Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
The papers of New York artist, critic, historian, writer, art consultant and curator Walter Pach, measure 20.8 linear feet and date from 1857-1980. The collection documents Pach's promotion of modernism through his role in the landmark 1913 Armory Show, his relationships with artists and art-world figures and his extensive writings on art. Records include biographical material, correspondence with family, friends, and colleagues including noted artists, handwritten and edited versions of manuscripts by Pach, diaries and journals, business records, printed material, scrapbooks, sketchbooks and artwork by Pach and others, and photographs of Pach and his family, friends, and colleagues. The collection also includes 12 linear feet of selections from Walter Pach's library.
Biographical material includes a copy of Pach's birth certificate and two passports for Walter and Magda Pach, in addition to address books, association membership cards, and certificates.
Correspondence comprises a rich and extensive collection of personal and professional letters. Family correspondence includes letters from Pach's son, Raymond. General correspondence includes letters from artists including Jean Charlot, Arthur B. Davies, Marcel Duchamp, Raymond Duchamp-Villon, Jacques Lipchitz, Henri Matisse, Claude Monet, Maurice Prendergast, Diego Rivera, Morton Livingston Schamberg, John Sloan, and Jacques Villon; and other art-world figures including writers Van Wyck Brooks and Elie Faure, and Bryson Burroughs, curator of painting at the Metropolitan Museum of Art.
The Writings series represents an extensive collection of hand-written manuscripts, typescripts, annotated drafts, and notes for published and unpublished writings by Pach, including lectures, monographs such as "Queer Thing, Painting" and "Ananias, or The False Artist," and journal and newspaper articles such as "Pierre-Auguste Renoir" (1912).
Diaries and journals include one of particular note recording Pach's trip to Europe circa 1903-1904, with William Merritt Chase's class.
Business records include 2 notebooks recording sales at the Armory Show in New York, Boston, and Chicago, a record book with handwritten lists of paintings owned and sold by Pach in the early 1930s, and two books, one maintained by Nikifora Pach, recording pictures sold, lectures, and publications by Pach from the early 1900s to the early 1960s.
Printed material documents Pach's career through exhibition catalogs of Pach's solo and group exhibitions, news clippings about Pach, including reviews of his writings on art, and an almost comprehensive collection of copies of Pach's published journal and newspaper articles.
Scrapbooks include a book of reviews and original letters pertaining to Pach's book, "Ananias or the False Artist," and a scrapbook documenting Pach's activities during the 1920s which included his first one-man show at the Brummer Gallery in New York and the publication of his books "Masters of Modern Art" and "Raymond Duchamp-Villon."
Artwork inlcudes a small group of drawings and three sketchbooks by Pach. Also of note are two print portfolios published in 1947 by the Laurel Gallery which include an essay and an etching by Pach, in addition to hand-pulled prints by artists such as Milton Avery, Reginald Marsh, and Joan Miro.
Photographs are of Pach from childhood through to the 1950s, in addition to Magda and Raymond Pach and other family members, artists, colleagues, and friends. Included are photographs of William Merritt Chase's class and Robert Henri's class at the New York School of Art, circa 1904, and photos of artists including Robert Henri, Moriye Ogihara, and Pablo Picasso. Photographs of artwork by Pach and other artists can also be found here including Mexican mural projects by Jose Clemente and Diego Rivera, and works by Antoine-Louise Barye and George Of.
Selections from Pach's library include works written by or translated by Pach, and items central to Pach's interests and work.
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
The bulk of the collection was digitized in 2014 and is available on the Archives of American Art's website. Material which has not been scanned includes duplicates, blank pages of bound volumes, some business records and sensitive personal financial and medical records, negatives, and Series 10: Selections from Walter Pach's Library.
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.
When the Archives of American Art acquired the Walter Pach Papers, some portion of his library was also received. The bulk of the library was transferred to the Smithsonian's American Art/Portrait Gallery Library where the items could be properly cataloged, cared for, and used.
New York artist, critic, writer, art consultant, and curator, Walter Pach (1883-1958) was an influential promoter of modern art and was instrumental in organizing the landmark Armory Show in 1913.
Many letters from artists in French, with a smaller number in Spanish, Italian, German, and Japanese.
The Walter Pach papers were acquired in several installments. After Pach's death his widow, Nikifora Pach, sold Pach's papers to Salander-O'Reilly Galleries. They were purchased by the Archives of American Art in 1988 with a grant from the Brown Foundation, Inc. Eight family photographs, donated by Raymond Pach, son of Walter Pach, were received in 1990. In 2012, Francis M. Naumann donated an additional 5.7 linear feet of material to the Archives of American Art.
This site provides access to the papers of Walter Pach in the Archives of American Art that were digitized in 2015, and total 14,923 images.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001