Quotes and excerpts must be cited as follows: Oral history interview with David M. Daniels, 1972 November 29. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Tatyana Grosman, 1970 Mar. 31. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Huntington Hartford, 1970 May 19. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Roy R. Neuberger, 1975 September 19-26. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Bernard J. Reis, 1976 June 3-1976 June 10. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Blanchette F. H. Rockefeller, 1970 July 30-August 19. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with David M. Solinger, 1977 May 6. Archives of American Art, Smithsonian Institution.
Topic:
Art, Modern -- 20th century -- United States Search this
Art -- Collectors and collecting -- New York (State) -- New York Search this
Art patronage -- New York (State) -- New York Search this
Art patrons -- New York (State) -- New York -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Eloise Spaeth, 1973 February 6-March 9. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Aileen O. Vanderbilt Webb, 1970 May 7-June 9. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Edward M. M. Warburg, 1971 May 13. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Collectors and collecting -- New York (State) -- Interviews Search this
Quotes and excerpts must be cited as follows: Oral history interview with Alice M. Kaplan, 1978 February 21-March 8. Archives of American Art, Smithsonian Institution.
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.
Scope and Content Note:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.
Biographical material includes biographical summaries, obituaries, award certificates, and a small amount of family memorabilia. Weber's personal and professional correspondence includes discussions of exhibitions, sales, and donations of his work, as well was requests to teach, write, or lecture. Also found is correspondence with arts organizations, clubs, and committees in which he participated. A small amount of family correspondence is also included. Artists that Weber corresponded with include George Biddle, Arthur Davies, William Gropper, Chaim Gross, Marsden Hartley, Rockwell Kent, Leon Kroll, Barnett Newman, Raphael Soyer, and William Zorach, among many others. Weber also corresponded with many art historians and critics, gallery owners, and art patrons. Joy Weber's correspondence primarily concerns the exhibition, loan, sale, and authentication of her father's artwork.
Exhibition files document various solo and group exhibitions of Weber's work. Five reels of motion picture film include footage of an exhibition at the Forum Gallery in 1975. Gallery files include correspondence, inventories, sales and loan records, gallery publications, and other documentation. Most files for exhibitions and galleries were created by Joy Weber after Max Weber's death in 1961. Personal business records include documents on sales, loans, and gifts of Max Weber's artwork; scattered financial documents; and mortgage and property records. Also found are files regarding his participation in the American Artists' Congress and art juries. Weber's writings primarily concern art theory, impressions of other artists, and social and political issues. Additionally there are notes, drafts speeches, and writings by others about Weber.
Printed material is extensive and includes exhibition publications, press releases, and two published booklets written by Weber: "Art Consciousness" and "Things." Also found are news clippings, brochures, newsletters, and publications produced by art organizations, schools, and museums. Photographs include portraits and snapshots of Weber, depicting him working in his studio, participating in art juries, at art openings, and with his family. Photographs also depict installation views of exhibitions and numerous photographs of Weber's artwork. Audiovisual materials include one sound recording of a National Gallery program on Max Weber and five reels of motion picture film that include home movies and footage of an exhibition at the Forum Gallery in 1975.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Material, 1905-1995 (Box 1; 10 folders)
Series 2: Correspondence, 1902-2007 (Box 1-5; 4.2 linear feet)
Series 3: Exhibition Files, 1919-2003 (Box 5-6; 0.7 linear feet)
Series 4: Gallery Files, 1926-2005 (Box 6-7; 0.9 linear feet)
Series 5: Personal Business Records, 1906-2006 (Box 7; 0.8 linear feet)
Series 6: Writings, circa 1910s-1999 (Box 7-8; 0.6 linear feet)
Series 7: Printed Material, 1909-2008 (Box 8-10, 12; 2.6 linear feet)
Series 8: Photographs, 1930s-circa 2000 (Box 10-11; 1.1 linear feet)
Series 9: Audiovisual Material, 1954-2000 (Box 11, FC 13-17; 0.7 linear feet)
Biographical Note:
Max Weber (1881-1961) was a painter and sculptor in New York City.
Weber returned to New York in 1909, and over the next few years he frequently exhibited at Alfred Stieglitz's gallery 291. Initially his work was panned by American critics for being too modern. Despite criticism, Weber exhibited his work extensively in the 1910s and also began creating abstract sculptures. In 1914 he helped his friend Clarence H. White open the White School of Photography and taught art history there for four years. Also in 1914 his Cubist Poems were published in London. His second book of poetry Primitives was published in 1926.
In 1916 Weber married Frances Abrams. He began to explore narrative subjects in his paintings and in 1918 began carving woodblock prints. He also taught at the Art Students League for the 1919-1921 and 1926-1927 sessions. By the early 1920s he was recognized as an important American artist, serving as a leader in art organizations such as the Society of Independent Artists. In 1930 Weber became the first American modernist to have a retrospective exhibition at the Museum of Modern Art.
In the 1930s Weber became more active in political and socialist causes, participating in many organizations throughout the Depression and World War II. In 1937 he became the National Chairman of the American Artists' Congress. By the 1940s, his work was widely known and influenced a new generation of American painters. He continued to exhibit extensively, received many awards, such as the Temple Gold Medal at the Pennsylvania Academy of Fine Arts, and often served on art juries. In 1955 he was elected to the National Institute of Arts and Letters and received an honorary doctorate from Brandeis University. He died in Great Neck, New York, in 1961.
Related Material:
Also found at the Archives of American Art is an Allen L. Wetmore letter from Max Weber, April 15, 1946.
Separated Material:
Material lent for microfilming in 1959 and 1969 which was not included in the 2011 donation is available on microfilm reels NY59-6 to NY59-10, N69-82 to N69-88, and N69-112.
Provenance:
Material was lent for microfilming in 1959 by Max Weber and in 1969 by Mrs. Max Weber and daughter, Joy Weber. The bulk of the microfilmed material and additional papers were donated in 2011 by Joy Weber.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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 Storrs' extensive correspondence spans over fifty years and documents his personal and professional life. There are extensive letters to his wife Marguerite Storrs, including love letters written before they were married and letters written to her during his visits to the United States. Letters written by Marguerite to John are located series 2.2. John Storrs' love letters to other women, including Yolande de Manziarly, are found within his general correspondence.
General correspondence primarily consists of Storrs' correspondence with friends, colleagues, art critics and historians, patrons, art organizations, and galleries. Where they exist, Storrs' drafts of outgoing letters are interfiled with letters he received in a chronological arrangement. Storrs was friends with many artists, architects, performers, and writers in both the US and Europe. Among the artists he corresponded with are Berenice Abbott, Hendrick Andersen, George Biddle, Jerome Blum, Arthur Bock, Louis Bouche, Georges Braque, Alexander Calder, Walter Cole, Arthur Davies, Jessica Dismorr, Katherine Dreier, Marcel Duchamp, Leo Friedlander, Marsden Hartley, Jean Helion, Gertrude Lambert, Fernand Leger, Jacques Lipchitz, Man Ray, Richard Recchia, Edwin Scott, Charles Sheeler, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, Jacques Villon, and William and Marguerite Zorach. Other notable correspondents include architects Edward Bennett, Paul Phillippe Cret, R. Buckminster Fuller, and Alfonso Iannelli; writers and publishers Sherwood Anderson, Louise Bryant, William Bullitt, Max Eastman, Jane Heap, Paul Scott Mowrer, and Gertrude Stein; art critics Phyllis Ackerman, Frank Crowninshield, and Maurice Raynal; art patrons Arthur Aldis, Mildred Bliss, and Charles Worcester; friend and curator Alice Roullier; and dancer Maud Allan. A portion of the general correspondence is in French.
A small amount of correspondence with galleries, museums, and curators concerns exhibitions and sales of Storrs' artwork. Also found is correspondence concerning his participation in art organizations. Researchers should note a portion of Storrs' business correspondence, especially regarding his major sculpture commissions and his dealings with Downtown Gallery, are found in Series 3: Personal Business Records.
See Appendix for a list of correspondents from Series 2.1.
Smith, Howard E., 1912, 1913, 1914, 1914, 1915, 1916, 1917, 1918, 1920, 1925, 1926, undated
Societe de Saint-Jean, 1917
Sowerby, Leo, 1918
Spaulding, W. B., 1910
Sprague, Albert A., 1921
Stearns, Harold E., 1932
Stein, Gertrude, undated
Stein, Rita, undated
Stella, Joseph, 1929
Stephens, E. A., 1949
Stephens, Lucille Chandler, 1925
Sterne, Maurice, 1925
Sterner, Carl John, undated
Stieglitz, Alfred, 1930
Stinson, Roxie R., 1905, 1906, 1907, 1908, undated
Stora, M. & R., 1926
Storgo Laboratories (David Goldsmith), 1936, 1937
Storrs, Frank Herbert, 1924, 1926
Storrs, John W., 1918
Storrs, Louis, 1939
Storrs, Ronald, 1925, 1927, 1928
Sueur, G., 1926
Survage, Leopold & Germaine, 1930, 1931, 1932, 1937, 1945, undated
Tancrede, Robert, 1945
Tartarin, A., 1930
The Tavern, 1928
Taylor, Catherine, 1911, 1912
Texas Centennial Exposition, 1936
Thanlow, Ch. L. & Ingrid, 1919, undated
The Seven Arts Magazine, 1918
Thomas, Maxime, 1930
Tillson, Rex, 1923
Toledo Museum of Art, 1938
Tooker, Marion F., 1911
Toulouse, Roger, 1949, 1955, undated
The Transatlantic Review, 1924
Truman, Harry S., 1945 (letter to)
Turnbull, Yale, 1925, 1926
Tyson, Russell, 1922, 1927
Vallette, S., 1920
Valsuani, Claude, 1919, 1922, 1933, 1951, 1955
Vestal, Donald B., 1931
Villon, Jacques, undated
Vinton, Warren Jay & Helen Augur, 1924
Voccia, Luigi, 1914
Vogelgesang, Shepard, 1935
Wacker, Fred, 1955
Walpone, Marguerite, 1918
Ware, Mary, undated
Waring, P. A., 1921
Warwick, Katherine Murray, 1916
Webster, H. A., 1920
White, Charles E., 1932, 1933
Whitney Museum of American Art, 1933
Williams, Frederick, 1924
Williams, Walter R., 1909, 1911, 1912, undated
Wilson, A. J., 1935
Wolf, Walter, 1923
Worcester, Charles H., 1928, 1929, 1945, undated
Wright, Alan, 1910
Wright, Katherine, 1921
Zamoyski, August, 1921
Zorach, William & Marguerite, 1922, 1924
Restrictions:
This series contains access-restricted medical records.
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:
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.
