
Werling, Bob: Mar 12, 1972*; May 29, 1972*; Mar 29, 1974*; Sep 04, 1974; Apr 28, 1975*; May 22, 1975*; Jan 1976; Apr 16, 1976*
Wessels, Glenn: Jan 05, 1968
West Coast Airlines: Jun 07, 1966; Jun 11, 1966*; Jun 14, 1966; Jun 20, 1966*; Jun 21, 1966; Jul 01, 1966; Nov 09, 1966*; Nov 14, 1966; Nov 30, 1966; Dec 08, 1966*; Dec 11, 1966*; Jan 26, 1967*; Jul 26, 1967; Jan 04, 1968; Jan 09, 1968*
Western Association of Art Museums: Feb 02, 1967*; Feb 22, 1967; Feb 25, 1967*; Mar 02, 1967; Mar 17, 1967*; Feb 19, 1976 (2)
Western Family: Oct 1955
Weston, Edward: Jan 12, 1928 (photocopy)
Wheat, Beth: undated
Whistler Productions: May 02, 1974*
White House Cultural Affairs Office: Dec 06, 1969
White, Maynard (Clarence White's nephew): Jun 28, 1974
White, Minor: undated; Apr 02, 1951; Jul 20, 1951 (including a typescript re the Albert M. Bender Trust); Mar 08, 1954*; Mar 25, 1954; Jul 07, 1954*; Jul 16, 1954; Jul 28, 1954*; Aug 03, 1954; Aug 09, 1954*; Sep 07, 1954; Oct 21, 1954*; Oct 25, 1954; Nov 12, 1954*; Feb 10, 1955*; Feb 22, 1955; Aug 10, 1955; Aug 21, 1955*; Aug 26, 1955; Jan 23, 1956; Mar 01, 1956*; Mar 02, 1956; Mar 18, 1956*; Mar 22, 1956; Jan 23, 1957; Mar 11, 1957*; Mar 13, 1957; Mar 20, 1957; Mar 28, 1957*; Apr 02, 1957*; Apr 03, 1957; Apr 10, 1957; Apr 29, 1957*; May 10, 1957; May 14, 1957*; Jun 24, 1957*; Sep 12, 1957*; Jan 05, 1958; Jan 15, 1958; Feb 12, 1958*; Feb 23, 1958; Apr 06, 1958*; Sep 07, 1958*; Sep 13, 1958; Jun 01, 1959*; Oct 23, 1959; Nov 20, 1959*; Dec 12, 1959; Dec 20, 1959*; Dec 28, 1959; Feb 25, 1961; Mar 10, 1961*; Apr 1961; Dec 26, 1962; Feb 28, 1963*; Apr 02, 1963 (2); May 07, 1963; Nov 12, 1963; Feb 23, 1964; Mar 19, 1964; Mar 24, 1964; Mar 28, 1964*; Apr 01, 1964; Apr 04, 1964; Apr 21, 1964; Apr 30, 1964*; May 20, 1964*; Jun 11, 1964; Aug 10, 1964*; Sep 27, 1964*; Nov 26, 1964*; Dec 08, 1964; Dec 20, 1964*; Feb 13, 1965; Jun 11, 1965*; Jun 23, 1965*; Jul 13, 1965; Dec 08, 1966*; Jan 09, 1967; Jan 20, 1967*; Feb 22, 1967*; May 26, 1967*; Jan 10, 1968; Jan 26, 1968; Jan 29, 1968; Feb 02, 1968*; Feb 14, 1968*; Feb 15, 1968; Feb 25, 1968; Mar 25, 1968; Apr 02, 1968* (2); Apr 11, 1968; May 20, 1968; Aug 09, 1968*; Jan 01, 1969; May 03, 1969*; Jan 13, 1970*; Jan 16, 1970; May 07, 1970* (2); Aug 30, 1970*; Sep 27, 1970*; Oct 05, 1970; Oct 09, 1970*; Nov 05, 1970*; Nov 17, 1970; Aug 09, 1971*; Oct 07, 1971; Feb 29, 1972*; Mar 21, 1972; Dec 04, 1973; Dec 23, 1973*; Jan 07, 1974; Jan 17, 1974; Jan 13, 1975*; mentioned in letter dated Mar 14, 1976; Apr 10, 1976; also see Massachusetts Institute of Technology
Whitney Museum of American Art: Mar 11, 1959; Mar 14, 1959*; Jun 01, 1973; Jun 13, 1973*; Jul 23, 1973; Sep 21, 1973; Nov 13, 1973; Mar 20, 1974; Apr 22, 1974*; May 07, 1974; Nov 26, 1974; Feb 19, 1975; Feb 24, 1975
Wilcox, Jeduthan: Oct 16, 1971; Nov 08, 1971*; Nov 24, 1971; Nov 26, 1971*
Wildenhain, Marguerite: Feb 08, 1955; Feb 28, 1955*
Willard, Marian: Nov 23, 1956
Williams, Jonathan: Jan 20, 1971; Apr 10, 1971
Williams, Shedrick: see Shad's Gallery
Williams, Tina: Jun 25, 1963*
Williamson, Irene: Jan 08, 1971*; Mar 22, 1971*; Aug 22, 1977
Willis, Elizabeth Bayley: Nov 10, 1970
Wilson, Adrian and Joyce Lancaster: Dec 26, 1965; Feb 18, 1975 (letter from Cunningham's lawyers, Morrison & Foerster)
Wilson, Nicholas: Dec 19, 1973 (including 23 picture postcards)
Winkler, John (Wink): Jan 05, 1952; Jul 26, 1958; Jan 28, 1959; May 08, 1961; Sep 18, 1963; Jun 06, 1964; May 20, 1971; Jun 09, 1971*
Winlaw, Joseph: undated
Winningham, Geoff: Dec 10, 1968; Dec 12, 1968*; Dec 20, 1968; Dec 28, 1968*; also see Latent Image (Gallery)
Winokur?, Paula and Bob: Nov 05, 1963
Wisdom: Dec 12, 1956; Dec 24, 1956*
Wiseman, Diane: Apr 12, 1975; May 21, 1975*
Witkin Gallery (Lee Witkin, director): undated; Jan 13, 1969*; Jan 16, 1969; Aug 10, 1969; Sep 26, 1969*; Oct 16, 1969; Oct 18, 1969*; Jan 19, 1970; Apr 22, 1970; May 27, 1970; Jul 31, 1970; Aug 03, 1970*; Aug 08, 1970; Sep 07, 1970*; Sep 12, 1970; Sep 29, 1970; Oct 08, 1970*; Oct 24, 1970*; Oct 27, 1970; Nov 05, 1970*; Nov 06, 1970*; Nov 14, 1970; Nov 22, 1970; Dec 03, 1970*; Dec 08, 1970*; Feb 03, 1971; Feb 10, 1971*; Feb 13, 1971; Mar 27, 1971*; Apr 08, 1971; Apr 26, 1971*; May 02, 1971; Aug 04, 1971; Aug 07, 1971; Nov 09, 1971; Nov 18, 1971; Dec 15, 1971; Dec 17, 1971; Jan 23, 1972; Jan 28, 1972*; Mar 18, 1972; Mar 26, 1972*; Apr 17, 1972; Apr 24, 1972; May 15, 1972*; Dec 06, 1972; Mar 03, 1973; Mar 19, 1973*; Mar 26, 1973*; Mar 29, 1973; Apr 12, 1973; Apr 21, 1973; Apr 23, 1973*; May 09, 1973; May 10, 1973; May 17, 1973*; May 31, 1973; Jun 28, 1973*; Jun 30, 1973; Jul 25, 1973; Sep 05, 1973*; Sep 08, 1973; Sep 19, 1973*; Sep 28, 1973; Oct 17, 1973; Nov 07, 1973*; Nov 11, 1973; Nov 23, 1973; Nov 29, 1973*; Jan 05, 1974 (including letter dated Aug 08, 1973 from the American Foundation for the Blind); Jan 11, 1974*; Feb 07, 1974*; Mar 06, 1974*; Mar 13, 1974*; Mar 20, 1974; Mar 30, 1974; Apr 05, 1974*; Apr 11, 1974; Apr 18, 1974*; Jun 01, 1974*; Sep 07, 1974; Sep 11, 1974*; Oct 15, 1974*; Feb 01, 1975*; Feb 27, 1975*; Apr 12, 1975; Apr 25, 1975; Apr 30, 1975*; May 14, 1975*; Jan 16, 1976; Feb 28, 1976; Mar 29, 1976*; Apr 14, 1976; May 05, 1976*; May 18, 1976; May 27, 1976
Witt, Doreen: Dec 12, 1974
Witt-Diamont, Ruth: Nov 17, 1959*; Nov 30, 1970
Wolman, Baron: [Aug 1972]; Aug 02, 1972*
Wood, Charles Erskine Scott: see Kolisch, Marian Wood
Woods, Gurdon: undated; May 1970; Feb 15, 1971*
Wornum, Michael: Feb 08, 1966*
Worth, Courtia: undated
Worth, Don: Oct 31, 1968; mentioned in letter dated Dec 17, 1970*
Wright, Evelyn: Jan 08, 1973*
Wurlitzer, Pauline: Sep 11, 1958; Sep 11, 1958*; Sep 24, 1958; Nov 05, 1958*; Oct 31, 1960
Wurster, William (Bill): Jun 07, 1967; Jul 15, 1967*; Jul 28, 1967*; Jun 04, 1968*; Jul 04, 1968*; Jan 31, 1969*; Feb 03, 1969; Feb 25, 1969*; Apr 08, 1969; Apr 22, 1969; Apr 15, 1970
Yale University Library: see Stieglitz Archives
Yale University School of Art: Mar 12, 1976; Mar 19, 1976*; Apr 26, 1976
Yamamoto, Norito: Jul 01, 1959*; Sep 24, 1959*
Yao, Shen: see Shen Yao
Yick Contractors: Dec 21, 1966*; Jan 25, 1967*; Feb 25, 1967*
Young, Maple: see Straub, Bernice
Zane, Marjorie: Dec 14, 1967*
Zapton, Steve: see Untitled (gallery)
Zeldin, Karen Dash: undated
Zins, Ronald: Jun 25, 1970; Jun 29, 1970*
Zinszer, Mary Lemoyne: Oct 10, 1947*; Jan 31, 1969*; May 03, 1969*; Aug 07, 1969*; Oct 01, 1969; Nov 14, 1969*; Dec 09, 1969*; Jan 08, 1970*; Dec 23, 1971*
Zlatovski, Jane: see Foster, Jane
Zorach, William: Jan 15, 1960
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
This series contains family correspondence and extensive professional letters from noted artists and art world figures including critics, writers, collectors, museums and other art institutions. Scattered letters from Pach can also be found here.
See Appendix for partial chronological list of letters from Series 2.
Arrangement note:
This series is arranged as two subseries.
Missing Title
2.1: Family Correspondence, 1883-1980
2.2. General Correspondence, 1903-1969
Appendix: Partial Chronological List of Letters from Series 2:
Missing Title
From J.B. Young [?], October 5, 1900: New York, N.Y. Eric Dell recovered from consumption; Terry also had it and was treated at an English sanitarium; entertained several actors; made a brief trip to the country. 2 pp., illustrated with drawing, "an interpretation of how you will look when you next visit New York."
From Franji Vaatsvoort, September 18, 1903: Haarlem, the Netherlands. Severe storm; received Pach's postcards. Picture postcard (Frans Hals, "Cordelia Voogt Claesd., vrouw van Nicolaes van der Meer"
From Theodore Roosevelt, Washington, D.C., March 5, 1904: President's autograph. Card with engraving of the White House.
From Frank R. Wadsworth, Chicago, Ill., [postmarked] March 2, 1905: Intends to go to Spain; advises Pach to write about art; recommends the Madrid gallery; discusses Chicago's new orchestra hall and the death of Thomas; opinions about the jury system; is sending pictures to Philadelphia, the one eastern city likely to accept them. 6 pp. + enclosures (silhouettes of monkey, 3 birds, and cat by a 10-year-old child).
From Luis E. de la Rochas, Madrid, Spain, December 24, 1905: thanks Pach for photographs of works of art; inquires about the progress of Pach's own painting; will send a picture of his latest painting, as he is interested in Pach's opinion; sends regards to Mr. Chase. 3 pp., in Spanish, illustrated with drawing of a bearded man.
From Edith Bell, New York, N.Y., [postmarked] December 24, 1905: Christmas greetings; thanks Pach for showing her the Goya sketch. 2 pp.
To Claude Monet, Giverny, France, June 3, 1906: advises that knowing how to use color is most important and should become a matter of habit; lists his palette. 1 p., in French, typescript copy.
From Charles Scribner's Sons, New York, N.Y., February 13, 1907: printed form letter with payment for "The Memoria of Velasquez."
From Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] April 24, 1907: mentions Kenzan picture Pach is interested in; thanks Pach for showing sketch to Henri, Ogihara's former teacher; lists some exhibitors in the Salon, with opinions of their work; thinks Rodin's work is great; he met Rodin at his studio. 4 pp. + 1 p. enclosure (note to Yamanaka & Co., New York, about Kenzan picture), in Japanese.
From Piet van der Laan, Leeuwarden, the Netherlands, May 11, 1907: likes portrait of Pach by Chase with its strong "Rembrandtic" shadow; reminisces about Chase; hopes to marry Annie in August. 4 pp.
From Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] September 10, 1907: wonders if and when Pach is returning to Paris. Postal card.
From Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] September 12, 1907: urges Pach to visit after his stay in Italy. Picture postcard ("Reine d'Egypte en Isis--Bronze antique").
From [signature illegible], Director, The Royal House, Florence, Italy, October 5, 1907: the king grants permission to copy the Catherine de Medici portrait at the Pitti Palace. 1 p., in Italian.
From Claude Monet, Giverny, France, November 4, 1907: Monet will receive Pach this week on Wednesday or Thursday afternoon. 1 p., in French.
From Lelebuss, New York, N.Y., November 21, 1907: thanks Pach for birthday greetings; several friends are now married.
From Edith Bell, New York, N.Y., November 25, 1907: visited Henri and saw 40 canvases; describes Henri's new studio at 135 E. 40th St.; Lawson and Stevenson called at the studio while she was there; recalls Pach's description of visits to Monet and Ogihara; "it is my belief that Mr. Henri is afraid of George Bellows. He praises him so." 5 pp. + enclosure (photograph of a portrait by Edith Bell).
From Moriye Ogihara, Florence, Italy, December 25, 1907: Christmas greetings; discusses travels in Italy and art seen. 4 pp.
From Moriye Ogihara, Florence, Italy, December 26, 1907: has been to the Academy; praises Miss Frohberg. Picture postcard ("Firenze Lung' Arno Corsine").
To Alice Klauber from Walter Pach, Paris, France, January 3, 1908: he is looking at art; received a picture from her cousin; asks if she saw the article on Matisse he wrote for the Hearst paper. Picture postcard ("Frans Hals, La Bohemienne"), in Japanese, with English postscript.
From Moriye Ogihara, Arezzo, Italy, January 5, 1908: leaving for Assisi soon; stayed too long in Florence sightseeing with Magdalene. Picture postcard ("Arezzo, La Catte drale").
From Moriye Ogihara, Rome, Italy, [postmarked] January 14, 1908: staying at the same pensione as Frost. Picture postcard ("Torso di Belvedere di Dietro").
From Moriye Ogihara, Athens, Greece, January 22, 1908: discusses sightseeing in Greece and his trip through Italy; observations about Frost; "I appreciate Rodin very much since I have been in Italy"; offers to correct Pach's written Japanese.
From Gerda Stein, [place unknown], January 29, 1908: "Dearest love to Lena and best wishes for a very happy Birthday." Greeting card.
From Roger Marx, Editor, -- Gazette des Beaux-Arts -- , Paris, France, February 12, 1908: wants to publish a comprehensive study of the state of painting in the United States; must choose between original engravings and photographic reproductions for illustrations. 2 pp., in French.
From Moriye Ogihara, Cairo, Egypt, February 13, 1908: steamer has been delayed two days but he can continue to work. Picture postcard ("Ramesseum at Thebes").
From [Rais?], Paris, France, [postmarked] March 19, 1908: invites Pach to visit on Friday. 1 p., in French.
From William Merritt Chase, Florence, Italy, July 16, 1908: is leaving for Paris tomorrow; invites Pach to meet him at Caffe [sic] Du Paix that evening. 1 p.
From Olga [de?], Paris, France, December 24, 1908: has completed 3 portrait commissions; wants to see the Velasquez, which is said to be "splendid." Picture postcard ("Paris, Eglise Saint-Augustin"), in French.
From Piet van der Laan, Leeuwarden, the Netherlands, February 6, 1909: is looking for a new teaching position; their infant son is now healthier. 3 pp.
From Annie van der Laan, Leeuwarden, the Netherlands, March 13, 1909: thanks Pach for the brush and birthday greetings; invites him to the Netherlands; tells about their baby. 1 p., in Dutch.
From Piet van der Laan, Leeuwarden, the Netherlands, March 15, 1909: discusses Shaw's -- Candida -- and -- Man and Superman -- ; is studying Nietzsche. 2 pp.
From Arthur B. Davies, New York, N.Y., May 29, 1909: discusses Pach's essay about him. 1 p.
From Moriye Ogihara, Tokyo, Japan, May 30, 1909: "Devil came into my mind and I am suffering and suffering"; Saito visited with news of Pach and pictures to exhibit at the Taiheiyo Art Association. Sequence of 5 picture postcards (1, "Wisteria"; 2. "Peony Blossoms at Yotsame"; 3. [bridge--title in Japanese]; 4. "Iris"; 5. "Peony Blossoms at Yotsame").
From Arthur B. Davies, New York, N.Y., June 1 [10?], 1909: wishes to reschedule studio visit by Pach and Mr. Of. 2 pp.
From Arthur B. Davies, New York, N.Y., [postmarked] July 9, 1909: interested in Gauguin and how he compares with Degas. 1 p.
From Arthur B. Davies, New York, N.Y., April 8, 1910: sends clipping about Matisse; recommends article about the Venus de Milo. 1 p.
From K. Tohary, Tokyo, Japan, May 11, 1910: Moriye Ogihara died in Tokyo, April 22, following an attack of vomiting blood; Tohary plans to publish a book about him; requests that Pach send Ogihara's letters and any recollections he wants to contribute. Rice paper scroll.
From Arthur B. Davies, New York, N.Y., May 14, 1910: "I found your article on Matisse the most enlightening I have read so far." 1 p.
From Albert Pinkham Ryder, New York, N.Y., May 26, 1910: thanks Pach for "kindly interest" in his work. 1 p. + enclosure (reprint of a poem, "The Voice of the Forest").
From Henri Rouart, La Queue en Brie, France, September 17, 1910: sorry he was unavailable to welcome Pach and his friends. 1 p., in French.
From [unknown], New York, N.Y., [postmarked] October 5, 1910: empty envelope with no return address. Sketch of head on reverse.
From Clifton A. Wheeler, Mooresville, Ind., October 12, 1910: describes fellow passengers aboard ship; gives details of getting paintings through customs; advises Pach to start preparing necessary documents for bringing home his property. 5 pp. + enclosures (4 small etchings: 2 portraits, 2 landscapes).
From Julian Alden Weir, New York, N.Y., November 25, 1910: discusses his interest in etching, especially drypoint. 4 pp.
From Morton Livingston Schamberg, Philadelphia, Pa., December 27, 1910: met Stieglitz and "was well satisfied with his attitude. He hasn't the intelligence of a Leo Stein but he is sincerely interested and is getting into a position where he could do one lots of good"; met Hartley; visited Henri's studio; Stieglitz and Henri think "I am too cock-sure of myself. If they only knew"; completed 20 to 25 pictures in the last year; sends photographs of some. 3 pp. + enclosures (7 photographs of Schamberg's work: 6 figures, 1 exhibition installation).
From Adolph Werner, New York, N.Y., December 21, 1910: is teaching less at the university now that he is the "President's lieutenant." 2 pp.
From Auguste Renoir, Cagnes, France, March 28, 1911: thanks Pach for allowing him to review the article before publication; wants the interview portion withheld because it seems critical of Saint-Saens and Pillet-Will and suggests posthumous publication; feels flattered by Pach's review. 4 pp., in French.
From Eugène Leroy, Paris, France, March 27, 1911: is happy to have been of service; the Association Philotechnique enjoys meeting foreigners who appreciate its teachings and will take home pleasant memories of France. Note on calling card, in French.
From Auguste Rodin, Paris, France, June 1, 1911: is willing to meet with Pach to discuss Fujikawa's book on Ogihara. 2 pp., in French.
From E. D. Smyth, Côtes-du-Nord, France, August 31, 1911: will answer Pach's letter; apologizes for being fussy about the Stendahl etc." Picture postcard (Etables, Côtes-du-Nord, Les Grottoes.")
From E.D. Smyth, Côtes-du-Nord, France, September 5, 1911: is leaving soon for Saint-Malo; will return Pach's "Tuscan book" and send 2 others; recounts events of the summer; describes some hotel guests and the cottage where her family is staying; wants to see Daumier originals. 14 pp.
From Ruth A. Wilmot, Brooklyn, N.Y., October 7, 1911: is glad their misunderstanding is straightened out; someone on the boat unintentionally insulted her companion; homesick for Paris; working again; finds New York "invigorating." 5 pp.
From Joe Garvey, Alpine, N.J., November 21, 1911: is back From honeymoon; wants to go to Europe but first must sell property. 4 pp.
From Herman Reimers, Christiana, Norway, November 24, 1911: thanks Pach for the gift of an etching; will not be moving to Paris after all; was appointed director of political affairs at the ministry. 4 pp., in French.
From Tete, New York, N.Y., December 14, 1911: Christmas greetings; misses him; family news; has been in contact with Pach's parents. 4 pp., with sketches of busts on the envelope.
From Margherita Innocenti, Pensione Innocenti, Florence, Italy, December 22, 1911: thanks Pach for kind words about her and for recommending the pensione; 4 American women are there now. 3 pp., in Italian.
From Margherita Innocenti, Pensione Innocenti, Florence, Italy, February 9, 1912: -- Ladies -- . Will be happy to have friends of Pach stay at the pensione. 1 p., in Italian.
From E.D. Smyth, Florence, Italy, February 21, 1912: describes guests at Pensione Innocenti; met young Italian artist, Gino "Sensano or Sanseno [Severini]," who knows Stella and other mutual friends; recounts visits with Signorina A.B. and Mr. Loeser; returning by sea due to Helen's illness; will not see Pach again this trip. 6 pp.
From Louis Lombard, [place unknown], April 15, 1912: note of dedication, 1 p. + 2 pp. enclosure (copy of "Chants d'Amour," a poem by Henry Marx), in French.
From E.D. Smyth, [place unknown], Ireland, April 27, 1912: "Have made half my notes From the cahier" and will send them to H.M. soon. Postal card.
From Eugène, Paris, France, [postmarked] April 26, 1912: will come on Sunday at 9:00; is happy that Pach was not expelled because now he can work in peace for a few more days. 1 p., in French.
From Arthur Burdett Frost, Davos, Switzerland, May 5, 1912: has eye problems that doctors cannot treat; Jack is recovering; plans to spend summer in the Black Forest and return to Davos for the winter; Pach writes well; finds it "refeshing to read really honest stuff"; is working on a book of caricatures. 8 pp.
From Fujikawa, Paris, France, June 4, 1912: saw Mr. Molissa and is interested in his work; Pach should express Fujikawa's thanks to Molissa; is going to Florence where he hopes to see Pach; requests photographs of any new work Pach completes. 3 pp. + 5 enclosures (brief thank you notes From M. Lernait, Tererco?, L. Lombard, Louis Varday, and Romanet), in French.
From Georges Speirer, Paris, France, June 6, 1912: heard From friends that Pach is in Florence. 2 pp., in French.
From [signature illegible (L.L.?)], Levallois, France, July 1, 1912: hopes Pach will spend the winter in Paris; is glad Pach is pleased with his paintings of Arezzo. 4 pp., in French.
From Maurice Socard, Paris, France, July 19, 1912: thanks Pach for his letters; will send photographs taken at his country house; friends agree with Pach's assessment of Milan. 6 pp., in French.
From Elie Faure, Paris, France, July [30?], 1912: is not surprised that Pach received a discouraging letter From Floury, who has requested another translator; Faure wants Pach to do the job. 4 pp., in French.
From Egisto Fabbri, Paris, France, November 28, 1912: declines Pach's invitation, due to illness. 1 p.
From G.A. Bourdelle, [place unknown], December 4, 1912: the Toussaint sculpture can be installed with or without a socle; declined to participate in the New York exhibition before realizing Pach was the organizer; keep the photograph of Toussaint's work. 3 pp., in French.
From [unknown], Gambier, Ohio, [postmarked] December 4, 1912: empty envelope with no return address.
From Wilhelm Lehmbruck, Paris, France, December 6, 1912: Two sculptures, -- Woman Kneeling -- and -- Large Torso -- , and 2 drawings are being sent to Pach for his exhibition. 1 p., in French.
From Robert Henri, New York, N.Y., January 3, 1913: discusses photographs of Besnard's work; reminisces about discovering decorations by Besnard at the College of Pharmacie; compliments Pach's Winslow Homer article; "there is a growing state of expectancy about the 'armory' exhibition, and there is little doubt but that it will make a great stir, and do a great deal of good in a great variety of directions"; news of George Bellows, Guy Pène du Bois, Boss, Kent, Coleman, Sprinchorn, Sloan, Van Sloun, and Bohnen. 4 pp.
From Odilon Redon, [place unknown], France, January 6, 1913: he is flattered by Pach's article, which he believes will enhance his reputation in America; Pach should try to visit soon, as they plan to go south in a few days. 2 pp., in French.
From Raymond Duchamp-Villon, Paris, France, January 16, 1913: agrees with Pach that each generation of artists draws inspiration From undeveloped ideas found in the work of preceding generations; no French architectural style has emerged since the 18th century, confirming the idea that eras without defined aspirations produce no monuments; current politics and intellectual freedom presage hope for the 20th century; as Pach demonstrated, painting was the dominant 19th-century aesthetic, thus developments in other arts will come From painting; a new architecture is needed for modern life; in a time when money reigns supreme, artists should practice simplicity; machines are now a powerful presence in all of life. 4 pp., in French.
From Constantin Brancusi, Paris, France, [postmarked] January 24, 1913: his cousin has just finished a painting that Pach should see; invites Pach to dinner. 1 p., in French.
From Elie Faure, Paris, France, February 11, 1913: if he goes to England, he will contact Mr. Fry; wants to introduce a painter friend to the Steins; Pach is a rare friend and intellectual equal. 2 pp., in French.
From Jacqueline d'Argent, Chinon, France, March 1, 1913: has fond memories of their interesting conversations; present acquaintances are not intellectual and gossip too much; applied for a medical assignment in Algeria but is unsure about moving. 2 pp., in French.
From Constantin Brancusi, Paris, France, March 13, 1913: asks Pach to decide the price of the bronze; congratulations on the success of the exhibition. 3 pp., in French.
From Arthur B. Davies, New York, N.Y., [postmarked] April 5, 1913: borrowed works are being returned to Europe; Roman Bronze Co. could make a good cast of Brancusi's -- Mlle. Pogany -- owned by Belle Greene; "looking forward to a genuine recreation in Boston as to art interest"; doubts Chicago's appreciation, Mr. Eddy notwithstanding. 2 pp.
From Ary Le Bland, Paris, France, April 5, 1913: a copy of -- La Vie -- , featuring the information Pach provided about Redon, is being sent; asks Pach to write about art trends in America for -- La Vie -- and publicize the magazine. Postal card, in French.
From Jacques Villon, Paris, France, April 13, 1913: congratulates and thanks Pach for promoting the acceptance of modern art; extends appreciation to Davies and Kuhn. 3 pp., in French.
From Raymond Duchamp-Villon, [place unknown], France, April 18, 1913: received Pach's letter and check; the Duchamp brothers are embarrassed by their success and do not talk about it; wishes Gleizes were having his share of it; asks how the other artists fared; a commission agency requested cubist paintings for America; worried that cubism is becoming a commodity; the 4 copies of -- Noa, Noa -- he purchased at a good price have been shipped. 2 pp., in French.
From M. Lernait [Lemaitre?], Saigon, Indochina, May 25, 1913: thanks Pach for writing and for his friendship; the countryside near Saigon is beautiful; he misses Paris. 4 pp., in French.
From Jacques Villon, Versailles, France, June 19, 1913: thanks Pach for selling another painting; Salon d'Automne opens later than usual this year; Torrey called on him, Marcel, and Picabia; Raymond is going on vacation soon; sends regards to Davies and Kuhn. 4 pp., in French.
From Maurice Brazil Prendergast, Boston, Mass., June 25, 1913: is recovering From surgery; thanks Pach for sending postcards and showing interest in him. 3 pp.
From Jean Le Roy, Paris, France, [postmarked] July 1, 1913: comments on the success of Pach's exhibition; has a temporary job; finished college; might travel to Guinea; discusses his poetry published in -- Les Bandeaux d'Oro -- ; met de Verhaeren, whom he admires. 4 pp., in French.
From Marcel Duchamp, Neuilly-sur-Seine, France, July 2, [1913?]: heard all about the American exhibition From his brothers; thanks Pach for "enthusiastically defending their work"; still awaiting payment; will spend August in England; Torrey called on them. 3 pp., in French.
From Maurice Brazil Prendergast, Boston, Mass., [postmarked] July 11, 1913: is recovering From his "hospital experience"; recounts trouble with studio lease; asks Pach to notify him of suitable space available in New York. 4 pp.
From Maurice Socard, Paris, France, August 1, 1913: Pach is a kindred spirit; Pach's competence and ability to elicit appreciation for modern painting made the show a success. 2 pp., in French.
From F. Wentscher, [place unknown], Hungary, August 24, 1913: is painting out of doors; won't return to Paris until November. Postal card, with original illustration of horse-drawn carriage, in German.
From Jacqueline d'Argent, Blida, Algeria, September 8, 1913: is now practicing medicine in Blida; describes the scenery and local people; congratulates Pach on his marriage. 6 pp., in French.
From Raymond Duchamp-Villon, Neuilly-sur-Seine, France, September 25, 1913: just received Pach's article and will comment on it in the next letter; thanks Pach for promoting his and friends' work; will see the Steins soon and try to learn more of the rumored American reaction against their ideas; the Salon d'Automne opening is delayed until November; Pach's mention of the Delaunay affair confirms rumors of discord; asks Pach to determine if and when unsold paintings and sculpture were returned. 2 pp., in French.
From Clifton A. Wheeler, Indianapolis, Ind., December 22, 1913: museum's schedule cannot accommodate Pach's exhibition; describes upcoming January show; the museum hopes to acquire a Davies painting; "the exhibition in Chicago (The International) did not strike me with overwhelming force, but I have enough respect for the opinions of Mr. Davies and yourself to admit that the fault may have been my own"; congratulations on engagement to Miss Frohberg. 7 pp. + 1 p. postscript from -- Hila Drake Wheeler -- wishing Pach and Miss Frohberg happiness.
From G. Villon, Paris, France, [1914]: congratulations on the birth of Pach's son; heard From her husband who is in the army; asks Pach's opinion of some drawings; is working with blind children in a hospital. 4 pp., in French.
From Constantin Brancusi, Paris, France, January 26, 1914: asks Pach to determine whether the owner of -- Muse Endormie -- wants the piece in marble; a reduced price is possible, but he must know soon; met Mrs. Stieglitz; asks Pach's advice about showing his marbles in New York. 4 pp., in French.
From Constantin Brancusi, Paris, France, February 19, 1914: received the check; distressed to be participating in a show that may prove harmful to Pach's cause; asks Pach not to be hurt by his unwitting mistake. 4 pp., in French.
From Walter Arensberg, Boston, Mass., March 1, 1914: "The exhibition was tremendously fresh and fine"; compliments Pach's work. 1 p.
From Jean Le Roy, Paris, France, [postmarked] March 4, 1914: congratulations on Pach's marriage; encourages him to continue painting; news of Lombard and Clapp. 2 pp., in French.
From Maurice Brazil Prendergast, Saint-Malo, France, June 12, 1914: thanks Pach for reproducing his work in -- Century -- magazine; is returning home sooner than planned; Renoir's new work is "way ahead of his former landscapes." 3 pp.
From Raymond Duchamp-Villon, Courbevoie, France, June 26, 1914: is impatient for news of a proposed project; Mrs. A. Roosevelt will be in touch with Pach; her work has shown progress; during the past year, modern art has begun to attract interest and generate discussion among some previously unreceptive people. 2 pp., in French.
From Odilon Redon, Bièvres, France, July 10, 1914: if Pach organizes another exhibition, he wants to participate. 3 pp., in French.
From Joseph Stella, Venice, Italy, July 20, 1914: discusses his travels in Europe; Greece reminded him of Davies's pictures; no reply From the futurists in Milan; recounts a meeting with Walkowitz in Patrai, Greece. 5 pp.
From Alexandre Mercereau, Paris, France, [postmarked] July 30, 1914: can secure work by interesting artists for exhibition; inquires whether foreign works and jewelry are acceptable; he organized an international exhibition of cubism with an accompanying symposium in Prague; offers to lecture in the United States if Pach can find a way to pay for the trip; is sending information about an organization he founded; wants to establish an American branch; needs an American editor for his books; Brancusi's participation is essential. 4 pp., in French.
From Raymond Duchamp-Villon, Paris, France, August 7, 1914: just received registered letter and invitations; continuing with exhibit plans is impossible, as all of their friends are mobilized; work of Gleizes, Villon, and Metzinger being exhibited in Berlin probably will be lost; a negative reply From Chapell ended long-held hopes; wholehearted thanks due to Pach for countless efforts and true friendship; the French are ready to die for peace and freedom; confident of the future, despite anxiety over friends now in danger. 4 pp., in French.
From Raymond Duchamp-Villon, Saint-Germain-en-Laye, France, August 26, 1914: war conditions make collaboration impossible; is serving as a paramedic; no bad news concerning anyone Pach knows. 2 pp., in French.
From Raymond Duchamp-Villon, Saint-Germain-en-Laye, September 11, 1914: will consult with friends about planning an exhibition in the United States; Gleizes is at Toul; Villon is with the British army at Rouen. 2 pp., in French.
From Albert Pinkham Ryder, New York, N.Y., September 13, 1914: is looking forward to having the Pachs and Mr. Wheeler visit his studio. 2 pp.
From Michael Stein, Agay, France, October 19, 1914: requests details about the exhibition Pach is organizing; Pach should tell Matisse "he must now look to America for a market for his art for some time to come"; "it is about time he [Matisse] were ranked among the accepted classics and bought freely." 3 pp.
From Jean Le Roy, Brest, France, [postmarked] November 10, 1914: plans to enlist soon; is worried about Kohler at the front. 4 pp., in French.
From Jacques Villon, [place unknown], France, November 23, 1914: comments on the war and his painting; congratulates Pach on his New York exhibition. 1 p., in French.
From Piet van der Laan, Zutphen, the Netherlands, January 24 and February 8, 1915: Congratulations on the birth of Raymond; cannot visit Pach in Paris because of the war. 4 pp. + 3 pp. enclosure (copy of a poem by Dante), in Italian.
From Raoul Dufy, Le Havre, France, January 29, 1915: sent 2 copies of his Bestiarie; wants Pach to choose a drawing, watercolor, or Bestiarie as a gift of thanks; heard From Derain, Apollinaire, and Gleizes, all in the army; de la Fresnaye was wounded; asks if Basler, Brummer, and Kahnweiler are art dealers now that they have settled in New York; considers Basler an honest man. 4 pp., in French.
From Raymond Duchamp-Villon, Acheux, France, February 26, 1915: still in Saint-Germain where his wife continues her work at the military hospital; Villon spent the entire winter in the trenches but bears it well; glad Quinn bought Cat and Parrot; thinks Quinn should have the final versions in wood rather than cast reproductions and instructs Pach to discuss it with him; received Marcel's articles and reproductions; understands the change that has affected Pach's desire for new means of artistic expression. 2 pp., in French.
From Raoul Dufy, Le Havre, France, March 3, 1915: lists the 4 paintings he is sending; accepts and reiterates the payment schedule; Pach should select a painting for himself; will send some paintings on silk; promises to write about decorative art in his next letter. 4 pp., in French.
From Marcel Duchamp, Paris, France, March 12, [1915?]: received the Matisse catalog and remembers the goldfish painting; Villon is in good health and good spirits; is optimistic about prospects for peace by summer; after a family vacation in Rouen, he finished glass and other projects; Raymond is happy in Saint-Germain, where his wife is a hospital nurse; does Pach know if Delaunay is in America; wants to visit Brancusi; has no news of Picasso, Braque, or Derain. 4 pp., in French.
From Marcel Duchamp, Paris, France, April 2, [1915?]: is preparing for an exhibition; describes arrangements for sending Raymond's works to Pottier; 2 paintings, a drawing, and papers are being sent to Pach; reports on the work and conditions of Raymond, Rifemont-Dessaisner, and Villon; has decided to leave France and go to New York; wants to know when he should come and if securing employment as a librarian will be difficult; does not want his family to know of these plans for a while; includes price list for paintings. 3 pp., in French.
From Jacques Villon, Acheux, France, April 13, 1915: glad to learn that his paintings and engravings have sold; is looking forward to returning to normal life and working with greater intensity; being welcomed in New York should boost his self-confidence and provide some peace of mind regarding financial security; the matter of Dr. Stum's paintings cannot be settled until the war ends; is sending Pach engravings and drawings; a shipment of sketches made during the war can be published as documentaries; after being away From home for 8 months, he envies Pach's happy family life; emerging spring contrasts sharply with human evil. 3 pp., in French.
From Marcel Duchamp, Paris, France, April 27, [1915?]: is displeased by the reply received; understands that Pach misses Paris and the artist's life he led there; he is increasingly dissatisfied and the point is to leave Paris rather than to go to New York; asks help in finding a library job in New York so he will not have to depend on selling paintings; does not want his family to know yet. 7 pp., in French.
From Marcel Duchamp, Paris, France, May 21, 1915: has decided to depart on June 5, despite family and sentimental reasons for rescheduling; spoke to Raymond about Arensberg's magazine; Mme. Picon probably has articles by Mercereau, Gleizes may have articles, and other friends could contribute poems and prose; has decided on a job for the duration of his stay in America, but it will prevent him From painting. 3 pp., in French
From Theodore Duret, Paris, France, May 22, 1915: hopes Pach's efforts at promoting the latest in modern art, especially Van Gogh and Lautrec, have been successful; has written a comprehensive book on Van Gogh, which is to be published when the war ends; asks if the Van Gogh painting he loaned to the exhibition has been sold. 4 pp., in French
From Alice Derain, Paris, France, May 28, 1915: thanks Pach for sending a check and for handling her affairs; the paintings From Mme. Lebas were not shipped because Derain is not satisfied with them and decided not to sell; some landscapes may be available soon because Derain has spare time and can try to work; a recent portrait of the couturier Monsieur Poiret may be his best painting yet. 2 pp., in French
From Georges Rouault, Versailles, France, [postmarked] June 1, 1915: (1) Discusses works in progress that may be suitable for the exhibition Pach is organizing; the shipment will also include a ceramic plaque for Quinn; Quinn persists in asking about Rouault's military status; 6 times already he has been disqualified due to a weak heart; academies, medals, and awards are not about art; nature and other artists are more inspiring than unimaginative teachers. (2) Pach should keep a Rouault piece unless he prefers to select one when in France; his simplified ceramics are real faiences; his paintings are lighter and more fluid; his show after the war will include German types and landscape and religious paintings. (3) Perhaps Quinn will be interested in the paintings shipped; within the year, a larger selection of ceramics will be available for Quinn, but at the moment his focus is on painting. 4 pp. (3 separate notes), in French
From Jean Le Roy, [place unknown], France, June 12, 1915: describes his flower-decorated trench and the surrounding countryside; started a magazine called Les Imberbes with an editor and typographer friend; intends to send poems to Pach's American publication. 5 pp. + 1 p. enclosure (poem, "Printemps"), in French
From Maurice Brazil Prendergast, Boston, Mass., July 7, 1915: thanks Pach for Dufy's book; "tell Monsieur Dufy when you write him I felt more pleased than if I got a gold medal"; he and Charlie will leave soon for Maine. 4 pp
From Marcel Duchamp, New York, N.Y., [postmarked] July 28, 1915: inquires whether Pach received the palette he sent; spent the evening with Quinn, Gregg, and Kuhn; Gregg was likable and Kuhn fascinating; thinks Quinn could be supportive; Quinn was anxious to know if cubism has been killed by the war; once his English improves, he wants to convince Quinn to discard his ideas about the politics of art. 2 pp., in French
From Alice Derain, Paris, France, August 7, 1915: sends receipt for payment in full; her husband is in the service; Braque was seriously wounded; Doucet died; Picasso is in Paris; her husband hopes to meet Pach. 2 pp., in French
From Raoul Dufy, Paris, France, September 18, 1915: has received a payment toward Quinn's account; Quinn has purchased additional works; credits many sales to his association with Pach; is able to paint while in the military; after the war, he hopes the French can become better acquainted with American painters; is pleased to hear that Prendergast liked his gift; wants to see photographs of Prendergast's work; requests catalogs with reproductions of American furniture. 4 pp., in French
From Raymond Duchamp-Villon, [place unknown], October 17, 1915: feels renewed interest in his work; continues his research; observations about the war; Villon has suffered and was awarded a Military Cross; requests news of Pach and mutual friends; Pach should determine Quinn's intentions. 3 pp., in French
From Henri Matisse, Issy-les-Moulineaux, France, November 20 and 29, 1915: is delighted by the prospect of an exhibition of French art; will do what he can to help obtain the Seurat painting for exhibition; thanks Pach for selecting his work for the exhibition at Bourgeois and agrees to send additional pieces; lists etchings sent to Miss Bryant via Pottier; the photographs showed great improvement in Pach's portraits; advises a warmer palette; will offer additional frank comments after seeing new pictures; is working hard and just finished an important painting, which already has been sold; is still recovering From bronchitis. 12 pp., in French
From Louis Lombard, [place unknown], France, December 28, 1915: best wishes for the coming year. Postal card, in French
From Theodore Duret, Paris, France, December 29, 1915: read a favorable review of the Van Gogh exhibition; asks if Pach was able to sell Duret's Van Gogh still life; his book about Van Gogh will be printed after the war. 4 pp., in French
From Mary Socard, Paris, France, December 31, 1915: greetings and good wishes; believes the war will be followed by much misery and great changes. 2 pp., in French
From Jean Le Roy, [place unknown], France, [postmarked] [?,?] 1916: his commanding officer knows Picasso, Marie Laurencin, and Derain; Lafitte was killed; wants news of Pach; thank the magazine Others if his poem "Spring" is accepted. 5 pp., in French
From Georges Rouault, [place unknown], France, [undated] [1916?]: received the catalog and Pach's review with the reproduction of his painting; his grandchild is sick; they are going to the seashore; is working on an exhibit; thanks Pach for helping sell a painting; though in poor health, he may have to join the army; suggests an album of reproductions. 10 pp., in French
From Jacques Villon, Paris, France, January 5, [1916]: he is assigned to the central atelier for camouflage; works with other artists, not all of whom share his outlook; has many ideas for new work; no news From Marcel or Picabia. 4 pp., in French
From Georges Rouault, [place unknown], France, [postmarked] January 22, 1916: personally delivered the paintings to Pottier for shipment; worries that the large works will not have the style and the color of the small ones; wants to have his exhibition ready before going to Italy; has not seen Villon recently. 2 pp., in French
From Piet van der Laan, Zutphen, the Netherlands, February 7, 1916: thanks Pach for the "ex-libris"; he is busy translating a lengthy book on medieval Italy; discusses Dante. 4 pp
From Jacques Villon, [place unknown], February 10, 1916: speculates that an art form may develop From the war. 1 p., in French
From Maurice Brazil Prendergast, New York, N.Y., March 23, 1916: confirms 5 titles for inclusion in the exhibition catalog; has a good photograph for Pach's book. 2 pp
From Maurice Socard, Paris, France, April 2, 1916: remembers Pach as one of his best students; one of the many reasons for their friendship is Pach's love for France; quotes Descartes; compares the French ideal of liberty with the German interpretation; comments on French and German science. 4 pp., in French
From Ruth Wilmot, New York, N.Y., [postmarked] April 9, 1916: compliments Pach on the lectures he presented to her group; encloses payment. 2 pp
From Henri Matisse, Issy-les-Moulineaux, France, April 28, 1916: extends best wishes for the success of the exhibition; asks Pach not to reveal the extremely reduced price of the painting Arensberg bought; asks if Max Weber has a large gallery; wants to obtain sound recordings of typical exotic chants. 4 pp., in French
From Mme. Victor Le Roy, Paris, France, May 30, 1916: belatedly acknowledges receipt of Jean's poems; [UNK] husband, Victor, died near Verdun; Jean may come home on leave. 1 p., in French
From Jean Le Roy, [place unknown], [postmarked] June 2, 1916: thanks Pach for forwarding his poems to American publications; believes poets are well treated in the United States; uncle Victor died in the war; Carreau was wounded. 4 pp., in French
From Raoul Dufy, Paris, France, June 3, 1916: thanks Pach for writing an article defending the ideas of modern French art, which had come under attack by a young American critic; wants to know if there are opponents of French modern art in New York; exhibitions are returning to Paris; Quinn purchased -- The Yellow Hat -- ; is sending a thank-you gift and an etching. 1 p., in French
From Emil Gay, Watkins Glen, N.Y., June 12, 1916: enjoyed Pach's lectures. 6 pp
From E.D. Smyth, [place unknown], England, June 16, 1916: news of a mutual friend killed in the war; discusses Jean Le Roy. 4 pp
From Camille Redon, Cannes, France, [July 1916?]: Redon is recuperating in Cannes; asks for the return of their pictures, when feasible. 2 pp., in French
From Camille Redon, [place unknown], July 4, 1916: Redon is gravely ill with pulmonary congestion; the doctors are concerned. 1 p., in French
From Jacques Villon, Puteaux, France, [postmarked] July 12, 1916: Miss Bryant's purchase boosted his morale and was welcome financially; Marcel is delighted with America; speculates that Marcel may eventually settle in America. 3 pp., in French
From Camille Redon, Bièvres, France, August 6, 1916: Redon was buried several days ago; a gallery in the Petit Palais will be devoted to him and there will be an exhibition at the Beaux-Arts in the spring; reflects on the solitude and anonymity of many great artists during their lifetimes. 4 pp., in French
From Georges Rouault, Paris, France, [postmarked] August 14, 1916: Pach should return all paintings and drawings when he can; thanks Pach for his help; his wife and infant daughter are unwell; bought a new house; will be able to work when the family leaves Paris; received the item Pach sent him From Quinn much sooner than anticipated. 2 pp., in French
From Souza Cardoso, [place unknown], Portugal, [postmarked] September 25, 1916: comments on the picture shown on the card. Picture postcard (photograph of a woman and child in costume), in French
From Henri Matisse, Issy-les-Moulineaux, France, October 14, 1916: the information Pach sent about Bourgeois raises hopes for a good exhibition at his gallery; in reply to the question about a frame for the portrait of Arensberg, insists that modern paintings do not need frames, especially gold ones that contain a picture by stopping its extension; will look at Pach's paintings any time; Mrs. Havemeyer parted with the Ingres as a condition for another purchase; From photographs, gives his opinion of the authenticity and condition of 12 paintings. 11 pp., in French
From Henri Matisse, Issy-les-Moulineaux, France, November 6, 1916: sends description and opinion of a picture he omitted From a previous letter; art is selling well in Paris. 4 pp., in French
From Paul Signac, Saint-Tropez, France, November 18, 1916: illness prevents him from complying with Pach's request to select works for exhibition; suggests sources From which to borrow Seurat paintings. 3 pp., in French
From Florence Bing, New York, N.Y., [undated (1917)]: condolences on the death of Pach's mother. 1 p
From Albert Gabriel, [place unknown], [undated (1917)]: "Accept my sincere sympathy." Note on calling card
From Leigh Hunt, [place unknown], [undated (1917)]: "Heartfelt sympathy." Note on calling card
From Professor Adolph Werner, [place unknown], [undated (1917)]: "Condolence." Note on calling card
From Ruth Wilmot, [place unknown], [undated (1917)]: condolences on the death of Pach's mother. 2 pp
From Mme. Raymond Duchamp-Villon, Compiègne, France, [postmarked] January 6, 1917: her husband is hospitalized with multiple ailments, including typhoid; condolences on the death of Pach's mother. 2 pp., in French
From Constantin Brancusi, Paris, France, January 19, 1917: thanks for check From Quinn; is pleased that he was satisfied with the sculptures, despite difficulty in assembly; plans to visit the United States after the war. 3 pp., in French
From Gino Severini, Paris, France, February 7, 1917: has written a preface explaining the ideas of the avant-garde; wants Pach to oversee the translation; asks that the three fragile pastels be framed inexpensively by Stieglitz. 2 pp., in French
From Childe Hassam, New York, N.Y., March 30, 1917: thanks Pach for help in determining latest possible date to submit work for exhibition. Note on the reverse of printed announcement of a show of Hassam's etchings and drawings at Frederick Keppel & Co., November 16- December 2
From Gino Severini, Paris, France, April 28, 1917: expresses appreciation for the success of his exhibition; his paintings should be returned at a more favorable time; a longer version of his preface on modern art will appear in -- Le Mercure de France -- ; asks to be remembered to his friends and for news of sales and reviews of his show. 4 pp., in French
From [signature illegible], New York, NY., May 14, 1917
From [signature illegible], New York, NY., May 16, 1917
From Charles Sheeler, Philadelphia, PA., May 17, [1917?]
From Charles Cooper, New York, NY., May 19, 1917
From [signature illegible], [Vienna, Austria?], July 22, 1917
From Alexandre Mercereau, [place unknown (at the front)], July 26, 1917: is sending Pach a selection of his writings, which he hopes can be published in the United States; is anxious for a good translation; believes the book he just wrote is his best and is willing to offer it to an American publisher before it appears in France. 4 pp., in French
From Gino Severini, Paris, France, September 6, 1917: discusses work in progress; offers congratulations on the first Independents show; praises Pach's selfless efforts; authorizes use of any remaining works for other exhibitions; thanks Pach for arranging sales and sending reviews. 4 pp., in French
From [signature illegible], [place unknown], October 26, 1917
From Louis Lombard, [place unknown], France, October 26, 1917: reminisces about good times together; has less desire to write poetry now; is learning German and Italian. 2 pp., in French
From Maurice Socard, Paris, France, November 3, 1917: describes superb Renoirs seen in the Rue de la Boetie; hopes Pach's remarkable efforts on behalf of modern art will be fruitful; notes qualities needed for portrait and landscape painting. 4 pp., in French
From Louis Lombard, Ingolstadt, Germany, [postmarked] November 26, 1917: boredom and solitude are his routine; thanks Pach for gifts of books and tobacco; sends holiday greetings. Postal card, in French
From Camille Redon, Paris, France, December 8, 1917: if it remains unsold, Pach should keep the Redon painting until the war is over; American troops are arriving; she follows the exhibitions; likes Matisse; Mr. Quinn is behind in his payments. 4 pp., in French
From Arthur Burdett Frost, Madison, N.J., January 5, 1918: thanks Pach for condolences upon the death of his son; wants Pach to look at his son's work and consider writing an article. 4 pp
From Georges Rouault, Versailles, France, [postmarked] January 15, 1918: discusses titles of 2 pieces; general terms are more suitable titles for his subjects; Matisse was ridiculed by many because for a year he numbered all canvases; Rouault's albums will be numbered rather than titled; suggests framing and matting techniques for the double-sided piece; his new paintings won't need glass; he has always been lonely, but now is isolated as well; has a new daughter. 4 pp., in French
From Arthur Burdett Frost, [place unknown], February 1, 1918: thanks Pach for his interest in his son Arthur; offers a photograph of Arthur to illustrate Pach's forthcoming article. 4 pp
From Arthur Burdett Frost, [place unknown], [between February 1 and March 12, 1918]: thanks Pach for the manuscript; plans to send additional photographs of Arthur. 4 pp
From Arthur Burdett Frost, [place unknown], [between February 1 and March 12, 1918]: returning Pach's manuscript; requests a copy. 2 pp
From Maurice Socard, Paris, France, February 20, 1918: letter of gratitude for Pach's friendship and efforts on behalf of modern art; discusses idealism, imagination, art, and the search for truth. 3 pp., in French
From Elie Faure, Paris, France, March 12, 1918: is sending copies of his last 3 books; thinks -- The Holy Face -- is his most important book; it is about war in general and includes personal experiences From the present war. 4 pp., in French
From Mme. Le Roy, Paris, France., May 19, 1918: Jean died while a prisoner of war. 3 pp., in French
From Raymond Duchamp-Villon, Cannes, France, May 20, 1918: is sending Quinn a drawing and photograph that relate to his rooster sculpture and show the original architectural setting for the piece; will send the script of a comedy written with a friend for performance at a military hospital, which Pach may translate and publish in America; glad that the rift between Pach and Marcel is mended; recently saw Matisse hard at work; Villon is in the army and has no time for work. 4 pp., in French
From Gaby Duchamp, [place unknown], France, May 23, 1918: thanks Pach for arranging sales to Quinn; her husband is well, doing research, and will resume his art when the war ends; Raymond is in the hospital in Cannes; there were interesting Matisse and Picasso exhibitions in Paris. 2 pp., in French
From French Army, [place unknown], July [?], 1918: confirms the death of Jean Le Roy on April 26; sends details of the battle, as Pach requested, and text of citation. 4 pp., in French
From Mme. Le Roy, Paris, France, August 19, 1918: thanks Pach for the touching gesture of dedicating his University of California course to Jean's memory; sends a copy of the citation Jean received the day he died. 3 pp., in French
From J. Van Gogh Bonger, Far Rockaway, N.Y., August 20, 1918: sons wrote of good times with Pach in Berkeley; they were in Honolulu and now should be in Japan; first volume of the "Letters" has been translated; discusses her brother's friendship with Redon. 4 pp
From Camille Redon, Bièvres, France, September 23, 1918: thanks Pach for lecturing on Redon and his work; has a full set of engravings and lithographs; litho stones were erased, but copper plates are at the museum in Amsterdam; plans to sell prints after the war and will offer Pach some he lacks; comments on arrival of American forces, with whom her son-in-law is an officer. 4 pp., in French
From Morton Livingston Schamberg, Philadelphia, Pa., September 30, 1918: belated thanks for the two Indian tiles; he and Sheeler readily agreed who should have which tile. 2 pp
From Frederic C. Torrey, San Francisco, Calif., October 8, 1918: is glad Pach is in California; anticipating the end of the war; tell Mme. Van Gogh he regrets not meeting her. 4 pp
From Mme. Duchamp-Villon, Paris, France, October 11, 1918: Raymond died of uremia; she plans to return to work at the front; will send Raymond's design for a chess set; wonders if Quinn purchased the rooster drawing. 2 pp., in French
From Vincent Van Gogh Bonger, Kobe, Japan, October 27, 1918: "Best regards From Vincent." Picture postcard ("Joie de Vivre")
From Elie Faure, [place unknown], October 30, 1918: thanks Pach for sincere appreciation of The Holy Face; the book received mixed reviews; if there is an English edition, Pach should be the translator; agrees to contribute to the magazine; suggests an article on "America in the War"; the final volume of History of Art will not be published until after the war due to paper shortages; maybe Pach can obtain appropriate paper. 2 pp., in French
From Maurice Socard, Paris, France, November 12, 1918: finally met with Pach's friend for a discussion of Pach's aesthetic preferences and the relationship between philosophy and art; read about Pach's University of California lectures; Paris is celebrating the end of the war. 7 pp., in French
From Jacques Villon, Paris, France, November 13, 1918: Raymond died following a second operation; is determined not to leave Raymond's work unfinished. 2 pp., in French
From Marcel Duchamp, Buenos Aires, Argentina, November 15, [1918?]: as a close friend and admirer of Raymond, Pach must be grieving his death; although provincial, Buenos Aires is calm and conducive to work; brought notes for the glass and plans to continue drawings for it; Argentines are aware of cubism but do not understand it; is planning an exhibition for Buenos Aires in May or June; asks Pach to help H.M. Barzun, who will be contacting him about the show; outlines his schedule for the coming year; anticipates readjusting to peacetime. 3 pp., in French
From Jean Le Roy, [place unknown], [postmarked] December 15, 1918: thanks Pach for bringing his pamphlet to Arensberg's attention; discusses his interest in rhythm in poetry. 4 pp., in French
From Frederic C. Torrey, San Francisco, Calif., December 19, 1918: holiday greetings; compliments Pach's writing, specifically his latest article in the Dial; discusses the Dana prize awarded in Philadelphia to McComas. 5 pp
From the Butlers, New York, NY., [postmarked] December 23, 1918: Christmas card, "Victory Christmas"
From Mabel Torrance, New York, N.Y., January 12, 1919: just learned the classes will be discontinued. 3 pp
From Elie Faure, [place unknown], January 21, 1919: thanks Pach for efforts with American publishers on his behalf; before the war only Germany had a culture large enough to take immediate interest in his kind of intellectual endeavors; awaiting instructions From Johnson concerning the articles he is writing; comments on diplomats of the Entente and political matters; compliments -- Modern School -- ; is sending a brochure about a restored castle his brother is attempting to sell. 4 pp., in French
From Frederic C. Torrey, San Francisco, Calif., February 3, 1919: nude is on the way to Arensberg a day late; his wife will be very happy to sell Un Descendant; "I want the Russian experiment to be given a fair chance"; comments on "Russian 'refugees"'; thanks Pach for assistance in the "Arensberg matter." 7 pp
From Frederic C. Torrey, San Francisco, Calif., February 7, 1919: received Arensberg's check; painting was shipped late, with a lesser valuation, due to changes in regulations; discusses new tax bill. 3 pp
From Elie Faure, [place unknown], May 4, 1919: notes the poor reception of his book in France and the United States; discusses his current work; opinions of world politics. 4 pp., in French
From Maurice Socard, [place unknown], May 12, 1919: much disagreement about the terms of the peace treaty; feels that Germany must serve a term in purgatory. 3 pp., in French [filmed with the wrong envelope]
From Marcel Duchamp, Buenos Aires, Argentina, June 6, 1919: regrets having abandoned plans for an exhibition there; Buenos Aires is ready for new art. 2 pp., in French
From Xavier Martinez, Piedmont, Calif., June 16, 1919: received Courbet, Society of Independent Artists, and Redon catalogs; congratulates Pach. 2 pp., in Spanish
From Ismael Smith, New York, N.Y., June 25, 1919: Margarita Cordoba From Cuba, representing the Independents, is sending a picture of la Mazantinita, a famous Spanish ballerina. 1 p., in Spanish, +8 pp. enclosure (11 designs for bookplates)
From Jacques Villon, Neuilly-sur-Seine, France, June 26, 1919: thanks Pach for check, letter, and catalog; writes of his work plans for the coming year, when he expects to make up for lost time; comments favorably on Pach's painting; notes activities of his friends, including Gleizes, Picabia, and Marcel. 2 pp., in French
From Marion L. Chamberlain, Santa Barbara, Calif., August 10, 1919: she and Miss Phillips enjoyed Pach's lectures at the Berkeley Summer School; they purchased 2 Renoir lithographs From Mr. Torrey. 4 pp
From Marcel Duchamp, Paris, France, [postmarked] September 3, 1919: his friends and their lives seem little changed since the war; other than the work of his brother and Picabia, he sees little of artistic interest; will be in New York in December; saw Yvonne Duchamp-Villon. 3 pp., in French
From Sybil Kent Kane, New York, N.Y., [postmarked] November 26, 1919: thanks Pach for etchings of "my beloved Chapel." 1 p
From Pietro Brunelleschi, Florence, Italy, [postmarked] December 5, 1919: accepts Pach's invitation for the following day. Note on business card, in Italian
From Elie Faure, Paris, France, January 11, 1920: economic conditions preclude publication of his fourth volume at this time; saw Redon a month before he died, when he spoke of indifference to the opinions of others and concern with expressing himself; discusses the masterpieces in his personal collection, among them Redon, Delacroix, Daumier, and Van Gogh. 8 pp., in French
From Edgar L. Hewett, Archaeological Institute of America, San Diego, Calif., February 2, 1920: met with Sloan and Henri to make arrangements for the "Indian art exhibition"; thanks Pach for encouragement with the exhibition plan; compliments Pach's article in the Dial. 1 p
From Xavier Martinez, Piedmont, Calif., March 12, 1920: thanks for the Dial and the invitation; compliments Pach's article on American Indian art; thinks Pach writes just as well as he paints; is enthusiastic about plans for an American Indian exhibition. 2 pp., in Spanish, + enclosure (sketch of American Indian head)
From Elie Faure, Paris, France, April 20, 1920: is happy about what Pach tells him of Delacroix; he owns 3 works by Delacroix and considers him one of the greatest painters; paper shortages have delayed publication of volume 4; asks if Pach is willing to undertake more translation work; someone else has offered, but Pach is preferred; -- The Dance on Fire and Water -- is being sent for Pach's opinion; the book best condenses Faure's ideas on the aesthetic interpretation of history; like Pach, he organizes exhibits around topics. 4 pp., in French
From Elie Faure, Paris, France, April 23, 1920: Pach must let him know right away if he can do the translation; discusses publishers' contracts; Faure will furnish all photographs for illustration at prewar prices; Pach's other Faure translations have drawn high praise. 2 pp., in French
From J. Metzinger, [place unknown], May 15, 1920: thanks Pach for the check and efforts on his behalf in New York; Pach should keep an unsold painting and dispose of the others as he wishes; people no longer laugh at cubism, but they don't yet understand it; despite war and the hard times that followed, cubism survives; offers his help if Pach wants to exhibit there. 2 pp., in French
From Elie Faure, Paris, France, May 23, 1920: discusses the details of his 4-volume -- History of Art -- now being published; a copy of volume 1 is being sent to Pach. 2 pp., in French
From John Sloan, Santa Fe, N.M., June 9, 1920: began painting the week after arriving in Santa Fe; a Corpus Christi procession provided subject matter; had work accepted for the "Metropolitan Anniversary Ex."; comments on "Art and Craftsmanship" article in the Dial. 2 pp., illustrated with a drawing of Sloan in his studio
From Elie Faure, Paris, France, June 20, 1920: discusses the publication of his book, especially the quality and cost of illustrations for the English edition; judging any work of art requires distance in time and space. 4 pp., in French
From Elie Faure, [place unknown], July 3, 1920: discusses costs for engraved plates and cheaper electrotype plates; asks Pach to select photographs of Peruvian and Mexican monuments, Mexican sculpture, and an American Indian decorated tent or other appropriate images for use in Mediaeval Art; this second volume will contain new illustrations of the art of India and Gothic art. 2 pp., in French
From Elie Faure, Paris, France, July 11, 1920: thanks Pach for writing an article about him; comments favorably on Pach's paintings; is considering adding a section on modernist painting, which would mention Pach, to the third edition of -- History of Modern Art -- . 2 pp., in French
From Jacques Villon, Puteaux, France, July 25, 1920: he recently read the notes found among Raymond's papers, but the haphazard and often obscure ideas would reveal nothing new to Pach; is sending pictures of the horse, some showing the prewar plaster version and others the beginning of the final verson; Raymond's experience in the cavalry made him an expert horseman, and many sketches of horses made during the war show he continued to think of the sculpture he had started; is also sending photographs of sketches, a bust of Professor Gosset, plans for a chess set, and other works; some of Raymond's notes pertain to the design of a surgical center; is certain that Raymond would have continued the research that led him From literal representation to mechanical aspects; thanks Pach for preserving the memory and work of the late artist. 5 pp., in French
From Jacques Villon, [place unknown], August 1, 1920: is sending Pach several photographs and 2 drawings; gives installation instructions for Raymond Duchamp-Villon's last sculpture, Dr. Gosset, with sketches of front and side views of the piece [large portions illegible]. 2 pp., in French
From Elie Faure, Neuilly-sur-Seine, France, August 13, 1920: discusses illustrations for his book; Marcel Duchamp will not be included; mentions other artists he has omitted or included and the relative value assigned to each, perhaps mistakenly; discusses those classified as impressionists and neoimpressionists; mentions new directions in art, among them scientific ones. 8 pp., in French
From L.L. Kane, Long Lake, N.Y., August 26, 1920: Pach's pictures are "quite safe at 47th St. until your return"; he especially appreciates Mme. Derain, which hangs with 2 Copley portraits in the breakfast room. 4 pp
September 12, 1920: note indicating Samuel Ramos is with the Comision Mexicana de Cooperacion Intelectual
From Elie Faure, Paris, France, September 28, 1920: provides correct spellings for works of art, as requested; will send proof sheets of printed photographs with placement instructions; still waiting for the promised photographs of American Indian art. 2 pp., in French
From Elie Faure, Paris, France, November 10, 1920: discusses in detail the illustrations for his book, their placement and captions; an article about cinema in the -- Freeman -- expresses ideas very close to his own; reflects on current politics. 6 pp., in French
From Elie Faure, Paris, France, November 26, 1920: thanks Pach for the photographs; hopes instructions regarding illustrations and page-setting were received; requests a signed copy of the contract with -- Harpers -- ; is still thinking about writing an article for the -- Freeman -- ; is enclosing an advertising circular designed for his book and suggests something similar for the American edition. 2 pp., in French
From Elie Faure, Paris, France, December 22, 1920: the photograph of Herculeum arrived; his editors are pleased; volume 4 will be ready in a few days and a copy will be sent to Pach; the American edition contains stupid mistakes; plans to write an article for the Freeman; will send Pach his article on cinema. 2 pp., in French
From Elie Faure, Paris, France, January 17, 1921: describes his visit to London, emphasizing the British Museum; likes little of British art; considers Bonnard, Matisse, Picasso, and Derain in the forefront of modern art; he appreciates Pach's opinions on art, even when in disagreement; because Pach is younger, his views are an excellent indicator of current taste. 4 pp., in French
From Piet van der Laan, Utrecht, the Netherlands, January 21, 1921: thanks for the bookplate Pach designed; compliments his article in the Freeman; is attempting to sell paintings by a young Dutch artist friend. 3 pp
From Elie Faure, Paris, France, February 3, 1921: hopes to rewrite volume 1, as he is unhappy with it; Spanish translation is delayed due to paper shortages; his brother's chateau is to be sold; wrote an article on Charlot. 3 pp., in French
From Maurice Brazil Prendergast, New York, N.Y., February 28, 1921: thanks Pach for introducing him and Charlie to Mr. and Mrs. Brummer; their work will be exhibited at Brummer's March 15-April 1; read Pach's article on Matisse; will try to see the exhibition. 3 pp
From Elie Faure, Paris, France, March 1, 1921: discusses changes to the title of his 4-volume -- History of Art -- ; volume 1 is being shipped to Pach soon; believes French academics slander France. 2 pp., in French
From Elie Faure, Paris, France, March 4, 1921: Is still trying to find a place for the Pachs to stay; his own apartment will not be available until August; discusses the title of his book and asks Pach to write the introduction; the article on Charlot was not published. 2 pp., in French
From Clara La Follette, -- Freeman -- , New York, N.Y., [postmarked] March 7, 1921: sends letter received by the -- Freeman -- that she thinks will amuse Pach. 1 p., + 2 pp. enclosure (letter rubber stamped February 23, 1921 [date of receipt?] to Mr. Huebsch From Alfred Stieglitz, New York, N.Y. [of an exhibition review by Pach published in the -- Freeman -- ]: "Mr. Pach undoubtedly did his best--but I fear that the real significance of the work was beyond him.--I regret it")
From Elie Faure, Paris, France, March 14, 1921: will send proofs of Napoleon; desires advice From Pach concerning whether it should be translated; thinks the subject will be of interest in America. 2 pp., in French
From Camille Redon, Paris, France, [postmarked] August 1, 1921: thanks Pach for translating an article about Redon; offers a Redon work to Mrs. Pach. 1 p., in French
From Elie Faure, Dordogne, France, August 15, 1921: 4 pp., in French
From Elie Faure, Paris, France, March 16, 1921: has sent Pach his article on Charlot, which will be published soon by -- L'Esprit Nouveau -- ; discusses his work, including an article on cinema and -- Napoleon -- ; inquires about payment and translation rights for articles appearing in the -- Freeman -- . 2 pp., in French
From Elie Faure, Paris, France, April 16, 1921: the translation of his Charlot article must mention it is excerpted from -- L'Esprit Nouveau -- ; the French are boycotting American films, especially Charlie Chaplin's; compliments Pach's translations; -- History of Art -- has been an unexpected success; Napoleon promises to do well and is being serialized in -- Grande Revue -- ; he and Pach will divide the profits; may have found a convenient place for the Pachs to stay. 2 pp., in French
From [Mme.] Duchamp-Villon, Paris, France, April 20, 1921: offers to help Pach find lodging when he visits; asks if Quinn has received the sculpture. 1 p., in French
From Elie Faure, Paris, France, June 29, 1921: unable to find a place for Pach to stay; -- History of Art -- is selling well; reprints and new volumes will require translation; asks if Pach could bring his daughter a statuette of Charlot to put on their car, as is now the fad. 2 pp., in French
From Jean Le Roy, Nièvre, France, [postmarked] December 29, 1914: wants Pach's opinion of his poems; is in the army; heard Pach is organizing an exhibition; asks for news of the Duchamp brothers. 4 pp., in French.
From Raymond Duchamp-Villon, Saint-Germain-en-Laye, France, January 19, 1915: advises patience until the world of art returns; a weak heart disqualified Marcel From military duty; congratulates Pach on the exhibition; is invited to San Francisco but doubts cubist works will be accepted; discusses prices of his medallions. 2 pp., in French.
From Camille Redon, Paris, France, [postmarked] August 1, 1921: thanks Pach for translating an article about Redon; offers a Redon work to Mrs. Pach. 1 p., in French
From Elie Faure, Dordogne, France, August 15, 1921: 4 pp., in French
From Clara La Follette, Freeman, New York, N.Y., August 16, 1921: opinions of French government; comments on Faure's article on the cinema; urges Pach to send the article he mentioned; is looking for a studio. 4 pp
From Henri Matisse, Nice, France, September 7, 1921: agrees to Pach's terms concerning the Redon paintings, but there is no one available who is capable of separating the torn papers of -- Radiant Flower -- ; after 3 weeks of laziness, he is painting again and it is like starting over at the beginning. 2 pp., in French
From [Mme.] Duchamp-Villon, Puteaux, France, September 18, 1921: [Illegible]. 2 pp., in French
From Elie Faure, Paris, France, September 29, 1921: 2 pp., in French
From Elie Faure, Paris, France, October 27, 1921: thanks Pach for checks received; discusses advantages and disadvantages of using a picture for promoting his works; his daughter is most disappointed that there are no more Charlot statuettes; asks Pach to sell lottery tickets for charity. 4 pp., in French
From Bernard Berenson, Florence, Italy, November 9, 1921: thanks Pach for catalog; photograph of "St. Francis at Brooklyn" reminds him of "the naive art of all the eccentric regions of Europe." 4 pp
From Jacques Villon, [place unknown], France, November 9, 1921: is glad to have met Mrs. Pach; Matisse engraving is not yet ready due to printing problems. 4 pp., in French
From Elie Faure, Paris, France, November 13, 1921: discusses the details of his contract with -- Harpers -- , which he considers unjust; his father-in-law died; reports on the sick painter friend for whom the benefit raffle was held. 6 pp., in French
From Elie Faure, Paris, France, November 28, 1921: if the misunderstanding concerning the -- Harpers -- contract is not corrected, it will be a disaster; their artist friend needs further surgery; hopes Pach can sell more tickets for the raffle, which will precede an exhibit in February or March; lists artists--among them Bonnard, Dufy, Matisse, Signac, and Braque--who have donated works for the raffle; regrets that his last book devoted so little space to Derain. 2 pp., in French
From Elie Faure, Paris, France, December 19, 1921: thanks Pach for help in clearing up a misunderstanding with his American publisher; discusses his 4-volume work, including opinions of the layouts and illustrations of each; Pach should decide whether to attribute a painting to de Pietro or Sassetta; plans to write about Derain; an exhibition, organized for an artist friend in need, includes a lottery with contributions From Matisse, Derain, and Picasso; will send Pach 250 lottery tickets; announces the upcoming marriage of François, a talented decorator, and asks if work could be found for him in New York or if his projects could be reproduced in an American publication. 4 pp., in French
From Elie Faure, [place unknown], December 23, 1921: received a letter From Briggs and praises the loyalty and honesty of American publishers; thanks Pach for perseverance in bringing to publication, in English translation, -- History of Art -- ; lottery tickets are being sent, many going to Mrs. Whitney; asks if Pach could help to interest American publisher Nelson in the collections of an expanding French publishing firm looking for capital; is sending -- Mediaeval Art -- and François' furnishing projects. 2 pp., in French
From Elie Faure, Paris, France, December 31, 1921: considers volume 1 "our" -- History of Art -- out of gratitude for Pach's excellent translation; discusses the illustrations and general appearance of the book; -- Mediaeval Art -- and lottery tickets will be sent soon; has 2 paintings he wants Pach to sell in the United States, a Venetian school Crucifixion and a version of Gros's -- Murat a la Bataille d'Aboukir -- ; describes the paintings, discusses prices and Pach's commission. 3 pp., in French
From Maurice Brazil Prendergast. New York, N.Y., January 26, 1922: Discusses quality of reproductions for Shadowland; wants to assist, should Pach decide to write an article; compliments Pach's writing. 3 pp
From Elie Faure, Paris, France, March 30, 1922: Americans have won 8 of the lottery prizes (most of them with Mrs. Whitney's tickets) consisting of 6 etchings and 2 paintings; what to do with the artworks is a problem in view of customs requirements. 2 pp., in French
From Camille Redon, Paris, France, April 7, 1922: mailed 2 etchings and 30 proofs made of each of Redon's copper engravings; the plates went to the Print Museum; thanks Pach for the beautiful etching and photographs he sent. 2 pp., in French
From Elie Faure, Paris, France, April 10, 1922: received the -- Freeman -- article; just completed a response to the review of his book, which he prefers to send to the -- Dial -- rather than the -- Freeman -- ; wrote a new introduction to Greek Art for future editions; hopes Pach has sold paintings; thinks one of the paintings could pass as a fake for customs purposes. 2 pp., in French
From Elie Faure, Paris. France, April 11, 1922: the attribution of his Baron Gros is certain, but its condition is not perfect; discusses articles being translated by Pach; discusses the French language in Canada; he and Pach agree on important points; Pach is unfair to Bonnard, who eventually will be regarded as a minor master; Derain is a great painter who overshadows Matisse. 2 pp., in French, labeled "second letter" (enclosed with letter of April 10, 1922)
From Pedro HenrÃquez Ureña, Universidad Nacional de Mexico, Mexico City, Mexico, May 31, 1922: discusses Pach's remuneration and class schedule for the summer session. 1 p
From Elie Faure, Paris, France, June 17, 1922: regrets not being able to meet Pach in Mexico and wishes Rivera had invited him, too; will try to delay French publication of his article so the -- Dial -- can print it first; another piece on the aesthetics of machinism has already been published in France; finished a long chapter of -- The Spirit of the Forms -- and wants Harper's to consider it completed; after going to Vichy for his health, he will take a vacation; wants to know all about Pach's archaeological discovery in Mexico. 2 pp., in French
From John Sloan, Santa Fe, N.M., [postmarked] August 4, 1922: has a car for summer travels; the Henris are there; has been painting. 2 pp., illustrated with drawing of a car on a winding mountain road ("Climbing the Bahada [no exaggeration!]")
From L.L. Kane, Long Lake, N.Y., August 12, 1922: wants to read Pach's article in the Freeman; admires his ability to present lectures in other languages; describes his Adirondack camp. 2 pp
From Henri Matisse, Nice, France, September 2, 1922: mailed copies of all the engravings he made during the summer; asks Pach's advice on lowering the price of Redon's pastels; he is now back at work in Nice after 2 months in Paris. 2 pp., in French
From Jacques Villon, Soissons, France, September 6, 1922: the estimate for publishing was higher than anticipated; asks Pach to intercede; inquires about Pach's trip to Mexico; news of various friends; discusses summer plans. 2 pp., in French
From Sybil Kent Kane, Long Lake, N.Y., September 7, 1922: thanks Pach for sending the picture of a jug; her book is about the life of Blessed Margaret Mary. 4 pp
To Professor D. Ramon Mena From Walter Pach, Mexico City, Mexico, October 4, 1922: the mosaic mask discovered by Professor Aguierre and displayed in the National Museum is an object of great interest; it presents important problems to American antiquities experts and to those studying aesthetics; an important detail is the way in which material is handled; discusses fundamental difference in the work of the imitator and the mosaic mask; the technical question and expressive question are inseparable; appreciates the compliment of being asked his opinion. 3 pp., in Spanish
From Elie Faure, Paris, France, October 22, 1922: received payment for photographs and book royalties; discusses Rivera's talent, disagreeing with Pach's view of his originality; Rivera has remarried; shares Pach's admiration for Mexican art; now that his article has appeared in the -- Dial -- , he has nothing further to publish in America other than History of Art; since Pach is now devoting more time to painting and etching, he will need to find Faure a new translator; asks Pach if chapters From The Spirit of the Forms and essays on great literary figures could appear in American publications; discusses some of his theories of art and the structural aspect of his own writings. 6 pp., in French
From Jean Charlot, [place unknown], Mexico, November 5, 1922: Pach's article appeared in -- Mexico Moderno -- ; Orozco will be exhibiting watercolors; the fresco Accion del Artes is almost finished; is becoming interested in religious painting. 4 pp., in French
From Diego Rivera, [place unknown], Mexico, December 7, 1922: thanks Pach for his valuable friendship; the Mexican Independents, now formally organized, are invited to show with the Society of Independents in New York; Orozco, Charlot, Revueltas, Figueiros, Leal, Alba, Cahero, Bolanos, Ugarte, Cano, Nahui, Ate, Rivera, and children will represent Mexico; discusses space needs and suggests possible hanging arrangements; needs to find a way to pay for transportation; please convey their appreciation to the Society; Pach should tell Miss Porter that although there was a mix-up in communications, Rivera is still interested in the small exposition. 4 pp., in Spanish
From Jacques Villon, [place unknown], France, December 21, 1922: [Illegible]. 8 pp., in French
to Magda Pach From Gaby [Mme. Jacques Villon?], [place unknown], December 27, 1922: wishes the Pach family would visit them for several months; Villon is working hard, as always; except for a vacation in Brittany, they rarely go anywhere; engravings are time consuming but right now sell better than paintings; asks about Pach's stay in Mexico. 2 pp., in French
From Carlo Lemba, Florence, Italy., [?,?] 1923: thanks Pach for remembering him and for the very beautiful Rembrandt; requests a catalog or photograph. Picture postcard ("Firenze--Palazzo Vecchia--Il Cortile"), in Italian
From Elie Faure, Paris, France, January 21, 1923: thanks Pach for his translation; discusses modifications to be made in the first volume; details plans for future publications; lists illustrations for the last chapter of History of Art. 10 pp., in French
From Elie Faure, Paris, France, March 4, 1923: at last, publication of -- Mediaeval Art -- has been announced; the definitive edition of his work is currently in progress; discusses new prefaces for all 5 volumes; rewrote the last chapter of volume 4, which does not mention Bonnard but expands discussion of Matisse, Picasso, and Derain, whom he considers the greatest contemporary painter. 2 pp., in French
From Jean Charlot, [place unknown], Mexico, [postmarked] March 31, 1923: was happy to receive Pach's illustrated article about Seurat; the enclosed flier rebuts another slanderous article about the exhibit; the catalog reproduction of the painting Pach started in Mexico was recognized by everyone; Diego called it more Mexican than their own contributions; Diego finished his first panel for the ministry frescoes; Diego's brother-in-law executed a successful encaustic mural in Guadalajara; Diego sends thanks to Pach, but cannot write because he works From 8:00 a.m. until 10:00 p.m.--without eating--which is hard on his aides who must do likewise. 2 pp., in French
From Elie Faure, Paris, France, April 24, 1923: an American definitive edition is under consideration; will send Pach copies of work by Spain's best artist since Goya; still thinks Derain is the best painter; Matisse's exhibition lacks humanity; discusses European political problems. 2 pp., in French
From Elie Faure, Paris, France, May 10, 1923: is now writing a book about the mechanism regulating the life cycles of societies; did not see all the exhibits because he is now drawn more to social psychology, which helps him understand painting; life takes precedence over painting; his article was misunderstood in America and France by supporters and opponents alike; painting, no longer the dominant art form as it was in the previous century, is being overtaken by cinema; assures Pach of his friendship and trust; understands that his ideas provoke resistance even among the best of friends. 6 pp., in French
From Suzanne La Follette, New York, N.Y., [postmarked] June 23, 1923: thanks Pach for article; sends proofs of first article; was advised not to go to Germany; will visit England, France, and Italy. 4 pp
From J. Van Gogh Bonger, Amsterdam, the Netherlands, June 27, 1923: read that the Pachs were cited as among the best of the Independents; the pictures are back, and she is glad they were exhibited in the United States; is anxious to publish Van Gogh's letters in English; opinions of Meier-Graefe's book; opinions of recent articles in the -- Times -- and the -- Freeman -- ; "What I never forgive Meyer-Greafe [ sic] is his suggestion that Theo, after his marriage could not provide for Vincent any longer"; is sending a Van Gogh drawing to Pach in appreciation for his help. 3 pp
From Diego Rivera, [place unknown], Mexico, July 3, 1923: introduces Covarrubias; on behalf of the group, thanks Pach and the Independents in New York; Pach's Mexican street scene showed intimate and strong character; hopes for even better representation next year; describes current projects of several Mexican artists; Covarrubias has photographs of murals in progress. 2 pp., in Spanish
From Lewis Mumford, Brooklyn, N.Y., July 5, 1923: congratulates Pach on Modern Art; "it is far and away the best piece of criticism we've had in America, to my knowledge." 1 p
From Alfred Stieglitz, Lake George, N.Y., July 21, 1923: he and O'Keeffe are enjoying Pach's translation of Faure; Stieglitz has read it in the original; O'Keeffe doesn't know French. 1 p
From Elie Faure, [place unknown], October 8, 1923: if Harper's cannot locate the photograph Faure sent of a Picasso painting, Pach should select a substitute; requests assistance in coilecting a fee owed by a publisher; complains about the usual reluctance of museums to accept paintings; suggests that Boston or the Barnes Foundation might be interested in the Gros, Delacroix, and Venetian school paintings he wants to sell; -- History of Art -- will be translated into Spanish and possibly German; hopes for more contacts with the United States. 2 pp., in French
From J. Van Gogh Bonger, Amsterdam, the Netherlands, October 18, 1923: could not find anyone to deliver the drawing to Pach, so she mailed it; is working on an exhibition to be held in London; Zigrosser visited. 1 p., negative photostat
From Elie Faure, Paris, France, December 1, 1923: has mailed the photographs Pach requested; believes he has told Pach of all the proposals received From America and still awaits answers relating to some; Waldo Frank visited; found Miss La Follette most congenial; the package of photographs also contains a small drawing as a memento of their collaboration. 2 pp., in French
From Ariella Brunelleschi, Florence, Italy, [postmarked] December 12, 1923: her entire family sends thanks; best wishes for a good trip. Picture postcard ("Firenze--Galleria Uffizi La Nativita de Gesu dett.--Van Der Goes Ugo"), in Italian
From Elie Faure, [place unknown], January 24, 1924: approves of the way in which Pach used his Renoir to illustrate an article; still trying to sell the Gros painting abroad; the Venetian painting was shipped today, and he awaits Pach's impression of it; Faure is convinced the landscape, most likely of Toledo, and at least one figure were painted by El Greco in his youth; awaits photographs of Pach's paintings and etchings; is delighted to learn of Pach's lecture series in Kansas, which includes one on Faure's fourth volume. 2 pp., in French
From Elie Faure, [place unknown], January 31, 1924: praises solidity, intelligent composition, and exceptional synthetic quality of Pach's portrait of his son; the portrait of Pach's wife is less successful; praises the harmony in Pach's mythological painting but its composition is less than perfect; Pach shows great progress; is sending a photograph of a first-class Corot that is for sale; discusses the price and how they would share the profit. 2 pp., in French
From Bernard Berenson, Florence, Italy, February 6, 1924: read Pach's article in -- Harper's -- "with interest, with zest and with envy." 4 pp
From Elie Faure, [place unknown], March 11, 1924: the news contained in Pach's cable frees him From current financial worries; he is sending the painting immediately and warns Pach about mislabeling on the back of the picture; insists that Pach take a substantial commission; though it makes him sad to part with the painting, he now can provide a secure future for his family. 2 pp., in French
From Suzanne La Follette, Plymouth, England, March 11, 1924: the voyage has been "rough and dull." 2 pp
From Elie Faure, [place unknown], March 19, 1924: received the fourth volume in translation and finds the illustrations much better than those in the first 3 volumes; expresses gratitute to Pach; is sending a gift of a Rodin etching; just saw Derain and is certain the artist is evolving, despite his somewhat disoriented state; Matisse's last exhibit was disappointing and lacked human qualities. 2 pp., in French
From Arthur Burdett Frost, Pasadena, Calif., March 30, 1924: thanks Pach for his exhibition idea; cannot participate because he has no suitable work available; "I used to be very careless about my original drawings"; Jack moved to California for health reasons; Jack paints desert landscapes that sell well. 4 pp
From Elie Faure, Paris, France, April 1, 1924: the Gros painting has been in transit for 3 weeks; deplores the exchange rate and discusses Pach's commission; is pleased that Pach will be the translator for -- The Gods -- and hopes he will do -- The Spirit of the Forms -- , even though this work will take him away From painting; wants to see Pach's pamphlet on Seurat, whom he likes more and more; Faure has added to his collection paintings by Corot, Courbet, Delacroix, Bonnington, and others he discovered in the attic of a secondhand shop; Miss La Follette visited; asks Pach to inquire about the fate of his Shakespeare essay. 4 pp., in French
From Jacques Villon, [place unknown], France, April 6, 1924: agrees wholeheartedly to the proposed exchange; thanks Pach for a check; wants him to accept, as a gift, any Villon painting still in Pach's hands; will follow Pach's instructions concerning the book; is painting but cannot find himself in that medium; his next engraving will be a Rousseau. 2 pp., in French
From E.H. Anderson, Director, New York Public Library, New York, N.Y., April 9, 1924: acknowledges gift of etchings. 1 p
From Elie Faure, Paris, France, May 2, 1924: sends a check for Pach's commission on the sale of the Murat painting; is glad Pach liked his gift of a Rodin etching; discusses changes to volume 3 and wonders why a particular reproduction was omitted From the American edition; -- The Spirit of the Forms -- is still under revision, and he has been busy writing -- Cervantes -- ; like Pach, he admires Matisse's lithographs but feels uneasy about the virtuoso element apparent in his annual painting exhibits; Despiau's portraits are more and more admirable; met Braque, whose work now interests him more; since Braque has renounced cubism, only Picasso remains; Picasso's last noncubist exhibit was curious and somewhat disturbing. 2 pp., in French
From Leigh Mitchell Hodges, Doylestown, Pa., May 4, 1924: sends sonnet inspired by a Pach etching. 1 p. + enclosure ("Sonnet--To Walter Pach's etching of Miss M-----")
From Julius Meier-Graefe, Berlin, Germany, July 22, 1924: Pach is the first American to attempt and succeed at serious examination of art From Corot to the present; is sending a copy of volume 3 of -- Modern Art -- , which discusses some of the same issues addressed in Pach's book; believes cubism, expressionism, and impressionism to be manifestations of decadence; in his book, Pach failed to cite German contributions. 3 pp., in German
From Elie Faure, Dordogne, France, July 31, 1924: hopes to see Pach in Dordogne during August; the article on illustrious men he has known will need to be twice as long, so Pach should make arrangements; discusses a remarkable book about sport by his Frenchified Brazilian friend Braga and suggests a translation would be of interest to Americans; Braga wrote the most intelligent articles ever published about Faure in French and plans a history of world literature that would mirror -- History of Art -- . 2 pp., in French
From Elie Faure, Dordogne, France, August 2, 1924: Pach should tell Wells that Faure accepts the 5,000-word limitation; the article consists of a series of portraits of famous men and concludes with a sincere tribute to America. 1 p., in French
From Julius Meier-Graefe, Schlaghtensee, Germany, [postmarked] August 5, 1924: advises Pach not to judge the paintings of [von Marees?] on the basis of his early Dresden period, but look at the Munich work. Postal card, in German
From Bernard Berenson, Florence, Italy, August 11, 1924: read -- Masters of Modern Art -- ; "I wish I could give you the support you ask for. And I have found yr. book informing, stimulating, provoking and sincere. But I cannot even begin to see what you do in cubism"; advises Pach to choose writing over painting, as it is impossible to do both. 8 pp
From Elie Faure, Dordogne, France, August 24, 1924: regrets that Pach did not visit him; plans to go to Italy in September but hopes to see Pach in Paris afterward; hesitates to accept a long lecture tour in America. 2 pp., in French
From James Oppenheim, New York, N.Y., August 24, 1924: Gertrude is seriously ill; Oppenheim's son has faith in his work; Oppenheim's book was reviewed; is delighted with the book on Matisse. 2 pp
From Bernard Berenson, Florence, Italy, September 13, 1924: expresses his opinion of modern art and artists; "I did not mean what the Ku-Kluxers or Coolidgeites mean when they speak of the latest phenomena in painting as Bolshevik. But in a prophetic, devastatingly deep way that's what they are. And they may serve a kindred purpose, namely to bury the dead form. But they are undertakers, grave-diggers, and at best manure makers only. Artists they are not and Picasso not at all;" Pach "overestimates" Delacroix's ability as an artist. 4 pp
From John Gould Fletcher, London, England, October 7, 1924: thanks Pach for the book on Duchamp-Villon; compliments the "excellent" introduction; agrees that "Duchamp-Villon was the true descendant of the stonecutters of Chartres"; Faure's -- History of Art -- is "remarkable"; he is trying to publish a rebuttal to the concluding chapter; the -- Freeman -- failed. 3 pp
From Arthur Burdett Frost, Pasadena, Calif., October 26, 1924: thanks for the brushes, which he will share with Jack; requests recommendations for directing Jack's art reading; Frost now reads mainly on palentology and natural history; if his eyesight permitted, he would paint his concept of earliest man; recalls a terrible summer spent in Rhode Island; contrasts California with the East; recalls the Dresden Gallery; Butler's stay in New York was a "dreadful experience." 5 pp
From Jacques Villon, Paris, France, October 27, 1924: just received Pach's book on painting and thinks his ideas about evolution of painting are admirable; has not yet seen the Salon d'Automne; sales were good, and even those opposed to abstract painting smiled. 3 pp., in French
From Elie Faure, Paris, France, November 1, 1924: has shipped a magnificent painting; is surprised that it is possible to sell paintings in America since the Paris art market is at a standstill; the last good show was the Renoir exhibit at Rosenberg's; books are not selling, and he could not find a publisher for his latest work; publishing houses are closing; prewar politicians and prewar methods are responsible for the disaster; the general economy and his personal situation are grim; melancholy family news. 4 pp., in French
From Henri Matisse, Nice, France, November 18 and December 5, 1924: his son, Pierre, is moving to New York; Pierre wants to work at a gallery specializing in modern art; he and the Steins agree this is a good plan; asks Pach to advise and assist Pierre, and he will request the same of Brummer; Michael Stein suggests Pach meet Pierre at the ship. 4 pp., in French
From Elie Faure, Paris, France, December 1, 1924: is housebound after a small accident, and catching up with work; both the -- Dial -- and -- Harper's -- sent checks; comments on current exhibitions and sales; Pach is his closest American friend; wants to establish closer ties in the United States; France now depends upon American patronage; Mrs. Dillard is sending a Corot to Pach; she might be helpful to Brummer; sometimes she has Renoirs and Derains at reasonable prices. 2 pp., in French
From Xavier Martinez, Piedmont, Calif., December 3, 1924: compliments -- Masters of Modern Art -- and Pach's translation of Faure; disagrees with Faure's chapters on Greece and Mexico; Pach understands the art of Mexico; encloses 2 drawings of Indian madonnas. 1 p., partly in Spanish
From Lewis Mumford, Brooklyn, N.Y., December 15, 1924: thanks Pach for grasping the essence of his book; agrees with Duchamp-Villon's views on architecture. 2 pp
From Elie Faure, [place unknown], January 9, 1925: commiserates with Pach over his rejection by -- Harper's -- ; comments on subjects that appeal to editors of popular magazines; Pach should continue trying to sell the Corot; the owner also has paintings by Renoir and Derain and a Seurat drawing; inquires about the status of translations now at -- Harper's -- ; comments on the superiority of American cinema. 3 pp., in French
From Pedro HenrÃquez Ureña, La Plata, Argentina, January 13, 1925: hopes Pach will be interested in the work of his friend, Emilio Pettoniti, an advanced Argentine painter; asks where Pettoniti might exhibit in New York. 2 pp., in Spanish
From Diego Rivera, [place unknown], Mexico, January 13, 1925: requests photographs of the work Pach accomplished in France; wants news of Elie Faure; mentions several commissions he is now working on; comments on Charlot; has waited more than a year for word from Aleman; is considering going abroad when through with the Chapingo chapel. 3 pp., in Spanish
to Elie Faure From William H. Briggs, [place unknown], March 3, 1925: not financially feasible to bring out the definitive edition of -- History of Art -- for at least 3 years; wants -- The Spirit of the Forms -- to be volume 5; agrees to publish an English edition of -- The Spirit of the Forms -- and -- The Dance on Fire and Water -- ; -- The Constructors -- , -- The Holy Face -- , and future books are not to be offered to other publishers. 3 pp
From Diego Rivera, [place unknown], Mexico, March 13, 1925: would send photographs of his work but in Mexico it takes too long to get prints; Pach's book fully deserves Faure's praise; Rivera finds Pach's paintings appealing; is grateful for the high esteem with which Pach wrote of his work; work on Chapingo chapel continues; despite serious financial problems, Charlot is constantly progressing; asks Pach's opinions and advice about a Spanish edition of his book; Ravenna Mosaic requested a sample piece of -- The Antilles -- . 7 pp., in Spanish
From Elie Faure, Paris, France, March 28, 1925: is hurt not to have heard From Pach; Mr. Briggs wrote about translation and publication plans; wants Pach to translate -- The Spirit of the Forms -- ; thanks for getting his autobiography published in the -- Dial -- ; his friend, Mrs. Fougeirol, and daughter, will call on Pach; hopes Pach and Brummer can assist Mrs. Dillard with the sale of her Corot; the Gaugnat sale is unaffordable; Mrs. Dillard also has Renoirs to sell. 2 pp., in French
From Elie Faure, [place unknown], March 29, 1925: is happy that Briggs wants to do the album and will talk to Crès about sales; thanks to Madame B. for the Corot; his version of Delacroix's journal will be published; compliments Pach's painting; asks Pach to speak to Harper's about not using the number of his last volume of -- History of Art -- so the public will buy it without having the earlier volumes. 4 pp., in French
From Elie Faure, Paris, France, May 9, 1925: tells of his voyage to Marrakech; saw Fletcher; Pach will receive the Gaugnat sale catalog; Madame Gaugnat died 6 months after her husband, leaving their son harassed by dealers; a small Renoir may be available; asks Pach to intervene on his behalf with Harper's regarding income tax withholding; discusses Delacroix and impressionist exhibits; discusses the realism of Delacroix's Moroccan paintings. 6 pp., in French
From Elie Faure, [place unknown], May 17, 1925: condolences on the death of Pach's father; is surprised by what Pach told him of the Corot; discusses a French landscape exhibit at the Petit Palais containing too many paintings; Corot reigns. 2 pp., in French
From Elie Faure, [place unknown], May 20, 1925: invites Pach to visit him in Dordogne during the summer; describes a Corot that should go to an American museum. 2 pp., in French
From Elie Faure, [place unknown], May 30, 1925: gives instructions for translation revisions; bought 2 magnificent Derains; suggests that consignments be sent to Mrs. Payne Whitney; -- History of Art -- received mixed reviews. 2 pp., in French
From Elie Faure, [place unknown], June 5, 1925: galleys are still incomplete as there are problems with illustrations and captions; his Baron Gros painting is at the French exhibit in Prague; will send a photograph later; asks Pach to help sell the Gros picture and a Daumier. 3 pp., in French
From Elie Faure, [place unknown], August 11, 1925: asks if volume 3 has been published; thinks volume 4 is his best; hopes that the new prefaces added to each volume will make Pach like the whole work better; Rosenberg met with Mrs. Whitney; discusses the quality of reproductions in his book on Derain; describes John Lane's indirect attack on his chapter about English art; was not charmed by Blake; Constable is the only English painter he likes; look for his Shakespeare article in the -- Dial -- . 6 pp., in French
From Elie Faure, Paris, France, September 7, 1925: bought a house at Dordogne; volume 4 is still incomplete; lists photographs he will send soon; this may be a good time to sell his 2 paintings; discusses the sales commission; mentions favorable points of the Gros painting; the other painting may be harder to sell; is considering selling a Daumier and a Delacroix to help pay for his new house. 4 pp., in French
From Elie Faure, [place unknown], September 9, 1925: promises to send the photographs for his book; even the best translation cannot be completely faithful to the original; discusses specific changes to be made; discusses a chapter on Europe being added to volume 4. 6 pp., in French
From Elie Faure, [place unknown], September 21, 1925: is sending 5 photographs; 1 is for -- Harper's -- to include in volume 4, and the remainder are of works he hopes can be sold in the United States; needs money for his new house. 2 pp., in French
From Elie Faure, [place unknown], September 26, 1925: is still waiting for a contract with Criterion; the painting consigned to Ehrich has not sold; maybe Pach could sell it or suggest another dealer; Pach should send instructions to Ehrich; -- Harper's -- will publish -- The Spirit of the Forms -- as volume 5; wants Pach to be the translator but will understand if he declines. 4 pp., in French
From F.P. Keppel, New York, N.Y., October 21, 1925: has received Pach's letter with proofs and suggestions. 1 p
From Elie Faure, [place unknown], October 22, 1925: has received volume 3 and congratulated Mr. Briggs; still thinks the plates should have been produced in France; bills for photographs remain unpaid; thanks Pach for his energy and perseverance; Spanish and German editions are planned; Knopf will publish an English edition of Napoleon; came close to selling the Daumier; comments on the condition of Marat by Gros; inquires about Pach's painting and the possibility of an exhibition in Paris. 4 pp., in French
From Jean Charlot, [place unknown], October 27, 1925: his present work is totally different From the 12 paintings being sent; Pach is one of the few friends abroad who might be interested; Pach should keep one for himself and try to sell the rest; is sending 4 photographs of recent work; he and Diego want to see reproductions of Pach's latest paintings; inventory of works being sent; had problems with his exhibition in Los Angeles. 4 pp., in French
From Elie Faure, Paris, France, November 21, 1925: there will be a delay in sending photographs; thanks Pach for introducing Miss La Follette; -- Harper's -- paid more than expected; Briggs reproached him for choosing Knopf to publish Napoleon. 2 pp., in French
From Elie Faure, Paris, France, November 27, 1925: thanks Pach for introducing Speyer; congratulates Pach on his new job; likes Pach's engravings; wants Pach to translate The Spirit of the Forms; is sending another manuscript for which he hopes Pach can help find a publisher; he owns the picture incorrectly captioned in his last book and it is for sale. 4 pp., in French
From Susan Macdowell Eakins, Philadelphia, Pa., January 7, 1926: she has written about her husband; is happy to be of service to Pach; can furnish more information. 1 p. + 3 pp. enclosure, (manuscripts by Susan M. Eakins of biographical notes on Thomas Eakins, including excerpts From letters to his father written while studying in France; list of paintings completed between 1870 and 1876; teaching methods; notes From Charles Bregler's transcript of Eakins's comments to students)
From Elie Faure, Paris, France, January 19, 1926: Mrs. Dillard sold his English painting to Mr. Speyer; introductions made by Pach facilitated the transaction; no one is to know Faure was the owner; since he cannot pay the duty if the piece at Ehrich is returned to France, Pach should keep it or put it in storage until later; asks if the Metropolitan might be interested in Mrs. Dillard's large Corot; content with Montaigne; still reworking -- The Spirit of the Forms; -- Soutine has become more important; believes Derain shows progress; Matisse's astonishing virtuosity continues to increase; saw admirable work by Picasso; Braque is a beautiful but monotonous painter; considers Charlie Chaplin the great man of America. 4 pp., in French
From Harold O. Voorhis, Secretary, New York University, New York, N.Y., February 23, 1926: confirms Pach's appointment as assistant professor of fine arts. 1 p
From Harold O. Voorhis, Secretary, New York University, New York, N.Y., March 5, 1926: received Pach's acceptance of faculty appointment. 1 p
From Elie Faure, Paris, France, March 24, 1926: has seen Pach's friends; is looking forward to Pach's visit in the summer; he and his wife are caring for an African-Arab baby; The Spirit of the Forms is almost finished; gives instructions about selling the unfortunate Spanish painting; is sending a drawing as a gift; Mrs. Dillard needs a list of dealers and their specialties. 2 pp., in French
From Elie Faure, Paris, France, April 22, 1926: is pleased to learn the Delacroix drawing was well received; believes Delacroix is becoming greater by the day; is not eager for further lecture tours; his latest book was ignored; foreigners understand him better than the French; regrets that Pach will not be able to visit him in Dordogne; discusses price of the crucifixion painting. 2 pp., in French
From Bernard Berenson, Florence, Italy, June 8, 1926: goals for studying art of the past are aesthetic or humanistic; it is a "triumph" that Pach's "anti-Rotarian protest" was published in -- Harper's -- Magazine; "glad to hear yr. painting is taking on, altho' I deplore yr. giving to it the time you should dedicate to writing"; urges him to write about the Gardner collection. 12 pp
From Elie Faure, Dordogne, France, August 10, 1926: the entire family is at Dordogne and sorry Pach cannot join them; discusses exchange rate; Briggs trusts Pach to translate -- The Spirit of the Forms -- , which will be volume 5 of -- History of Art -- ; asks Pach to consider undertaking the job. 2 pp., in French
From Bernard Berenson, Florence, Italy, August 19, 1926: wishes there had been an opportunity for them to visit and have a serious talk during Pach's recent lecture tour; "I fear you will never take the place yr. gifts as a writer could lead you to if you cannot detach yr. self fr. painting itself. It is a pity. For critics are ever so much rarer." 4 pp
From Diego Rivera, [place unknown], Mexico, October 4, 1926: the package Lupe sent to the Pachs was lost when the boat capsized; wants copies of the magazine -- L'Amour de l'Art -- ; Derain's work is better; shares Pach's opinion of Picasso; wants to see Matisse's work; Faure will try to include more Rivera reproductions in the new edition; asks Pach to check on the status of Rudolf Tesch's project for Carnegie Corp.; requests the Charlot exhibition catalog. 4 pp., in Spanish
To Mrs. Pach From Lupe de Rivera, [place unknown], October 6, 1926: thanks for the baby sweater; her daughter, Guadalupe, called Pico, was tiny and ill at birth but now thrives. 2 pp., in Spanish
From Elie Faure, [place unknown], November 3, 1926: Mrs. Dillard has a Fragonard worthy of a museum or a fine collection; asks about hotel rates in New York City. 2 pp., in French
From Elie Faure, Paris, France, November 12, 1926: is grateful that Pach will be translating -- The Spirit of the Forms; -- Pach should persuade Mr. Briggs to expedite the publisher's contract; saw Seurat's exhibition of more than 200 luminous drawings and a Bonnard show of rich and subtle still-lifes; 2 paintings by Matisse were highlights in an otherwise indifferent Salon d'Automne; Miss La Follette and her brother visited; the Baron Gros painting, which Mme. Dillard will handle, is a masterwork that the Metropolitan Museum [of Art] could be proud of; still believes in Soutine; would like to meet Barnes though a ruse might be needed. 4 pp., in French
From Suzanne La Follette, Choisy, France, November 19, 1926: visited Elie Faure and hopes to see him again; a review of her book will appear in -- Saturday Review -- . 6 pp
From Pedro Henriquez Ureña, Miramar, Argentina, January [?], 1927: Valovaciones cannot pay for contributions or translations; Pach should publish a translation of his book in the magazine so that Argentines will be familiar with him and his ideas. 2 pp
From Suzanne La Follette, [place unknown], January 9, 1927: the publisher is not promoting her book well; thinks Lewis Mumford is "gifted." 3 pp
From Suzanne La Follette, Paris, France, January 13, 1927: asks about resorts on the Mediterranean; Chester wrote enthusiastically of his travels in Italy. 3 pp
From Elie Faure, Paris, France, February 22, 1927: has had no reply From Mexico; "Art and Morals," which appeared in the Dial, should be retranslated; -- History of Art -- is being translated into Czech and possibly Japanese; artistic life in Paris is boring; Matisse is definitely the most tolerated; Soutine is not doing much; Pach should try to sell the Gros painting for Mrs. Dillard. 2 pp., in French
From Elie Faure, Paris, France, March 8, 1927: a safe-deposit box was transferred, with difficulty, from Pach's name to his; saw a beautiful Renoir exhibition; prices are high and only Delacroix and Corot are affordable now; Derain should protect himself From dealers. 2 pp., in French
From Bernard Berenson, Fabriano, Italy, May 10, 1927: review of his book missed its "contribution... to a criticism that is based on a question of design"; invites Pach to consider this issue in a review. 4 pp
From Elie Faure, [place unknown], June 8, 1927: Delacroix is becoming popular; at the sale of the Bureau collection ordinary Daumier watercolors brought high prices and wonderful Corot drawings sold cheaply; is unhappy with the captions for the plates in his last edition; witnessed Lindbergh's landing. 4 pp., in French
From Marcel Duchamp, Paris, France, June 24, 1927: announces his recent marriage; describes a Redon watercolor that Pach might sell to the Bings; Mrs. Bing expressed interest in the Brancusi bust now stored at Brummer, King, and Parker. 2 pp., in French
From Bernard Berenson, Stockholm, Sweden, July 25, 1927: Pach's review showed "intelligent and friendly comprehension"; "my Three Essays is an ironied and veiled attempt to demonstrate that there is a big part of the job that any well trained mediocrity can achieve"; "great artists like Antonello are not prophets but fulfillers of prophecy." 2 pp
From Elie Faure, Paris, France, October 3, 1927: spent his vacation traveling in Provence; has abandoned a project that attracted amateur attention; intends to study Chagall; -- History of Art -- will be translated into Japanese. 2 pp., in French
From Bernard Berenson, London, England, October 7, 1927: -- Harper's -- will ask Pach to write about the Gardner collection; urges him to accept the offer. 4 pp
From Elie Faure, [place unknown], December 19, 1927: Gagnon has reappeared; Faure purchased a Barye painting at a junk shop; agrees to write a preface to Pach's book. 4 pp., in French
From Leo Stein, Paris, France, February 7, 1928: Read Pach's review of his book in the -- Architectural Record -- ; "when you realize your incompetence for a job because of ignorance you had better keep out, because that very ignorance will prevent you From realizing how big a fool you are making of yourself." 1 p
From Elie Faure, [place unknown],1 April 22, 1928: Had a heart attack; is now working on a book about folk psychology; will lecture in Germany; museums prefer a perfect modern canvas to a masterpiece with slight damage; asks if Pach has tried to find a buyer for Christ; though his books sell, Faure has not prospered; describes several paintings in his collection; he may inherit Mme. Thelaphite's paintings; Mrs. Dillard has a Ribera for sale. 4 pp., in French
From [ signature illegible (Canaan L. Morris?)], Hartford, Conn., May 4, 1928: compliments Pach's lecture of the previous evening; critiques its structure. 2 pp
From Harold O. Voorhis, Secretary, New York University, New York, N.Y., June 15, 1928: confirms Pach's appointment as assistant professor of fine arts. 1 p
From Elie Faure, Dordogne, France, August 11, 1928: is glad to be away From Paris; is very happy about the French translation of Ananias [large portions illegible]. 2 pp
From Jose Clemente Orozco, New York, N.Y., September 1, 1928: -- Form -- magazine deserves attention; offers to write to the editor on Pach's behalf; as Pach suggested, he met with Kraushaar, who didn't seem to like the revolutionary drawings but showed interest in the Art Center Exhibit paintings; speculates that Kraushaar found the Mexican pieces too strange; asks Pach to arrange another meeting; recommends GarcÃa Maroto's article in -- Contemporaries -- about Rivera and his disgusting commercialism. 4 pp., in Spanish
From Elie Faure, Paris, France, September 22, 1928: received Ananias, but cannot read it without a translator [large portions illegible]. 2 pp., in French
From Susan Macdowell Eakins, Philadelphia, Pa., October 10, 1928: received his letter and book; "whether it is the desire to purchase or not, I am always pleased to show my husband's pictures"; wishes to keep the Rush pictures and studies in Philadelphia. 3 pp
From Arthur B. Springarn, New York, N.Y., November 1, 1928: thanks Pach for dedicating the book to him; best wishes for the volume's success. 1 p
From Eleanor S. Brooks, Westport, Conn., November 14, 1928: five hundred dollars is a satisfactory amount for the manuscript. 1 p
From Lee Simonson, Editor, Creative Art, New York, N.Y., December 18, 1928: thanks Pach for making changes to his Rivera article; his review of Pach's book is "extremely hard-hitting"; offers opportunity for rebuttal in the next issue; "let us keep the thing above personalities"; Alfred Stieglitz and Leo Stein support Simonson's views. 2 pp
From Van Wyck Brooks, Westport, Conn., January 8, 1929: will send chapters for revision; payment can be handled however Pach prefers. 2 pp
From Elie Faure, Paris, France, January 11, 1929: has not finished reading Pach's book because he is unusually busy; his wife is ill; had to put aside projects to complete a book on the Italian Renaissance; with the exception of Sargent, "official" American painters are not known in France; impressionism and its aftermath have not produced any positive result; would like to see Pach's paintings, not just photographs of them; compliments Pach's etchings; a new edition of his work is in preparation; there may be a Serb translation. 4 pp., in French
From Eleanor S. Brooks, Westport, Conn., January 15, 1929: requests a month's extension for their translation work. 2 pp
From Van Wyck Brooks, Westport, Conn., February 14, 1929: chapter I and the introduction are being sent today. 1 p
From Eleanor S. Brooks, Westport, Conn., March 18, 1929: describes working methods; explains problems in translating Faure's writing. 2 pp
From Elie Faure, Paris, France, April 1, 1929: when Pach visits they will look at art and go to Dordogne; discussed Pach's book with his publisher; recommends not using American examples other than Sargent and possibly Alexander and Frieseke in the French edition; will find an apartment for Pach; Miss Mary Morris has not yet called on him; requests books on the psychology of Americans. 2 pp., in French
From Eleanor S. Brooks, Westport, Conn., May 12, 1929: translation work proceeds slowly; Van Wyck is in the hospital; she doesn't want it publicized. 2 pp
From Eleanor S. Brooks, Westport, Conn., May 26, 1929: Van Wyck's health has not improved. 2 pp
From Eleanor S. Brooks, Westport, Conn., July 10, 1929: thanks Pach for his patience; Van Wyck is now in a private sanitarium; she continues to work on the translation. 1 p
From Eleanor S. Brooks, Westport Conn., August 28, 1929: is sending next chapter soon; Van Wyck's condition has not changed. 1 p
From Elie Faure, Dordogne, France, August 28, 1929: his short review of Pach's book has been accepted for publication in the Dial. 2 pp., in French
From Eleanor S. Brooks, [place unknown], August 30, 1929: another chapter is ready. 1 p
From Elie Faure, Dordogne, France, September 13, 1929: went to Basque country with Soutine; had a good rest and thought about the psychology book he is writing; -- The Italian Renaissance -- appears to be a success; is anxious to see Pach's painting and hear about his time in Paris; hopes to interest Pach in Soutine; when working, Soutine hides like a dog gnawing a bone. 2 pp., in French
From Lewis Mumford, Long Island City, N.Y., October 23, 1929: recounts summer travels; is starting a book about the arts in America since 1870; asks for news of Van Wyck Brooks's condition and how Eleanor is coping; he worries about Eleanor's reaction to the proposal that he edit the Emerson book. 2 pp
From Harold M. Tovell, Toronto, Canada, October 25, 1929: "I do think that as a result of patience and education plus your lectures here, that the tide is turning in favor of our Toronto friends"; inquires about Marcel Duchamp; "the house here would be rather bare if it weren't for the Duchamp family. I hope you will tell him how greatly we prize their works." 4 pp
From Jacques Villon, Neuilly-sur-Seine, France, November 23, 1929: Verne wrote on behalf of the Committee of the National Museums accepting Raymond's sculptures; sends text of the Committee's flattering letter; thanks Pach for his continued support of Raymond. 4 pp., in French
From Childe Hassam, New York, N.Y., November 30, 1929: n -- Art in America -- , Pach confuses Horatio and Henry Oliver; Marie Sterner "has gotten together some of the worst things I have ever seen"; "verily art in America is run by old women! but most of them wear trousers." 2 pp
From Leo Stein, Paris, France, December 1, 1929: wants Pach to know the facts regarding his alleged endorsement of Clivette; "I supposed that Hellman was a gentleman and did not suspect a plant." 1 p
From Art Young, New York, N.Y., [postmarked] December 5, 1929: holiday greetings; news of James Opp [ sic], Springarn, Suzanne La Follette, and Glintenkamp; is working on a book and exhibition. 1 p. + 4 pp. enclosure (printed circular, undated, advertising books by Art Young, -- On My Way -- and -- Trees at Night -- , with excerpts from reviews and order form)
From Leo Stein, Paris, France 4218 265-267 [postmarked] January 8, 1930: "There is no artist that I value highly whom you do not also value but... you value many whom I don't"; diagram illustrates Stein's explanation of how their artistic tastes differ. 3 pp
From Elie Faure, Dordogne, France, March 12, 1930: Joubib's [?] awful reputation should be a comfort to Pach's friend who was so badly treated; plans to seek legal advice about suing De la Faille. 2 pp., in French
From Lewis Mumford, Long Island City, N.Y., March 12, 1930: is pleased with his lectures at Dartmouth College; his next book will be "a modern philosophy of life"; compliments Suzanne La Follette's book; he has an article in the first issue of the New Freeman; comments on policies and politics of the "Modern Museum." 4 pp
From Harold M. Tovell, [place unknown], May 16, 1930: "This is about the most perfect thing I have seen for a long time. A truly great work." Picture postcard ("Leonardo da Vinci Bronzlovas. Reiterfigur aus Bronze. Figure a cheval en bronze")
From Susan Macdowell Eakins, Philadelphia, Pa., July 10, 1930: received Pach's picture postcard of a Millet portrait; the "exhibition of Homer, Ryder, and Eakins at the Modern Museum seems to have pleased universally." 1 p
From Bernard Berenson, Florence, Italy, August 22, 1930: "I would rather not see the entire output of a master," even Delacroix; after finishing "the lists of Italian Painters" he will revise Drawings of Florentine Painters; then he plans a book on "The Decline and Revival of Form in the Figure Arts." 8 pp
From Susan Macdowell Eakins, Philadelphia, Pa., September 25, 1930: continues to enjoy the postcards Pach sent, especially the Millet; has found the painting he wants; there will be an exhibition in New York City in December; her good friend Charles Bregler, a pupil of Eakins's, has restored several of the pictures. 2 pp
From Al [Bing?], New York, N.Y., October 19, 1930: "Museum accepts pictures." Telegram
From Susan Macdowell Eakins, Philadelphia, Pa., October 21, 1930: received Barye copy and photos of Millet picture; details of upcoming Eakins show in New York City are uncertain; Charles Bregler has discovered retouching on some pictures; they will be cleaned before the exhibition; some may be placed behind glass to prevent future overpainting done in "ignorance"; enclosed sketch describes a study Eakins did while a student in Paris; wonders where other pieces from that period are, since he did many and returned with few. 2 pp
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., October 23, 1930: through oversight, Pach's watercolors were not presented at the October meeting; "I forsee no trouble in their reception. The modern style has not the bitter enemies it used to have." 1 p
From Ida E. Guggenheimer, New York, N.Y., November 9, 1930: saw a good exhibition of modern French art at Harriman Gallery and a "gem" at Knoedler; is enthusiastic about Villon's colors; subsequent visits to Brummer's confirmed that her collection is superior; Mr. Kraushaar likes Pach's work and promised to see more; "you are right when you say I cannot expect to compete with the hawks of picture dealers"; comments on Ananias; economic conditions depress Mr. Guggenheimer and may prevent them From traveling. 3 pp
From B. Stein, New York, N.Y., November 17, 1930: thanks Pach for his book; saw Villon's "smashing" show; Gretchen purchased The (Rose) Haulers; financial conditions in the United States are "depressing"; is sorry Pach is "impatient" with writing, as he is gifted; is glad Pach is enjoying painting in Paris; describes ideas about modern furniture, which she wants to buy. 5 pp
From Ida E. Guggenheimer, New York, N.Y., December 1, 1930: "sympathetic" to Pach's "natural gratification at the Metropolitan's action;" Kraushaar will look at Pach's work in her apartment; mentions art seen at Reinhardt's and Brummer's galleries; received a letter From Villon. 2 pp
From Susan Macdowell Eakins, Philadelphia, Pa., December 12, 1930: Miss Pendleton took the painting Pach wants and will arrange delivery to him; Miss Pendleton would be a good subject to paint; holiday greetings. 1 p
From Ida E. Guggenheimer, New York, N.Y., December 17, 1930: saw Pach's drawings at Kraushaar's; saw work by Houdon at Anderson Galleries; Pach would enjoy Proust's remarks on music and art. 2 pp
From Allen Tucker, New York, N.Y., January 2, 1931: opinions of Corot-Daumier show at the Modern; Tucker had an exhibition. 4 pp
From Leo Stein, Paris, France, [postmarked] January 19, 1931: discusses "analytic" and "non analytic" approaches to a "nonverifiable subject"; "don't regard this letter as an argument. I never argue about art, but simply attempt to explain an attitude." 5 pp
From Susan Macdowell Eakins, Philadelphia, Pa., January 25, 1931: thanks Pach for bringing Eakins's work to the attention of the Louvre; Charles Linford is a possible choice; "I would prefer to present a picture, rather than sell, so we will not worry about prices"; Riccardo Bertelli's new gallery on 56th is exhibiting Thomas Eakins and Samuel Murray; there is an Eakins show at Babcock Galleries; the national economic situation is too bad to expect painting sales; articles on Eakins mistakenly "report that the little seated figure of Thomas Eakins was his favorite attitude while painting"; pictures shown at Babcock were cleaned by Charles Bregler; glazing was recommended for protection From air pollution; Pach's choice of frame for his Eakins painting is "fine." 4 pp
From Susan Macdowell Eakins, Philadelphia, Pa., February 19, 1931: sends photographs of paintings available for presentation to the Louvre; her choice of the Hamilton portrait is supported by Samuel Murray, Mr. Cranmer, and David Wilson Jordan; the Barker and Wallace portraits are possibilities; her sister-in-law offers the portrait of Susan Eakins' father; sends photographs of Thomas Eakins dating From student days in Paris; she has not seen the Eakins exhibition in New York. 2 pp
From Susan Macdowell Eakins, Philadelphia, Pa., February 21, 1931: Bertelli sold John McClure Hamilton, not understanding that it might go to the Louvre; the Barker and Wallace portraits will not be sold. 1 p
From Morris Kantor, New York, N.Y., March 16, 1931: is busy making frames; saw Pach's exhibition at Kraushaar's; "Paris did you a lot of good because your work has changed.... It has more freedom and a better painting quality"; sympathizes with "Baylie's" misfortune; Kraushaar will give "Baylie" a show; Sloan arranged for him to teach at the League. 3 pp
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., March 17, 1931: "The Museum is much beholden to you however the David matter turns out"; the decision reached at yesterday's meeting will be announced after the painting is unpacked; compliments Pach's show at Kraushaar's; comments on the installation and specific pieces; "as to the Eakins matter I should be honored to cooperate." 2 pp
From A.S. Baylinson, New York, N.Y., March 19, 1931: complimentary comments on Pach's show at Kraushaar's; is moving to a new, fireproof studio at 54 West 74th Street; "I will have the group work there with me evenings as before, and before long we shall forget the fire"; will teach at the Art Students League in the coming year. 2 pp
From Childe Hassam, New York, N.Y., March 27, 1931: Pach's exhibition, which Hassam viewed twice, includes "the best things I have seen of yours"; spoke with John Sloan and Miss Kraushaar at the gallery; describes his etching of Helen Wells and promises to send a photograph of it. 2 pp
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., March 28, 1931: the painting arrived and is "even grander than I had imagined.... It will be one of the masterpieces here"; has been in contact with Mrs. Eakins; thanks Pach for his "beneficent labors." 3 pp
From Susan Macdowell Eakins, Philadelphia, Pa., March 28, 1931: Burroughs and Brummer were consulted in the search for photographs of Eakins paintings; lists sizes of paintings under consideration; J. Carroll Beckwith might interest the Louvre. 2 pp
From Bryson Burroughs, New York, N.Y., March 31, 1931: "David Bought Hooray." Telegram + 1 p. enclosure (April 1, 1931 From Morgan & Cie., Paris, France: debit notice for collect telegram received From New York the previous day)
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., April 14, 1931: Museum is pleased with the David painting; thanks Pach for his role in the transaction; "waiting for the Eakins matter to crystallize"; wants the Pennsylvania Museum to offer Clara or The Bohemian; the Louvre should have an example of Eakins' "very best"; will propose the idea to Kimball. 2 pp
From Arthur B. Springarn, New York, N.Y., April 21, 1931: is "profoundly impressed" by Pach's exhibition; his work shows a new "lack of inhibition"; "I resent the conspiracy of silence of the critics tho' I suppose that is the price you pay for being the author of Ananias"; gives recommendations for Raymond's schooling. 6 pp
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., May 3, 1931: "The Penn. Mus. Eakins project takes shape gradually"; Clara may be "suitable"; the "exchange" proposed is complicated and requires "committee actions"; maybe they could give Clara to the Louvre; Kimball will "come round." 3 pp
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., May 11, 1931: sends copy of a letter From Fiske Kimball and a reproduction of Clara; upon seeing the painting again "my previous judgement was amply confirmed." 1 p. + 1 p. enclosure (May 8, 1931, to Bryson Burroughs From Fiske Kimball, Director, Pennsylvania Museum of Art, Philadelphia, Pa.: "I shall recommend to my Board that a gift be made to the Louvre"; instructs Burroughs to ask Guiffrey whether the Louvre will accept Clara; discusses framing and Eakins's ideas on the subject)
From Jean Guiffrey, Louvre Museum, Paris, France, June 2, 1931: thanks for the Eakins painting; when informed of the gift, his colleagues will be grateful. 1 p., in French
From Henri Verne, Director, Louvre Museum, Paris, France, June 18, 1931: thanks Pach for his role as intermediary in the Louvre's acquisition of a Thomas Eakins painting. 1 p., in French
From Bryson Burroughs, [place illegible], France, June 24, 1931: Is arriving in Paris in July; wants to see David-Weill collection; "it is a great comfort the way the Eakins matter turned out and I am really glad to be out of its final arrangement"; is going to Milan to see the -- Très Belles Heures -- . 2 pp
From Susan Macdowell Eakins, Philadelphia, Pa., June 27, 1931: Is pleased with the choice of painting for the Louvre; thanks Pach for his efforts. 2 pp
From Bryson Burroughs, aboard SS De Grasse, July 19, 1931: Guiffrey "is delighted about the Eakins and well appreciative of your efforts in regard to it"; Metropolitan Museum of Art may participate in the French exhibition in London next year; "a new era of liberalism and cooperation is about due with the passing of so many ancient trustees"; describes the excellent condition of the -- Très Belles Heures -- . 3 pp
From Caroline Pratt, Chilmark, Mass., August 14, 1931: Discusses Raymond's academic progress and challenges; gives recommendations for the future. 5 pp
From Elie Faure, Peking, China, October 7, 1931: Received a warm welcome in the United States; the end of his trip and the end of his life are darkened by catastrophe. Picture postcard ("Great Wall of China"), in French
From Beatrice [?], New York, N.Y., October 10, 1931: " Simone is ours." Telegram
From Elie Faure, Angkor, Cambodia, November 14, 1931: Expresses love for America and Americans; thinks the hope of the world is in the United States and also between the Urals and Vistula. Picture postcard ("Ruines D'Angkor"), in French
From Ida E. Guggenheimer, New York, N.Y., November 15, 1931: Etta Cone bought a Pach painting and is "enthusiastic" about Duchamp-Villon; "saw the Mouillots at Brummer's and I must confess to being very disappointed"; she "positively rejoice[s]" in her own piece by Duchamp-Villon; many praise Pach's work in her collection; art prices are down; news of various friends, especially musicians. 4 pp
From Jean Crotti, Paris, France, November 18, 1931: "I have always declined to write prefaces for contemporaries (the cases of Villon and Duchamp-Villon being exceptions which I intend shall remain exceptions); it is a job for a professional critic, and not for a man who is himself engaged in painting." 2 pp
From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., November 24, 1931: Gift of 2 etchings by Pach was received by the Museum. 2 pp
From Elie Faure, Colombo, Ceylon, November 25, 1931: Everyone says his wife and daughter were courageous and that helps him tolerate the loneliness; is anxious to see the Corot book, especially the reproductions; will continue writing for -- Petit Parisien -- ; now believes one must write for the masses. 2 pp., in French
From Henri Verne, Director, Louvre Museum, Paris, France, December 22, 1931: Thanks Pach for his gift of an engraving of New York. 1 p., in French
From Al Bing, New York, N.Y., December 23, 1931: Socrates by David and the Havemeyer collection are now hanging at the Metropolitan; Whitney Museum, Frick Gallery, and the Modern Gallery will all be open when Pach returns; Coffin, "a man of great ability and sterling character," has been elected Museum president; is interested in the Bonaparte exhibition; asks Pach to help sell his Renoir. 12 pp
From Albert Morance, La Chef des Services Commerciause et Techniques, Louvre Museum, Paris, France, January 11, 1932: Is returning to Pach the contract concerning his engraving. 1 p. + 2 pp. printed form (Louvre Print Department acquisition form for The Telephone and Telegraph Building, New York, and rules for transfer of works to the Print Department), in French
From Leo Stein, Paris, France, [postmarked] January 12, 1932: Discusses "two questions that always arise in respect to art... (1) What qualities does one note in a work of art. (2) What value has that which one sees." 6 pp
From Allen Tucker, New York, N.Y., January 18, 1932: Pach's stay in Morocco seems to have been beneficial; 1931 was a difficult year; hopeful for the future; "the Whitney has shaken the whole thing up and American shows past and present and I daresay future are everywhere"; "Rivera having a grand time in a pas de deux with Mrs. Rockefeller at the Museum of 'Foreign' Art." 3 pp
From Henri Verne, Director, Louvre Museum, Paris, France, January 26, 1932: Thanks Pach for his role in the Louvre's acquisition of the Eakins painting; it arrived in good shape and was readily accepted; is still considering the Barye castings. 1 p., in French
From Leo Hartman, Harper's Magazine, New York, N.Y., February 1, 1932: The artists mentioned in Pach's article are too obscure for Harper's readers. 1 p
From Al Bing, New York, N.Y., February 7, 1932: Thanks Pach for helping him find a potential buyer for his Renoir; discusses the Furdson and Havemeyer collections at the Metropolitan; family news; is anxious for Pach's return. 7 pp
From Van Wyck Brooks, Westport, Conn., February 8, 1932: "The Depression is not to be underestimated" and could change the social order; discusses colleges for Raymond; Life of Emerson and a volume of his essays reprinted From the Freeman will be out soon; the Prendergasts live nearby; "Charlie P. is surely a true primitive old master to whom only Vasari could do justice in the way of antecedents"; "I kept thinking as I read your book, what new books must logically follow From your mind"; suggests Pach write histories of art criticism and American art. 10 pp
From Henri Verne, Director, Louvre Museum, Paris, France, March 5, 1932: Because Barye's -- Apollon -- is a fragile plaster, the curator cannot risk making castings. 1 p., in French
From Childe Hassam, New York, N.Y., March 8, 1932: Has a print of Helen Wells for Pach; the Metropolitan Museum filmed him at work and play in East Hampton last summer; the Boston Museum commissioned a similar film of Benson. 3 pp
From Ida E. Guggenheimer, New York, N.Y., March 25, 1932: Sent another payment for City of Mexico to Pach's bank; several people have shown interest in Simone; she and the Steins purchased work From Baylinson's Kraushaar show. 3 pp
From Allen Tucker, New York, N.Y., April 10, 1932: Congratulates Pach on his show and catalog; compliments the Morse exhibition at the Metropolitan; "the Whitney gallery has shaken up the attention of people to the present Americans." 2 pp
From D.T. Sieveking, Director, Antikensammlungen, Munich, Germany, April 27, 1932: Returns the completed questionnaire. 1 p. + 1 p. enclosure (questionnaire about Greek figure known as -- Naked Girl with Cap -- ), in German
From John Sloan, New York, N.Y., April 30, 1932: Recounts the politics of the League's presidential election that he lost; Schnakenberg will be an "inactive president"; when the Board turned down Geo. Grosz, Sloan resigned; Jonas Lie threatened to resign if Pach lectures there; Sloan will teach at Archipenko's school next season; Dolly is a manager for the touring Exhibition of Indian Tribal Arts; Baylinson supported Sloan in the "fight"; financial details of the Sixteenth Annual Independent Exhibition. 2 pp
From Charles Bourgeat, Galerie Dru, Paris, France., May 7, 1932: Received payment for Pach's exhibition there; cannot locate the Sisley and Pissarro photographs Pach sent; their aim to show fine and beautiful painting was accomplished with Pach's exhibition; difficult times account for compliments and no sales. 2 pp., in French
From Ida E. Guggenheimer, New York, N.Y., May 10, 1932: Her opinion of photography remains "good, but not art, and deadly after a certain length of time." 1 p
From Ida E. Guggenheimer, New York, N.Y., May 22, 1932: Hopes Pach's article, "Owning Pictures," will be published; the museum's rehung galleries present interesting new comparisons; asks his opinion of the Art Students League controversy; saw Baylinson at the Independent show; purchased a Baylinson drawing From Kraushaar. 3 pp
From the -- Atlantic Monthly -- , Boston, Mass., May 31, 1932: Pach's article is of limited interest to Atlantic Monthly readers. 1 p
From M.L. Allen, -- Harper's -- Magazine, New York, N.Y., June 2, 1932: Pach's article, "American Art in the Louvre," is not appropriate for a general audience. 1 p
From Gino Severini, Fribourg, Switzerland, June 16, 1932: His schedule will not permit another meeting before Pach's departure; the art market will improve; is interested in the prospect of a show at Brummer's; "decoration work" for Weyhe may end in September; thanks Pach for his help. 2 pp., in French
From P. Dubaut, Paris, France, July 19, 1932: Thanks Pach for sending clippings; the gallery behaved professionally but was not overly kind; was generally pleased with the show; is happy to know Pach. 2 pp., in French
From Alfred Vance Churchill, Rockport, Mass., July 25, 1932: Pach was the first to write of the Smith College Museum as "one of the choicest and best directed collections of art in America"; has received many commendations and is putting together extracts "for certain personal uses"; requests additional thoughts From Pach on the collection. 3 pp
From Alfred Vance Churchill, Rockport, Mass., July 25, 1932: Is trying to arrange a lecture for Pach at Smith College and perhaps at Mount Holyoke College; Jere Abbott will succeed him as museum director; thinks his retirement was forced on the trustees by Paul J. Sachs. 4 pp
From Elie Faure, Paris, France., January 7, 1933: France is declining; sends family news; Paul Morand gave his book a favorable review; inquires whether Pach has found work; there are fewer exhibits in Paris; good paintings are now seen only at the big sales such as Strauss. 2 pp., in French
From Marjorie Carpenter, Hamilton, Ontario, Canada, January 9, 1933: Confirms lecture date at McMaster University. Telegram
From Gertrude Wolf, Executive Secretary, New York University, New York, N.Y., January 9, 1933: Requests syllabus for last 2 lectures of Pach's course and the examination questions. 1 p
From Susan Macdowell Eakins, Philadelphia, Pa., [postmarked] January 19, 1933: Informs Pach of prices of two Eakins portraits; many Eakins paintings were damaged by restorers; others are in "splendid condition" due to the efforts of Charles Bregler; comments on Mrs. Whitney's plans to aid painters. 1 p
From Elie Faure, Paris, France, December 9, 1933: A Courbet, which Faure believes is his most beautiful, is for sale; indicates price, size, and citation of a reproduction; inquires about the financial crisis in the United States; comments on economic problems, political events, and inertia of the French people; is writing a preface for Rosenberg's Renoir exhibit; asks about Pach's painting and printmaking; requests news of Rivera about whom he wrote an article; Harper's sent money and will reprint The Spirit of the Forms. 4 pp., in French
From Clifton A. Wheeler, Indianapolis, Ind., February 2, 1934: Discusses fellow board members of the Indianapolis Art Association and acquisitions; "modernization" was the response to declining school enrollment; 9 instructors, including Wheeler, were fired; describes life on the top of La Conte Mountain, Tenn., where he painted the previous fall; has mural and portrait commissions, "so long as I can make a living I don't care if I don't teach." 8 pp
From E.D. Smyth, Tangier, Morocco, September 19, 1934: Thanks Pach for sending a painting of Helen; is staying in Helen's house; Gertrude Stein's book about Alice Toklas is "an overwhelmingly cheeky work" that failed to mention Pach; news of mutual friends; reminiscences of visits with the Pachs; James McBey, a Scottish painter and etcher, has settled nearby. 3 pp
From Marcel Duchamp, Paris, France, October 17, 1934: Feels animosity toward Barr, whom he calls narrow-minded; will handle in his own way any resulting confrontation or unpleasantness; told Arensberg, owner of -- Un Descendant -- , not to lend to Barr; asks Pach to find an excuse for refusing Barr; Barr shall reap what he has sown; American collectors are now speculators; sends order forms for his new book. 5 pp., in French
From Elie Faure, Paris, France, December 4, 1934: The owners of the Courbet are impatient; asks if it has arrived in New York; suggests that a collector, Barnes, or the Metropolitan Museum of Art may be interested; his book is being ignored in France; if Pach has money, now is a good time to buy art; tells of works that are selling at reduced prices. 2 pp., in French
From Simonne Maubert, Paris, France, December 22, 1934: Miss Stein wrote with good news of Pach; posed for Miss Stein during the autumn and hopes for similar work next year. 2 pp. + picture postcard ("Palais de Fontainebleau, La Cour Ovale et le Baptistère"), in French
From A. Frohberg and Johanna, Dresden, Germany, December 31, 1934: Thanks Pach for letter and for holiday greetings; the news of Pach's selection for an important commission brings them great joy; news of a family friend who has made progress and overcome obstacles. 2 pp., in German
From Karl Lilienfield, New York, N.Y., May 13, 1935: Confirms the commission Pach will receive if he sells paintings for Alexander M. Bing. 1 p., in German
From Henri Focillon, New Haven, Conn., May 21, 1935: Thanks Pach for sending the fine article he wrote on -- La Patelliere -- , which he saw in Bucharest; when visiting the Politzers, he failed to recognize Pach's name, thus missing the opportunity to express his admiration and respect. 2 pp., in French
From Father [Frohberg] and Johanna, Dresden, Germany, July 2, 1935: Birthday greetings. Picture postcard ("Herzlichen Gluckwunsch zum Geburtstage"), in German
From Bernard Berenson, Florence, Italy, September 13, 1935: Opposes exhibitions such as the current one at the Petit Palais; is revising his work on drawings of Florentine painters; "foulness piled over Michelangelo by a lot of German animals, the worst of whom is a biped named Panofsky." 12 pp
From Clifton A. Wheeler, Indianapolis, Ind., October 20, 1935: Pach should notify the director of the John Herron Art Institute of his schedule and lecture fees; is teaching at a high school; the art school is now "purely Yale, Beaux Arts competition, and American Academy in Rome." 2 pp
From Edna Strasser, Amsterdam, the Netherlands, October 26, 1935: Called on friends of Pach, the Brinkman family of Haarlem; saw the portrait Pach painted of their brother in 1906. 3 pp
From Arthur Strasser, Seville, Spain, November 18, 1935: Recounts visit with Brinkmans in Haarlem; is impressed by the Prado, Rubens, and El Greco; at Pach's suggestion, they have attended several performances of gypsy music and dancing. 4 pp
From Elie Faure, [place unknown], November 29, 1935: Is enchanted by and praises the most successful part of Pach's triptych; discusses the economy and prospects for work in France; continues to be pessimistic about painting in France; architecture is what is needed now and cinema may become more important than painting; mentions a Flemish exhibition; congratulates Pach on his portrait of a young man, possibly Raymond; the critics who denounced what Faure wrote on the agony of painting now admit he was right. 4 pp., in French
From A. Frohberg and Johanna, Dresden, Germany, March 2, 1936: Belated birthday greetings; tell Magda everything has been done for Zittau [?]. Picture postcard (untitled), in German
From Gerda Stein, New York, N.Y., March 10, 1936: Thanks Pach for his friendship; "accept this simple expression of my appreciation for what you have given me and the earnest hope that it will bring you an answer to some of the problems that perplex you." 4 pp
From Ida E. Guggenheimer, Ontario, Canada, August 4, 1936: Read his review in the -- Nation -- and wants to see the exhibition; the watercolor of Magda acquired by the Brooklyn Museum is one of Pach's best. 1 p
From Bernard Berenson, Grusbach, Czechoslovakia, August 26, 1936: "You are one of the last surviving acquaintances who, in the study of art, have not gone over to irrelevant promiscuity"; discusses attribution of Goldman's Madonna; has begun writing "The Decline and Recovery of Form"; spent 6 weeks in Yugoslavia studying Roman remains and Byzantine frescoes. 4 pp
From Bernard Berenson, Florence, Italy, November 30, 1936: Read his article in the -- Virginia Quarterly -- ; he liked the photograph of Pach's fresco more than the article; tell Van Wyck Brooks he is welcome to visit when next in Florence; spent 5 weeks in Paris. 4 pp
From Elie Faure, Paris, France, December 28, 1936: Eight months ago Lizou married a man who died of cancer a few days later; his books are not selling well; History of Art is unavailable and financing cannot be found for a new edition; saw an exhibit of Bonnard and Vuillard; considers mural work the only important current painting; recounts a visit to Spain; Rivera was wounded in Mexico; Rivera's recent silence may be the result of Faure's article. 4 pp., in French
From Herbert Eustis Winlock, Director, Metropolitan Museum of Art, New York, N.Y., February 13, 1937: Winthrop will not loan his collection. 1 p
From Allen Tucker, Castine, Maine, May 30, 1937: "I wonder if Museums and concerts haven't stopped rather than helped our creative efforts"; is glad to be back in America; wrote to Moe; "the foundation likes to bet on the unknown instead of helping anyone who has shown they HAVE ability and have done the work"; congratulates Pach on continuing to paint despite other responsibilities; sorry to hear Sloan is unwell. 1 p
From Ernestine Ludolf, Florence, Italy, June 22, 1937: Pach is "a good and faithful friend"; his kind words about Egisto are like "a flower of remembrance on his grave"; wants to give him a small painting by Egisto, showing a corner of the Montmartre studio where he and Pach first met. 6 pp
From Ida E. Guggenheimer, Paris, France, September 13, 1937: Attended a conference in Paris; visited the Fountain of the Innocents; made a thorough tour of the exhibition with Villon. 3 pp
From Marcel Duchamp, Paris, France, September 28, 1937: Would like to see his painting -- Sad Young Man on a Train -- join related paintings in California and believes Arensberg would agree; requests a photograph of the painting to reproduce in an album he is compiling. 2 pp., in French
From Allen Tucker, New York, N.Y., November 1, 1937: Thanks Pach for the Delacroix book; congratulations on "another great contribution to civilization"; completed a "pretty good summer's work" before his illness. 2 pp
From Van Wyck Brooks, Westport, Conn., November 18, 1937: Thanks Pach for the book on Delacroix; the introduction is "wholly satisfying." 2 pp
From Van Wyck Brooks, New York, N.Y., November 23, 1937: Reads some of Delacroix each day; "I'm beginning to understand your feeling about him." Picture postcard ("Self Portrait by Francesco Goya. Frontispiece to Los Caprichos. Madrid, circa 1803")
From L. (Mme. Elie) Faure, Paris, France, November 30, 1937: Thanks Pach for writing to her; wants to carry out her husband's wishes to make his work publicly accessible; sends a list of Faure's unpublished articles; discusses financial matters relating to the Harper's contract. 4 pp., in French
From Royal Cortissoz, New York, N.Y., January 2, 1938: Thanks Pach for his book on Delacroix, "the work of an artist and man of letters." 3 pp
From Van Wyck Brooks, Westport, Conn., November 2, 1938: "I'm glad to stand by that statement." Picture postcard ("Mountain landscape. Chinese, Ming Period, 15th century, after a design attributed to Ma Yiian (flourished 1190-1221)")
From Henry Watson Kent, Metropolitan Museum of Art, New York, N.Y., November 3, 1938: Thanks Pach for the "kind letter about the Morgan exhibition." 1 p. (frame 589) and envelope
From Henry Watson Kent, New York, N.Y., November 8, 1938: Thanks Pach for the inscribed copy of his book; is proud to be associated with the book and to have Pach say kind things about him. 1 p
From Van Wyck Brooks, Westport, Conn., November 9 and 11, 1938: Read -- Queer Thing, Painting -- ; "I had better begin now by telling my few objections, in order to hand you later my full bouquet"; "you exaggerate the Villon connection"; "you exaggerate the ignorance of Italian art on the part of our forbears"; "you praise some collectors too highly," especially Morgan and John Quinn; "your memory of Yeats is suspect"; Pach has created a "permanent record and source-book" full of "wisdom." 14 pp
From Van Wyck Brooks, Westport, Conn., November 15, 1938: Grants permission to quote From his previous letter; Pach's book is "tremendously important." 2 pp
From Kenneth Hayes Miller, New York, N.Y., November 15, 1938: Congratulations on -- Queer Thing, Painting -- ; the book has "permanent value." 1 p
From Louis Lombard, [place unknown], France, November 23, 1938: Thanks Pach for his letters; describes the horrors of life as a soldier; he reads Whitman to maintain good spirits. 4 pp., in French
From Henry Watson Kent, Metropolitan Museum of Art, New York, N.Y., December 9, 1938: Advises Pach to distribute new cards to schools. 1 p. + 1 p. enclosure (suggested text for announcement of Pach's availability as a lecturer)
From W.S. Rusk, Wells College, Aurora-on-Cayuga, N.Y., December 21, 1938: "Thank you for the conference the other day in which we discussed the artist and the art critic." 1 p
From G. Masolle, Evian, France, December 31, 1938: Thanks Pach for the extract From his book, which she translated immediately; it showed perfect understanding of Jean's character; -- The Prisoners of the World -- is impossible to find; Jean Cocteau has not published Jean's first essays or poems. 2 pp., in French
From Simonne Maubert, Paris, France, April 5, 1939: Thanks Pach for sending his book; she was happy to recognize herself in one of the chapters; her English is improving and one day she may be able to read the entire book. 4 pp., in French.
To Magdalene Pach From Van Wyck Brooks, Westport, Conn., July 8, 1939: Is looking forward to the Pachs' visit. 2 pp
From Van Wyck Brooks, Westport, Conn., December 29, 1939: The book is a "glorious achievement... by far your best book"; it "brought back all my gratitude to you for all that you have taught me about art." 4 pp
From Daniel Gregory Mason, New York, N.Y., March 15, 1940: Thanks Pach for the "great pleasure and stimulus" of Ingres; "one grows to feel something of the affection, respect, and admiration for Ingres that you show the way to." 1 p
From Don F. Dickson, Director, Dickson Mound Museum, Lewistown, Ill., March 28, 1940: Sends photographs of pipes that Pach found interesting. 1 p. + enclosures (4 photographs of ceremonial pipes: "Front view of a human effigy tobacco pipe From the Great Temple Mound in Oklahoma, Ceremonial type"; "Front view. Ceremonial type"; "Side view. Ceremonial type"; and "Back view of human effigy tobacco pipe From the Great Temple Mound in Oklahoma, Ceremonial type")
From Bernard Berenson, Florence, Italy, March 30, 1940: Was interested in the Ohio mound builders in his youth; "my writing days are over I fear, for one thing I feel afraid I have nothing to say that would not sound commonplace"; "too much absorbed" in what is going on in this part of the world." 8 pp
From Ernestine Ludolf, Florence, Italy, April 18, 1940: Ingres is "splendid"; sympathizes with the "difficulties" Pach encountered when organizing the World's Fair art exhibition. 6 pp
From Van Wyck Brooks, Boothbay Harbor, Maine, September 2, 1940: Pach has found "the only paragraph in the whole book (which after a dozen rewritings) left me unsatisfied." Postal card
From G. Masolle, Evian, France, October 14, 1940: Is happy that Jean's memoirs are in Pach's hands; awaits English victory; the French are suffering, but she is confident the country will survive. 2 pp., in French
From Van Wyck Brooks, Westport, Conn., April 9, 1941: "We missed you at the John Sloan dinner"; he won't write any more about expatriates. 3 pp
From Alfred Vance Churchill, Northampton, Mass., April 21, 1941: Congratulations on Ingres; recalls Pach's help in acquiring important paintings for the Smith College Museum of Art. 3 pp
From Art Young, New York, N.Y., May 9, 1941: Congratulations on -- Masterpieces of Art -- . 1 p., illustrated with drawing of a stooped man walking with a cane
From Hugo Robus, New York, N.Y., June 13, 1941: Was pleased by Pach's letter praising his marble at the Museum of Modern Art; Alfred Barr was "delighted" by Pach's comments; there is also a Robus bronze at the Museum of Modern Art; "I never dated my work and so the actual year of production is a pretty hazy matter." 2 pp
From Ruth A. Wilmot, Oak Bluffs, Mass., [postmarked] August 2, 1941: She and Donald are enjoying their vacation. Picture postcard ("Yacht Club and Harbor, Edgartown, Mass.")
From Kenneth Hayes Miller, New York, N.Y., August 7, 1941: Comments on paintings From the Louvre shown at the M[etropolitan] M[useum of Art]; he doesn't enjoy the country as Pach seems to. 2 pp
From Bernard Berenson, Florence, Italy, August 30, 1941: "I believe the entire Mississippi basin to its utmost reaches was flooded with Aztec influences"; requests photograph of a piece Pach mentioned seeing in Columbus, Ohio; "French art will rise again"; recalls his first acquaintance with Poussin's work. 2 pp
From Van Wyck Brooks, Westport, Conn., September 4, 1941: "I am reacting against this whole conception of 'mankind' as 'rabble' "; his new book will expound on this. 2 pp
From Charles Cunningham, Assistant Curator of Paintings, Museum of Fine Arts, Boston, Mass., September 11, 1941: Requests additional information about Pach's Delacroix painting; shares information on works in the collection of George Reinhardt, Winterthur, and the Metropolitan. 2 pp
From Charles Cunningham, Assistant Curator of Paintings, Museum of Fine Arts, Boston, Mass., October 15, 1941: Sends summary of information compiled when cataloging the Museum's version of Delacroix's -- Christ on the Sea of Genesareth -- . 1 p. + 4 pp. enclosure (notes on 6 versions of the painting)
From William Mills Ivins, New York, N.Y., [postmarked] January 27, 1942: Thanks for his "warm approval of the Bulletin article." 1 p
From Van Wyck Brooks, Norwalk, Conn., [postmarked] February 3, 1942: Thanks for sending the brochure about Quidor. Picture postcard ("The Dance of Death. The Ploughman Woodcut by Hans Holbein the Younger. German, 1497-1543")
From Van Wyck Brooks, Westport, Conn., [postmarked] February 19, 1942: Thanks for the Quidor catalog; saw the show yesterday; "he's really a discovery." Picture postcard ("Saint George and the Dragon. Woodcut by Lucas Cranach the Elder. German, 1472-1553")
From Van Wyck Brooks, Westport, Conn., [postmarked] February 27, 1942: "What you say about the book makes me regret all the more that it has to be postponed." Picture postcard ("Rembrandt, Dutch, 1606-1669. Portrait of the Artist"), with annotation by Pach: "Book on American Art proposed to the American Philosophical Society."
From Fred M. Stein and Arthur Strasser, New York, N.Y., March 21, 1942: In "recognition of what you have meant to the [Schilling] Fund... [we] take great pleasure in sending you the enclosed." 2 pp
From M.M. Pochapin, Music Appreciation Record Corporation, New York, N.Y., May 6, 1942: Please sign and return a copy of the agreement. 1 p. + 1 p. enclosure (May 6, 1942, From M.M. Pochapin, New York, N.Y. Pach has been selected a Judge for the "Art Appreciation Movement. In this capacity you are to pass on the true value of paintings submitted.").
to Magdalene Pach From M.M. Pochapin, Managing Director, Art Appreciation Movement, New York, N.Y., May 13, 1942: Requests that she read the organization's pamphlet about the Art Appreciation Movement and complete the "lengthy Qualification Form"; "great artists will make their paintings available at these small Public Service prices." 2 pp
From M.I. Block, Art Appreciation Movement, New York, N.Y., May 27, 1942: Receipt for 5 oil paintings consigned. 1 p
From Reginald Poland, Director, Fine Arts Gallery, San Diego, Calif., 5 June 25, 1942: "We realize increasingly that, in the Caravaggio, we have a magnificent work of art"; "we have just acquired a glorious Titian Madonna, painted about 1514-- very strongly Giorgionesque." 1 p
From Van Wyck Brooks, Westport, Conn., [postmarked] July 8, 1942: "What happens to them [artists] when they are 'above' politics? Don't they in the end lead themselves to the politics that destroy them?" Postal card + clipping ("Guest Artists," Time)
From Van Wyck Brooks, Westport, Conn., July 15, 1942: "I won't agree with you about artists and politics"; "a certain breadth of interests and sympathy does not drain one's energy." 2 pp
From Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., July 17, 1942: Discusses insurance and storage arrangements for Pach's property while he is in Mexico. 2 pp
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., July 17, 1942: Agrees to publish his article on Ingres. 1 p
From Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., July 20, 1942: Sends "lost policy releases" and policy numbers. 1 p
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., August 4, 1942: Pach's article on Ingres will appear in the October issue. 1 p
From Gilbert R. Gabriel, Schneider-Gabriel Galleries, Inc., New York, N.Y., August 10, 1942: "Your article on the Ingres is a masterpiece"; discusses the price of a painting of Trinity Church. 2 pp. + enclosures (12 business cards and 4 handwriten notes containing names, addresses, and telephone numbers of Mexican acquaintances)
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., August 19, 1942: Pach's piece on Ingres will be the lead article; accepts his proposal for an article on the "Mexican primitive Bustos." 1 p
From Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., September 3, 1942: Discusses overpayment of insurance premium. 1 p. + 4 enclosures (3 invoices and inventory of artwork in storage). [postmarked September 3, 1942] From John Strasser, New York, N.Y. 4218 703-705 September 4, 1942: Discusses "early Hispano-Mexican" Madonna; "Rosenberg has an attractive show." 3 pp
From John Sloan, Santa Fe, N.Mex., September 8, 1942: Is home From the hospital; his exhibition was in Chicago, Denver, and Santa Fe, and will go to Albuquerque next and then Fort Worth; received "enthusiastic notices"; sold 2 pieces. 2 pp
From Jacob M. Heimann, Beverly Hills, Calif., September 14, 1942: "I greatly appreciate the idea of making an exhibition in Mexico"; inquires about lighting and dimensions of the galleries; "the lack of interest and the ignorance as far as art is concerned here, is unbelievable." 1 p. + 1 p. enclosure (lists of numbers)
From Lasar Kipnis, New York, N.Y., September 18, 1942: "Considering risk expenses at present offer seven and half percent for next three years." 1 p
From Lasar Kipnis, New York, N.Y., September 21, 1942: Expenses will be high; recommends he establish a relationship with Mizracchi [ sic] before arriving in New York; show him some "really valuable" paintings as well as "less expensive works on the sale of which we may really count"; suggests a selection of "object d'art" From A la Vieille Russie; November is the best time for an exhibition in Mexico. 3 pp
From John Strasser, New York, N.Y., September 25, 1942: Pyramid of the Sun, as it appears in the photograph, is "dazzling"; discusses his search for a job. 2 pp
From Lasar Kipnis, New York, N.Y., September 29, 1942: Proposed exhibition may receive the cooperation of the president of Mexico and the king of Rumania; "we must and shall have a first class show"; mentions several works he intends to include. 1 p
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., October 5, 1942: The editor of Cuadernos must insert a notice stating the article was written for publication in Art in America and appears simultaneously in translation. 1 p
From M.M. Pochapin, President, Art Movement, Inc., New York, N.Y., October 8, 1942: Is deciding whether to continue the Art Movement; Marsh resigned; "my enthusiasm has never waned"; Sloan remains involved; plans to market paintings through department stores; work by Walter and Magda Pach is being shown in Philadelphia and Atlanta. 2 pp
From Diego Rivera, [place unknown], October 13, 1942: He and the editors extend thanks and enclose payment. 1 p., in Spanish
From Adrian Bourcart, [place unknown], Mexico, October 21, 1942: Had the pleasure of attending Pach's lectures on art; requests clarification of true art versus false art and live art versus dead art. 4 pp., in French
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., October 22, 1942: "I was delighted with your article on Bustos"; "unless the article appears in Art in America prior to publication elsewhere, we cannot print it." 2 pp
From John Strasser, New York, N.Y., November 13, 1942: Comments on Mexico painted by Velasco. 2 pp
From Marjorie D. Mathias, College Art Association of America, New York, N.Y., November 14, 1942: The State University at Bowling Green, Ohio, has inquired about engaging Pach for a lecture. 1 p
From Henry Allen Moe, Committee for Inter-American Artistic and Intellectual Relations, New York, N.Y., November 16, 1942: "We want our grantees to be able to do what they ought to do and live as they ought to live"; Pach should let them know his anticipated expenses and how much time he needs in Mexico. 1 p
From Van Wyck Brooks, Westport, Conn., November 18, 1942: With the help of Eleanor and Kenyon, he has managed to read some of the Cuadernos Americanos Pach sent; "I like immensely its tone and elevated feeling"; "I envy your meetings with Diego Rivera, who has always seemed to me a very great painter"; is "shocked" that Lionello Venturi and William G. Constable don't share his opinion of Rivera; a "complicated family problem" keeps them From traveling; is working on -- The Age of Washington Irving -- . 4 pp
From Stephen Duggan, Director, Institute of International Education, New York, N.Y., November 30, 1942: Is glad that Pach's lectures were well received; hopes Pach can remain in Mexico. 1 p
From Alfonso Reyes, Colegio de Mexico, Mexico City, Mexico, December 3, 1942: He is honored by Van Wyck Brooks's words and wants to correspond with him. 1 p., in Spanish
From Stephen Duggan, Director, Institute of International Education, New York, N.Y., December 7, 1942: Is "delighted to learn that Pach will receive a grant through Mr. Moe and 'his Committee.' " 1 p
From Lasar Kipnis, New York, N.Y., December 8, 1942: "Just returned From Johns Hopkins Hospital." Telegram
From Henry Allen Moe, New York, N.Y., December 11, 1942: "Your letter received but no word From the university." Telegram
From A.S. Baylinson, New York, N.Y., December 18, 1942: He and Constant were rejected by the jury of the "so called Victory exhibition"; reports the death of Michael Rosenthal. 2 pp
From George Constant, New York, N.Y., December 20, 1942: Is glad that Pach, a "fine painter," now has time to paint; the Artists for Victory exhibition at the Metropolitan is "lousy." 2 pp
From Henry Allen Moe, Committee for Inter-American Artistic and Intellectual Relations, New York, N.Y., December 21, 1942: Confirms that Pach is to receive a grant; a final report is due upon return. 1 p. + 2 enclosures (1 sheet of figures titled "Mex--New York" and copy of 1 p. letter to Rodulfo Brito Foucher, Rector, National University of Mexico, From Henry Allen Moe, New York, N.Y., announcing grant to the University for Pach's lectures)
From Pedro HenrÃquez Ureña, Buenos Aires, Argentina 4218 764-765 December 22, 1942: Sent photographs of the work of Attilio Rossi; Argentine critic, Julio Rinaldini, will send books. 1 p
From Lasar Kipnis, New York, N.Y., December 29, 1942: Asks Pach to write an article on new acquisitions by Mr. Poland's Museum; wants Pach lecture in San Diego; when a new catalog of the permanent collection is published, "we are sure the work will be entrusted to you." 2 pp
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., December 29, 1942: Robert Montenegro's book impressed him; hopes Montenegro will write on Estrada for Art in America; requests Pach's help in arranging it. 1 p
From Harry Miller Lydenberg, [place unknown], Mexico, December 29, 1942: Discusses origin of the phrase "biblia a-biblia." 1 p
From Marcel Duchamp, New York, N.Y., January 3, 1943: Fearing visa problems, he has decided not to go to Mexico; made several "suitcases"; the opening at Peggy's gallery was a big success; plans a surrealist show with Schiaparelli and Breton; Reynolds, just arrived in Madrid, requested that Pach extend greetings to Frida and Diego. 2 pp., in French
From Arthur Strasser, New York, N.Y., January 7, 1943: Congratulations on receiving a grant; "it is not to the Schilling Fund but to you personally, Walter, that our gift to the Metropolitan was the beginning of the belated recognition of Flannagan's genius"; Fred Stein would appreciate suggestions for the Schilling Fund award. 2 pp
From John Rewald, Weyhe Gallery, New York, N.Y., January 13, 1943: Is glad Pach liked his article on Bonnard; will send Pach a copy of his new book on Seurat. 2 pp., with postscript From Laura Canade: New York Public Library has purchased Pach's Self-Portrait
From John Strasser, New York, N.Y., January 16, 1943: "People who might have enjoyed the 'Victory' show 25 or 30 years back now unanimously dislike that accumulation of junk"; "read of your and Rivera's project for spreading Flannagan's reputation." 3 pp
From Van Wyck Brooks, New York, N.Y., January 17, 1943: Saw Jacques Villon's "grand portrait" of Pach at the "Modern Museum." Picture postcard ("Illuminated initial From a South Italian ms. Valerius Maximus written about 1450")
From M.L. Stafford, American Consul, American Embassy, Mexico, January 22, 1943: Pach's registration of American citizenship was approved. 1 p
From Harry Miller Lydenberg, Biblioteca Benjamin Franklin, [place unknown], Mexico, January 23, 1943: Is sending a check in appreciation of the time and interest Pach contributed to their exhibition; wants to publish Pach's tribute to Bustos. 1 p
From Stephen Duggan, Director, Institute of International Education, New York, N.Y., February 3, 1943: Pach's observation about Mexican education interested him; he is "well informed concerning the anti-American attitude" in Mexico. 1 p
From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., February 15, 1943: Thanks Pach for arranging to have Fernando Gambo write an article on Estrada; Pach's writings have stimulated interest in Mexican art; his review will not be published due to "paper restrictions." 1 p
From Van Wyck Brooks, New York, N.Y., March 9, 1943: Has "rediscovered" New York by living in the city temporarily; "I am especially happy to have got to know some of the new young writers"; wants more news of Diego Rivera. 3 pp
From Georges Wildenstein, Director, Gazette des Beaux-Arts, [filmed twice] New York, N.Y., March 26, 1943: Wants to publish Pach's article; hopes he will agree to some minor changes. 1 p., in French
From Lyman Bryson, Conference on Science, Philosophy and Religion, New York, N.Y., March 26, 1943: Requests comments on a paper by Professor William Scott, Randolph-Macon Women's College. 1 p. + 2 pp. enclosure ("Conference on Science, Philosophy and Religion, Reply to Questionnaire of December 7, 1942 by Walter Pach")
From Paul J. Sachs, Fogg Art Museum, Harvard University, Cambridge, Mass., April 8, 1943: Grenville L. Winthrop collection has been bequeathed to the Fogg Museum; wartime conditions have caused universities to curtail their art departments; "it is extremely important that able and understanding North Americans, such as yourself... should be our cultural ambassadors in Latin America"; suggests summer programs in the United States where Pach might teach; tells Pach to add his name to the speakers list maintained by the Coordinator of Inter-American Affairs. 2 pp
From William N. Eisendrath Jr., Chairman, Exhibition Committee, Arts Club of Chicago, Chicago, Ill., April 26, 1943: Requests assistance in selecting works for a Rivera retrospective planned for February 1944. 1 p. + 1 p. enclosure (list of works by Rivera, "suggested by Mrs. Goodspeed, April 26, 1943," with notes by Walter Pach)
From Annette B. Cottrell, Director, Speakers Service Section, Coordinator of Inter-American Affairs, Washington, D.C., April 28, 1943: Thanks Pach for his "interest in inter-American affairs and desire to collaborate with the work of this office as a speaker." 1 p
From Robert Chester Smith, Director, Hispanic Foundation, Library of Congress, Washington, D.C., April 30, 1943: Considers Pach "an historic figure, one of the first to call attention to the development of Mexican art"; this is not the right time for Pach's proposed publications and translations. 1 p
From Harry Miller Lydenberg, [place unknown], Mexico, May 8, 1943: Pach's "review of the Low study on the place of the Museum in our world today" is "admirable"; politically or economically motivated explanations of art will "fail"; he is less "pessimistic" than Pach on the role of public funding; public libraries are a good example. 2 pp
From Annette B. Cottrell, Director, Speakers Service Section, Coordinater of Inter-American Affairs, Washington, D.C., May 25, 1943: Pach will be included among the organization's available speakers. 1 p
From Van Wyck Brooks, Westport, Conn., May 28, 1943: El Hijo Prodigo and Cuadernos are "typographically delightful"; wishes he knew Spanish; would like to be able to contribute articles to Mexican periodicals; John Sloan is reported to be "very frail." 4 pp
From William N. Eisendrath Jr., Chairman, Exhibition Committee, Arts Club of Chicago, Chicago, Ill., June 4, 1943: Need to figure costs for Rivera exhibition before continuing negotiations for loans; Pach must supply further information. 1 p. + 2 pp. enclosure ("List of Rivera Paintings," June 3, 1943)
From Elias Lieberman, Associate Superintendent, Board of Education of the City of New York, Brooklyn, N.Y., June 7, 1943: Pach will be granted a "substitute license" to teach Spanish in the New York public schools. 1 p
From Raymond B. Humphrey, Director, Brown, Crosby & Co., Inc., New York, N.Y., June 18, 1943: Instructions for renewing war damage and fire insurance policies. 1 p
From James A. Porter, Washington, D.C., June 19, 1943: Thanks Pach for the "remarkable" introduction and subtitle suggestions for his book. 1 p.
to Maurice Block, Curator, Henry E. Huntington Art Gallery, San Marino, Calif., From Marjorie S. (Mrs. A.R.) Waybur, Kingsley Art Club, Sacramento, Calif.,June 20, 1943: Inquires about Pach's availability to lecture. 2 pp
From Ignacio Marquina, National Institute of Archaeology and History, Mexico City, Mexico., June 26, 1943: Gives Pach permission to export the 5 archaeological objects specified on the list attached. 1 p. + 1 p. enclosure (copy of form completed by Pach), in Spanish
From Frederick Lewis Allen, -- Harper's -- Magazine, New York, N.Y., August 27, 1943: Rejects 2 articles, "The Negro's Place" and "Your Ancestors of the Soil." 2 pp
From John Sloan, Santa Fe, N.Mex., August 31, 1943: Is recovering From surgery; feeling better, but still unable to travel. 1 p
From Charles A. Thompson, Department of State, Washington, D.C., September 7, 1943: Dr. Moe will contact Pach about writing a book, in Spanish, about "art resources of the United States." 1 p
From Ernst E. Clad, New York, N.Y., September 9, 1943: Outlines Pach's finances; advises specific investments. 3 pp. + 1 p. enclosure (copy of September 9, 1943 letter From Walter Pach to H.C. Wainwright & Co. authorizing sale of stocks)
From Laurence Duggan, Adviser on Political Relations, Department of State, Washington, D.C., September 17, 1943: Cannot assist with funding or promise to purchase his book; Dr. Moe is attempting to finance the project; "I think the preparation of the book would be a far more useful contribution to inter-American understanding than your acting as an unofficial Mexican cultural representative in the United States." 1 p
From Charles A. Thompson, Department of State, Washington, D.C. October 4, 1943: Is returning "Ancestors of the Soil"; "Mr. d'Harnoncourt expresses great interest." 1 p
To Springmeier Shipping Co from J.O. Ellis, New York, N.Y., October 14, 1943: Notification of claim for items missing From shipment of Pach's possessions. 2 pp
From Houston Peterson, Head, Division of Social Philosophy, Cooper Union, New York, N.Y., October 15, 1943: Pach is "definitely on our list of favored speakers" for the second semester. 1 p. + enclosure (brochure for "Cooper Union Forum, first half 1943-1944")
From John Sloan, Santa Fe, N.Mex., December 30, 1943: Went out to his old house, "Sinagua," which reminds him of Dolly; still recuperating From surgery; needs to clean up his Chelsea studio; it is unlikely he can get to New York; read Pach's article on the "Eight"; the name was invented by an Evening Sun writer; "the 'chosen' of Robert Henri we were, not at all a mutual admiration group as I recall the time." 3 pp
From Art Young, New York, N.Y., [postmarked] December 30, 1943: New Year's greetings. Picture postcard ("28th Issue--Art Young's Annual Hello")
From Donald Carlisle Greason, Deerfield, Mass., April 8, 1944: The enclosed letter was sent in a "weak moment"; "is it not time you took up the mightier sword again; or have your ideas changed?" 1 p. + 1 p. enclosure (letter, April 6, 1944, to Hugo Gellert and Gentlemen of the [Exhibition and Competition] Committee, Artists for Victory, Inc., From Donald Carlisle Greason, Deerfield, Mass.: declines invitation to participate in the Artists for Victory exhibition; "I shyly deplore this undignified business of artists thumbing rides of the troop trains, of Patriotism for Publicity--and prizes!"; "did not Pach write the obituary of this [prizes] in his Ananias?")
From Henry Watson Kent, New York, N.Y., November 30, 1944: Hopes his notes on Pach's manuscript will be of use and interest. 1 p. + 7 pp. enclosure (notes, comments, and suggestions relating to Pach's manuscript)
From Ernst E. Clad, New York, N.Y., December 11, 1944: Information about Pach's 1944 taxes. 1 p. + enclosures (completed "Form for Computing Capital Gains and Losses," 1 p., and printed instructions, 5 pp.)
From George Ferdinand Of, [place unknown] Read both of Pach's articles and is returning one; "you must take me to see that charming Miss Roger's paintings."
From George Ferdinand Of, [place unknown], December 28, 1944: Read both of Pach's articles and is returning one; "you must take me to see that charming Miss Roger's paintings." Picture postcard ("'Chapeau de Faille' by Rubens")
From Donald Carlisle Greason, Deerfield, Mass., February 9, 1945: "I thought my annual letter of 'regrets' to the 'Artists for Defeat' might amuse you"; quotes remarks by Sinclair Lewis made when declining the Pulitzer Prize. 1 p
From Rufus E. Clement, Atlanta University, Atlanta, Ga., April 11, 1945: Sends photographs taken at the "art show"; mentions recent reviews of their exhibition. 1 p. + 2 photographs (Pach viewing the exhibition, and Pach speaking in the gallery)
From Viking Press, New York, N.Y., April 30, 1945: Royalty statement for Masters of Modern Art. 1 p
From Harper & Brothers Publishers, New York, N.Y., June 30, 1945: Royalty statement for Ingres and -- Queer Thing, Painting -- . 1 p
From Jacques Lipchitz, Paris, France, July 31, 1945: [Illegible due to show-through]. 2 pp., in French
From Bernard Berenson, Florence, Italy, November 29, 1945: May continue work begun several years earlier on "Aesthetics and History"; working on "Decline and Recovery in the Figure Arts"; when in "hiding" he kept a diary, which he may publish. 2 pp
From Fred M. Stein and Arthur Strasser, Trustees of the Schilling Fund, New York, N.Y., February 8, 1946: Thank Pach for his work on behalf of the Schilling Fund; offer him a salary to continue as an adviser. 1 p., with annotation by Pach (on reverse), February 10, 1946, draft letter of acceptance, 1 p
From Van Wyck Brooks, Westport, Conn., June 23, 1946: Eleanor's leg had to be amputated; they will move to an apartment in New York in October. 2 pp
From Van Wyck Brooks, Westport, Conn., August 26, 1946: "Eleanor's condition has taken a serious turn for the worse, and I fear it is only a question now of a very few weeks." 1 p
From Jacques Lipchitz, Paris, France, November 19, 1946: New York trip was postponed; describes a wonderful exhibit at Delacroix's studio; occasionally sees Jacques Villon, who has a painting in the Salon d'Automne. 2 pp., in French
From Bernard Berenson, Florence, Italy, January 10, 1947: Pach's son and daughter-in-law visited him; publishers are not interested in his diary; Aesthetics and History will have to go to a university press. 2 pp
From Irma L. Richter, New York, N.Y., March 27, 1947: Is returning Pach's copy of ABC on Painting by Severini; "I wonder whether you have tried to follow his advice regarding technique." 1 p
From James Daugherty, Westport, Conn. [postmarked, March April 22, 1947]: Saw Pach's exhibition at Laurel Gallery; "your work has grown simpler and broader and more unified." 1 p
From Octavio G. Barreda, [place unknown], Mexico, October 9, 1947: Thought of Pach when visiting galleries in Italy and Paris; Paris, Rome, and Florence seem to have recovered From the war, but it wasn't the same without the old faces; in both art and literature it is the end of an era; young artists and writers do not know their message; family news; will visit New York and Havana. 4 pp., in Spanish
From Kurt Wolff, Pantheon Books, New York, N.Y., November 5, 1947: Asks Pach to accept all changes made by the editor. 1 p
From Kurt Wolff, Pantheon Books, New York, N.Y., December 4, 1947: Needs to clarify certain points; Pach must bear the cost of retyping. 1 p
From Kurt Wolff, Pantheon Books, New York, N.Y., January 29, 1948: The final pages of his manuscript must be condensed. 1 p.
To Kurt Wolff From Walter Pach, New York, N.Y., January 30, 1948: They never discussed, nor did he authorize, changes to the final pages of his book. 1 p
From Henry Watson Kent, New York, N.Y., February 21, 1948: Remarks on Pach's complimentary statement about him. 1 p
From Margarita Nelkin, Paris, France, September 1, 1948: Has heard From Pach through letters to Mlle. Burchardt; thanks Pach for supporting Spanish Republicans; is going to Rome for the Congres Interparlementaire and then to Brussels and Amsterdam to give a conference on Mexican art; in November she will leave for Mexico. 1 p., in French
From George Ferdinand Of, New York, N.Y., September 5, 1948: Thanks Pach for bringing pictures of his collection and explaining it personally; Pach has "persuaded" him to paint again. 3 pp
From Francis Hackett, Bethel, Conn., November 8, 1948: Pach is one of the "Old Guard"; his book, -- American Rainbow -- , will include "a lot in it about John Quinn"; his wife recently published a volume on Swedenborg. 2 pp
From Van Wyck Brooks, Cornwell, Conn., December 2, 1948: Thanks for the inscribed copy of his "enchanting" new book; glad Pach met Francis Hackett. 3 pp
From Pantheon Books, Inc., New York, N.Y., February 1, 1949: Royalty statement. 1 p
From Pantheon Books, Inc., New York, N.Y., July 1, 1949: Royalty statement. 1 p
From Pantheon Books, Inc., New York, N.Y., August 1, 1949: Royalty statement for The Art Museum in America. 1 p
From Anne Chase (Mrs. Arthur White) Sullivan, Glen Head, N.Y., November 3, 1949: Pach's lecture was "just right as a preliminary to the exhibition"; her father would have approved. 2 pp
From Mary Socard, Paris, France, December 13, 1949: Pach's young friend is making good progress learning French; discusses the student's appreciation of art and philosophy. 4 pp., in French
From Jimmy Stern, New York, N.Y., December 23, 1949: Even with "favorable 'press'," his book has not sold well; is "discouraged"; appreciated Pach's note. 1 p
From Pantheon Books, Inc., New York, N.Y., February 1, 1950: Royalty statement. 1 p
From François Puaux, Acting Consul General of France, New York, N.Y., March 7, 1950: Congratulates Pach on being awarded the cross of Chevalier of the Legion of Honor "for the services you have always rendered to the French cause." 1 p
to John Collier From Walter Pach, New York, N.Y., March 11, 1950: Hopes Professor Collier will want the thoughts expressed in Pach's manuscript "given to a wider audience." 1 p., annotated with reply, May 30, 1950: "This has been good reading for me!"
From Meyer Schapiro, Columbia University, New York, N.Y., [postmarked] March 27, 1950: "Comments on the first draft of W. P., Renoir." 3 pp
to Meyer Schapiro From Walter Pach, New York, N.Y., March 27, 1950: Responses to "Comments on the first draft of W.P., Renoir." 4 pp. draft + 4 pp. final copy
From Charles E. Slatkin, Art Book Guild of America, Inc., New York, N.Y., March 28, 1950: Invites Pach to become a member of the Art Book Guild's Advisory Board. 1 p
From Charles E. Slatkin, Art Book Guild of America, Inc., New York, N.Y., April 17, 1950: Acknowledges Pach's acceptance of appointment to the Advisory Board. 1 p
From Atlantic Monthly Company, Boston, Mass., April 20, 1950: "Assignment of Copyright" to Atlantic Monthly Corporation of Pach's article, "Art Must Be Modern." 1 p
From W.G. Constable, Department of Paintings, Museum of Fine Arts, Boston, Mass., May 30, 1950: Thanks Pach for assistance in securing the Portrait of Madame Villchelis for the museum; agrees that attribution to Gros is most likely; reports the death of Ned Holmes. 2 pp
From Mary Socard, Paris, France, June 20, 1950: The young student has left; he would have benefited From a longer stay but at least had an introduction to European culture; sympathizes with Pach's disappointment over having his prologue replaced by an analysis of painting construction. 3 pp., in French
From Pantheon Books, Inc., New York, N.Y., August 1, 1950: Royalty statement for -- The Art Museum in America -- . 2 pp
From Nanny (Mrs. Sigmund) Pollitzer, New York, N.Y., November 8, 1950: Sorry to learn of Magda's illness. 2 pp
From Nanny (Mrs. Sigmund) Pollitzer, New York, N.Y., November 11, 1950: Extends her sympathy; will try to attend the service. 2 pp
From Eufrosia A.W. Tucker, New York, N.Y., November 11, 1950: Sympathy on the death of Mrs. Pach. 2 pp
From Sarah d'Harnoncourt, New York, N.Y., November 13, 1950: Sympathy on the death of Mrs. Pach. 1 p
From Edith R. Abbot, New York, N.Y., November 13, 1950: Sympathy on the death of Mrs. Pach. 2 pp
From Fanny and Ralph Ellison, New York, N.Y., November 14, 1950: Sympathy on the death of Mrs. Pach. 1 p
From Robert L. Duffus, Westport, Conn., November 15, 1950: Sympathy on the death of Mrs. Pach. 1 p
From Roland Balay, New York, N.Y., November 20, 1950: Offers condolences on the death of Mrs. Pach. 1 p., in French
From Bernard Berenson, Florence, Italy, September 23, 1951: Congratulates Pach on his recent marriage. 2 pp
From Mutual Benefit Health and Accident Association, New York, N.Y., [postmarked] November 23, 1951: "Official Receipt for Premium Due." Postal card
From [signature illegible], Athens, Greece, December 24, 1951: Carouzos will select photographs of the subjects that interest Pach; wants to see photographs of Pach's latest paintings. 4 pp
From Jacques Lipchitz, New York, N.Y., January 12, 1952: Pach is right that endings offer new beginnings; predicts that Pach will resume work soon. 1 p., in French
From Rufino Tamayo, [place unknown], Mexico, January 22, 1952: Appreciates Pach's stimulating critique; expects to spend the next year on a mural for the Palace of Fine Arts; congratulates Pach on his marriage. 2 pp., in Spanish
From Bernard Berenson, Ischia, Italy, May 29, 1952: "My indignation over distorted, abstract, non-representational art is that it can lead nowhere." 2 pp
From U.S. Treasury Department, Internal Revenue Service, New York, N.Y., August 8, 1952: "Adjustment of tax liability" and audit for calendar year 1950. 1 p. + enclosures (1 p. "Statement of Income Tax Due," and 4 pp. report)
From Bernard Berenson, [place illegible], September 23, 1952: Agrees with most of Pach's letter to the New York Times; "feeling for art is of the few and understanding for even fewer." 2 pp
From Bernard Berenson, Florence, Italy, March 17, 1954: Comments on Pach's "poem to Greek art"; is working on a new edition of Italian Paintings; sends an article he wrote on Picasso. 2 pp
From George Ferdinand Of, Rome, Italy. Is in Rome; heading for Naples, [undated (prior to April 18, 1954)]: Picture postcard ("Roma-Foro Romano, veduto del Campidoglio")
From George Ferdinand Of, Padua, Italy, April 18, 1954: Saw Giottos; visited Ravenna, Naples, and Pompeii. Picture postcard ("Padova-Monumento al Generale Gattamelata")
From Bernard Berenson, Florence, Italy, April 25, 1954: He still does not accept the Metropolitan Museum's Madonna as an Antonello; "I remain an optimist" that culture will once again become "genial, creative and human." 2 pp
From Hendrik Willem van Loon, Riverside, Conn., [1955]: He is much better; they have a house near the water where friends are welcome. 1 p., in Dutch
From Bernard Berenson, Florence, Italy, April 21, 1955: "I agree with all you write about the present state of art appreciation"; read the book about Sloan by Van Wyck Brooks; not impressed by Sloan's work; wonders how much Pach influenced Brooks. 2 pp
From William Mills Ivins, Woodbury, Conn., July 17, 1955: Was disappointed to have missed a visit by Pach and Brooks; is living a solitary and quiet life. 2 pp
From Jacques Lipchitz, Beach Haven, N.J., August 7, 1955: After reading Pach's article, he wants to read the book; he no longer appreciates Maillol's sculpture; discusses Renoir's strong judgments of other artists; although Epstein has reached a dead end in Paris, he is a good artist. 3 pp., in French
From Jacques Lipchitz, Beach Haven, N.J., August 15, 1955: Thanks Pach for sending Epstein's book; considers Epstein a good portrait painter but not such a good sculptor; discusses his theory that Jews need to assert their identity. 1 p., in French
From Alfred Russell, Paris, France, September 27, 1955: Thanks Pach for the award; the modern Italian painters he once admired no longer interest him; he finds the sculptors a "revelation"; his exhibition drew "brutal and barbaric insults"; Paris is "the pivot of the universe." 2 pp
From Hendrik Willem van Loon, Riverside, Conn., October 17, [1955?]: "My sincere congratulations upon having finished these miles of paint." 1 p., with illustrated envelope (sailboats) + illustrated card (landscape with windmills)
From Carl Sandburg, Flat Rock, N.C., March 27, 1956: "Values" Pach's letter and plans to affix it to his copy of Faure's History of Art. 1 p
From Germain Seligman, New York, N.Y., April 15, 1957: Ingres's -- Study for the Iliad -- is in the permanent collection of the Art Gallery of Toronto. 1 p. + enclosures (2 pp. description of -- Study for the Iliad -- [Apotheosis of Homer], photograph of -- Study for the Iliad -- , and 2 pp. [photocopies] From Exposition Ingres catalog, 1921)
From Martin Baldwin, Director, Art Gallery of Toronto, Toronto, Ontario, Canada, April 16, 1957: The gallery is conducting further research on Study for the Iliad; will share information when it becomes available. 1 p
From Lewis Mumford, Paris, France, April 27, 1957: Has reviewed his correspondence since 1920; Pach's letters are "real treasures" to be saved for historians; being in Paris made him recall Pach's "friendliness and hospitality in 1932"; has rediscovered Ingres now that his taste is mature. 2 pp
From Van Wyck Brooks, Bridgewater, Conn., January 4, 1958: Will study Howells' letters at the Harvard library; recommends novels by Howells. 2 pp
From Hans Christian, Rome, Italy, April 7, 1958: Is visiting Raymond and Ruth in Rome. Picture postcard ("Roma--Arco di Constantino"), in German
Collection Restrictions:
Use of original papers requires an appointment.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the initial digitization of the microfilm of this collection was provided by the Gladys K. Delmas Foundation. Funding for the processing of the addition to the Walter Pach papers and digitization of the fully re-processed collection was provided by the Terra Foundation for American Art.
