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Beatrice Wood papers, 1894-1998, bulk 1930-1990

Creator:
Wood, Beatrice, 1893-1998  Search this
Subject:
Duchamp, Marcel  Search this
Arensberg, Louise S. (Louise Stevenson)  Search this
Arensberg, Walter  Search this
Hapgood, Elizabeth Reynolds  Search this
Rosencrantz, Esther  Search this
Hoag, Stephen Asa  Search this
Nin, Anaïs  Search this
Roché, Henri Pierre  Search this
Garth Clark Gallery (New York, N.Y.)  Search this
John Waller, Fine Ceramics (Firm : Los Angeles, Calif.)  Search this
Zachary Waller Gallery (Los Angeles, Calif.)  Search this
Topic:
Actresses  Search this
Drawings  Search this
Notes  Search this
Diaries  Search this
Art, Modern  Search this
Drafts (documents)  Search this
Ceramicists  Search this
Lithographs  Search this
Glazes  Search this
Short stories  Search this
Transcripts  Search this
Art  Search this
Designs  Search this
Authors  Search this
Interviews  Search this
Illustrations  Search this
Bookplates  Search this
Illustrated letters  Search this
Watercolors  Search this
Photographs  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)9363
(DSI-AAA_SIRISBib)211559
AAA_collcode_woodbeat
Theme:
Diaries
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211559
Additional Online Media:

An actor prepares; translated by Elizabeth Reynolds Hapgood. Introd. by John Gielgud

Author:
Stanislavsky, Konstantin 1863-1938  Search this
Hapgood, Elizabeth Reynolds  Search this
Gielgud, John 1904-2000  Search this
Physical description:
xx, 295 pages 23 cm
Type:
Books
Date:
1948
Topic:
Acting  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1084622

Beatrice Wood papers

Creator:
Wood, Beatrice  Search this
Names:
Garth Clark Gallery (New York, N.Y.)  Search this
John Waller, Fine Ceramics (Firm : Los Angeles, Calif.)  Search this
Zachary Waller Gallery (Los Angeles, Calif.)  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Duchamp, Marcel, 1887-1968  Search this
Hapgood, Elizabeth Reynolds  Search this
Hoag, Stephen Asa  Search this
Nin, Anaïs, 1903-1977  Search this
Roché, Henri Pierre, 1879-1959  Search this
Rosencrantz, Esther, 1876-1950  Search this
Extent:
26.6 Linear Feet
Type:
Archival materials
Collection descriptions
Drafts (documents)
Interviews
Photographs
Illustrated letters
Notes
Watercolors
Diaries
Transcripts
Lithographs
Short stories
Illustrations
Designs
Drawings
Bookplates
Date:
1894-1998
bulk 1930-1990
Summary:
The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biograpical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.
Scope and Contents note:
The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biographical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.

Biographical material contains certificates, licenses, degrees, legal documents, and extensive interview transcripts, which describe her philosophy on art and her development as a ceramic artist.

Correspondence is particularly rich in documenting Wood's passion and dedication to her work as a writer and artist. The records reflect Wood's close professional and personal relationships with many friends and colleagues, including Henri-Pierre Roche, Marcel Duchamp, Anais Nin, Elizabeth Hapgood, and Walter and Lou Arensberg. Additional correspondence with editors and publishers is also included. Wood enjoyed illustrating her letters, as did many of her correspondents.

Personal business records include financial material, sales and consignment records, and correspondence with gallery owners, including Garth Clark Gallery, John Waller Gallery, and Zachary Waller Gallery.

Notes and writings extensively document Wood's second career as a writer. Edited drafts of her monographs and short stories are available, as well as her journal writings and notes. Drafts of I Shock Myself: The Autobiography of Beatrice Wood, Angel Who Wore Black Tights, 33rd Wife of a Maharajah, among others are included. Also found here are the illustrations that Wood created for her monographs. She often did a series of drawings for each illustration and these copies are included as well.

Twenty-eight detailed diaries contain information about studio sales, clients, and the economic uncertainties of being a self-employed artist. The diaries, arranged in one-year and five-year volumes, begin in 1916 and end just a few days before her death in 1998.

Forty-two glaze books record the formulas for the pottery glazes Wood developed throughout her career.

Printed material includes copies of Wood's published monographs as well as exhibition announcements and brochures. Also found are clippings about Wood, including numerous articles about her trips to India.

Photographic material includes photographs and slides of Wood, her friends, travels, and other events. Many of the photographs are identified by Wood.

Artwork includes original sketches, drawings, watercolors, lithographs and designs by Wood. The original illustrations from her books are included in this series.

The last two series contain records generated by her husband, Stephen Hoag and her maternal aunt, Esther Rosencrantz. Wood was married to Hoag from 1937 until his death in 1960. The bulk of the material contains Hoag's financial records, mostly receipts, from his early years as a engineer in the Pacific Northwest. Esther Rosencranz, a physician in San Francisco, collected book plates that are included in this series.
Arrangement note:
The collection is arranged as 11 series:

Series 1: Biographical Material, 1924-1993 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1910-1998 (Box 1-8; 7.7 linear feet)

Series 3: Personal Business Records, 1909-1988 (Box 9-11, 26, OV 31; 3.5 linear feet)

Series 4: Notes and Writings, circa 1912-1997 (Box 11-16, 27; 5.5 linear feet)

Series 5: Diaries, 1915-1998 (Box 17-20; 4 linear feet)

Series 6: Glaze Books, circa 1930-1997 (Box 21-22, 27-30; 2.5 linear feet)

Series 7: Printed Material, 1940-1997 (Box 23, OV 31; 1.1 linear feet)

Series 8: Photographic Material, 1913-1997 (Box 24, 30; 1 linear foot)

Series 9: Artwork, 1917-1991 (Box 24-25, 30; 0.5 linear feet)

Series 10: Stephen Hoag papers, 1906-1960 (Box 25; 0.3 linear feet)

Series 11: Esther Rosencranz papers, 1894-1959 (Box 25; 0.1 linear feet)
Biographical/Historical note:
Beatrice Wood (1893-1998) was a ceramicist, painter, and writer who relocated to Ojai, California in 1948.

Beatrice Wood was born on March 3, 1893 in San Francisco to socially prominent and wealthy parents. In the late 1890s, the family moved to New York City where Wood was expected to begin the process of "coming out" in New York society. This process included boarding schools, a convent school in Paris, and frequent summer trips to Europe where she was exposed to museums, galleries, and the theater. Wood studied acting and dance in Paris until the outbreak of the war in 1914. She returned to New York and soon joined the company of the French National Repertory Theatre. From 1914 through 1916, Wood played over 60 parts as a stage actress.

In 1917, Wood met the writer Henri Pierre Roche, with whom she had a brief affair and a long friendship. Roche introduced her to the New York world of artists and writers and encouraged her interest in drawing and painting. During a visit to see the composer Edgard Varese in the hospital, Wood met Marcel Duchamp, with whom she had a love affair and who also had a strong influence in her development as an artist. Their long discussions about modern art encouraged Wood to show Duchamp a recent drawing entitled "Marriage of a Friend." Duchamp liked the drawing so much that he published it in Rogue, a magazine partly financed by Walter and Louise Arensberg, friends of Duchamp. The Arensbergs were pioneering collectors of modern art and soon became friends of Wood as well. She became a frequent guest at their evening gatherings, forming friendships with Walter Pach, Francis Picabia, Joseph Stella, Myrna Loy, Galka Scheyer, and others.

Through Duchamp and the Arensbergs, Wood was introduced to the world of the New York Dada. Following the formation of the Society of Independent Artists in 1917, Wood exhibited work in their Independents exhibition. Together with Duchamp and Roche, she published a short-lived avant-garde journal, called Blind Man, in which the Alfred Steiglitz photograph of Duchamp's famous ready-made "Fountain" appeared. She also designed the poster for the Dada event, The Blind Man's Ball.

Throughout the 1920s, Wood continued to draw and paint, especially watercolors. Late in 1927, she moved to California to join the Arensbergs, who had been there since 1921. She also developed an interest in clay and took her first ceramics classes with Glen Lukens at the University of Southern California in the late 1930s. In 1940 Wood studied with Otto and Gertrud Natzler, Austrian potters who were known for their technical mastery and ability to throw almost perfectly formed pots. The Natzlers taught her how to throw pots and calculate glaze formulas.

Museums and galleries began to take an interest in her pottery and she held several shows in New York, San Francisco, and Phoenix. Several department stores, including Nieman Marcus and Gumps, also began to feature her pottery. During the 1940s, Wood began making figurative art in addition to more traditional pots. In 1947, for example, she included a large blue fish with white spots in an exhibition at the Los Angeles County Museum of History, Science, and Art. As her skills developed, Wood moved to a new home and studio in Ojai, California. By 1950, Wood was experimenting with luster surfaces, pottery with a metallic glaze that gives the effect of iridescence. These lusterware plates, in addition to her decorative figures and traditional ceramics, were sold at her studio, advertised with a sign out front that read "Beatrice Wood: Fine Pottery, Reasonable and Unreasonable."

In 1961, Wood visited India as a cultural ambassador, sponsored by the State Department. She toured the country and showed her work in fourteen cities. She became enamoured with Indian decorative arts and began to weave shimmering gold and silver threads into her palatte. Wood returned a second time in 1965 at the invitation of the Indian government. It was during this trip that she decided to adopt the sari as her style of dress, a style she continued until her death in 1998. She made her third and last trip to India in 1971. Her book, 33rd Wife of a Maharajah is about her adventures in India.

Wood always enjoyed writing, recording her daily activities in a diary and creating stories about her experiences with friends and colleagues. She published her first book, Angel Who Wore Black Tights in 1982, followed by her autobiography, I Shock Myself, in 1985.

Wood considered her last 25 years as her most productive. In addition to her literary publications, Wood also had several successful exhibitions, including Intimate Appeal: The Figurative Art of Beatrice Wood at the Oakland Museum in 1990 and Beatrice Wood: A Centennial Tribute at New York's American Craft Museum in 1997. The film, Beatrice Wood: The Mama of Dada, was filmed on the occasion of her 100th birthday in 1993. She died in Ojai, California in 1998, nine days after her 105th birthday.
Related Archival Materials note:
The Archives of American Art holds two oral history interviews with Beatrice Wood completed by Paul Karlstrom in 1976 and 1992.
Provenance:
Beatrice Wood donated her papers in several accretions between 1976 and 2002. Additional material was donated by Francis Naumann in 1993 and the Beatrice Wood Personal Property Trust in 1999. Material from a 1977 loan was included in Wood's later donations.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Beatrice Wood papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Philosophy  Search this
Authors -- California  Search this
Glazes -- Formulae  Search this
Women artists -- California  Search this
Art -- Economic aspects  Search this
Actresses -- United States  Search this
Ceramicists -- California  Search this
Art, Modern -- 20th century -- California  Search this
Genre/Form:
Drafts (documents)
Interviews
Photographs
Illustrated letters
Notes
Watercolors
Diaries
Transcripts
Lithographs
Short stories
Illustrations
Designs
Drawings
Bookplates
Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodbeat
See more items in:
Beatrice Wood papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodbeat
Additional Online Media:

Florence V. Robinson papers and the Hapgood family collection relating to Florence V. Robinson, [ca. 1900-2003]

Creator:
Robinson, Florence Vincent, 1874-1937  Search this
Subject:
Hapgood, Elizabeth Reynolds  Search this
Topic:
Women artists  Search this
Record number:
(DSI-AAA_CollID)11089
(DSI-AAA_SIRISBib)239268
AAA_collcode_robiflor
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239268

Chronological General Correspondence

Collection Creator:
Wood, Beatrice  Search this
Type:
Archival materials
Date:
1910-1998
Scope and Contents note:
This subseries contains both personal and professional correspondence from the early years of Wood's career as an actress and artist until the end of her life. Included in this series are letters to and from friends, family, clients, other artists, gallery owners, museums, and editors. An an avid writer, Wood maintained lifelong relationships through her letters. Correspondents include John Estenza, Anna Bing Arnold, Ruth Maitland, Ruth Dayan, Reginald Pole, Anais Nin, Dorothy Liebes, Rue McClanahan, Elizabeth Reynolds Hapgood, Rupert Pole, Esther Rosencrantz, Michael Weightman-Smith, and Geesche Ninke. Wood also formed many personal and professional relationships with individuals she met during her three trips to India in 1961, 1966, and 1971. Among these correspondents are Kamaladevi Chattopadhyay, N. Suri Ram, P. K. Vyas, Srimali Rukmini Devi, and N. Kumar Das.

Several art museums are represented in this subseries, including DeYoung Memorial Museum, Hirshhorn Museum and Sculpture Garden, Pasadena Art Museum, Phoenix Art Museum, San Francisco Museum of Art, and Santa Barbara Museum of Art.

See Appendix for a list of correspondents from Series 2.1.
Arrangement note:
Material is arranged chronologically by date. Undated letters can be found at the end of the subseries, arranged by last name of correspondent. Note that Wood's correspondence with the galleries is found in Series 3: Personal Business Records. Additional correspondence with publishers is found in Series 4: Notes and Writings.
Appendix: Correspondents in Series 2.1.:
Agrawal, Satyendra Narayan: 1966

America House: 1943-1944, 1952-1953, 1956-1957, 1962-1967, 1969

Archipenko, Gela: 1938

Armitage, Merle: 1933, 1957-1958

Arnold, Anna Bing: 1973, 1981-1983, 1987-1988

Bleazby, Leah: 1946-1948, 1951-1952

Bailey, Clayton: 1931

Bok, Ecke: 1986-1987, 1989-1990

Bryan, Robert: 1969, 1972, 1978, 1991

Cabaniss, Adelaide: 1947-1951

Case, Francis: 1943

Chattopadhyay, Kamaladevi: 1961-1973, 1975

Clark, Iris: 1988-1990

Clark, Susan: 1991

Colino, Jose: 1986-1989, 1991

Corle, Helen Freeman: 1951, 1955

Cummins, Harry: 1985

d'Harnoncourt, Anne: 1987

Das, N. Kumar: 1966-1968

Dayan, Ruth: 1971, 1976, 1978-1985, 1987, 1992

Devi, Srimali Rukmini: 1961, 1965, 1967-1968, 1977

DeYoung Memorial Museum: 1952-1954

Dillingham, Rich: 1987-1989

Dove, Tom and Marge: 1972-1973, 1977, 1981, 1983-1985, 1987-1988

Duchamp, Teeny: 1968, 1976

Erazo, Victor: 1984-1985

Estenza, John: 1950

Feinberg, Lillian and Len: 1985-1987, 1989

Gandhi, Indira: 1983

Gateff, Elisabeth: 1977, 1980, 1982-1983, 1985-1986, 1988, 1991-1992

Gibson, Marga: 1959

Hall, Denise: 1978

Hammond, Vera: 1945, 1986

Hapgood, Benie: 1976-1977, 1982, 1986-1987, 1992

Hapgood, Elizabeth Reynolds: 1923, 1930-1932, 1935-1942, 1944, 1947-1948, 1950-1973

Harlan, Loren Clyde and Hermine (Wood's aunt): 1930, 1938-1947

Hathaway, Michael: 1980, 1988-1989, 1991

Hinkhouse, F. M.: 1957-1960

Hirshhorn Museum and Sculpture Garden: 1977

Hoag, Paul Sterling: 1983

Hoag, Steve: 1944-1948, 1951

Hooper, Peter Lawrence: 1976-1977

Huckaby, Grover: 1945, 1947, 1951

Huglin, Henry: 1964-1965, 1977

Huyler, Steven: 1978-1982, 1985, 1987, 1989-1991

Jesch, Klement: 1985-1992

Jones, Barbara: 1977

Kaplan, Connie: 1989

Kaye, Caren: 1988-1991

Lee Nordness Galleries: 1968-1969, 1972, 1977

Liebes, Dorothy: 1941, 1948, 1953, 1958, 1961-1963, 1971

Logan, Robert and Mabel: 1939, 1952, 1954

Look, Heartie Anne: 1958-1960

Lukens, Glen: 1935-1936, 1938

McClanahan, Rue: 1980, 1985

McCloskey, Helen Hooper: 1979-1985

Maitland, Ruth: 1938, 1945

Martin, Olavee: 1989-1990

Morrow, Margo: 1935, 1937-1939, 1946

Murchie, Guy: 1980-1982, 1984-1986, 1988

Murphy, Bob and Ginny: 1965, 1981-1985, 1991

Natzler, Otto and Gertrude: 1983

Ninke, Geesche: 1985, 1987-1990, 1992

Nin, Anais: 1971, 1974-1975

Noyes, Frank: 1950-1952

Palmer, Herbert: 1973-1974

Padadena Art Museum: 1952, 1957

Patch, Margaret: 1971

Peterson, Susan: 1989

Phoenix Art Museum: 1960, 1967, 1973

Pole, Reginald: 1950, 1952, 1970-1971

Pole, Rupert: 1977

Ragan, Nell: 1971-1972

Rajagopal, D.: 1938, 1951, 1975, 1985

Rajagopal, Roselind: 1936-1937, 1940, 1955, 1972-1974, 1977

Reynolds, Wallace: 1937-1938

Rhodes, Lillyan and Daniel: 1983, 1986, 1989

Rosencranz, Esther: 1935-1948, 1950

San Francisco Museum of Art: 1953, 1956-1958, 1971

Santa Barbara Museum of Art: 1950, 1954, 1958, 1967-1968, 1972

Sasaki, George: 1981, 1983, 1989, 1992-1993

Skiles, Bob: 1951-1952, 1982

Sipprell, Texana: 1947, 1958-1960

Stern Evelyn: 1977, 1992

Story, Ala: 1965, 1967

Takaezu, Toshiko: 1988

Taylor, June: 1949-1951, 1952-1953, 1958

Tibbitt, Laurence: 1926

Tomlin, Lily: 1984, 1987

Vyas, P. K.: 1962-1965, 1967-1968

Wallace, Marlene: 1977, 1989

Warrington, A. P. and Betty: 1929-1930, 1932-1934, 1939

Wash, Connie: 1961

Watson, Steven: 1988-1989

Webb, Aileen: 1947, 1950-1951, 1965, 1967-1968

Webster, Win: 1990, 1992

Weidemann, William: 1945, 1947

Weightman-Smith, Michael (Michael O'Shaughnessy): 1930, 1933-1934, 1936-1948, 1950, 1956, 1982

Wilkie, Margo: 1980, 1986-1986, 1989, 1991-1992

Wood, Carrara R. (Wood's mother): 1930-1936

Wright, Lloyd: 1947, 1969

Zook, Edgar: 1926, 1936-1943, 1947, 1967
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Beatrice Wood papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodbeat, Subseries 2.1
See more items in:
Beatrice Wood papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref41

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