John Henry Bradley Storrs scrapbook and studio book, 1909-1972, 1909-1938 (bulk dates)
Storrs, John Henry Bradley, 1885-1956
Place of publication, production, or execution:
Access Note / Rights:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A 24-page studio book (1909-1915) lists Storrs' works, dates of completion, dimensions, media, and exhibition information. One entry includes a small sketch of the work. A scrapbook contains clippings (1911-1938, 1972), and exhibition announcements and catalogs (1920-1937). The scrapbook was also microfilmed circa 1957 when it was lent by the original owner/compiler, The Downtown Gallery, on reel ND/S-1.
John Henry Bradley Storrs scrapbook and studio book, 1909-1972, 1909-1938 (bulk dates). Archives of American Art, Smithsonian Institution.
Microfilm reel 1463 and ND/S-1 available for use at Archives of American Art offices and through interlibrary loan.
Location of Originals:
Originals returned to the lender, Robert Schoelkopf, after microfilming.
John Storrs, born in Chicago, decided to become a sculptor while abroad in 1907-1908. After his return, he studied with Lorado Taft at the Chicago Art Institute and with Charles Grafly at the Pennsylvania Academy of Fine Arts. He returned to France in 1912, where he was a favorite pupil of Rodin. Storrs turned from traditional representation to Cubist and machinelike forms in 1920. His many colleagues included Louise Bryant and Jacques Lipchitz. After 1921, he and his wife, French writer Marguerite de Ville Chabrol, lived in their chateau Chantecaille near Blois. Between 1941-1944, Storrs was arrested and imprisoned several times by the Gestapo. Following the war, he continued his work and was active in local art associations.
Lent for microfilming 1979 by Robert Schoelkopf. The scrapbook was also previously lent and microfilmed on reel ND/S-1 as part of the Downtown Gallery records. Storrs work was handled by Downtown until 1969 when his daughter, Monique Storrs Booz, terminated the contract with Downtown and designated Schoelkopf as the new agent for works of art from her father's estate.
American Art and Artists in a Global Context
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