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.
Reel LA10: Correspondence and papers, 1882-1955, including letters received; typed copies of letters to his daughter, Mrs. Edward Dufner, and to friends; an autobiography of his boyhood (to age 13); and an incomplete set of BRADLEY HIS BOOK. Included are letters from Bliss Carman, Edward Bok, Maxfield Parrish, Daniel Frohman, Bruce Rogers, Herbert Stuart Stone, Louise Imogen Guiney, Arthur Truscott, Royal Cortissoz, Edmund Dulac, Minnie Maddern Fiske, William Randolph Hearst, Jr., Thomas Cleland, and others.
Reel 689: Papers, 1906-1962, including 54 clippings, four photographs of Bradley, 103 drawings and letter designs, 21 articles and other printed material about him, and 7 printed articles, etc., by him, including a play entitled, "Spoils." In addition, there are approximately 30 publications designed by him, and other samples of his work.
Will Bradley papers, 1882-1962. Archives of American Art, Smithsonian Institution.
Microfilm reels 689 and LA10 available at Archives of American Art offices and through interlibrary loan.
Location of Originals:
Reel LA10: material was returned to lender after microfilming.
Illustrator and writer; South Pasedena, Calif. Born in Boston, Mass.; full name is William H. Bradley.
The donor is Bradley's daughter.
Lives of American Artists
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
John Henry Bradley Storrs papers, 1790-2007, bulk 1900-1956
Storrs, John Henry Bradley, 1885-1956
Downtown Gallery (New York, N.Y.)
Place of publication, production, or execution:
19.8 linear feet
Access Note / Rights:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 19.8 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 audio visual material. 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 L'Ecole de la Loire artists group (all in French), and records relating to Chateau 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, residences and his works of art. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums documenting his time in Europe from 1905 to 1907, and exhibition photographs and numerous photographs of works of art.
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. An additional scrapbook, compiled by John Storrs, dates from the 1940s and includes material regarding the service of Storrs' daughter Monica as a nurse during 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.
John Henry Bradley Storrs papers, 1790-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
The collection was digitized in 2010 and 2013 and is available on the Archives of American Art website.
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microflming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
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.
John Henry Bradley Storrs (1885-1956) was a sculptor, painter, and printmaker, from Chicago, Illinois and Mer, France. Storrs studied with Lorado Taft at the Chicago Art Institute and with Charles Grafly at the Pennsylvania Academy of Fine Arts upon his return from a trip abroad, 1907-1908. He returned to France in 1912, where he studied with Auguste Rodin. He turned from traditional representation to machinelike forms in 1920. After 1921, he and his wife, French writer Maguerite Deville Chabrol, lived in their chateau Chantecaille in Mer, France. Between 1941-1944, Storrs was arrested and imprisoned several times by the Gestapo.
The collection is in English and French.
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 2011 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.
This site provides access to the papers of John Henry Bradley Storrs in the Archives of American Art that were digitized in 2006. The bulk of the papers have been scanned and total 28,647 images.
Sketches & Sketchbooks
American Art and Artists in a Global Context
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001