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Baxter, Martha Wheeler (1869-1955, Santa Barbara, California)

Collection Creator:
Archambault, Anna Margaretta, 1856-1956  Search this
Container:
Reel P026, Frame 372-373
Type:
Archival materials
Microform [P026.archambaul]
Date:
1929 September 20
1929 October 18
Scope and Contents:
To A. Margaretta Archambault, Sept. 20, 1929, about her plans to come to California, and Oct. 18, 1929, expressing pleasure at their meeting and discussing the shipment of miniature paintings.
Collection Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
See more items in:
Anna Margaretta Archambault selected papers
Anna Margaretta Archambault selected papers / Series 1: Anna Margaretta Archambault selected papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw936969043-89ba-43c8-b072-19b0986b0bc7
EDAN-URL:
ead_component:sova-aaa-archanna-ref18

Papaver californicum A. Gray

Biogeographical Region:
76 - Southwestern U.S.A.  Search this
Collector:
Alice Eastwood  Search this
Place:
The Mountains adjacent to Santa Barbara. New road. Painted Cave Ranch., California, United States, North America
Collection Date:
9 May 1908
Common name:
western poppy
Taxonomy:
Plantae Dicotyledonae Ranunculales Papaveraceae Papaveroideae
Published Name:
Papaver californicum A. Gray
Barcode:
03592626
USNM Number:
610208
See more items in:
Botany
Flowering plants and ferns
Data Source:
NMNH - Botany Dept.
GUID:
http://n2t.net/ark:/65665/3e58e068f-6025-41f1-803e-5b656cba0bed
EDAN-URL:
edanmdm:nmnhbotany_15173829

Caloplaca cerina (Ehrh. ex Hedwig) Th. Fr.

Biogeographical Region:
76 - Southwestern U.S.A.  Search this
Collector:
R. Schmidt  Search this
Place:
Santa Barbara County. Painted Cave Road, 1 mile north of Highway 154, 6 miles north of Goleta., California, United States, North America
Collection Date:
5 Feb 1980
Taxonomy:
Fungi Ascomycota Lecanoromycetes Teloschistales Teloschistaceae
Published Name:
Caloplaca cerina (Ehrh. ex Hedwig) Th. Fr.
Barcode:
04397229
See more items in:
Botany
Bryophytes and Lichens
Data Source:
NMNH - Botany Dept.
GUID:
http://n2t.net/ark:/65665/3bf59334c-13fe-448b-99ce-bd4300e97885
EDAN-URL:
edanmdm:nmnhbotany_16629272

Xanthoria oregana Gyeln.

Biogeographical Region:
76 - Southwestern U.S.A.  Search this
Collector:
E. A. Schmidt  Search this
Place:
Santa Barbara County. Painted Cave Road, 1 mile north of Highway 154, 6 miles north of Goleta., California, United States, North America
Collection Date:
5 Feb 1980
Taxonomy:
Fungi Ascomycota Lecanoromycetes Teloschistales Teloschistaceae
Published Name:
Xanthoria oregana Gyeln.
Barcode:
04447772
See more items in:
Botany
Bryophytes and Lichens
Data Source:
NMNH - Botany Dept.
GUID:
http://n2t.net/ark:/65665/3a288ae81-1f9b-496f-b3d3-e6c65b449fa8
EDAN-URL:
edanmdm:nmnhbotany_16716153

General Correspondence

Collection Creator:
Kuhn, Walt, 1877-1949  Search this
Extent:
4 Linear feet (Box 5-9, 32, 56, OV 40)
Type:
Archival materials
Date:
1890-1966
Scope and Contents note:
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.

The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.

In 1938, Walt and Vera Kuhn wrote and self-published the pamphlet, "The Story of the Armory Show" and sent it gratis to hundreds of interested parties. Among the correspondence from that year are many heartfelt reponses from fellow artists and other witnesses to the 1913 event, including Charles Sheeler, William Glackens, Stuart Davis, André Derain, Henri Roché, Walter Pach, and J.H. du Bois to name just a few.

Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.

Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.

Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).

Additional correspondence can be found throughout the collection. See individual series descriptions for details.

See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.

Abeel, Neilson (American-Scandinavian Foundation): 1930 (3 letters)

Abercrombie and Fitch: 1948-1949 (4 letters)

Adair, William Gleason: 1945

Adams, Philip R. (Columbus Gallery of Fine Arts): 1938-1946, 1948-1951 (51 letters; See also Selected Gallery and Exhibition Files)

Adams, Ruth Hutchins: 1943-1944 (6 letters)

Albany Institute of History and Art (see MacFarlane)

Aldis, Graham: 1928

American Print Makers (see also Goldsmith, B.K.): 1928 (2 letters)

American Federation of the Arts: 1950 (see also N. Anderson, Messer, Pope, Prior, E. Spaeth)

Ames, Mary (Mrs. John W.; see Goodyear, Mary)

Ames, Winslow (Lyman Allyn Museum): 1934 (3 letters)

Anderson, Nesta (Mrs. A. Scott; American Federation of Arts): 1951-1952 (3 letters)

Anderson, Sherwood: 1928, undated (2 letters)

Angle, Catherine (Mrs. Everett E.; Nebraska Art Association): 1946

Anisfeld, Mara: 1932

Arden Gallery (see Meigs and Smoluchowska)

Arensberg, Walter C.: 1938 (see also Selected Gallery and Exhibition Files)

Armory Show 50th Anniversary Exhibition (Winslow Carlton): 1963 (see also Henry Street Settlement)

Arnold, Grace (Mrs. Harry Bartley): 1941, 1945 (3 letters; see also Selected Gallery and Exhibition Files)

Art Students League of New York: 1927

Arts Club of Chicago: 1927, 1934, 1956 (6 letters; see also Selected Gallery and Exhibition Files)

Asherman, David: 1936, undated (2 letters including Christmas card with original, signed print)

Austin, Darrel (see also Perls): 1940, 1941 (4 letters)

Bahr, A.W. (Billy): 1923, 1938, 1945, 1947-1949 (7 letters)

Balkan, Edward Duff: 1932

Ballin, Hugo: 1937 (2 letters)

Bangsbergh, Raymond: 1939

Barber, George R.: 1933

Barr, Alfred H. Jr. (Museum of Modern Art): 1929, 1934, 1945 (5 letters)

Barrie, Erwin S. (Grand Central Art Galleries): 1927, 1951 (5 letters; see also Selected Gallery and Exhibition Files)

Barrington, Lewis: 1932

Barry, Bobby (see Provenance Files, "Portrait of Bobby Barry")

Bartlett, Frederic Clay, Jr.: 1939-1940, 1942-1943, 1945, 1947 (7 letters; see also Selected Gallery and Exhibition Files)

Bartley, Louise: 1931

Baur, John I.H. (Brooklyn Museum): 1946 (see also Selected Gallery and Exhibition Files)

Beals, Ralph A. (New York Public Library): 1949

Bear, Donald (Santa Barbara Museum of Art): 1936-1938, 1945, 1948, 1949 (6 items including Christmas cards with original prints; see also Selected Gallery and Exhibition Files)

Beerbohm, Marvin (Detroit School of Art): 1938

Bell, Janet M. (John and Mable Ringling Museum of Art): 1952 (4 letters)

Belmont, Eleanor R.: 1935 Benjamin, Ruth: 1940

Bernays, Edward L. (see also Doris E. Fleischman): 1928, 1935-1937 (4 letters)

Bernhardt, John: 1948-1950 (4 letters; see also Selected Gallery and Exhibition Files, 1947)

Beuf, Carlo: 1928

Bidwell, Watson (Denver Art Museum): 1936-1940, 1945, 1947, undated (23 letters)

Biesel, C.: 1931-1933, 1935 (5 items including Christmas cards with original prints)

Biesel, Frances (Renaissance Society, University of Chicago; see Selected Gallery and Exhibition Files)

Bird, Isabel (Mrs. Paul): 1940, 1942, 1944 (4 letters)

Bird, Paul: 1938, 1941, 1944, 1945, 1948, 1949 (5 letters)

Bissell, Julia A. (Mrs. Alfred E.; Wilmington Society of the Fine Arts): 1946

Bjorkman, Edwin: 1931, 1934, 1941 (3 letters; see also Selected Gallery and Exhibition Files)

Blackie, John Haldam (Vanguard Press): 1928

Bluemner, Oscar: 1932 (see also Selected Gallery and Exhibition Files, 1930, 1936)

Bliss, Betty: 1931, 1933, 1935 (3 items including Christmas card with original print)

Bloch, E. Maurice: 1949 (3 letters)

Block, Maurice (Huntington Library): 1938

Blount, Rose M. (Denver Art Museum): 1934, 1936, 1938-1939, 1941, 1943, 1949 (8 letters)

Boas, George: 1928

Boissevain, Engen (see Selected Gallery and Exhibition Files)

Bolander, Karl (Columbus Gallery of Fine Arts): 1928

Botkin, Henry: 1937

Bouché, Louis: 1949

Bowman, Eleanor: 1931 (Christmas card with print)

Boyce, Ruth: 1930

Boyer, C. Philip (Mellon Galleries): 1933

Bransom, Paul: 1938, 1949 (2 letters)

Bridaham, Lester B. (Strathmont Museum): 1958

Briggs, Berta N.: 1938

Britt, George ( -- New York World-Telegram -- ): 1938

Brodsky, Harold: 1931-1933, 1935-1939, 1943, undated (16 letters; see also Selected Gallery and Exhibition Files)

Brooklyn Museum: 1930, 1957 (4 letters; see also Baur)

Brown, Adele Smith (Mrs. Philip Stoddard Brown; see Smith, Adele; see also Selected Gallery and Exhibition Files)

Brown, Henry Collins (Museum of the City of New York): 1942

Brown, Margaret E. (Grace Horne Galleries): 1943-1944 (5 letters)

Brown, Rollo Walter: 1928

Bruton, Helen: 1930

Bufano, Remo: 1928

Burroughs, Alan: 1928, 1929, 1930, 1937, 1938, 1941 (13 letters)

Burroughs, Clyde (Detroit Institute of Arts): 1928, 1930, 1938, 1943-1944 (11 letters; see also Selected Gallery and Exhibition Files)

Butler, Roland (Ringling Brothers): 1944

Call, Mary Bradish and Leigh: 1930, 1932, 1935, 1936 (original Christmas cards)

Campbell, Heyworth: 1926

Candler, Duncan: 1927, 1928, 1941 (4 letters)

Canfield, Cass (Harper and Brothers): 1937, 1947-1948 (5 letters)

Cantor, Eddie: 1923

Carlton, Mrs. A.E.: 1952

Carnegie Institute: 1947, 1948 (2 receipts; see also Kepper, O'Connor, Saint-Gaudens; see also Selected Gallery and Exhibition Files)

Carr, Helen Renne (Mrs. Raymond J. Carr): 1946, 1949 (3 letters)

Carroll, John: 1938, 1939, 1941 (3 items, including Christmas card with print)

Carroll, Patricia (Mrs. Anton van Dereck): 1930

Cashin, Bonnie (typed copy): 1947 (see also Selected Gallery and Exhibition Files)

Catlin, Mimi (Museum of Modern Art): 1948

Chapin, Louise V.: 1943-1944 (12 letters)

Chillman, James (Museum of Fine Arts of Houston): 1928

Clapp, Frederick Mortimer (The Frick Collection): 1938

Clark, Virginia and Marshall: 1932-1935 (4 Christmas cards with original prints)

Clark, Virginia Keep: 1928, 1934 (2 letters)

Clark, Walter L. (Grand Central Galleries): 1930

Clear, Charles Val (Akron Art Institute): 1946

Coates, Dorothy: 1925, 1948 (2 letters)

Coffin, Robert M. (Art Academy of Cincinnati): 1950-1951 (4 letters; see also Selected Gallery and Exhibition Files)

Cook, Helen Fetter: 1931, 1932, 1936, 1938, 1941-1943 (8 items including Christmas cards)

Cooper, Gary and Rocky (Mrs. Gary): 1936-1937 (2 letters)

Connelly, Marc: 1940

Cosgrave, John O'Hara: 1928, 1938 (2 letters)

Crocker, Anna B. (Portland Art Association): 1928

Crowninshield, Frank (Vogue, Art News): 1928, 1932, 1935-1936, 1940-1943, 1946 (13 letters; see also Graham)

Cuneo, Mrs. Rinaldo: 1938, 1940 (3 letters)

Cushing, Lily Emmet (Clark Boyd): 1931, 1942, 1945-1948, 1955 (7 letters)

Cutler, Ann (Hotel Marguery): 1931

Cutler, Carl Gordon: 1939

Cutler, Merritt: 1927, 1928, 1942-1945, 1948, 1963 (10 letters)

Daniel, Harry M.: 1952-1953 (2 letters; see also Selected Gallery and Exhibition Files, 1946)

Davidson, Alfred: 1945

Davies Orchards (David Davies): 1928, 1929 (3 letters)

Davis, Stuart: 1938 (2 letters)

De Bois, J.H. (Kunsthandel en Antiquariaat, Haarlem): 1938, 1939 (3 letters)

Dennis, Jan: undated

Derain, André: 1938

Diamond, Harry: 1948

Di Gioia, Frank: 1931, 1933-1948, 1950, 1953, undated (50 items, including original printed Christmas cards)

Dirks, Rudolph: 1925

Dorgan, T.A.: 1927

Dorl, Theodore: 1929, 1931, 1932, 1937, 1938 (9 letters)

Downs, Mr. and Mrs. Edgar: 1931-1937 (7 Christmas cards with photographs)

Downtown Gallery (see Halpert and Goldsmith)

Duckworth, J. Herbert: 1933, 1934 (6 letters)

Dudensing Galleries Inc. (Richard Dudensing): 1930, 1931, 1932 (4 letters)

East West Gallery: 1929

Eggers, George William (Worcester Art Museum, Royal Academy of Art, Stockholm): 1927, 1929 (4 letters)

Elfers, Herbert (Durand-Ruel, Inc.): 1945, 1947, 1948 (3 letters; see also Selected Gallery and Exhibition Files)

Ellis, Freemont (autograph print, with card from Sally Lewis): [1923]

Ellsworth, Mary Louise: undated

Emery, Irene: 1958 (2 letters)

Ester, Ruth (model): 1944-1945 (6 letters)

Etchison, Bruce (Washington County Museum of Fine Arts): 1951-1953 (22 letters)

Evans, Anne (Denver Art Museum): 1933

Evers, Fred: 1939

Ferrand, Charles: 1919, 1934, 1937, 1940 (3 letters)

Findlay, W.C. Jr. (Findlay Galleries): 1939 (2 letters)

Fischkin, Rose Mary: 1928

Fitzgerald, George F. (model): 1927, 1933 (2 letters; 1 signed "Man From Eden")

Fleischman, Doris E.: 1938

Fliesler, Joseph R.: 1935, 1938, 1949 (3 letters)

Forbes, Edward (Fogg Art Museum): 1928

Force, Juliana (Whitney Museum of American Art): 1929, 1932-1937, 1939-1941, 1943 (21 letters; see also Selected Gallery and Exhibition Files)

Fortune -- (magazine; Deborah Calkins): 1956

Fox, William Henry: 1923, 1937 (2 letters)

Francis, Emily O. (Contemporary Arts): 1935

Francis, Henry Sayles (Cleveland Museum of Art): 1932

Fraenkel, John: 1934, 1936, 1938, 1939, 1953 (8 letters)

Frankel, Robert ( -- The Art News -- ): 1939

Frankenstein, Alfred V. ( -- San Francisco Chronicle -- ): 1940 (2 letters)

Frankfurter, Alfred M.: 1938, 1945, 1947, 1948, 1950 (10 letters)

Fraser, Joseph T. (Pennsylvania Academy of the Fine Arts): 1947, 1951 (3 letters; see also Selected Gallery and Exhibition Files)

Free, Karl R.: 1935

Freeman, Anna (Whitney Museum of American Art): 1938 (2 letters)

Frey, Erwin F.: 1943, 1945, 1947 (4 letters)

Frueh, Alfred: 1925, 1953 (2 letters)

Freund, Frank E.W.: 1932, 1934-1935, 1938 (7 letters)

Friede, Donald S. (Boni and Liveright Publishers): 1927

Frink, Angelika W.: 1941 (see also Selected Gallery and Exhibition Files)

Gallagher, Edward J.: 1952

Gallatin, Albert E.: 1927, 1928 (3 letters)

Gardner, Paul (William Rockhill Nelson Gallery of Art): 1936, 1938-1945, 1947-1950 (26 items including Christmas card with original print; see also Selected Gallery and Exhibition Files)

Gardner, Mrs. William (see Owen)

Garrett, Garet: 1928

Garrett, Alice (Mrs. John Work): 1938, 1939 (5 items, including Christmas card with original photograph)

Gates, Margaret (Studio House, Philips Memorial Gallery): 1935

Genauer, Emily (New York World Telegram): 1947

Gest, J.H. (Cincinnati Museum Association): 1928 (3 letters)

Gise, Margaret (Marie Harriman Gallery): 1938 (see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")

Glackens, William and Edith: 1938

Glackens, Edith: 1938, 1941, 1943, 1949, 1950 (7 items, including outgoing letters of condolence when William Glackens died, and response from Edith with account of his last day)

Godwin, Black-More (Toledo Museum of Art): 1932 (2 letters)

Goldsmith, B.K. (American Print Makers, Downtown Gallery): 1928, 1929, 1930 (3 letters)

Goldsmith, Morton R.: 1936

Goodrich, Lloyd (Whitney Museum of American Art; see Provenance Files, "Man with Ship Model")

Goodyear, A. Conger: 1934, 1938, 1941, 1949 (5 letters; see also Selected Gallery and Exhibition Files, and Provenance Files, "Dryad" and "Man From Eden")

Goodyear, Mary (Mrs. A. Conger, also Mrs. John W. Ames): 1936-1942, 1947, 1949, 1954 (44 letters; see also Selected Gallery and Exhibition Files)

Grace Horne Galleries (see M.E. Brown, Littlefield; see also Selected Gallery and Exhibition Files)

Graham, John D.: 1937

Greason, Donald (Deerfield Academy): 1942 (discussing Harry Whitney)

Grossman, Ted (Edwin Booth): 1938, 1940, 1941, 1945, 1948, 1951, 1952 (13 letters; see also Selected Gallery and Exhibition Files)

Grumman, Paul H. (Joslyn Memorial Art Museum): 1943

Hagen, Oskar: 1938, 1939 (2 letters)

Hagerman, Percy (Colorado Springs Fine Arts Center): 1949

Hale, Dorothea: 1928

Hale, Robert B. (Metropolitan Museum of Art): 1950-1951 (2 letters)

Halpert, Edith (Downtown Gallery): 1927, 1928, 1929, 1930 (7 letters; New Year card 1928 printed with collage of Walt Kuhn)

Hall, Porter: 1941, 1942, 1944, 1948 (4 items, including Christmas card)

Hanna, Mark: 1942-1944, 1946-1949 (17 letters)

Hare, Betty (Mrs. Meredith): 1923, 1930-1935, 1939-1941, 1948 (21 letters)

Harper's Bazaar -- (see Kaufman, Snow)

Harriman, Marie: 1946, 1947, 1949, 1958 (4 letters; see also Selected Gallery and Exhibition Files)

Harriman, Mary W.: 1930

Harriman, W. Averell: 1936, 1937, 1939, 1948, 1949 (5 letters)

Harrison, Preston: 1928, 1929, 1930 (to Mrs. Harriman), 1933, 1935 (8 letters)

Harshe, Robert (Art Institute of Chicago): 1928, 1929, 1932 (4 letters)

Hart, George Overbury "Pop": 1926, 1928, 1929, 1932 (6 letters)

Hart, Jean Overbury: 1948 (2 letters)

Hartell, John A. (Cornell University College of Architecture): 1941-1942, 1948 (11 letters)

Hartley, Marsden: 1937 (2 letters)

Hartmann, Sadakichi: 1938, 1939-1943 (8 letters, 1940 letter accompanied by ink drawing)

Harvey, Dorothy Dudley: 1933, 1936 (2 letters)

Hatch, John Davis Jr. (Albany Institute of History and Art): 1938, 1941 (2 letters)

Hatfield, Dalzell (Dalzell Hatfield Galleries): 1940

Haven, Ethel (Museum of Modern Art): 1930 (minutes of board meeting), 1932 (list of names; 2 items; see also Selected Gallery and Exhibition Files)

Hawkins, Frances (Museum of Modern Art): 1943

Hayes, Helen: 1946

Heicher, Joyce: 1941

Heil, Walter (M.H. de Young Memorial Museum): 1943

Hein Antiques: 1931, undated (4 letters)

Henry Street Settlement: 1963

Hess, Thomas: 1953 (Christmas card)

Heun, Arthur: 1930, 1932-1937, undated (9 items, including Christmas cards)

Hitchcock, Thomas Jr.: 1927, 1930, 1934-1937, 1939 (7 items, including Christmas cards)

Hodgson, Daphne: 1931, 1932, 1933, 1936, 1938, 1939 (15 letters)

Hoffman, Irving: 1947

Hood, Gretchen: 1928, 1934 (2 letters)

Hope, Henry R.: 1948, 1951 (3 letters; see also Provenance Files, "Sliced Loaf")

Howard, Cecil: 1931, 1934, 1936, 1938 (5 letters)

Howe, Mrs. Frederic: 1931, 1933 (3 letters)

Howe, Thomas Carr (California Palace of the Legion of Honor): 1947

Huggins, Wilfrid: 1932

Hunter, E.R. (Norton Gallery and School of Art): 1947

Hutchins, Ruth (see Adams)

Hutton, Ruth: 1931

Ingersoll, R. Sturgis: 1942, 1944, 1951 (4 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Young Girl")

Javis, Sidney (Museum of Modern Art): 1939 (2 letters)

Jeffreys, Lee: 1931

Jewell, Edward Alden: 1938

Jewett, Eleanor ( -- Chicago Tribune -- ): 1928

Johnson, G.M. (to Vera): 1909 (2 letters)

Johnston, William: 1927

Jonson, Raymond: 1938

Joslyn Memorial Art Museum (see Grumman, Kingman; see also Selected Gallery and Exhibition Files)

Kahn, Otto: 1927, 1928 (2 letters)

Kaltenbach, G.E. (Art Institute of Chicago): 1931

Kanzler, Josephine (Mrs. Ernest): 1945, 1947 (3 items including Christmas card)

Kaufman, Beatrice ( -- Harper's Bazaar -- ): 1935 (2 letters)

Kaufman, George: 1940

Keezer, Dexter M. (Reed College): 1936, 1937, 1941, 1945 (6 letters)

Kelekian, Dikran: 1922-1924, 1933, 1937, undated (9 letters; see also Selected Gallery and Exhibition Files)

Keller, Henry: 1936, 1937, 1938 (3 letters)

Kennedy, Jacqueline: 1961

Kenefick, Theodore G.: 1956

Kennerley, Mitchell (Anderson Galleries, Inc.): 1938, 1941 (4 letters)

Keppel, Frederick P. (Carnegie Corporation): 1938 (2 letters)

Kerr, George F. (Society of Illustrators): 1930 (2 letters)

Kimball, Fiske (The Pennsylvania Museum): 1928, 1939 (2 letters)

Kingman, Eugene (Joslyn Memorial Art Museum): 1951 (4 letters)

Kirsch, Dwight (University of Nebraska Department of Art): 1941, 1943-1944, 1946, 1950, 1953 (9 letters; see also Selected Gallery and Exhibition Files)

Kirstein, Lincoln (Museum of Modern Art): 1932

Kissel, Eleanora: 1928

Kistler, Aline ( -- San Francisco Chronicle -- , -- The San Franciscan -- , M.H. de Young Memorial Museum): 1929, 1930, 1932, 1933 (6 letters)

Klopfer, Donald S. (Random House, Inc.): 1940

Kohl, Dorothy (Philadelphia Art Alliance): 1945 (3 letters)

Komroff, Manuel: 1938

Kravis, Hal: 1936, 1941 (3 letters)

Kunstverein München E.V.: 1930

Kurtzworth, Harry Muir (Los Angeles Art Association, California Academy of the Fine Arts): 1938 (2 letters)

Lahr, Bert: 1948 (see also Provenance Files, "Portrait of Bert Lahr")

Labaudt, Lucien: 1929, 1933, 1936, 1937, 1938 (5 items including Christmas card; see also Selected Gallery and Exhibition Files)

Lamb, James E.: 1928, 1930, 1935, 1937 (4 letters)

Larcada, Dick: 1963

Laurent, John: 1947-1950, undated (12 letters; see also Selected Gallery and Exhibition Files)

Laurent, Mimi (Mrs. Robert): 1952

Laurent, Robert (Indiana University): 1923, 1949, 1953 (8 letters; see also Provenance Files, "Black Butterfly")

Lea, Lida Gorwin; 1935-1938, 1942 (8 letters, including Christmas card with original print; see also Selected Gallery and Exhibition Files)

Lenssen, Heidi: 1938, 1943, 1947, 1949-1951, 1963, 1964 (9 letters)

Levy, Adele Rosenwald (Mrs. David M.): 1948

Lewis, Agnes Knox: 1945

Lewis, Sally: 1923, 1939 (3 letters, includes signed print by Ellis Freemont; see also Selected Gallery and Exhibition Files)

Lie, Jonas: 1930

Lindsay, Howard: 1940

Littlefield, William (Grace Horne's Galleries): 1929

Liveright, Horace (Boni and Liveright Publishers): 1928

Lovins, Henry (Hollywood Art Center School): 1938

Luce, Molly: undated (Christmas card with print)

Lundgren, Eric: 1947-1953 (61 letters)

Lustgarten, Samuel (see Provenance Files, "Morning")

MacFarlane, Janet R. (Albany Institute of History and Art): 1958

Macnab, Archibald Leavenworth: 1923 (includes typescript of play "The Sculpting of Money"), 1927, 1929 (2 letters)

MacRae, Elmer: 1939

Mager, Gus: 1938, 1941-1943, 1946 (9 letters; see also Selected Gallery and Exhibition Files)

Mangravite, Peppino (Cooper Union Art Schools): 1941

Mann, Margo (model): 1950

Marie Harriman Gallery (see Harriman, Sardi, Smoluchowska, or Selected Gallery and Exhibition Files)

Matthews, H. L. ( -- The New York Times -- ): 1928

Matthias, Blanche: 1923, 1927, 1929, 1931-1937, 1940-1941 (19 items, including Christmas cards; see also Selected Gallery and Exhibition Files)

McBride, Henry: 1935

McBride, Mary Margaret (WOR radio): 1940

McCausland, Elizabeth: 1938, 1948 (2 letters; see also Selected Gallery and Exhibition Files)

McCormick, Chauncey (Art Institute of Chicago): 1938

McCurdy, Edward: 1928

McDaniel, Beatrice (Mrs. Bruce): 1940

McIntyre, Robert: 1931 (2 letters)

McKim, William: 1945

Meigs, Ruth Averell (Arden Gallery): 1929 (2 letters)

Mencken, H.L.: 1945, 1946, 1947 (3 letters; see also Series 4.8: Notes and Writings)

Merrick, James Kirk (Philadelphia Art Alliance): 1945

Messer, Thomas M. (American Federation of Arts): 1952-1954 (5 letters)

Metcalf, Thomas N. (Boston Museum of Modern Art, Inc.): 1938, 1940 (2 letters)

Metropolitan Museum of Art: 1949, 1956 (5 letters; see also Hale, F.H. Taylor, Wehle)

Mellon, Minna (Mrs. Paul): 1946

Millay, Edna St. Vincent (typed copy): 1947 (see also Engen Boissevain in Selected Gallery and Exhibition Files)

Miller, Dorothy C. (Museum of Modern Art): 1943

Miller, Lulu F. (The Hackley Gallery of Fine Arts): 1928

Milliken, William M.: 1936 (2 letters)

Minnigerode, C. Powell (Corcoran Gallery of Art): 1928 (2 letters)

Montclair Art Museum: 1928, 1932 (2 letters)

Montgomery, Gertrude: 1928

More, Hermon (Whitney Museum of American Art): 1933, 1935, 1943, 1948-1950 (8 letters)

Morgan, Agnes: 1938

Morison, David (Hamilton Easter Field Art Foundation): 1930

Morley, Grace: 1936, 1937-1939, 1943 (11 letters; see also Selected Gallery and Exhibition Files)

Morse, John (see Provenance Files, "Man and Sea Beach")

Muguruza Otaño, Pedro: 1928

Museum of Art of Ogonquit: 1953 (see also Strater)

Museum of Modern Art (see Barr, Catlin, Haven, Hawkins, Kirstein, D. Miller, Pelles, A. Porter)

Nadelman, Viola M. (Mrs. Elie): 1947

Nankivell, Frank: 1934-1935 (Christmas cards with signed prints)

National Arts Club: 1932

Newhall, Beaumont (Museum of Modern Art): 1938

Nichols, Hobart (National Academy of Design): 1948

Nichols, J.C. (William Rockhill Nelson Trust): 1948

North, Henry Ringling (Ringling Brothers): 1941 (2 letters)

Norton Gallery and School of Art (see Hunter)

Norton, Ralph H. (Norton Gallery and School of Art): 1948

O'Connor, John Jr. (Carnegie Institute): 1943, 1945-1946, 1948 (8 letters)

Oldfield, Otis: 1928-1946, 1948-1949, 1951-1952, undated (111 letters; 1931, 1941, undated include Chritmas cards with print; see also Selected Gallery and Exhibition Files)

O'Neil, John (University of Oklahoma): 1946

Owen, Ronnie (Mrs. William Gardner): 1941-1942, 1944-1946, 1948-1949 (15 letters)

Owens, Virginia B.( -- Christian Science Monitor -- ): 1943 (2 letters)

Paley, Goldie (Mrs. Samuel): 1941-1942 (2 letters)

Pandolfini, Giuseppi: 1938

Pach, Walter: 1938

Pascin, Jules: 1921

Passedoit, Georgete: 1930, 1931, 1932 (3 letters)

Patterson, Augusta Owen ( -- Town and Country -- ): 1930 (2 letters)

Paxson, Gordon (Syracuse University School of Art; see Selected Gallery and Exhibition Files)

Peat, Wilbur D. (John Herron Art Institute): 1944, 1945 (7 letters)

Pelles, Geraldine (Museum of Modern Art): 1953 (3 letters)

Pelton, Agnes: 1938

Penfield, Louis: 1945, 1947-1949 (5 letters)

Penrose, Julie: 1937, 1948, 1951 (3 letters)

Perkins, Frances: 1949

Perls, Klaus G. (Perls Galleries): 1940

Perrine, Van: 1938

Perry, Mitzi: 1942

Petit, Margaret: 1928, 1931-1933, 1935-1938, undated (13 items including Christmas cards)

Philadelphia Art Alliance (see Kohl, Merrick, Williamson)

Phillips, Duncan: 1927, 1931, 1932, 1939, 1944 (15 letters)

Pinchot, Ruth Pickering: 1932

Poland, Reginald: 1938, 1947-1948 (12 letters)

Pope, Annemarie (American Federation of Arts): 1951 (5 letters)

Porter, Allen (Museum of Modern Art): 1945

Porter, Bruce: 1938

Potter, Fuller: 1933, 1934, 1936, 1944 (6 items including Christmas card)

Pratt, Mrs. Harold Irving; 1934 (2 letters, plus notes from lecture)

Pratt, Julia D.: 1927, 1928 (2 letters)

Pressoir, E.E.: 1928 (Guggenheim application), 1932 (2 letters)

Price, Frederic Newlin (Ferargil Galleries): 1948 (3 letters)

Prior, Harris K. (American Federation of Arts): 1957

Purnell, Lewis M.: 1943

Putnam, Samuel: 1928 (2 letters)

Quinn, John (see also Watson): 1919, 1920, 1921 (5 letters)

Quinton, Cornelia B. Sage (California Legion of Honor): 1928

Randolph, Lee F. (California School of Fine Arts): 1930, 1942 (2 letters)

Raseman, Richard P. (Cranbrook Academy of Art): 1940

Rathbone, Perry T.: 1946

Reber, Gottlieb Friedrich: 1931, 1932, 1933, undated (3 letters)

Redmond, Johnston: 1933

Renne, Otto A.: 1935, 1936, 1938, 1940 (5 letters; see also Carr)

Renwick, Charles S. Jr.: 1945-1946 (2 letters)

Rickey, George: 1937

Ringling Brothers and Barnum and Bailey (see Butler and North)

Rivière, Nina S. (Toledo Museum of Art): 1932

Robinson, Edward G.: 1936 (2 letters)

Roché, H.P.: 1928, 1938, 1939 (7 letters; see also Selected Gallery and Exhibition Files)

Rogers, Christopher H. (regarding Francis Rogers): 1930

Rogers, Jane: 1932

Rogers, Meyric (Art Institute of Chicago): 1948 (see also Selected Gallery and Exhibition Files)

Rogers, Will: [1926]

Roosevelt, Jean S. (Mrs. Philip James): 1928

Rosenberg, Paul (Paul Rosenberg and Co.): 1942, 1946, 1948 (8 letters)

Ross, Leola: 1928, 1931, 1935, 1936, 1937 (5 items including Christmas cards)

Rossiter, Henry P.: 1928

Rothschild, Howard: 1927

Roullier, Alice F. (Arts Club of Chicago): 1925, 1927, 1933, 1941 (8 letters; see also Selected Gallery and Exhibition Files)

Rousseau, Théodore: 1935

Rumsey, Mary H. (Mrs. C.C.): 1930, 1934-1936, 1938, 1940, 1945, 1949, undated (11 items including Christmas card and receipts for paintings sold)

Ryan, Beatrice Judd (Beaux Arts Galerie): 1928, 1929 (4 letters)

Saint-Gaudens, Homer (Carnegie Institute): 1931, 1933, 1940, 1946-1949 (18 letters; see also Selected Gallery and Exhibition Files)

Saklatwalla, Ann: 1944-1945 (2 letters; see also Provenance Files, "Bareback Rider")

Saklatwalla, B.D.: 1928, 1930-1936, 1941 (2 letters, 7 Christmas cards containing prints, 1931 print signed Jean Crotti)

Salinger, Jehanne Bietry: 1928-1930, 1933, 1935, 1946-1948 (includes signed print by Harry Wickey; 17 letters)

Salons of America: 1923, 1924

Salpeter, Harry ( -- Esquire -- ): 1936-1938 (6 letters)

Sanborn, Robert Alden: 1945

Sands, Mary (Museum of Modern Art): 1930

Sanger, Helen: 1948-1950, 1953, 1963 (16 letters)

Sanger, Margaret (American Birth Control League, Inc.): 1928

Santa Barbara Museum of Art (see Bear, Steele, Story; see also Selected Gallery and Exhibition Files)

Santo, Patsy: 1937-1946, 1948-1949, 1953 (103 letters, some illustrated)

Sardi Gina, Anne (Marie Harriman Gallery): 1941-1942, 1947, 1949 (6 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Girl in Shako" and "Guide")

Schlesigner, Louis: 1949

Schmit, Waldo (Smithsonian Institution): 1936-1949

Schulte, Antoinette: 1932-1938 (8 items, including Christmas card with original print)

Seiberling, Frank Jr. (Toledo Museum of Art): 1943, 1946 (3 letters)

Seymour Halpern Associates: 1945

Shapiro, Meyer: 1938

Sharkey, Alice M. (Whitney Museum of American Art): 1944

Shaw, Marjorie: 1930 (Christmas card with woodblock print)

Sheeler, Charles: 1938 (See also Series 4.2: Walt Kuhn Letters to Family)

Shostac, Percy (Labor Division, Greater New York Fund): 1941

Shyrock, Burnett H.: 1938 (4 letters)

Siple, Walter H. (Cincinnati Art Museum): 1938, 1942, 1945 (4 letters)

Skeoch, Mary E.: 1934-1936, 1938 (8 letters)

Skira, Alfred: 1932 (5 letters; see also Selected Gallery and Exhibition Files, 1933)

Smith, Adele (Studio House, Philips Memorial Gallery, Museum of Modern Art Gallery of Washington): 1935, 1938, 1939 (5 letters; see also Selected Gallery and Exhibition Files)

Smith, Cecil: 1937-1938 (3 letters)

Smith, Gordon M. (Currier Gallery of Art): 1950

Smoluchowska, Donia (Arden Gallery, Marie Harriman Gallery): 1929, 1932 (3 letters; see also Selected Gallery and Exhibition Files)

Snow, Carmel ( -- Harper's Bazaar -- ): 1935, 1941 (2 letters)

Spaeth, Eloise (Mrs. Otto L.; Dayton Art Institute, American Federation of Arts, The Guild Hall): 1943-1953, 1960, undated (50 letters)

Spaeth, Otto: 1943 (4 letters)

Spier, LaSalle (brother of Vera Kuhn): 1914-1963

Spingarn, Amy (Mrs. Joel Elias): 1938 (2 letters)

Sprague, Marshall (Colorado Springs Fine Arts Center): 1948 (2 letters)

Steele, Mary Oldfield (Santa Barbara Museum of Art): 1953-1954 (4 letters)

Stendahl, E.L. (Stendahl Art Galleries): 1939 (3 letters)

Stetson, Carroll: 1932

Stickney, Dorothy (Mrs. Howard Lindsay): 1941

Stinson, Eugene: 1928

Story, Ala (Santa Barbara Museum of Art): 1954 (2 letters)

Stout, George L.: 1952

Strain, Gertrude: 1935

Stransky, Joseph: 1927

Strater, Henry (Museum of Art of Ogonquit): 1953-1954 (4 letters)

Stroh, Earl W.: 1942 (2 letters)

Studio House (see Gates, Law, Smith)

Swartz, Susan (Art Institute of Zanesville, Ohio): 1943-1944 (7 letters)

Swope, Herbert Bayard: 1949

Sykes, Maltby (Alabama Polytechnic Institute): 1946

Taggard, Genevieve: 1930, 1931, 1933, 1941, undated (13 letters)

Tanner, Ethel: 1930 (Christmas card with woodblock print)

Taylor, Bertrand: 1945

Taylor, Francis Henry (Metropolitan Museum of Art): 1949 (see also Provenance Files, "Blue Clown")

Taylor, Henry White: 1938

Taylor, Olive (Mrs. Bertrand): 1944-1946, 1948-1949, undated (14 letters)

Teague, Virginia (Mrs. R.L.): 1951 (2 letters)

Teigen, Peter (Princeton University School of Architecture): 1928, 1929 (2 letters)

Thayer, Ellen ( -- The Dial -- ): 1927, 1928 (2 letters)

Thompson, Mark B.: 1934, 1935, 1937 (3 letters; see also Selected Gallery and Exhibition Files)

Thorp, George G. (American Federation of Arts): 1947

Toledo Museum of Art (see Godwin, Rivière, Seiberling)

Toler, Sidney: 1941

Todd, Bianca: 1929, 1933, 1934 (3 items including Christmas cards with original prints)

Trovato, Joseph (Munson-Williams-Proctor-Institute): 1946, 1949 (2 letters)

Tucker, Allen: 1938

Turney, Winthrop: 1924

Tyson, Carroll: 1934

Underwood, Gilbert Stanley (architect): 1938, 1948 (5 letters)

Valentiner, Dr. W.R. (Detroit Institute of Arts): 1945

Valez, Dr. Xavier de: 1934

Venendi, Mario: 1949 (3 letters)

Vidar, Frede: 1936

Vreeland, Mr. and Mrs. Francis (Toby and Marion): 1934-1938 (6 letters)

Wadsworth, Alice (Mrs. James W.): 1940, 1941, 1942, 1945 (8 letters)

Waida, Robert: 1928

Waldron, James M. K. (Reading Public Museum and Art Gallery): 1936, 1937, 1961 (3 letters)

Walker, Maynard: 1946, 1948-1949, 1951-1952, 1955, 1961 (10 letters; see also Selected Gallery and Exhibition Files and Provenance Files, "Guide" and "Veteran Acrobat")

Ward, William: 1949

Washburn, Gordon B. (Rhode Island School of Design Museum of Art): 1945

Watkins, C. Law (Studio House, Phillips Memorial Gallery): 1933 (2 letters)

Watson, John (for John Quinn): 1914, 1921 (2 letters), 1938

Watson, Nan: 1928, undated

Wear, Verna (Mortimer Brandt Gallery): 1943 (2 letters)

Weber, Max: 1938

Weber, W.: 1928

Wehle, Harry B. (Metropolitan Museum of Art; see Provenance Files, "Girl in Uniform")

Weibel, Adèle (Detroit Institute of Arts): 1938

Weigel, Paul: 1932, 1934, 1935, 1937 (4 letters)

Weinberger, Alfred: 1931

Weir, Ernest and Mary: 1945 (2 letters)

Weng, Siegfried R. (Dayton Art Institute): 1943 (2 letters)

Werner, M.R.: 1928

Weston, Edward: 1928-1930, 1932-1933, 1935, 1937-1938, 1941 (9 letters; see also Selected Gallery and Exhibition Files)

Wetmore, Edith: 1929, 1930, 1931, 1932-1936 (16 items including Christmas cards)

White, Frances M.: 1945

Whiting, F.A. Jr. ( -- Magazine of Art -- ): 1938

Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)

Whitney Studio Galleries (see also Force): 1929

Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)

Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)

Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)

Williams, Adele (Women's club of Richmond): 1930

Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)

Wilmington Society of the Fine Arts (see Bissell)

Wilson, Henry J.: 1950

Winser, Beatrice: 1935, 1940 (7 letters)

Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)

Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)

Wood, Stanley: 1928

Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)

Zügel, Heinrich von: 1904
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt, Subseries 4.3
See more items in:
Walt Kuhn Family papers and Armory Show records
Walt Kuhn Family papers and Armory Show records / Series 4: Walt Kuhn Family Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4aa9368-d825-47f1-9645-57573ff2e833
EDAN-URL:
ead_component:sova-aaa-kuhnwalt-ref352

Correspondence

Collection Creator:
Pach, Walter, 1883-1958  Search this
Extent:
2.1 Linear feet (Box 1-3, FC 23)
Type:
Archival materials
Date:
1883-1980
Scope and Contents note:
This series contains family correspondence and extensive professional letters from noted artists and art world figures including critics, writers, collectors, museums and other art institutions. Scattered letters from Pach can also be found here.

See Appendix for partial chronological list of letters from Series 2.
Arrangement note:
This series is arranged as two subseries.

Missing Title

2.1: Family Correspondence, 1883-1980

2.2. General Correspondence, 1903-1969
Appendix: Partial Chronological List of Letters from Series 2:
Missing Title

From J.B. Young [?], October 5, 1900: New York, N.Y. Eric Dell recovered from consumption; Terry also had it and was treated at an English sanitarium; entertained several actors; made a brief trip to the country. 2 pp., illustrated with drawing, "an interpretation of how you will look when you next visit New York."

From Franji Vaatsvoort, September 18, 1903: Haarlem, the Netherlands. Severe storm; received Pach's postcards. Picture postcard (Frans Hals, "Cordelia Voogt Claesd., vrouw van Nicolaes van der Meer"

From Theodore Roosevelt, Washington, D.C., March 5, 1904: President's autograph. Card with engraving of the White House.

From Frank R. Wadsworth, Chicago, Ill., [postmarked] March 2, 1905: Intends to go to Spain; advises Pach to write about art; recommends the Madrid gallery; discusses Chicago's new orchestra hall and the death of Thomas; opinions about the jury system; is sending pictures to Philadelphia, the one eastern city likely to accept them. 6 pp. + enclosures (silhouettes of monkey, 3 birds, and cat by a 10-year-old child).

From Luis E. de la Rochas, Madrid, Spain, December 24, 1905: thanks Pach for photographs of works of art; inquires about the progress of Pach's own painting; will send a picture of his latest painting, as he is interested in Pach's opinion; sends regards to Mr. Chase. 3 pp., in Spanish, illustrated with drawing of a bearded man.

From Edith Bell, New York, N.Y., [postmarked] December 24, 1905: Christmas greetings; thanks Pach for showing her the Goya sketch. 2 pp.

To Claude Monet, Giverny, France, June 3, 1906: advises that knowing how to use color is most important and should become a matter of habit; lists his palette. 1 p., in French, typescript copy.

From Charles Scribner's Sons, New York, N.Y., February 13, 1907: printed form letter with payment for "The Memoria of Velasquez."

From Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] April 24, 1907: mentions Kenzan picture Pach is interested in; thanks Pach for showing sketch to Henri, Ogihara's former teacher; lists some exhibitors in the Salon, with opinions of their work; thinks Rodin's work is great; he met Rodin at his studio. 4 pp. + 1 p. enclosure (note to Yamanaka & Co., New York, about Kenzan picture), in Japanese.

From Piet van der Laan, Leeuwarden, the Netherlands, May 11, 1907: likes portrait of Pach by Chase with its strong "Rembrandtic" shadow; reminisces about Chase; hopes to marry Annie in August. 4 pp.

From Moriye Ogihara, Vitry-sur-Seine, France, September 2, 1907: is glad Pach is returning to Paris; is attending classes at Académie Julian; saw Henri in France recently. 3 pp.

From Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] September 10, 1907: wonders if and when Pach is returning to Paris. Postal card.

From Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] September 12, 1907: urges Pach to visit after his stay in Italy. Picture postcard ("Reine d'Egypte en Isis--Bronze antique").

From [signature illegible], Director, The Royal House, Florence, Italy, October 5, 1907: the king grants permission to copy the Catherine de Medici portrait at the Pitti Palace. 1 p., in Italian.

From Claude Monet, Giverny, France, November 4, 1907: Monet will receive Pach this week on Wednesday or Thursday afternoon. 1 p., in French.

From Lelebuss, New York, N.Y., November 21, 1907: thanks Pach for birthday greetings; several friends are now married.

From Edith Bell, New York, N.Y., November 25, 1907: visited Henri and saw 40 canvases; describes Henri's new studio at 135 E. 40th St.; Lawson and Stevenson called at the studio while she was there; recalls Pach's description of visits to Monet and Ogihara; "it is my belief that Mr. Henri is afraid of George Bellows. He praises him so." 5 pp. + enclosure (photograph of a portrait by Edith Bell).

From Moriye Ogihara, Florence, Italy, December 25, 1907: Christmas greetings; discusses travels in Italy and art seen. 4 pp.

From Moriye Ogihara, Florence, Italy, December 26, 1907: has been to the Academy; praises Miss Frohberg. Picture postcard ("Firenze Lung' Arno Corsine").

To Alice Klauber from Walter Pach, Paris, France, January 3, 1908: he is looking at art; received a picture from her cousin; asks if she saw the article on Matisse he wrote for the Hearst paper. Picture postcard ("Frans Hals, La Bohemienne"), in Japanese, with English postscript.

From Moriye Ogihara, Arezzo, Italy, January 5, 1908: leaving for Assisi soon; stayed too long in Florence sightseeing with Magdalene. Picture postcard ("Arezzo, La Catte drale").

From Moriye Ogihara, Rome, Italy, [postmarked] January 14, 1908: staying at the same pensione as Frost. Picture postcard ("Torso di Belvedere di Dietro").

From Moriye Ogihara, Athens, Greece, January 22, 1908: discusses sightseeing in Greece and his trip through Italy; observations about Frost; "I appreciate Rodin very much since I have been in Italy"; offers to correct Pach's written Japanese.

From Gerda Stein, [place unknown], January 29, 1908: "Dearest love to Lena and best wishes for a very happy Birthday." Greeting card.

From Roger Marx, Editor, -- Gazette des Beaux-Arts -- , Paris, France, February 12, 1908: wants to publish a comprehensive study of the state of painting in the United States; must choose between original engravings and photographic reproductions for illustrations. 2 pp., in French.

From Moriye Ogihara, Cairo, Egypt, February 13, 1908: steamer has been delayed two days but he can continue to work. Picture postcard ("Ramesseum at Thebes").

From [Rais?], Paris, France, [postmarked] March 19, 1908: invites Pach to visit on Friday. 1 p., in French.

From William Merritt Chase, Florence, Italy, July 16, 1908: is leaving for Paris tomorrow; invites Pach to meet him at Caffe [sic] Du Paix that evening. 1 p.

From Helen R. Wilson, Furnes, Belgium, July 30, 1908: enumerates 13 highlights of her stay in Paris, including first view of a Cézanne painting. 4 pp.

From Senateur de la Sarthe, Paris, France, August 4, 1908: expression of sympathy. Note on business card, in French.

From Morton Livingston Schamberg, Paris, France, November 5, 1908: is doing small paintings outdoors and in his hotel room; is reluctant to leave Paris but wants to visit Italy, too; went to the Autumn Salon 3 times and found the work of Matisse "very beautiful"; "I am inclined to consider it a very personal art rather than the part of a great movement considering Matisse the leader, and the art doctrines evolved by the Steins (damn nice people...)... are to me the most awful nonsense"; prefers Renoir to Cézanne; is impressed by Egyptian portraits in the Louvre; has completed about 36 panels. 3 pp.

From Olga [de?], Paris, France, December 24, 1908: has completed 3 portrait commissions; wants to see the Velasquez, which is said to be "splendid." Picture postcard ("Paris, Eglise Saint-Augustin"), in French.

From Piet van der Laan, Leeuwarden, the Netherlands, February 6, 1909: is looking for a new teaching position; their infant son is now healthier. 3 pp.

From Annie van der Laan, Leeuwarden, the Netherlands, March 13, 1909: thanks Pach for the brush and birthday greetings; invites him to the Netherlands; tells about their baby. 1 p., in Dutch.

From Piet van der Laan, Leeuwarden, the Netherlands, March 15, 1909: discusses Shaw's -- Candida -- and -- Man and Superman -- ; is studying Nietzsche. 2 pp.

From Arthur B. Davies, New York, N.Y., May 29, 1909: discusses Pach's essay about him. 1 p.

From Moriye Ogihara, Tokyo, Japan, May 30, 1909: "Devil came into my mind and I am suffering and suffering"; Saito visited with news of Pach and pictures to exhibit at the Taiheiyo Art Association. Sequence of 5 picture postcards (1, "Wisteria"; 2. "Peony Blossoms at Yotsame"; 3. [bridge--title in Japanese]; 4. "Iris"; 5. "Peony Blossoms at Yotsame").

From Arthur B. Davies, New York, N.Y., June 1 [10?], 1909: wishes to reschedule studio visit by Pach and Mr. Of. 2 pp.

From Arthur B. Davies, New York, N.Y., [postmarked] July 9, 1909: interested in Gauguin and how he compares with Degas. 1 p.

From Maurice Brazil Prendergast, Boston, Mass., December 6, 1909: saw the Cézanne painting in Boston and agrees it is beautiful, "conscientious and absolutely sincere"; has not heard recently From Davi[e]s, "one of the few very sympathetic friends I am fortunate to possess." 4 pp.

From Arthur B. Davies, New York, N.Y., April 8, 1910: sends clipping about Matisse; recommends article about the Venus de Milo. 1 p.

From K. Tohary, Tokyo, Japan, May 11, 1910: Moriye Ogihara died in Tokyo, April 22, following an attack of vomiting blood; Tohary plans to publish a book about him; requests that Pach send Ogihara's letters and any recollections he wants to contribute. Rice paper scroll.

From Arthur B. Davies, New York, N.Y., May 14, 1910: "I found your article on Matisse the most enlightening I have read so far." 1 p.

From Albert Pinkham Ryder, New York, N.Y., May 26, 1910: thanks Pach for "kindly interest" in his work. 1 p. + enclosure (reprint of a poem, "The Voice of the Forest").

From Henri Rouart, La Queue en Brie, France, September 17, 1910: sorry he was unavailable to welcome Pach and his friends. 1 p., in French.

From [unknown], New York, N.Y., [postmarked] October 5, 1910: empty envelope with no return address. Sketch of head on reverse.

From Clifton A. Wheeler, Mooresville, Ind., October 12, 1910: describes fellow passengers aboard ship; gives details of getting paintings through customs; advises Pach to start preparing necessary documents for bringing home his property. 5 pp. + enclosures (4 small etchings: 2 portraits, 2 landscapes).

From Charles Sheeler, Philadelphia, Pa., October 26, 1910: after a period of difficulty, his work shows progress; Schamberg thinks Sheeler's recent landscapes are "Cézanne like"; has had little opportunity to see the work of modern painters; hopes to go to New York for upcoming exhibitions at the Photo Secession Gallery, particularly Picasso, Cézanne, and Matisse; rejected by Macbeth last fall and by the Art Institute; a Chicago dealer wants to show his work, but friends there advise against involvement with that gallery. 6 pp.

From Julian Alden Weir, New York, N.Y., November 25, 1910: discusses his interest in etching, especially drypoint. 4 pp.

From Morton Livingston Schamberg, Philadelphia, Pa., December 27, 1910: met Stieglitz and "was well satisfied with his attitude. He hasn't the intelligence of a Leo Stein but he is sincerely interested and is getting into a position where he could do one lots of good"; met Hartley; visited Henri's studio; Stieglitz and Henri think "I am too cock-sure of myself. If they only knew"; completed 20 to 25 pictures in the last year; sends photographs of some. 3 pp. + enclosures (7 photographs of Schamberg's work: 6 figures, 1 exhibition installation).

From Adolph Werner, New York, N.Y., December 21, 1910: is teaching less at the university now that he is the "President's lieutenant." 2 pp.

From Clifton A. Wheeler, Mooresville, Ind., January 3, 1911: discusses Davies' collection of Cézanne photographs; he and Hila were married; regrets that Pach was not named director of the museum in Indianapolis. 7 pp.

From Auguste Renoir, Cagnes, France, March 28, 1911: thanks Pach for allowing him to review the article before publication; wants the interview portion withheld because it seems critical of Saint-Saens and Pillet-Will and suggests posthumous publication; feels flattered by Pach's review. 4 pp., in French.

From Eugène Leroy, Paris, France, March 27, 1911: is happy to have been of service; the Association Philotechnique enjoys meeting foreigners who appreciate its teachings and will take home pleasant memories of France. Note on calling card, in French.

From Charles Loeser, Florence, Italy, April 28, 1911: exchanged 4 of his Cézanne paintings for a larger one From Vollard; Pach's German friend should contact Vollard immediately if she is interested in acquiring one; Denis Cochin traded a Cézanne for a Goya at Durand-Ruel. 8 pp.

From Auguste Rodin, Paris, France, June 1, 1911: is willing to meet with Pach to discuss Fujikawa's book on Ogihara. 2 pp., in French.

From E. D. Smyth, Côtes-du-Nord, France, August 31, 1911: will answer Pach's letter; apologizes for being fussy about the Stendahl etc." Picture postcard (Etables, Côtes-du-Nord, Les Grottoes.")

From E.D. Smyth, Côtes-du-Nord, France, September 5, 1911: is leaving soon for Saint-Malo; will return Pach's "Tuscan book" and send 2 others; recounts events of the summer; describes some hotel guests and the cottage where her family is staying; wants to see Daumier originals. 14 pp.

From Ruth A. Wilmot, Brooklyn, N.Y., October 7, 1911: is glad their misunderstanding is straightened out; someone on the boat unintentionally insulted her companion; homesick for Paris; working again; finds New York "invigorating." 5 pp.

From Joe Garvey, Alpine, N.J., November 21, 1911: is back From honeymoon; wants to go to Europe but first must sell property. 4 pp.

From Herman Reimers, Christiana, Norway, November 24, 1911: thanks Pach for the gift of an etching; will not be moving to Paris after all; was appointed director of political affairs at the ministry. 4 pp., in French.

From Tete, New York, N.Y., December 14, 1911: Christmas greetings; misses him; family news; has been in contact with Pach's parents. 4 pp., with sketches of busts on the envelope.

From Margherita Innocenti, Pensione Innocenti, Florence, Italy, December 22, 1911: thanks Pach for kind words about her and for recommending the pensione; 4 American women are there now. 3 pp., in Italian.

From Margherita Innocenti, Pensione Innocenti, Florence, Italy, February 9, 1912: -- Ladies -- . Will be happy to have friends of Pach stay at the pensione. 1 p., in Italian.

From E.D. Smyth, Florence, Italy, February 21, 1912: describes guests at Pensione Innocenti; met young Italian artist, Gino "Sensano or Sanseno [Severini]," who knows Stella and other mutual friends; recounts visits with Signorina A.B. and Mr. Loeser; returning by sea due to Helen's illness; will not see Pach again this trip. 6 pp.

From Louis Lombard, [place unknown], April 15, 1912: note of dedication, 1 p. + 2 pp. enclosure (copy of "Chants d'Amour," a poem by Henry Marx), in French.

From E.D. Smyth, [place unknown], Ireland, April 27, 1912: "Have made half my notes From the cahier" and will send them to H.M. soon. Postal card.

From Eugène, Paris, France, [postmarked] April 26, 1912: will come on Sunday at 9:00; is happy that Pach was not expelled because now he can work in peace for a few more days. 1 p., in French.

From Arthur Burdett Frost, Davos, Switzerland, May 5, 1912: has eye problems that doctors cannot treat; Jack is recovering; plans to spend summer in the Black Forest and return to Davos for the winter; Pach writes well; finds it "refeshing to read really honest stuff"; is working on a book of caricatures. 8 pp.

From Fujikawa, Paris, France, June 4, 1912: saw Mr. Molissa and is interested in his work; Pach should express Fujikawa's thanks to Molissa; is going to Florence where he hopes to see Pach; requests photographs of any new work Pach completes. 3 pp. + 5 enclosures (brief thank you notes From M. Lernait, Tererco?, L. Lombard, Louis Varday, and Romanet), in French.

From Georges Speirer, Paris, France, June 6, 1912: heard From friends that Pach is in Florence. 2 pp., in French.

From Arthur B. Davies, New York, N.Y., June 19, 1912: discusses arrangements for payment and shipping of Cézanne painting; has found a buyer; Macbeth will handle customs; Macbeth will send Pach photographs of Rockwell Kent's pictures; will see Pach in Paris in October. 3 pp.

From [signature illegible (L.L.?)], Levallois, France, July 1, 1912: hopes Pach will spend the winter in Paris; is glad Pach is pleased with his paintings of Arezzo. 4 pp., in French.

From Maurice Socard, Paris, France, July 19, 1912: thanks Pach for his letters; will send photographs taken at his country house; friends agree with Pach's assessment of Milan. 6 pp., in French.

From Elie Faure, Paris, France, July [30?], 1912: is not surprised that Pach received a discouraging letter From Floury, who has requested another translator; Faure wants Pach to do the job. 4 pp., in French.

From Arthur B. Davies, New York, N.Y., October 2, 1912: Cézanne painting is now at Macbeth's; gives details of problems with customs; is unable to accompany Walt Kuhn in search of artists for the Armory Show; "the possibilities [of the Armory Show] loom tremendous yet so many can only see another opportunity of showing their work"; "you can do so much for Kuhn in every way and I also believe he has a really healthy outlook with considerable ability." 2 pp.

From Egisto Fabbri, Paris, France, November 28, 1912: declines Pach's invitation, due to illness. 1 p.

From G.A. Bourdelle, [place unknown], December 4, 1912: the Toussaint sculpture can be installed with or without a socle; declined to participate in the New York exhibition before realizing Pach was the organizer; keep the photograph of Toussaint's work. 3 pp., in French.

From [unknown], Gambier, Ohio, [postmarked] December 4, 1912: empty envelope with no return address.

From Wilhelm Lehmbruck, Paris, France, December 6, 1912: Two sculptures, -- Woman Kneeling -- and -- Large Torso -- , and 2 drawings are being sent to Pach for his exhibition. 1 p., in French.

From Henri Matisse, Tangier, Morocco, December 6, 1912: agrees to lend the 7 paintings requested for exhibition in New York; lists titles, insurance values, and indicates which are for sale; -- Le Luxe -- is fragile; no drawings are available; will ask Fénéon to loan as many paintings as possible. 2 pp., in French.

From Robert Henri, New York, N.Y., January 3, 1913: discusses photographs of Besnard's work; reminisces about discovering decorations by Besnard at the College of Pharmacie; compliments Pach's Winslow Homer article; "there is a growing state of expectancy about the 'armory' exhibition, and there is little doubt but that it will make a great stir, and do a great deal of good in a great variety of directions"; news of George Bellows, Guy Pène du Bois, Boss, Kent, Coleman, Sprinchorn, Sloan, Van Sloun, and Bohnen. 4 pp.

From Odilon Redon, [place unknown], France, January 6, 1913: he is flattered by Pach's article, which he believes will enhance his reputation in America; Pach should try to visit soon, as they plan to go south in a few days. 2 pp., in French.

From Raymond Duchamp-Villon, Paris, France, January 16, 1913: agrees with Pach that each generation of artists draws inspiration From undeveloped ideas found in the work of preceding generations; no French architectural style has emerged since the 18th century, confirming the idea that eras without defined aspirations produce no monuments; current politics and intellectual freedom presage hope for the 20th century; as Pach demonstrated, painting was the dominant 19th-century aesthetic, thus developments in other arts will come From painting; a new architecture is needed for modern life; in a time when money reigns supreme, artists should practice simplicity; machines are now a powerful presence in all of life. 4 pp., in French.

From Constantin Brancusi, Paris, France, [postmarked] January 24, 1913: his cousin has just finished a painting that Pach should see; invites Pach to dinner. 1 p., in French.

From Elie Faure, Paris, France, February 11, 1913: if he goes to England, he will contact Mr. Fry; wants to introduce a painter friend to the Steins; Pach is a rare friend and intellectual equal. 2 pp., in French.

From Jacqueline d'Argent, Chinon, France, March 1, 1913: has fond memories of their interesting conversations; present acquaintances are not intellectual and gossip too much; applied for a medical assignment in Algeria but is unsure about moving. 2 pp., in French.

From Constantin Brancusi, Paris, France, March 13, 1913: asks Pach to decide the price of the bronze; congratulations on the success of the exhibition. 3 pp., in French.

From Arthur B. Davies, New York, N.Y., [postmarked] April 5, 1913: borrowed works are being returned to Europe; Roman Bronze Co. could make a good cast of Brancusi's -- Mlle. Pogany -- owned by Belle Greene; "looking forward to a genuine recreation in Boston as to art interest"; doubts Chicago's appreciation, Mr. Eddy notwithstanding. 2 pp.

From Ary Le Bland, Paris, France, April 5, 1913: a copy of -- La Vie -- , featuring the information Pach provided about Redon, is being sent; asks Pach to write about art trends in America for -- La Vie -- and publicize the magazine. Postal card, in French.

From Jacques Villon, Paris, France, April 13, 1913: congratulates and thanks Pach for promoting the acceptance of modern art; extends appreciation to Davies and Kuhn. 3 pp., in French.

From Raymond Duchamp-Villon, [place unknown], France, April 18, 1913: received Pach's letter and check; the Duchamp brothers are embarrassed by their success and do not talk about it; wishes Gleizes were having his share of it; asks how the other artists fared; a commission agency requested cubist paintings for America; worried that cubism is becoming a commodity; the 4 copies of -- Noa, Noa -- he purchased at a good price have been shipped. 2 pp., in French.

From M. Lernait [Lemaitre?], Saigon, Indochina, May 25, 1913: thanks Pach for writing and for his friendship; the countryside near Saigon is beautiful; he misses Paris. 4 pp., in French.

From Jacques Villon, Versailles, France, June 19, 1913: thanks Pach for selling another painting; Salon d'Automne opens later than usual this year; Torrey called on him, Marcel, and Picabia; Raymond is going on vacation soon; sends regards to Davies and Kuhn. 4 pp., in French.

From Maurice Brazil Prendergast, Boston, Mass., June 25, 1913: is recovering From surgery; thanks Pach for sending postcards and showing interest in him. 3 pp.

From Jean Le Roy, Paris, France, [postmarked] July 1, 1913: comments on the success of Pach's exhibition; has a temporary job; finished college; might travel to Guinea; discusses his poetry published in -- Les Bandeaux d'Oro -- ; met de Verhaeren, whom he admires. 4 pp., in French.

From Marcel Duchamp, Neuilly-sur-Seine, France, July 2, [1913?]: heard all about the American exhibition From his brothers; thanks Pach for "enthusiastically defending their work"; still awaiting payment; will spend August in England; Torrey called on them. 3 pp., in French.

From Maurice Brazil Prendergast, Boston, Mass., [postmarked] July 11, 1913: is recovering From his "hospital experience"; recounts trouble with studio lease; asks Pach to notify him of suitable space available in New York. 4 pp.

From Maurice Socard, Paris, France, August 1, 1913: Pach is a kindred spirit; Pach's competence and ability to elicit appreciation for modern painting made the show a success. 2 pp., in French.

From F. Wentscher, [place unknown], Hungary, August 24, 1913: is painting out of doors; won't return to Paris until November. Postal card, with original illustration of horse-drawn carriage, in German.

From Elie Faure, Paris, France, August 25, 1913: is delighted with Americans' enthusiastic acceptance of French painting; current prices are ridiculous and scandalous; bought a great Delacroix at reasonable cost; complains about his editor; awaits word From Mr. Fry, to whom he has sent a Cézanne; will go to London in September; saw an interesting Matisse show but preferred Bonnard's exhibition; he sees Renoir frequently; finds it deeply moving to see Renoir make constant improvements in his work despite old age and sickness. 4 pp., in French.

From Jacqueline d'Argent, Blida, Algeria, September 8, 1913: is now practicing medicine in Blida; describes the scenery and local people; congratulates Pach on his marriage. 6 pp., in French.

From Raymond Duchamp-Villon, Neuilly-sur-Seine, France, September 25, 1913: just received Pach's article and will comment on it in the next letter; thanks Pach for promoting his and friends' work; will see the Steins soon and try to learn more of the rumored American reaction against their ideas; the Salon d'Automne opening is delayed until November; Pach's mention of the Delaunay affair confirms rumors of discord; asks Pach to determine if and when unsold paintings and sculpture were returned. 2 pp., in French.

From Clifton A. Wheeler, Indianapolis, Ind., December 22, 1913: museum's schedule cannot accommodate Pach's exhibition; describes upcoming January show; the museum hopes to acquire a Davies painting; "the exhibition in Chicago (The International) did not strike me with overwhelming force, but I have enough respect for the opinions of Mr. Davies and yourself to admit that the fault may have been my own"; congratulations on engagement to Miss Frohberg. 7 pp. + 1 p. postscript from -- Hila Drake Wheeler -- wishing Pach and Miss Frohberg happiness.

From G. Villon, Paris, France, [1914]: congratulations on the birth of Pach's son; heard From her husband who is in the army; asks Pach's opinion of some drawings; is working with blind children in a hospital. 4 pp., in French.

From Constantin Brancusi, Paris, France, January 26, 1914: asks Pach to determine whether the owner of -- Muse Endormie -- wants the piece in marble; a reduced price is possible, but he must know soon; met Mrs. Stieglitz; asks Pach's advice about showing his marbles in New York. 4 pp., in French.

From Constantin Brancusi, Paris, France, February 19, 1914: received the check; distressed to be participating in a show that may prove harmful to Pach's cause; asks Pach not to be hurt by his unwitting mistake. 4 pp., in French.

From Walter Arensberg, Boston, Mass., March 1, 1914: "The exhibition was tremendously fresh and fine"; compliments Pach's work. 1 p.

From Jean Le Roy, Paris, France, [postmarked] March 4, 1914: congratulations on Pach's marriage; encourages him to continue painting; news of Lombard and Clapp. 2 pp., in French.

From Maurice Brazil Prendergast, Saint-Malo, France, June 12, 1914: thanks Pach for reproducing his work in -- Century -- magazine; is returning home sooner than planned; Renoir's new work is "way ahead of his former landscapes." 3 pp.

From Raymond Duchamp-Villon, Courbevoie, France, June 26, 1914: is impatient for news of a proposed project; Mrs. A. Roosevelt will be in touch with Pach; her work has shown progress; during the past year, modern art has begun to attract interest and generate discussion among some previously unreceptive people. 2 pp., in French.

From Morton Livingston Schamberg, Paris, France, June 30, 1914: "Would love to meet Brancusi and Duchamp-Villon but damn it, I can't speak French." Picture postcard ("P. Cézanne, -- L'été -- fragment").

From Odilon Redon, Bièvres, France, July 10, 1914: if Pach organizes another exhibition, he wants to participate. 3 pp., in French.

From Joseph Stella, Venice, Italy, July 20, 1914: discusses his travels in Europe; Greece reminded him of Davies's pictures; no reply From the futurists in Milan; recounts a meeting with Walkowitz in Patrai, Greece. 5 pp.

From Alexandre Mercereau, Paris, France, [postmarked] July 30, 1914: can secure work by interesting artists for exhibition; inquires whether foreign works and jewelry are acceptable; he organized an international exhibition of cubism with an accompanying symposium in Prague; offers to lecture in the United States if Pach can find a way to pay for the trip; is sending information about an organization he founded; wants to establish an American branch; needs an American editor for his books; Brancusi's participation is essential. 4 pp., in French.

From Raymond Duchamp-Villon, Paris, France, August 7, 1914: just received registered letter and invitations; continuing with exhibit plans is impossible, as all of their friends are mobilized; work of Gleizes, Villon, and Metzinger being exhibited in Berlin probably will be lost; a negative reply From Chapell ended long-held hopes; wholehearted thanks due to Pach for countless efforts and true friendship; the French are ready to die for peace and freedom; confident of the future, despite anxiety over friends now in danger. 4 pp., in French.

From Raymond Duchamp-Villon, Saint-Germain-en-Laye, France, August 26, 1914: war conditions make collaboration impossible; is serving as a paramedic; no bad news concerning anyone Pach knows. 2 pp., in French.

From Raymond Duchamp-Villon, Saint-Germain-en-Laye, September 11, 1914: will consult with friends about planning an exhibition in the United States; Gleizes is at Toul; Villon is with the British army at Rouen. 2 pp., in French.

From Albert Pinkham Ryder, New York, N.Y., September 13, 1914: is looking forward to having the Pachs and Mr. Wheeler visit his studio. 2 pp.

From Michael Stein, Agay, France, October 19, 1914: requests details about the exhibition Pach is organizing; Pach should tell Matisse "he must now look to America for a market for his art for some time to come"; "it is about time he [Matisse] were ranked among the accepted classics and bought freely." 3 pp.

From Jean Le Roy, Brest, France, [postmarked] November 10, 1914: plans to enlist soon; is worried about Kohler at the front. 4 pp., in French.

From Jacques Villon, [place unknown], France, November 23, 1914: comments on the war and his painting; congratulates Pach on his New York exhibition. 1 p., in French.

From Piet van der Laan, Zutphen, the Netherlands, January 24 and February 8, 1915: Congratulations on the birth of Raymond; cannot visit Pach in Paris because of the war. 4 pp. + 3 pp. enclosure (copy of a poem by Dante), in Italian.

From Raoul Dufy, Le Havre, France, January 29, 1915: sent 2 copies of his Bestiarie; wants Pach to choose a drawing, watercolor, or Bestiarie as a gift of thanks; heard From Derain, Apollinaire, and Gleizes, all in the army; de la Fresnaye was wounded; asks if Basler, Brummer, and Kahnweiler are art dealers now that they have settled in New York; considers Basler an honest man. 4 pp., in French.

From Raymond Duchamp-Villon, Acheux, France, February 26, 1915: still in Saint-Germain where his wife continues her work at the military hospital; Villon spent the entire winter in the trenches but bears it well; glad Quinn bought Cat and Parrot; thinks Quinn should have the final versions in wood rather than cast reproductions and instructs Pach to discuss it with him; received Marcel's articles and reproductions; understands the change that has affected Pach's desire for new means of artistic expression. 2 pp., in French.

From Raoul Dufy, Le Havre, France, March 3, 1915: lists the 4 paintings he is sending; accepts and reiterates the payment schedule; Pach should select a painting for himself; will send some paintings on silk; promises to write about decorative art in his next letter. 4 pp., in French.

From Marcel Duchamp, Paris, France, March 12, [1915?]: received the Matisse catalog and remembers the goldfish painting; Villon is in good health and good spirits; is optimistic about prospects for peace by summer; after a family vacation in Rouen, he finished glass and other projects; Raymond is happy in Saint-Germain, where his wife is a hospital nurse; does Pach know if Delaunay is in America; wants to visit Brancusi; has no news of Picasso, Braque, or Derain. 4 pp., in French.

From Marcel Duchamp, Paris, France, April 2, [1915?]: is preparing for an exhibition; describes arrangements for sending Raymond's works to Pottier; 2 paintings, a drawing, and papers are being sent to Pach; reports on the work and conditions of Raymond, Rifemont-Dessaisner, and Villon; has decided to leave France and go to New York; wants to know when he should come and if securing employment as a librarian will be difficult; does not want his family to know of these plans for a while; includes price list for paintings. 3 pp., in French.

From Jacques Villon, Acheux, France, April 13, 1915: glad to learn that his paintings and engravings have sold; is looking forward to returning to normal life and working with greater intensity; being welcomed in New York should boost his self-confidence and provide some peace of mind regarding financial security; the matter of Dr. Stum's paintings cannot be settled until the war ends; is sending Pach engravings and drawings; a shipment of sketches made during the war can be published as documentaries; after being away From home for 8 months, he envies Pach's happy family life; emerging spring contrasts sharply with human evil. 3 pp., in French.

From Marcel Duchamp, Paris, France, April 27, [1915?]: is displeased by the reply received; understands that Pach misses Paris and the artist's life he led there; he is increasingly dissatisfied and the point is to leave Paris rather than to go to New York; asks help in finding a library job in New York so he will not have to depend on selling paintings; does not want his family to know yet. 7 pp., in French.

From Marcel Duchamp, Paris, France, May 21, 1915: has decided to depart on June 5, despite family and sentimental reasons for rescheduling; spoke to Raymond about Arensberg's magazine; Mme. Picon probably has articles by Mercereau, Gleizes may have articles, and other friends could contribute poems and prose; has decided on a job for the duration of his stay in America, but it will prevent him From painting. 3 pp., in French

From Theodore Duret, Paris, France, May 22, 1915: hopes Pach's efforts at promoting the latest in modern art, especially Van Gogh and Lautrec, have been successful; has written a comprehensive book on Van Gogh, which is to be published when the war ends; asks if the Van Gogh painting he loaned to the exhibition has been sold. 4 pp., in French

From Alice Derain, Paris, France, May 28, 1915: thanks Pach for sending a check and for handling her affairs; the paintings From Mme. Lebas were not shipped because Derain is not satisfied with them and decided not to sell; some landscapes may be available soon because Derain has spare time and can try to work; a recent portrait of the couturier Monsieur Poiret may be his best painting yet. 2 pp., in French

From Georges Rouault, Versailles, France, [postmarked] June 1, 1915: (1) Discusses works in progress that may be suitable for the exhibition Pach is organizing; the shipment will also include a ceramic plaque for Quinn; Quinn persists in asking about Rouault's military status; 6 times already he has been disqualified due to a weak heart; academies, medals, and awards are not about art; nature and other artists are more inspiring than unimaginative teachers. (2) Pach should keep a Rouault piece unless he prefers to select one when in France; his simplified ceramics are real faiences; his paintings are lighter and more fluid; his show after the war will include German types and landscape and religious paintings. (3) Perhaps Quinn will be interested in the paintings shipped; within the year, a larger selection of ceramics will be available for Quinn, but at the moment his focus is on painting. 4 pp. (3 separate notes), in French

From Jean Le Roy, [place unknown], France, June 12, 1915: describes his flower-decorated trench and the surrounding countryside; started a magazine called Les Imberbes with an editor and typographer friend; intends to send poems to Pach's American publication. 5 pp. + 1 p. enclosure (poem, "Printemps"), in French

From Maurice Brazil Prendergast, Boston, Mass., July 7, 1915: thanks Pach for Dufy's book; "tell Monsieur Dufy when you write him I felt more pleased than if I got a gold medal"; he and Charlie will leave soon for Maine. 4 pp

From Marcel Duchamp, New York, N.Y., [postmarked] July 28, 1915: inquires whether Pach received the palette he sent; spent the evening with Quinn, Gregg, and Kuhn; Gregg was likable and Kuhn fascinating; thinks Quinn could be supportive; Quinn was anxious to know if cubism has been killed by the war; once his English improves, he wants to convince Quinn to discard his ideas about the politics of art. 2 pp., in French

From Alice Derain, Paris, France, August 7, 1915: sends receipt for payment in full; her husband is in the service; Braque was seriously wounded; Doucet died; Picasso is in Paris; her husband hopes to meet Pach. 2 pp., in French

From Raoul Dufy, Paris, France, September 18, 1915: has received a payment toward Quinn's account; Quinn has purchased additional works; credits many sales to his association with Pach; is able to paint while in the military; after the war, he hopes the French can become better acquainted with American painters; is pleased to hear that Prendergast liked his gift; wants to see photographs of Prendergast's work; requests catalogs with reproductions of American furniture. 4 pp., in French

From Raymond Duchamp-Villon, [place unknown], October 17, 1915: feels renewed interest in his work; continues his research; observations about the war; Villon has suffered and was awarded a Military Cross; requests news of Pach and mutual friends; Pach should determine Quinn's intentions. 3 pp., in French

From Henri Matisse, Issy-les-Moulineaux, France, November 20 and 29, 1915: is delighted by the prospect of an exhibition of French art; will do what he can to help obtain the Seurat painting for exhibition; thanks Pach for selecting his work for the exhibition at Bourgeois and agrees to send additional pieces; lists etchings sent to Miss Bryant via Pottier; the photographs showed great improvement in Pach's portraits; advises a warmer palette; will offer additional frank comments after seeing new pictures; is working hard and just finished an important painting, which already has been sold; is still recovering From bronchitis. 12 pp., in French

From Louis Lombard, [place unknown], France, December 28, 1915: best wishes for the coming year. Postal card, in French

From Theodore Duret, Paris, France, December 29, 1915: read a favorable review of the Van Gogh exhibition; asks if Pach was able to sell Duret's Van Gogh still life; his book about Van Gogh will be printed after the war. 4 pp., in French

From Maurice Socard, [place unknown], December 31, 1915: has been in Paris throughout the war; is teaching at the Lycée Ch. [ sic]; believes Germany wants to organize the world; explains his view of the causes of the war and predicts the outcome. 6 pp., in French

From Mary Socard, Paris, France, December 31, 1915: greetings and good wishes; believes the war will be followed by much misery and great changes. 2 pp., in French

From Jean Le Roy, [place unknown], France, [postmarked] [?,?] 1916: his commanding officer knows Picasso, Marie Laurencin, and Derain; Lafitte was killed; wants news of Pach; thank the magazine Others if his poem "Spring" is accepted. 5 pp., in French

From Georges Rouault, [place unknown], France, [undated] [1916?]: received the catalog and Pach's review with the reproduction of his painting; his grandchild is sick; they are going to the seashore; is working on an exhibit; thanks Pach for helping sell a painting; though in poor health, he may have to join the army; suggests an album of reproductions. 10 pp., in French

From Jacques Villon, Paris, France, January 5, [1916]: he is assigned to the central atelier for camouflage; works with other artists, not all of whom share his outlook; has many ideas for new work; no news From Marcel or Picabia. 4 pp., in French

From Georges Rouault, [place unknown], France, [postmarked] January 22, 1916: personally delivered the paintings to Pottier for shipment; worries that the large works will not have the style and the color of the small ones; wants to have his exhibition ready before going to Italy; has not seen Villon recently. 2 pp., in French

From Piet van der Laan, Zutphen, the Netherlands, February 7, 1916: thanks Pach for the "ex-libris"; he is busy translating a lengthy book on medieval Italy; discusses Dante. 4 pp

From Jacques Villon, [place unknown], February 10, 1916: speculates that an art form may develop From the war. 1 p., in French

From Maurice Brazil Prendergast, New York, N.Y., March 23, 1916: confirms 5 titles for inclusion in the exhibition catalog; has a good photograph for Pach's book. 2 pp

From Maurice Socard, Paris, France, April 2, 1916: remembers Pach as one of his best students; one of the many reasons for their friendship is Pach's love for France; quotes Descartes; compares the French ideal of liberty with the German interpretation; comments on French and German science. 4 pp., in French

From Ruth Wilmot, New York, N.Y., [postmarked] April 9, 1916: compliments Pach on the lectures he presented to her group; encloses payment. 2 pp

From Henri Matisse, Issy-les-Moulineaux, France, April 28, 1916: extends best wishes for the success of the exhibition; asks Pach not to reveal the extremely reduced price of the painting Arensberg bought; asks if Max Weber has a large gallery; wants to obtain sound recordings of typical exotic chants. 4 pp., in French

From Jean Le Roy, [place unknown], [postmarked] May 8, 1916: thanks Pach for sending the Cézanne catalog; has been at the front for 13 months; Kohler is a decorated hero; Siegfried's fate is unknown; plans to publish his poems when next in Paris. 4 pp., in French

From Gino Severini, Paris, France, May 29, 1916: wants to have an exhibition in New York; has 30 or 35 paintings and 20 drawings representing several periods and can supply text for a lecture; recently published on Mallarmé and pictorial aesthetics; is presently writing another critical study; suggests Pach arrange for a show at Montross or Macbeth and specifies his usual terms; philosophical differences have caused him to part From the group of futurists Pach knows; still considers himself a futurist and will use the term because it helps the public grasp his ideas; no one, including Picasso, Derain, Dufy, and Metzinger, is making a profit From exhibitions. 4 pp., in French

From Mme. Victor Le Roy, Paris, France, May 30, 1916: belatedly acknowledges receipt of Jean's poems; [UNK] husband, Victor, died near Verdun; Jean may come home on leave. 1 p., in French

From Jean Le Roy, [place unknown], [postmarked] June 2, 1916: thanks Pach for forwarding his poems to American publications; believes poets are well treated in the United States; uncle Victor died in the war; Carreau was wounded. 4 pp., in French

From Raoul Dufy, Paris, France, June 3, 1916: thanks Pach for writing an article defending the ideas of modern French art, which had come under attack by a young American critic; wants to know if there are opponents of French modern art in New York; exhibitions are returning to Paris; Quinn purchased -- The Yellow Hat -- ; is sending a thank-you gift and an etching. 1 p., in French

From Emil Gay, Watkins Glen, N.Y., June 12, 1916: enjoyed Pach's lectures. 6 pp

From E.D. Smyth, [place unknown], England, June 16, 1916: news of a mutual friend killed in the war; discusses Jean Le Roy. 4 pp

From Camille Redon, Cannes, France, [July 1916?]: Redon is recuperating in Cannes; asks for the return of their pictures, when feasible. 2 pp., in French

From Camille Redon, [place unknown], July 4, 1916: Redon is gravely ill with pulmonary congestion; the doctors are concerned. 1 p., in French

From Jacques Villon, Puteaux, France, [postmarked] July 12, 1916: Miss Bryant's purchase boosted his morale and was welcome financially; Marcel is delighted with America; speculates that Marcel may eventually settle in America. 3 pp., in French

From Camille Redon, Bièvres, France, August 6, 1916: Redon was buried several days ago; a gallery in the Petit Palais will be devoted to him and there will be an exhibition at the Beaux-Arts in the spring; reflects on the solitude and anonymity of many great artists during their lifetimes. 4 pp., in French

From Georges Rouault, Paris, France, [postmarked] August 14, 1916: Pach should return all paintings and drawings when he can; thanks Pach for his help; his wife and infant daughter are unwell; bought a new house; will be able to work when the family leaves Paris; received the item Pach sent him From Quinn much sooner than anticipated. 2 pp., in French

From Souza Cardoso, [place unknown], Portugal, [postmarked] September 25, 1916: comments on the picture shown on the card. Picture postcard (photograph of a woman and child in costume), in French

From Henri Matisse, Issy-les-Moulineaux, France, October 14, 1916: the information Pach sent about Bourgeois raises hopes for a good exhibition at his gallery; in reply to the question about a frame for the portrait of Arensberg, insists that modern paintings do not need frames, especially gold ones that contain a picture by stopping its extension; will look at Pach's paintings any time; Mrs. Havemeyer parted with the Ingres as a condition for another purchase; From photographs, gives his opinion of the authenticity and condition of 12 paintings. 11 pp., in French

From Henri Matisse, Issy-les-Moulineaux, France, November 6, 1916: sends description and opinion of a picture he omitted From a previous letter; art is selling well in Paris. 4 pp., in French

From Paul Signac, Saint-Tropez, France, November 18, 1916: illness prevents him from complying with Pach's request to select works for exhibition; suggests sources From which to borrow Seurat paintings. 3 pp., in French

From Florence Bing, New York, N.Y., [undated (1917)]: condolences on the death of Pach's mother. 1 p

From Albert Gabriel, [place unknown], [undated (1917)]: "Accept my sincere sympathy." Note on calling card

From Leigh Hunt, [place unknown], [undated (1917)]: "Heartfelt sympathy." Note on calling card

From Professor Adolph Werner, [place unknown], [undated (1917)]: "Condolence." Note on calling card

From Ruth Wilmot, [place unknown], [undated (1917)]: condolences on the death of Pach's mother. 2 pp

From Mme. Raymond Duchamp-Villon, Compiègne, France, [postmarked] January 6, 1917: her husband is hospitalized with multiple ailments, including typhoid; condolences on the death of Pach's mother. 2 pp., in French

From Constantin Brancusi, Paris, France, January 19, 1917: thanks for check From Quinn; is pleased that he was satisfied with the sculptures, despite difficulty in assembly; plans to visit the United States after the war. 3 pp., in French

From Gino Severini, Paris, France, February 7, 1917: has written a preface explaining the ideas of the avant-garde; wants Pach to oversee the translation; asks that the three fragile pastels be framed inexpensively by Stieglitz. 2 pp., in French

From Childe Hassam, New York, N.Y., March 30, 1917: thanks Pach for help in determining latest possible date to submit work for exhibition. Note on the reverse of printed announcement of a show of Hassam's etchings and drawings at Frederick Keppel & Co., November 16- December 2

From Gino Severini, Paris, France, April 28, 1917: expresses appreciation for the success of his exhibition; his paintings should be returned at a more favorable time; a longer version of his preface on modern art will appear in -- Le Mercure de France -- ; asks to be remembered to his friends and for news of sales and reviews of his show. 4 pp., in French

From [signature illegible], New York, NY., May 14, 1917

From [signature illegible], New York, NY., May 16, 1917

From Charles Sheeler, Philadelphia, PA., May 17, [1917?]

From Charles Cooper, New York, NY., May 19, 1917

From [signature illegible], [Vienna, Austria?], July 22, 1917

From Alexandre Mercereau, [place unknown (at the front)], July 26, 1917: is sending Pach a selection of his writings, which he hopes can be published in the United States; is anxious for a good translation; believes the book he just wrote is his best and is willing to offer it to an American publisher before it appears in France. 4 pp., in French

From Gino Severini, Paris, France, September 6, 1917: discusses work in progress; offers congratulations on the first Independents show; praises Pach's selfless efforts; authorizes use of any remaining works for other exhibitions; thanks Pach for arranging sales and sending reviews. 4 pp., in French

From [signature illegible], [place unknown], October 26, 1917

From Louis Lombard, [place unknown], France, October 26, 1917: reminisces about good times together; has less desire to write poetry now; is learning German and Italian. 2 pp., in French

From Maurice Socard, Paris, France, November 3, 1917: describes superb Renoirs seen in the Rue de la Boetie; hopes Pach's remarkable efforts on behalf of modern art will be fruitful; notes qualities needed for portrait and landscape painting. 4 pp., in French

From Louis Lombard, Ingolstadt, Germany, [postmarked] November 26, 1917: boredom and solitude are his routine; thanks Pach for gifts of books and tobacco; sends holiday greetings. Postal card, in French

From Camille Redon, Paris, France, December 8, 1917: if it remains unsold, Pach should keep the Redon painting until the war is over; American troops are arriving; she follows the exhibitions; likes Matisse; Mr. Quinn is behind in his payments. 4 pp., in French

From Arthur Burdett Frost, Madison, N.J., January 5, 1918: thanks Pach for condolences upon the death of his son; wants Pach to look at his son's work and consider writing an article. 4 pp

From Georges Rouault, Versailles, France, [postmarked] January 15, 1918: discusses titles of 2 pieces; general terms are more suitable titles for his subjects; Matisse was ridiculed by many because for a year he numbered all canvases; Rouault's albums will be numbered rather than titled; suggests framing and matting techniques for the double-sided piece; his new paintings won't need glass; he has always been lonely, but now is isolated as well; has a new daughter. 4 pp., in French

From Arthur Burdett Frost, [place unknown], February 1, 1918: thanks Pach for his interest in his son Arthur; offers a photograph of Arthur to illustrate Pach's forthcoming article. 4 pp

From Arthur Burdett Frost, [place unknown], [between February 1 and March 12, 1918]: thanks Pach for the manuscript; plans to send additional photographs of Arthur. 4 pp

From Arthur Burdett Frost, [place unknown], [between February 1 and March 12, 1918]: returning Pach's manuscript; requests a copy. 2 pp

From Alexandre Mercereau, Paris, France, [postmarked] February 9, 1918: thanks Pach for finding him a publisher; financial gain is secondary to having a publisher of good reputation who will provide proper translation; mentions Pach's frequent contact with Gleizes and Duchamp, who surely support his efforts on behalf of modern art; Vareze recommends Julio Gonzales's decorative work for Pach's exhibition; wants to help a friend sell a de Miranda painting. 2 pp., in French, + business card ("Alexandre Mercereau, Homme de Lettres, President de la Société Les Grandes Conférences") + 2 photographs (inscribed portrait of Mercereau taken at the front, June 1915, and portrait of Charles III and Maria-Ana by Carreño de Miranda)

From Maurice Socard, Paris, France, February 20, 1918: letter of gratitude for Pach's friendship and efforts on behalf of modern art; discusses idealism, imagination, art, and the search for truth. 3 pp., in French

From Elie Faure, Paris, France, March 12, 1918: is sending copies of his last 3 books; thinks -- The Holy Face -- is his most important book; it is about war in general and includes personal experiences From the present war. 4 pp., in French

From Mme. Le Roy, Paris, France., May 19, 1918: Jean died while a prisoner of war. 3 pp., in French

From Raymond Duchamp-Villon, Cannes, France, May 20, 1918: is sending Quinn a drawing and photograph that relate to his rooster sculpture and show the original architectural setting for the piece; will send the script of a comedy written with a friend for performance at a military hospital, which Pach may translate and publish in America; glad that the rift between Pach and Marcel is mended; recently saw Matisse hard at work; Villon is in the army and has no time for work. 4 pp., in French

From Gaby Duchamp, [place unknown], France, May 23, 1918: thanks Pach for arranging sales to Quinn; her husband is well, doing research, and will resume his art when the war ends; Raymond is in the hospital in Cannes; there were interesting Matisse and Picasso exhibitions in Paris. 2 pp., in French

From French Army, [place unknown], July [?], 1918: confirms the death of Jean Le Roy on April 26; sends details of the battle, as Pach requested, and text of citation. 4 pp., in French

From Mme. Le Roy, Paris, France, August 19, 1918: thanks Pach for the touching gesture of dedicating his University of California course to Jean's memory; sends a copy of the citation Jean received the day he died. 3 pp., in French

From J. Van Gogh Bonger, Far Rockaway, N.Y., August 20, 1918: sons wrote of good times with Pach in Berkeley; they were in Honolulu and now should be in Japan; first volume of the "Letters" has been translated; discusses her brother's friendship with Redon. 4 pp

From Camille Redon, Bièvres, France, September 23, 1918: thanks Pach for lecturing on Redon and his work; has a full set of engravings and lithographs; litho stones were erased, but copper plates are at the museum in Amsterdam; plans to sell prints after the war and will offer Pach some he lacks; comments on arrival of American forces, with whom her son-in-law is an officer. 4 pp., in French

From Morton Livingston Schamberg, Philadelphia, Pa., September 30, 1918: belated thanks for the two Indian tiles; he and Sheeler readily agreed who should have which tile. 2 pp

From Frederic C. Torrey, San Francisco, Calif., October 8, 1918: is glad Pach is in California; anticipating the end of the war; tell Mme. Van Gogh he regrets not meeting her. 4 pp

From Mme. Duchamp-Villon, Paris, France, October 11, 1918: Raymond died of uremia; she plans to return to work at the front; will send Raymond's design for a chess set; wonders if Quinn purchased the rooster drawing. 2 pp., in French

From Vincent Van Gogh Bonger, Kobe, Japan, October 27, 1918: "Best regards From Vincent." Picture postcard ("Joie de Vivre")

From Elie Faure, [place unknown], October 30, 1918: thanks Pach for sincere appreciation of The Holy Face; the book received mixed reviews; if there is an English edition, Pach should be the translator; agrees to contribute to the magazine; suggests an article on "America in the War"; the final volume of History of Art will not be published until after the war due to paper shortages; maybe Pach can obtain appropriate paper. 2 pp., in French

From Maurice Socard, Paris, France, November 12, 1918: finally met with Pach's friend for a discussion of Pach's aesthetic preferences and the relationship between philosophy and art; read about Pach's University of California lectures; Paris is celebrating the end of the war. 7 pp., in French

From Jacques Villon, Paris, France, November 13, 1918: Raymond died following a second operation; is determined not to leave Raymond's work unfinished. 2 pp., in French

From Marcel Duchamp, Buenos Aires, Argentina, November 15, [1918?]: as a close friend and admirer of Raymond, Pach must be grieving his death; although provincial, Buenos Aires is calm and conducive to work; brought notes for the glass and plans to continue drawings for it; Argentines are aware of cubism but do not understand it; is planning an exhibition for Buenos Aires in May or June; asks Pach to help H.M. Barzun, who will be contacting him about the show; outlines his schedule for the coming year; anticipates readjusting to peacetime. 3 pp., in French

From Jean Le Roy, [place unknown], [postmarked] December 15, 1918: thanks Pach for bringing his pamphlet to Arensberg's attention; discusses his interest in rhythm in poetry. 4 pp., in French

From Frederic C. Torrey, San Francisco, Calif., December 19, 1918: holiday greetings; compliments Pach's writing, specifically his latest article in the Dial; discusses the Dana prize awarded in Philadelphia to McComas. 5 pp

From the Butlers, New York, NY., [postmarked] December 23, 1918: Christmas card, "Victory Christmas"

From Frederic C. Torrey, San Francisco, Calif., January 3, 1919: Pach was misidentified as curator of Hindu art in American Art News; discusses taxes on art sales; still wants to sell his Cézanne lithograph and can reduce the price; asks if Arensberg would be interested in purchasing Un Descendant. 4 pp

From Mabel Torrance, New York, N.Y., January 12, 1919: just learned the classes will be discontinued. 3 pp

From Elie Faure, [place unknown], January 21, 1919: thanks Pach for efforts with American publishers on his behalf; before the war only Germany had a culture large enough to take immediate interest in his kind of intellectual endeavors; awaiting instructions From Johnson concerning the articles he is writing; comments on diplomats of the Entente and political matters; compliments -- Modern School -- ; is sending a brochure about a restored castle his brother is attempting to sell. 4 pp., in French

From Frederic C. Torrey, San Francisco, Calif., February 3, 1919: nude is on the way to Arensberg a day late; his wife will be very happy to sell Un Descendant; "I want the Russian experiment to be given a fair chance"; comments on "Russian 'refugees"'; thanks Pach for assistance in the "Arensberg matter." 7 pp

From Frederic C. Torrey, San Francisco, Calif., February 7, 1919: received Arensberg's check; painting was shipped late, with a lesser valuation, due to changes in regulations; discusses new tax bill. 3 pp

From Elie Faure, [place unknown], May 4, 1919: notes the poor reception of his book in France and the United States; discusses his current work; opinions of world politics. 4 pp., in French

From Maurice Socard, [place unknown], May 12, 1919: much disagreement about the terms of the peace treaty; feels that Germany must serve a term in purgatory. 3 pp., in French [filmed with the wrong envelope]

From Félix Fénéon, Paris, France, May 15, 1919: thanks Pach for selling -- Esquisse d'un Dimanche d'Eté a la Grande Jatte -- and for the check. 1 p., in French

From Marcel Duchamp, Buenos Aires, Argentina, June 6, 1919: regrets having abandoned plans for an exhibition there; Buenos Aires is ready for new art. 2 pp., in French

From Xavier Martinez, Piedmont, Calif., June 16, 1919: received Courbet, Society of Independent Artists, and Redon catalogs; congratulates Pach. 2 pp., in Spanish

From Ismael Smith, New York, N.Y., June 25, 1919: Margarita Cordoba From Cuba, representing the Independents, is sending a picture of la Mazantinita, a famous Spanish ballerina. 1 p., in Spanish, +8 pp. enclosure (11 designs for bookplates)

From Jacques Villon, Neuilly-sur-Seine, France, June 26, 1919: thanks Pach for check, letter, and catalog; writes of his work plans for the coming year, when he expects to make up for lost time; comments favorably on Pach's painting; notes activities of his friends, including Gleizes, Picabia, and Marcel. 2 pp., in French

From Marion L. Chamberlain, Santa Barbara, Calif., August 10, 1919: she and Miss Phillips enjoyed Pach's lectures at the Berkeley Summer School; they purchased 2 Renoir lithographs From Mr. Torrey. 4 pp

From Marcel Duchamp, Paris, France, [postmarked] September 3, 1919: his friends and their lives seem little changed since the war; other than the work of his brother and Picabia, he sees little of artistic interest; will be in New York in December; saw Yvonne Duchamp-Villon. 3 pp., in French

From Charles Loeser, Florence, Italy, November 18, 1919: describes his house with its special music rooms; 6 Cézanne paintings hang in one room; has a drawing which he believes is by Velasquez; discusses art collecting; "I have always liked Leo Stein, so long as he talked to me on any matter other than art." 6 pp

From Sybil Kent Kane, New York, N.Y., [postmarked] November 26, 1919: thanks Pach for etchings of "my beloved Chapel." 1 p

From Pietro Brunelleschi, Florence, Italy, [postmarked] December 5, 1919: accepts Pach's invitation for the following day. Note on business card, in Italian

From [Mme.] Duchamp-Villon, Laon, France, January 4, 1920: looks forward to Pach's proposed visit to France; discusses widowhood, her new job in Laon, and the material difficulties of postwar existence; Marcel took Cézanne paintings with him to New York; will send a print of Le Coq. 2 pp., in French

From Elie Faure, Paris, France, January 11, 1920: economic conditions preclude publication of his fourth volume at this time; saw Redon a month before he died, when he spoke of indifference to the opinions of others and concern with expressing himself; discusses the masterpieces in his personal collection, among them Redon, Delacroix, Daumier, and Van Gogh. 8 pp., in French

From Edgar L. Hewett, Archaeological Institute of America, San Diego, Calif., February 2, 1920: met with Sloan and Henri to make arrangements for the "Indian art exhibition"; thanks Pach for encouragement with the exhibition plan; compliments Pach's article in the Dial. 1 p

From Xavier Martinez, Piedmont, Calif., March 12, 1920: thanks for the Dial and the invitation; compliments Pach's article on American Indian art; thinks Pach writes just as well as he paints; is enthusiastic about plans for an American Indian exhibition. 2 pp., in Spanish, + enclosure (sketch of American Indian head)

From Elie Faure, Paris, France, April 20, 1920: is happy about what Pach tells him of Delacroix; he owns 3 works by Delacroix and considers him one of the greatest painters; paper shortages have delayed publication of volume 4; asks if Pach is willing to undertake more translation work; someone else has offered, but Pach is preferred; -- The Dance on Fire and Water -- is being sent for Pach's opinion; the book best condenses Faure's ideas on the aesthetic interpretation of history; like Pach, he organizes exhibits around topics. 4 pp., in French

From Elie Faure, Paris, France, April 23, 1920: Pach must let him know right away if he can do the translation; discusses publishers' contracts; Faure will furnish all photographs for illustration at prewar prices; Pach's other Faure translations have drawn high praise. 2 pp., in French

From J. Metzinger, [place unknown], May 15, 1920: thanks Pach for the check and efforts on his behalf in New York; Pach should keep an unsold painting and dispose of the others as he wishes; people no longer laugh at cubism, but they don't yet understand it; despite war and the hard times that followed, cubism survives; offers his help if Pach wants to exhibit there. 2 pp., in French

From Elie Faure, Paris, France, May 23, 1920: discusses the details of his 4-volume -- History of Art -- now being published; a copy of volume 1 is being sent to Pach. 2 pp., in French

From John Sloan, Santa Fe, N.M., June 9, 1920: began painting the week after arriving in Santa Fe; a Corpus Christi procession provided subject matter; had work accepted for the "Metropolitan Anniversary Ex."; comments on "Art and Craftsmanship" article in the Dial. 2 pp., illustrated with a drawing of Sloan in his studio

From Elie Faure, Paris, France, June 20, 1920: discusses the publication of his book, especially the quality and cost of illustrations for the English edition; judging any work of art requires distance in time and space. 4 pp., in French

From Elie Faure, [place unknown], July 3, 1920: discusses costs for engraved plates and cheaper electrotype plates; asks Pach to select photographs of Peruvian and Mexican monuments, Mexican sculpture, and an American Indian decorated tent or other appropriate images for use in Mediaeval Art; this second volume will contain new illustrations of the art of India and Gothic art. 2 pp., in French

From Elie Faure, Paris, France, July 11, 1920: thanks Pach for writing an article about him; comments favorably on Pach's paintings; is considering adding a section on modernist painting, which would mention Pach, to the third edition of -- History of Modern Art -- . 2 pp., in French

From Jacques Villon, Puteaux, France, July 25, 1920: he recently read the notes found among Raymond's papers, but the haphazard and often obscure ideas would reveal nothing new to Pach; is sending pictures of the horse, some showing the prewar plaster version and others the beginning of the final verson; Raymond's experience in the cavalry made him an expert horseman, and many sketches of horses made during the war show he continued to think of the sculpture he had started; is also sending photographs of sketches, a bust of Professor Gosset, plans for a chess set, and other works; some of Raymond's notes pertain to the design of a surgical center; is certain that Raymond would have continued the research that led him From literal representation to mechanical aspects; thanks Pach for preserving the memory and work of the late artist. 5 pp., in French

From Jacques Villon, [place unknown], August 1, 1920: is sending Pach several photographs and 2 drawings; gives installation instructions for Raymond Duchamp-Villon's last sculpture, Dr. Gosset, with sketches of front and side views of the piece [large portions illegible]. 2 pp., in French

From Elie Faure, Neuilly-sur-Seine, France, August 13, 1920: discusses illustrations for his book; Marcel Duchamp will not be included; mentions other artists he has omitted or included and the relative value assigned to each, perhaps mistakenly; discusses those classified as impressionists and neoimpressionists; mentions new directions in art, among them scientific ones. 8 pp., in French

From L.L. Kane, Long Lake, N.Y., August 26, 1920: Pach's pictures are "quite safe at 47th St. until your return"; he especially appreciates Mme. Derain, which hangs with 2 Copley portraits in the breakfast room. 4 pp

September 12, 1920: note indicating Samuel Ramos is with the Comision Mexicana de Cooperacion Intelectual

From Elie Faure, Paris, France, September 28, 1920: provides correct spellings for works of art, as requested; will send proof sheets of printed photographs with placement instructions; still waiting for the promised photographs of American Indian art. 2 pp., in French

From Elie Faure, Paris, France, November 10, 1920: discusses in detail the illustrations for his book, their placement and captions; an article about cinema in the -- Freeman -- expresses ideas very close to his own; reflects on current politics. 6 pp., in French

From Elie Faure, Paris, France, November 26, 1920: thanks Pach for the photographs; hopes instructions regarding illustrations and page-setting were received; requests a signed copy of the contract with -- Harpers -- ; is still thinking about writing an article for the -- Freeman -- ; is enclosing an advertising circular designed for his book and suggests something similar for the American edition. 2 pp., in French

From Elie Faure, Paris, France, December 22, 1920: the photograph of Herculeum arrived; his editors are pleased; volume 4 will be ready in a few days and a copy will be sent to Pach; the American edition contains stupid mistakes; plans to write an article for the Freeman; will send Pach his article on cinema. 2 pp., in French

From Elie Faure, Paris, France, January 17, 1921: describes his visit to London, emphasizing the British Museum; likes little of British art; considers Bonnard, Matisse, Picasso, and Derain in the forefront of modern art; he appreciates Pach's opinions on art, even when in disagreement; because Pach is younger, his views are an excellent indicator of current taste. 4 pp., in French

From Piet van der Laan, Utrecht, the Netherlands, January 21, 1921: thanks for the bookplate Pach designed; compliments his article in the Freeman; is attempting to sell paintings by a young Dutch artist friend. 3 pp

From Elie Faure, Paris, France, February 3, 1921: hopes to rewrite volume 1, as he is unhappy with it; Spanish translation is delayed due to paper shortages; his brother's chateau is to be sold; wrote an article on Charlot. 3 pp., in French

From [Mme.] Duchamp-Villon, Paris, France, February 11, 1921: discusses in detail the choice of lodgings available to the Pach family for their stay in Paris; Marcel can help Pach place the Gosset figure as he saw it assembled; instructs Pach to sell the Cézanne. 2 pp., in French

From Maurice Brazil Prendergast, New York, N.Y., February 28, 1921: thanks Pach for introducing him and Charlie to Mr. and Mrs. Brummer; their work will be exhibited at Brummer's March 15-April 1; read Pach's article on Matisse; will try to see the exhibition. 3 pp

From Elie Faure, Paris, France, March 1, 1921: discusses changes to the title of his 4-volume -- History of Art -- ; volume 1 is being shipped to Pach soon; believes French academics slander France. 2 pp., in French

From Elie Faure, Paris, France, March 4, 1921: Is still trying to find a place for the Pachs to stay; his own apartment will not be available until August; discusses the title of his book and asks Pach to write the introduction; the article on Charlot was not published. 2 pp., in French

From Clara La Follette, -- Freeman -- , New York, N.Y., [postmarked] March 7, 1921: sends letter received by the -- Freeman -- that she thinks will amuse Pach. 1 p., + 2 pp. enclosure (letter rubber stamped February 23, 1921 [date of receipt?] to Mr. Huebsch From Alfred Stieglitz, New York, N.Y. [of an exhibition review by Pach published in the -- Freeman -- ]: "Mr. Pach undoubtedly did his best--but I fear that the real significance of the work was beyond him.--I regret it")

From Elie Faure, Paris, France, March 14, 1921: will send proofs of Napoleon; desires advice From Pach concerning whether it should be translated; thinks the subject will be of interest in America. 2 pp., in French

From Elie Faure, [place unknown], July 29, 1921: plans to meet Pach in Cahors; -- History of Art -- was chosen as one of the 10 best French books recommended to Americans by the Comité France-Amerique. 2 pp., in French

From Camille Redon, Paris, France, [postmarked] August 1, 1921: thanks Pach for translating an article about Redon; offers a Redon work to Mrs. Pach. 1 p., in French

From Elie Faure, Dordogne, France, August 15, 1921: 4 pp., in French

From Elie Faure, Paris, France, March 16, 1921: has sent Pach his article on Charlot, which will be published soon by -- L'Esprit Nouveau -- ; discusses his work, including an article on cinema and -- Napoleon -- ; inquires about payment and translation rights for articles appearing in the -- Freeman -- . 2 pp., in French

From Elie Faure, Paris, France, April 16, 1921: the translation of his Charlot article must mention it is excerpted from -- L'Esprit Nouveau -- ; the French are boycotting American films, especially Charlie Chaplin's; compliments Pach's translations; -- History of Art -- has been an unexpected success; Napoleon promises to do well and is being serialized in -- Grande Revue -- ; he and Pach will divide the profits; may have found a convenient place for the Pachs to stay. 2 pp., in French

From [Mme.] Duchamp-Villon, Paris, France, April 20, 1921: offers to help Pach find lodging when he visits; asks if Quinn has received the sculpture. 1 p., in French

From Elie Faure, Paris, France, June 29, 1921: unable to find a place for Pach to stay; -- History of Art -- is selling well; reprints and new volumes will require translation; asks if Pach could bring his daughter a statuette of Charlot to put on their car, as is now the fad. 2 pp., in French

From George Ferdinand Of, New York, N.Y., November 28, 1914: is anxious to see Pach and hear about his trip. Picture postcard ("Museé de Louvre.-- -- Les Baigneuses.-- -- Vernet.--LL").

From Jean Le Roy, Nièvre, France, [postmarked] December 29, 1914: wants Pach's opinion of his poems; is in the army; heard Pach is organizing an exhibition; asks for news of the Duchamp brothers. 4 pp., in French.

From Raymond Duchamp-Villon, Saint-Germain-en-Laye, France, January 19, 1915: advises patience until the world of art returns; a weak heart disqualified Marcel From military duty; congratulates Pach on the exhibition; is invited to San Francisco but doubts cubist works will be accepted; discusses prices of his medallions. 2 pp., in French.

From Camille Redon, Paris, France, [postmarked] August 1, 1921: thanks Pach for translating an article about Redon; offers a Redon work to Mrs. Pach. 1 p., in French

From Elie Faure, Dordogne, France, August 15, 1921: 4 pp., in French

From Clara La Follette, Freeman, New York, N.Y., August 16, 1921: opinions of French government; comments on Faure's article on the cinema; urges Pach to send the article he mentioned; is looking for a studio. 4 pp

From Henri Matisse, Nice, France, September 7, 1921: agrees to Pach's terms concerning the Redon paintings, but there is no one available who is capable of separating the torn papers of -- Radiant Flower -- ; after 3 weeks of laziness, he is painting again and it is like starting over at the beginning. 2 pp., in French

From [Mme.] Duchamp-Villon, Puteaux, France, September 18, 1921: [Illegible]. 2 pp., in French

From Elie Faure, Paris, France, September 29, 1921: 2 pp., in French

From Elie Faure, Paris, France, October 27, 1921: thanks Pach for checks received; discusses advantages and disadvantages of using a picture for promoting his works; his daughter is most disappointed that there are no more Charlot statuettes; asks Pach to sell lottery tickets for charity. 4 pp., in French

From Bernard Berenson, Florence, Italy, November 9, 1921: thanks Pach for catalog; photograph of "St. Francis at Brooklyn" reminds him of "the naive art of all the eccentric regions of Europe." 4 pp

From Jacques Villon, [place unknown], France, November 9, 1921: is glad to have met Mrs. Pach; Matisse engraving is not yet ready due to printing problems. 4 pp., in French

From Elie Faure, Paris, France, November 13, 1921: discusses the details of his contract with -- Harpers -- , which he considers unjust; his father-in-law died; reports on the sick painter friend for whom the benefit raffle was held. 6 pp., in French

From Elie Faure, Paris, France, November 28, 1921: if the misunderstanding concerning the -- Harpers -- contract is not corrected, it will be a disaster; their artist friend needs further surgery; hopes Pach can sell more tickets for the raffle, which will precede an exhibit in February or March; lists artists--among them Bonnard, Dufy, Matisse, Signac, and Braque--who have donated works for the raffle; regrets that his last book devoted so little space to Derain. 2 pp., in French

From Elie Faure, Paris, France, December 19, 1921: thanks Pach for help in clearing up a misunderstanding with his American publisher; discusses his 4-volume work, including opinions of the layouts and illustrations of each; Pach should decide whether to attribute a painting to de Pietro or Sassetta; plans to write about Derain; an exhibition, organized for an artist friend in need, includes a lottery with contributions From Matisse, Derain, and Picasso; will send Pach 250 lottery tickets; announces the upcoming marriage of François, a talented decorator, and asks if work could be found for him in New York or if his projects could be reproduced in an American publication. 4 pp., in French

From Elie Faure, [place unknown], December 23, 1921: received a letter From Briggs and praises the loyalty and honesty of American publishers; thanks Pach for perseverance in bringing to publication, in English translation, -- History of Art -- ; lottery tickets are being sent, many going to Mrs. Whitney; asks if Pach could help to interest American publisher Nelson in the collections of an expanding French publishing firm looking for capital; is sending -- Mediaeval Art -- and François' furnishing projects. 2 pp., in French

From Elie Faure, Paris, France, December 31, 1921: considers volume 1 "our" -- History of Art -- out of gratitude for Pach's excellent translation; discusses the illustrations and general appearance of the book; -- Mediaeval Art -- and lottery tickets will be sent soon; has 2 paintings he wants Pach to sell in the United States, a Venetian school Crucifixion and a version of Gros's -- Murat a la Bataille d'Aboukir -- ; describes the paintings, discusses prices and Pach's commission. 3 pp., in French

From Maurice Brazil Prendergast. New York, N.Y., January 26, 1922: Discusses quality of reproductions for Shadowland; wants to assist, should Pach decide to write an article; compliments Pach's writing. 3 pp

From Maurice Brazil Prendergast, New York, N.Y., February 2, 1922: is returning Pach's manuscript; agrees with him about Cézanne; "I was much influenced by Pissarro but with water colors it was nature pure and simple that influence [ sic] me"; is impressed with -- Shadowland -- . 3 pp

From Leigh Hunt, New York, N.Y., [postmarked] February 23, 1922: congratulates Pach and the museum. 1 p

From Elie Faure, Paris, France, March 21, 1922: is sending -- Renaissance Art -- , which completes the series; Pach should return the stubs of all sold lottery tickets; the Spanish artist for whom the lottery was organized is now recovering From surgery; complains of a dull artistic season, including a Salon des Indépendants devoid of interest; the best was a Matisse exhibit, along with Derain's and Picasso's latest work; increasingly poor leadership has him worried about the future of Europe; inquires about two articles he sent to the -- Freeman -- . 5 pp., in French

From Elie Faure, Paris, France, March 30, 1922: Americans have won 8 of the lottery prizes (most of them with Mrs. Whitney's tickets) consisting of 6 etchings and 2 paintings; what to do with the artworks is a problem in view of customs requirements. 2 pp., in French

From Camille Redon, Paris, France, April 7, 1922: mailed 2 etchings and 30 proofs made of each of Redon's copper engravings; the plates went to the Print Museum; thanks Pach for the beautiful etching and photographs he sent. 2 pp., in French

From Elie Faure, Paris, France, April 10, 1922: received the -- Freeman -- article; just completed a response to the review of his book, which he prefers to send to the -- Dial -- rather than the -- Freeman -- ; wrote a new introduction to Greek Art for future editions; hopes Pach has sold paintings; thinks one of the paintings could pass as a fake for customs purposes. 2 pp., in French

From Elie Faure, Paris. France, April 11, 1922: the attribution of his Baron Gros is certain, but its condition is not perfect; discusses articles being translated by Pach; discusses the French language in Canada; he and Pach agree on important points; Pach is unfair to Bonnard, who eventually will be regarded as a minor master; Derain is a great painter who overshadows Matisse. 2 pp., in French, labeled "second letter" (enclosed with letter of April 10, 1922)

From Elie Faure, Paris, France, May 6, 1922: received the checks; is returning a signed contract for -- Cinéplastique -- and inquires about American customs concerning royalty payments; will mail books to Pach and pictures to Harper's; the lottery prizes are being sent; the Corots and Courbet at Rosenberg Gallery particularly impressed him; family news; dispair over current politics. 2 pp., in French

From Pedro Henríquez Ureña, Universidad Nacional de Mexico, Mexico City, Mexico, May 31, 1922: discusses Pach's remuneration and class schedule for the summer session. 1 p

From Elie Faure, Paris, France, June 17, 1922: regrets not being able to meet Pach in Mexico and wishes Rivera had invited him, too; will try to delay French publication of his article so the -- Dial -- can print it first; another piece on the aesthetics of machinism has already been published in France; finished a long chapter of -- The Spirit of the Forms -- and wants Harper's to consider it completed; after going to Vichy for his health, he will take a vacation; wants to know all about Pach's archaeological discovery in Mexico. 2 pp., in French

From John Sloan, Santa Fe, N.M., [postmarked] August 4, 1922: has a car for summer travels; the Henris are there; has been painting. 2 pp., illustrated with drawing of a car on a winding mountain road ("Climbing the Bahada [no exaggeration!]")

From L.L. Kane, Long Lake, N.Y., August 12, 1922: wants to read Pach's article in the Freeman; admires his ability to present lectures in other languages; describes his Adirondack camp. 2 pp

From Henri Matisse, Nice, France, September 2, 1922: mailed copies of all the engravings he made during the summer; asks Pach's advice on lowering the price of Redon's pastels; he is now back at work in Nice after 2 months in Paris. 2 pp., in French

From Jacques Villon, Soissons, France, September 6, 1922: the estimate for publishing was higher than anticipated; asks Pach to intercede; inquires about Pach's trip to Mexico; news of various friends; discusses summer plans. 2 pp., in French

From Sybil Kent Kane, Long Lake, N.Y., September 7, 1922: thanks Pach for sending the picture of a jug; her book is about the life of Blessed Margaret Mary. 4 pp

From Suzanne La Follette, New York, N.Y., [postmarked] September 10, 1922: due to understaffing at the -- Freeman -- there was no art coverage during the summer; suggests Pach write a series of articles on Delacroix, Cézanne, Renoir, Redon, Van Gogh; opinions of Faure's second volume; news of Boardman Robinson; has changed her name back to Suzanne From Clara. 6 pp.

To Professor D. Ramon Mena From Walter Pach, Mexico City, Mexico, October 4, 1922: the mosaic mask discovered by Professor Aguierre and displayed in the National Museum is an object of great interest; it presents important problems to American antiquities experts and to those studying aesthetics; an important detail is the way in which material is handled; discusses fundamental difference in the work of the imitator and the mosaic mask; the technical question and expressive question are inseparable; appreciates the compliment of being asked his opinion. 3 pp., in Spanish

From Elie Faure, Paris, France, October 22, 1922: received payment for photographs and book royalties; discusses Rivera's talent, disagreeing with Pach's view of his originality; Rivera has remarried; shares Pach's admiration for Mexican art; now that his article has appeared in the -- Dial -- , he has nothing further to publish in America other than History of Art; since Pach is now devoting more time to painting and etching, he will need to find Faure a new translator; asks Pach if chapters From The Spirit of the Forms and essays on great literary figures could appear in American publications; discusses some of his theories of art and the structural aspect of his own writings. 6 pp., in French

From Jean Charlot, [place unknown], Mexico, November 5, 1922: Pach's article appeared in -- Mexico Moderno -- ; Orozco will be exhibiting watercolors; the fresco Accion del Artes is almost finished; is becoming interested in religious painting. 4 pp., in French

From Diego Rivera, [place unknown], Mexico, December 7, 1922: thanks Pach for his valuable friendship; the Mexican Independents, now formally organized, are invited to show with the Society of Independents in New York; Orozco, Charlot, Revueltas, Figueiros, Leal, Alba, Cahero, Bolanos, Ugarte, Cano, Nahui, Ate, Rivera, and children will represent Mexico; discusses space needs and suggests possible hanging arrangements; needs to find a way to pay for transportation; please convey their appreciation to the Society; Pach should tell Miss Porter that although there was a mix-up in communications, Rivera is still interested in the small exposition. 4 pp., in Spanish

From Jacques Villon, [place unknown], France, December 21, 1922: [Illegible]. 8 pp., in French

to Magda Pach From Gaby [Mme. Jacques Villon?], [place unknown], December 27, 1922: wishes the Pach family would visit them for several months; Villon is working hard, as always; except for a vacation in Brittany, they rarely go anywhere; engravings are time consuming but right now sell better than paintings; asks about Pach's stay in Mexico. 2 pp., in French

From Carlo Lemba, Florence, Italy., [?,?] 1923: thanks Pach for remembering him and for the very beautiful Rembrandt; requests a catalog or photograph. Picture postcard ("Firenze--Palazzo Vecchia--Il Cortile"), in Italian

From Elie Faure, Paris, France, January 21, 1923: thanks Pach for his translation; discusses modifications to be made in the first volume; details plans for future publications; lists illustrations for the last chapter of History of Art. 10 pp., in French

From José Vasconcelos, [place unknown], Mexico, February 23, 1923: received Pach's letter and sends appreciation for the international approach of his work. Telegram, in Spanish

From José Clemente Orozco, [place unknown], Mexico, February 27, 1923: introduces his friend, Mexican poet José Juan Tablada; friendship with Tablada would be a great satisfaction to Pach; Tablada could courier Mexican works From the Independents exhibition when he returns home; they learned much about contemporary art From Pach's lecture series; when he returns to Mexico, Pach can expect an affectionate welcome. 2 pp., in Spanish

From Elie Faure, Paris, France, March 4, 1923: at last, publication of -- Mediaeval Art -- has been announced; the definitive edition of his work is currently in progress; discusses new prefaces for all 5 volumes; rewrote the last chapter of volume 4, which does not mention Bonnard but expands discussion of Matisse, Picasso, and Derain, whom he considers the greatest contemporary painter. 2 pp., in French

From Secretario de Educacíon Publica, [place unknown], Mexico, March 14, 1923: José Vasconselos thanks Pach for his efforts on behalf of Mexican painters in this year's Independent Artists Salon. 1 p., in Spanish

From Jean Charlot, [place unknown], Mexico, [postmarked] March 31, 1923: was happy to receive Pach's illustrated article about Seurat; the enclosed flier rebuts another slanderous article about the exhibit; the catalog reproduction of the painting Pach started in Mexico was recognized by everyone; Diego called it more Mexican than their own contributions; Diego finished his first panel for the ministry frescoes; Diego's brother-in-law executed a successful encaustic mural in Guadalajara; Diego sends thanks to Pach, but cannot write because he works From 8:00 a.m. until 10:00 p.m.--without eating--which is hard on his aides who must do likewise. 2 pp., in French

From Elie Faure, Paris, France, April 24, 1923: an American definitive edition is under consideration; will send Pach copies of work by Spain's best artist since Goya; still thinks Derain is the best painter; Matisse's exhibition lacks humanity; discusses European political problems. 2 pp., in French

From Elie Faure, Paris, France, May 10, 1923: is now writing a book about the mechanism regulating the life cycles of societies; did not see all the exhibits because he is now drawn more to social psychology, which helps him understand painting; life takes precedence over painting; his article was misunderstood in America and France by supporters and opponents alike; painting, no longer the dominant art form as it was in the previous century, is being overtaken by cinema; assures Pach of his friendship and trust; understands that his ideas provoke resistance even among the best of friends. 6 pp., in French

From Suzanne La Follette, New York, N.Y., [postmarked] June 23, 1923: thanks Pach for article; sends proofs of first article; was advised not to go to Germany; will visit England, France, and Italy. 4 pp

From J. Van Gogh Bonger, Amsterdam, the Netherlands, June 27, 1923: read that the Pachs were cited as among the best of the Independents; the pictures are back, and she is glad they were exhibited in the United States; is anxious to publish Van Gogh's letters in English; opinions of Meier-Graefe's book; opinions of recent articles in the -- Times -- and the -- Freeman -- ; "What I never forgive Meyer-Greafe [ sic] is his suggestion that Theo, after his marriage could not provide for Vincent any longer"; is sending a Van Gogh drawing to Pach in appreciation for his help. 3 pp

From Diego Rivera, [place unknown], Mexico, July 3, 1923: introduces Covarrubias; on behalf of the group, thanks Pach and the Independents in New York; Pach's Mexican street scene showed intimate and strong character; hopes for even better representation next year; describes current projects of several Mexican artists; Covarrubias has photographs of murals in progress. 2 pp., in Spanish

From Lewis Mumford, Brooklyn, N.Y., July 5, 1923: congratulates Pach on Modern Art; "it is far and away the best piece of criticism we've had in America, to my knowledge." 1 p

From Alfred Stieglitz, Lake George, N.Y., July 21, 1923: he and O'Keeffe are enjoying Pach's translation of Faure; Stieglitz has read it in the original; O'Keeffe doesn't know French. 1 p

From Elie Faure, [place unknown], October 8, 1923: if Harper's cannot locate the photograph Faure sent of a Picasso painting, Pach should select a substitute; requests assistance in coilecting a fee owed by a publisher; complains about the usual reluctance of museums to accept paintings; suggests that Boston or the Barnes Foundation might be interested in the Gros, Delacroix, and Venetian school paintings he wants to sell; -- History of Art -- will be translated into Spanish and possibly German; hopes for more contacts with the United States. 2 pp., in French

From J. Van Gogh Bonger, Amsterdam, the Netherlands, October 18, 1923: could not find anyone to deliver the drawing to Pach, so she mailed it; is working on an exhibition to be held in London; Zigrosser visited. 1 p., negative photostat

From Elie Faure, Paris, France, December 1, 1923: has mailed the photographs Pach requested; believes he has told Pach of all the proposals received From America and still awaits answers relating to some; Waldo Frank visited; found Miss La Follette most congenial; the package of photographs also contains a small drawing as a memento of their collaboration. 2 pp., in French

From Ariella Brunelleschi, Florence, Italy, [postmarked] December 12, 1923: her entire family sends thanks; best wishes for a good trip. Picture postcard ("Firenze--Galleria Uffizi La Nativita de Gesu dett.--Van Der Goes Ugo"), in Italian

From Jacques Villon, [place unknown], December 25, 1923: is delighted to learn that Pach has resumed painting and wants to see a photograph of his portrait of Magda; the common desire to travel west is a distraction, as is his penchant for making etchings rather than painting; has problems with his engraving of a Cézanne and will do a Laurencin next; complains of difficulties painting; is mailing the edited first proofs of the book on Raymond; Yvonne is gone; he missed seeing Miss La Follette; Rosenberg is in New York; paintings are hard to sell; New Year's greetings to the Pach family. Postscript From Gaby expresses her own best wishes and those of Marcel; she hopes to see them in Puteaux the following year. 5 pp., in French

From Elie Faure, [place unknown], January 24, 1924: approves of the way in which Pach used his Renoir to illustrate an article; still trying to sell the Gros painting abroad; the Venetian painting was shipped today, and he awaits Pach's impression of it; Faure is convinced the landscape, most likely of Toledo, and at least one figure were painted by El Greco in his youth; awaits photographs of Pach's paintings and etchings; is delighted to learn of Pach's lecture series in Kansas, which includes one on Faure's fourth volume. 2 pp., in French

From Elie Faure, [place unknown], January 31, 1924: praises solidity, intelligent composition, and exceptional synthetic quality of Pach's portrait of his son; the portrait of Pach's wife is less successful; praises the harmony in Pach's mythological painting but its composition is less than perfect; Pach shows great progress; is sending a photograph of a first-class Corot that is for sale; discusses the price and how they would share the profit. 2 pp., in French

From Bernard Berenson, Florence, Italy, February 6, 1924: read Pach's article in -- Harper's -- "with interest, with zest and with envy." 4 pp

From Jacques Villon, Paris, France, March 2, 1924: received photographs of Pach's paintings; praises the balance and harmony in Magda's portrait, but expresses reservations concerning the portrait of Raymond; unable to send photographs of his own work because he was too busy finishing the Cézanne engraving that will be exhibited at Bernheim's to raise funds for a monument to Cézanne; has mixed feelings about the direction of his own painting and leans more toward nature; a proof of Pach's foreword is ready; the book on Raymond will be out soon; some of Raymond's letters were edited so as not to appear to be soliciting sympathy. 6 pp., in French

From Elie Faure, [place unknown], March 10, 1924: has just received notification that volume 4 was published and will convey his opinion after seeing it; thanks Pach for intelligent publicity; discusses corrections to be made in the next edition; asks Pach to persuade the publisher to make an American edition that conforms to the French one; the Corot was sold; everyone seems to be buying and selling paintings; Faure sold From his own collection pieces he no longer likes in order to buy a house; he buys what he can at low cost, notably Corot and Courbet landscapes and a drawing by Cézanne; Pach should try to influence the gallery to sell Faure's painting quickly because the money is needed for home repairs; wrote an article on contemporary art trends for the Dial. 2 pp., in French

From Elie Faure, [place unknown], March 11, 1924: the news contained in Pach's cable frees him From current financial worries; he is sending the painting immediately and warns Pach about mislabeling on the back of the picture; insists that Pach take a substantial commission; though it makes him sad to part with the painting, he now can provide a secure future for his family. 2 pp., in French

From Suzanne La Follette, Plymouth, England, March 11, 1924: the voyage has been "rough and dull." 2 pp

From Elie Faure, [place unknown], March 19, 1924: received the fourth volume in translation and finds the illustrations much better than those in the first 3 volumes; expresses gratitute to Pach; is sending a gift of a Rodin etching; just saw Derain and is certain the artist is evolving, despite his somewhat disoriented state; Matisse's last exhibit was disappointing and lacked human qualities. 2 pp., in French

From Arthur Burdett Frost, Pasadena, Calif., March 30, 1924: thanks Pach for his exhibition idea; cannot participate because he has no suitable work available; "I used to be very careless about my original drawings"; Jack moved to California for health reasons; Jack paints desert landscapes that sell well. 4 pp

From Elie Faure, Paris, France, April 1, 1924: the Gros painting has been in transit for 3 weeks; deplores the exchange rate and discusses Pach's commission; is pleased that Pach will be the translator for -- The Gods -- and hopes he will do -- The Spirit of the Forms -- , even though this work will take him away From painting; wants to see Pach's pamphlet on Seurat, whom he likes more and more; Faure has added to his collection paintings by Corot, Courbet, Delacroix, Bonnington, and others he discovered in the attic of a secondhand shop; Miss La Follette visited; asks Pach to inquire about the fate of his Shakespeare essay. 4 pp., in French

From Jacques Villon, [place unknown], France, April 6, 1924: agrees wholeheartedly to the proposed exchange; thanks Pach for a check; wants him to accept, as a gift, any Villon painting still in Pach's hands; will follow Pach's instructions concerning the book; is painting but cannot find himself in that medium; his next engraving will be a Rousseau. 2 pp., in French

From E.H. Anderson, Director, New York Public Library, New York, N.Y., April 9, 1924: acknowledges gift of etchings. 1 p

From Elie Faure, Paris, France, May 2, 1924: sends a check for Pach's commission on the sale of the Murat painting; is glad Pach liked his gift of a Rodin etching; discusses changes to volume 3 and wonders why a particular reproduction was omitted From the American edition; -- The Spirit of the Forms -- is still under revision, and he has been busy writing -- Cervantes -- ; like Pach, he admires Matisse's lithographs but feels uneasy about the virtuoso element apparent in his annual painting exhibits; Despiau's portraits are more and more admirable; met Braque, whose work now interests him more; since Braque has renounced cubism, only Picasso remains; Picasso's last noncubist exhibit was curious and somewhat disturbing. 2 pp., in French

From Leigh Mitchell Hodges, Doylestown, Pa., May 4, 1924: sends sonnet inspired by a Pach etching. 1 p. + enclosure ("Sonnet--To Walter Pach's etching of Miss M-----")

From Julius Meier-Graefe, Berlin, Germany, July 22, 1924: Pach is the first American to attempt and succeed at serious examination of art From Corot to the present; is sending a copy of volume 3 of -- Modern Art -- , which discusses some of the same issues addressed in Pach's book; believes cubism, expressionism, and impressionism to be manifestations of decadence; in his book, Pach failed to cite German contributions. 3 pp., in German

From Elie Faure, Dordogne, France, July 31, 1924: hopes to see Pach in Dordogne during August; the article on illustrious men he has known will need to be twice as long, so Pach should make arrangements; discusses a remarkable book about sport by his Frenchified Brazilian friend Braga and suggests a translation would be of interest to Americans; Braga wrote the most intelligent articles ever published about Faure in French and plans a history of world literature that would mirror -- History of Art -- . 2 pp., in French

From Elie Faure, Dordogne, France, August 2, 1924: Pach should tell Wells that Faure accepts the 5,000-word limitation; the article consists of a series of portraits of famous men and concludes with a sincere tribute to America. 1 p., in French

From Julius Meier-Graefe, Schlaghtensee, Germany, [postmarked] August 5, 1924: advises Pach not to judge the paintings of [von Marees?] on the basis of his early Dresden period, but look at the Munich work. Postal card, in German

From Bernard Berenson, Florence, Italy, August 11, 1924: read -- Masters of Modern Art -- ; "I wish I could give you the support you ask for. And I have found yr. book informing, stimulating, provoking and sincere. But I cannot even begin to see what you do in cubism"; advises Pach to choose writing over painting, as it is impossible to do both. 8 pp

From Elie Faure, Dordogne, France, August 24, 1924: regrets that Pach did not visit him; plans to go to Italy in September but hopes to see Pach in Paris afterward; hesitates to accept a long lecture tour in America. 2 pp., in French

From James Oppenheim, New York, N.Y., August 24, 1924: Gertrude is seriously ill; Oppenheim's son has faith in his work; Oppenheim's book was reviewed; is delighted with the book on Matisse. 2 pp

From Bernard Berenson, Florence, Italy, September 13, 1924: expresses his opinion of modern art and artists; "I did not mean what the Ku-Kluxers or Coolidgeites mean when they speak of the latest phenomena in painting as Bolshevik. But in a prophetic, devastatingly deep way that's what they are. And they may serve a kindred purpose, namely to bury the dead form. But they are undertakers, grave-diggers, and at best manure makers only. Artists they are not and Picasso not at all;" Pach "overestimates" Delacroix's ability as an artist. 4 pp

From John Gould Fletcher, London, England, October 7, 1924: thanks Pach for the book on Duchamp-Villon; compliments the "excellent" introduction; agrees that "Duchamp-Villon was the true descendant of the stonecutters of Chartres"; Faure's -- History of Art -- is "remarkable"; he is trying to publish a rebuttal to the concluding chapter; the -- Freeman -- failed. 3 pp

From Luz Pérez, [place unknown], Mexico, October 24, 1924: the book Pach sent is enchanting; congratulations on the success of the exhibition; best wishes for future success. 2 pp., in Spanish

From Arthur Burdett Frost, Pasadena, Calif., October 26, 1924: thanks for the brushes, which he will share with Jack; requests recommendations for directing Jack's art reading; Frost now reads mainly on palentology and natural history; if his eyesight permitted, he would paint his concept of earliest man; recalls a terrible summer spent in Rhode Island; contrasts California with the East; recalls the Dresden Gallery; Butler's stay in New York was a "dreadful experience." 5 pp

From Jacques Villon, Paris, France, October 27, 1924: just received Pach's book on painting and thinks his ideas about evolution of painting are admirable; has not yet seen the Salon d'Automne; sales were good, and even those opposed to abstract painting smiled. 3 pp., in French

From Elie Faure, Paris, France, November 1, 1924: has shipped a magnificent painting; is surprised that it is possible to sell paintings in America since the Paris art market is at a standstill; the last good show was the Renoir exhibit at Rosenberg's; books are not selling, and he could not find a publisher for his latest work; publishing houses are closing; prewar politicians and prewar methods are responsible for the disaster; the general economy and his personal situation are grim; melancholy family news. 4 pp., in French

From Henri Matisse, Nice, France, November 18 and December 5, 1924: his son, Pierre, is moving to New York; Pierre wants to work at a gallery specializing in modern art; he and the Steins agree this is a good plan; asks Pach to advise and assist Pierre, and he will request the same of Brummer; Michael Stein suggests Pach meet Pierre at the ship. 4 pp., in French

From Elie Faure, Paris, France, December 1, 1924: is housebound after a small accident, and catching up with work; both the -- Dial -- and -- Harper's -- sent checks; comments on current exhibitions and sales; Pach is his closest American friend; wants to establish closer ties in the United States; France now depends upon American patronage; Mrs. Dillard is sending a Corot to Pach; she might be helpful to Brummer; sometimes she has Renoirs and Derains at reasonable prices. 2 pp., in French

From Xavier Martinez, Piedmont, Calif., December 3, 1924: compliments -- Masters of Modern Art -- and Pach's translation of Faure; disagrees with Faure's chapters on Greece and Mexico; Pach understands the art of Mexico; encloses 2 drawings of Indian madonnas. 1 p., partly in Spanish

From Lewis Mumford, Brooklyn, N.Y., December 15, 1924: thanks Pach for grasping the essence of his book; agrees with Duchamp-Villon's views on architecture. 2 pp

From Elie Faure, [place unknown], January 9, 1925: commiserates with Pach over his rejection by -- Harper's -- ; comments on subjects that appeal to editors of popular magazines; Pach should continue trying to sell the Corot; the owner also has paintings by Renoir and Derain and a Seurat drawing; inquires about the status of translations now at -- Harper's -- ; comments on the superiority of American cinema. 3 pp., in French

From Pedro Henríquez Ureña, La Plata, Argentina, January 13, 1925: hopes Pach will be interested in the work of his friend, Emilio Pettoniti, an advanced Argentine painter; asks where Pettoniti might exhibit in New York. 2 pp., in Spanish

From Diego Rivera, [place unknown], Mexico, January 13, 1925: requests photographs of the work Pach accomplished in France; wants news of Elie Faure; mentions several commissions he is now working on; comments on Charlot; has waited more than a year for word from Aleman; is considering going abroad when through with the Chapingo chapel. 3 pp., in Spanish

to Elie Faure From William H. Briggs, [place unknown], March 3, 1925: not financially feasible to bring out the definitive edition of -- History of Art -- for at least 3 years; wants -- The Spirit of the Forms -- to be volume 5; agrees to publish an English edition of -- The Spirit of the Forms -- and -- The Dance on Fire and Water -- ; -- The Constructors -- , -- The Holy Face -- , and future books are not to be offered to other publishers. 3 pp

From Diego Rivera, [place unknown], Mexico, March 13, 1925: would send photographs of his work but in Mexico it takes too long to get prints; Pach's book fully deserves Faure's praise; Rivera finds Pach's paintings appealing; is grateful for the high esteem with which Pach wrote of his work; work on Chapingo chapel continues; despite serious financial problems, Charlot is constantly progressing; asks Pach's opinions and advice about a Spanish edition of his book; Ravenna Mosaic requested a sample piece of -- The Antilles -- . 7 pp., in Spanish

From Elie Faure, Paris, France, March 28, 1925: is hurt not to have heard From Pach; Mr. Briggs wrote about translation and publication plans; wants Pach to translate -- The Spirit of the Forms -- ; thanks for getting his autobiography published in the -- Dial -- ; his friend, Mrs. Fougeirol, and daughter, will call on Pach; hopes Pach and Brummer can assist Mrs. Dillard with the sale of her Corot; the Gaugnat sale is unaffordable; Mrs. Dillard also has Renoirs to sell. 2 pp., in French

From Elie Faure, [place unknown], March 29, 1925: is happy that Briggs wants to do the album and will talk to Crès about sales; thanks to Madame B. for the Corot; his version of Delacroix's journal will be published; compliments Pach's painting; asks Pach to speak to Harper's about not using the number of his last volume of -- History of Art -- so the public will buy it without having the earlier volumes. 4 pp., in French

From Elie Faure, Paris, France, May 9, 1925: tells of his voyage to Marrakech; saw Fletcher; Pach will receive the Gaugnat sale catalog; Madame Gaugnat died 6 months after her husband, leaving their son harassed by dealers; a small Renoir may be available; asks Pach to intervene on his behalf with Harper's regarding income tax withholding; discusses Delacroix and impressionist exhibits; discusses the realism of Delacroix's Moroccan paintings. 6 pp., in French

From Elie Faure, [place unknown], May 17, 1925: condolences on the death of Pach's father; is surprised by what Pach told him of the Corot; discusses a French landscape exhibit at the Petit Palais containing too many paintings; Corot reigns. 2 pp., in French

From Elie Faure, Paris, France, May 18, 1925: received the album dedicated to Seurat; -- La Baignade -- and -- La Grande Jatte -- are masterpieces for the very reasons Pach cited: organization, articulation, and mass; comments on works by Matisse, Braque, Géricault, and others recently exhibited in Paris; purchased works by Corot, Delacroix, Courbet, Cézanne, and Renoir at reasonable prices; perhaps Pach could sell a large painting for Pequin; asks if -- Living Age -- will publish his essay on Shakespeare; volume 4 of -- History of Art -- will be out soon; mentions several of his articles accepted for publication; thanks Pach for his excellent translation; now realizes he was unjust to Redon and has made changes in the later edition. 4 pp., in French

From Elie Faure, [place unknown], May 20, 1925: invites Pach to visit him in Dordogne during the summer; describes a Corot that should go to an American museum. 2 pp., in French

From Elie Faure, [place unknown], May 30, 1925: gives instructions for translation revisions; bought 2 magnificent Derains; suggests that consignments be sent to Mrs. Payne Whitney; -- History of Art -- received mixed reviews. 2 pp., in French

From Elie Faure, [place unknown], June 5, 1925: galleys are still incomplete as there are problems with illustrations and captions; his Baron Gros painting is at the French exhibit in Prague; will send a photograph later; asks Pach to help sell the Gros picture and a Daumier. 3 pp., in French

From Elie Faure, Paris, France, July 11, 1925: complains about American and French taxes on royalties; price and quality didn't always coincide at the Gaugnat sale; Mrs. Fougeirol bought one of the best works, and another is being given to the Louvre by young Gaugnat; discusses prices at other recent sales; Matisse shares his opinion of the Gaugnat sale; the Decorative Arts Exhibition was the worst art event he ever saw; an impressive 19th-century French painting show at Bernheim's new galleries included Corot, Delacroix, and Cézanne; those who don't appreciate Delacroix are missing joy; asks Pach's opinion of a plan for a monthly publication about the arts in Paris; next year he will write a history of France. 4 pp., in French

From E.D. Smyth, Tangier, Morocco, July 29, 1925: Helen died last October; Mme. Le Roy died 2 years ago; "London is becoming alive to Cézanne"; saw a Cézanne show at Brown's Gallery. 5 pp

From Elie Faure, [place unknown], August 11, 1925: asks if volume 3 has been published; thinks volume 4 is his best; hopes that the new prefaces added to each volume will make Pach like the whole work better; Rosenberg met with Mrs. Whitney; discusses the quality of reproductions in his book on Derain; describes John Lane's indirect attack on his chapter about English art; was not charmed by Blake; Constable is the only English painter he likes; look for his Shakespeare article in the -- Dial -- . 6 pp., in French

From Elie Faure, Paris, France, September 7, 1925: bought a house at Dordogne; volume 4 is still incomplete; lists photographs he will send soon; this may be a good time to sell his 2 paintings; discusses the sales commission; mentions favorable points of the Gros painting; the other painting may be harder to sell; is considering selling a Daumier and a Delacroix to help pay for his new house. 4 pp., in French

From Elie Faure, [place unknown], September 9, 1925: promises to send the photographs for his book; even the best translation cannot be completely faithful to the original; discusses specific changes to be made; discusses a chapter on Europe being added to volume 4. 6 pp., in French

From Elie Faure, [place unknown], September 21, 1925: is sending 5 photographs; 1 is for -- Harper's -- to include in volume 4, and the remainder are of works he hopes can be sold in the United States; needs money for his new house. 2 pp., in French

From Elie Faure, [place unknown], September 26, 1925: is still waiting for a contract with Criterion; the painting consigned to Ehrich has not sold; maybe Pach could sell it or suggest another dealer; Pach should send instructions to Ehrich; -- Harper's -- will publish -- The Spirit of the Forms -- as volume 5; wants Pach to be the translator but will understand if he declines. 4 pp., in French

From F.P. Keppel, New York, N.Y., October 21, 1925: has received Pach's letter with proofs and suggestions. 1 p

From Elie Faure, [place unknown], October 22, 1925: has received volume 3 and congratulated Mr. Briggs; still thinks the plates should have been produced in France; bills for photographs remain unpaid; thanks Pach for his energy and perseverance; Spanish and German editions are planned; Knopf will publish an English edition of Napoleon; came close to selling the Daumier; comments on the condition of Marat by Gros; inquires about Pach's painting and the possibility of an exhibition in Paris. 4 pp., in French

From Jean Charlot, [place unknown], October 27, 1925: his present work is totally different From the 12 paintings being sent; Pach is one of the few friends abroad who might be interested; Pach should keep one for himself and try to sell the rest; is sending 4 photographs of recent work; he and Diego want to see reproductions of Pach's latest paintings; inventory of works being sent; had problems with his exhibition in Los Angeles. 4 pp., in French

From Elie Faure, Paris, France, November 21, 1925: there will be a delay in sending photographs; thanks Pach for introducing Miss La Follette; -- Harper's -- paid more than expected; Briggs reproached him for choosing Knopf to publish Napoleon. 2 pp., in French

From Elie Faure, Paris, France, November 27, 1925: thanks Pach for introducing Speyer; congratulates Pach on his new job; likes Pach's engravings; wants Pach to translate The Spirit of the Forms; is sending another manuscript for which he hopes Pach can help find a publisher; he owns the picture incorrectly captioned in his last book and it is for sale. 4 pp., in French

From Susan Macdowell Eakins, Philadelphia, Pa., January 7, 1926: she has written about her husband; is happy to be of service to Pach; can furnish more information. 1 p. + 3 pp. enclosure, (manuscripts by Susan M. Eakins of biographical notes on Thomas Eakins, including excerpts From letters to his father written while studying in France; list of paintings completed between 1870 and 1876; teaching methods; notes From Charles Bregler's transcript of Eakins's comments to students)

From Elie Faure, Paris, France, January 19, 1926: Mrs. Dillard sold his English painting to Mr. Speyer; introductions made by Pach facilitated the transaction; no one is to know Faure was the owner; since he cannot pay the duty if the piece at Ehrich is returned to France, Pach should keep it or put it in storage until later; asks if the Metropolitan might be interested in Mrs. Dillard's large Corot; content with Montaigne; still reworking -- The Spirit of the Forms; -- Soutine has become more important; believes Derain shows progress; Matisse's astonishing virtuosity continues to increase; saw admirable work by Picasso; Braque is a beautiful but monotonous painter; considers Charlie Chaplin the great man of America. 4 pp., in French

From Harold O. Voorhis, Secretary, New York University, New York, N.Y., February 23, 1926: confirms Pach's appointment as assistant professor of fine arts. 1 p

From Harold O. Voorhis, Secretary, New York University, New York, N.Y., March 5, 1926: received Pach's acceptance of faculty appointment. 1 p

From Elie Faure, Paris, France, March 24, 1926: has seen Pach's friends; is looking forward to Pach's visit in the summer; he and his wife are caring for an African-Arab baby; The Spirit of the Forms is almost finished; gives instructions about selling the unfortunate Spanish painting; is sending a drawing as a gift; Mrs. Dillard needs a list of dealers and their specialties. 2 pp., in French

From Elie Faure, Paris, France, April 22, 1926: is pleased to learn the Delacroix drawing was well received; believes Delacroix is becoming greater by the day; is not eager for further lecture tours; his latest book was ignored; foreigners understand him better than the French; regrets that Pach will not be able to visit him in Dordogne; discusses price of the crucifixion painting. 2 pp., in French

From Bernard Berenson, Florence, Italy, June 8, 1926: goals for studying art of the past are aesthetic or humanistic; it is a "triumph" that Pach's "anti-Rotarian protest" was published in -- Harper's -- Magazine; "glad to hear yr. painting is taking on, altho' I deplore yr. giving to it the time you should dedicate to writing"; urges him to write about the Gardner collection. 12 pp

From Elie Faure, Paris, France, June 9, 1926: hopes the Pachs will visit him in Paris before the end of July or in Dordogne later; their arrival is late for the painting season, but Tuileries Salon will be open; sold the Daumier in Germany; the profit paid for some home repairs and 2 small Renoir canvases; has a beautiful Cézanne drawing. 2 pp., in French

From Elie Faure, Dordogne, France, August 10, 1926: the entire family is at Dordogne and sorry Pach cannot join them; discusses exchange rate; Briggs trusts Pach to translate -- The Spirit of the Forms -- , which will be volume 5 of -- History of Art -- ; asks Pach to consider undertaking the job. 2 pp., in French

From Bernard Berenson, Florence, Italy, August 19, 1926: wishes there had been an opportunity for them to visit and have a serious talk during Pach's recent lecture tour; "I fear you will never take the place yr. gifts as a writer could lead you to if you cannot detach yr. self fr. painting itself. It is a pity. For critics are ever so much rarer." 4 pp

From Diego Rivera, [place unknown], Mexico, October 4, 1926: the package Lupe sent to the Pachs was lost when the boat capsized; wants copies of the magazine -- L'Amour de l'Art -- ; Derain's work is better; shares Pach's opinion of Picasso; wants to see Matisse's work; Faure will try to include more Rivera reproductions in the new edition; asks Pach to check on the status of Rudolf Tesch's project for Carnegie Corp.; requests the Charlot exhibition catalog. 4 pp., in Spanish

To Mrs. Pach From Lupe de Rivera, [place unknown], October 6, 1926: thanks for the baby sweater; her daughter, Guadalupe, called Pico, was tiny and ill at birth but now thrives. 2 pp., in Spanish

From Elie Faure, Paris, France, October 25, 1926: agrees that Mr. Brandt's Cézanne and Renoir are copies; comments on -- The Studio of Ingres -- ; discusses illustrations for -- The Spirit of the Forms -- ; compliments Pach's article on Mexican art; is going to Mexico for a vacation and needs advice on a budget; asks if Pach could sell a large horse painting by Gros in the United States. 6 pp., in French

From Elie Faure, [place unknown], November 3, 1926: Mrs. Dillard has a Fragonard worthy of a museum or a fine collection; asks about hotel rates in New York City. 2 pp., in French

From Elie Faure, Paris, France, November 12, 1926: is grateful that Pach will be translating -- The Spirit of the Forms; -- Pach should persuade Mr. Briggs to expedite the publisher's contract; saw Seurat's exhibition of more than 200 luminous drawings and a Bonnard show of rich and subtle still-lifes; 2 paintings by Matisse were highlights in an otherwise indifferent Salon d'Automne; Miss La Follette and her brother visited; the Baron Gros painting, which Mme. Dillard will handle, is a masterwork that the Metropolitan Museum [of Art] could be proud of; still believes in Soutine; would like to meet Barnes though a ruse might be needed. 4 pp., in French

From Suzanne La Follette, Choisy, France, November 19, 1926: visited Elie Faure and hopes to see him again; a review of her book will appear in -- Saturday Review -- . 6 pp

From Pedro Henriquez Ureña, Miramar, Argentina, January [?], 1927: Valovaciones cannot pay for contributions or translations; Pach should publish a translation of his book in the magazine so that Argentines will be familiar with him and his ideas. 2 pp

From Suzanne La Follette, [place unknown], January 9, 1927: the publisher is not promoting her book well; thinks Lewis Mumford is "gifted." 3 pp

From Suzanne La Follette, Paris, France, January 13, 1927: asks about resorts on the Mediterranean; Chester wrote enthusiastically of his travels in Italy. 3 pp

From Elie Faure, Paris, France, February 22, 1927: has had no reply From Mexico; "Art and Morals," which appeared in the Dial, should be retranslated; -- History of Art -- is being translated into Czech and possibly Japanese; artistic life in Paris is boring; Matisse is definitely the most tolerated; Soutine is not doing much; Pach should try to sell the Gros painting for Mrs. Dillard. 2 pp., in French

From Elie Faure, Paris, France, March 8, 1927: a safe-deposit box was transferred, with difficulty, from Pach's name to his; saw a beautiful Renoir exhibition; prices are high and only Delacroix and Corot are affordable now; Derain should protect himself From dealers. 2 pp., in French

From Elie Faure, Paris, France, March 29, 1927: Mr. Briggs received proofs of Pach's translation; discovered Siluster letters and will soon meet his aged widow and daughter, who may have more documents; no longer thinks of Mexico; is probably going to Egypt; they are unlikely to see one another this year; is disturbed that Pach failed to sell the Gros; museums prefer average paintings to fine sketches; suggests other places Pach might try to sell the painting; describes his newly acquired Theodore Rousseau landscape; reports on the Renoir exhibition at Bernheim's; painters in Paris seem more and more influenced by Renoir and less and less interested in Cézanne; Delacroix rises as Ingres falls. 4 pp., in French

From Bernard Berenson, Fabriano, Italy, May 10, 1927: review of his book missed its "contribution... to a criticism that is based on a question of design"; invites Pach to consider this issue in a review. 4 pp

From Elie Faure, [place unknown], June 8, 1927: Delacroix is becoming popular; at the sale of the Bureau collection ordinary Daumier watercolors brought high prices and wonderful Corot drawings sold cheaply; is unhappy with the captions for the plates in his last edition; witnessed Lindbergh's landing. 4 pp., in French

From Marcel Duchamp, Paris, France, June 24, 1927: announces his recent marriage; describes a Redon watercolor that Pach might sell to the Bings; Mrs. Bing expressed interest in the Brancusi bust now stored at Brummer, King, and Parker. 2 pp., in French

From Elie Faure, Paris, France, July 6, 1927: received the Delacroix book; he shares Pach's devotion to Delacroix, who is becoming fashionable in France; he may eventually acquire some Delacroix watercolors; a superb Géricault is on view at the Victor Hugo Museum; museums hang paintings poorly; Degas and Manet are idolized, while Cézanne and Renoir are just tolerated. 2 pp., in French

From Bernard Berenson, Stockholm, Sweden, July 25, 1927: Pach's review showed "intelligent and friendly comprehension"; "my Three Essays is an ironied and veiled attempt to demonstrate that there is a big part of the job that any well trained mediocrity can achieve"; "great artists like Antonello are not prophets but fulfillers of prophecy." 2 pp

From Elie Faure, Paris, France, October 3, 1927: spent his vacation traveling in Provence; has abandoned a project that attracted amateur attention; intends to study Chagall; -- History of Art -- will be translated into Japanese. 2 pp., in French

From Bernard Berenson, London, England, October 7, 1927: -- Harper's -- will ask Pach to write about the Gardner collection; urges him to accept the offer. 4 pp

From Elie Faure, [place unknown], December 19, 1927: Gagnon has reappeared; Faure purchased a Barye painting at a junk shop; agrees to write a preface to Pach's book. 4 pp., in French

From Leo Stein, Paris, France, February 7, 1928: Read Pach's review of his book in the -- Architectural Record -- ; "when you realize your incompetence for a job because of ignorance you had better keep out, because that very ignorance will prevent you From realizing how big a fool you are making of yourself." 1 p

From Elie Faure, [place unknown],1 April 22, 1928: Had a heart attack; is now working on a book about folk psychology; will lecture in Germany; museums prefer a perfect modern canvas to a masterpiece with slight damage; asks if Pach has tried to find a buyer for Christ; though his books sell, Faure has not prospered; describes several paintings in his collection; he may inherit Mme. Thelaphite's paintings; Mrs. Dillard has a Ribera for sale. 4 pp., in French

From [ signature illegible (Canaan L. Morris?)], Hartford, Conn., May 4, 1928: compliments Pach's lecture of the previous evening; critiques its structure. 2 pp

From Harold O. Voorhis, Secretary, New York University, New York, N.Y., June 15, 1928: confirms Pach's appointment as assistant professor of fine arts. 1 p

From Elie Faure, Dordogne, France, August 11, 1928: is glad to be away From Paris; is very happy about the French translation of Ananias [large portions illegible]. 2 pp

From Jose Clemente Orozco, New York, N.Y., September 1, 1928: -- Form -- magazine deserves attention; offers to write to the editor on Pach's behalf; as Pach suggested, he met with Kraushaar, who didn't seem to like the revolutionary drawings but showed interest in the Art Center Exhibit paintings; speculates that Kraushaar found the Mexican pieces too strange; asks Pach to arrange another meeting; recommends García Maroto's article in -- Contemporaries -- about Rivera and his disgusting commercialism. 4 pp., in Spanish

From José Clemente Orozco, New York, N.Y., September 6, 1928: He and Mr. Owens will visit; the "animator" wants to deceive people of Pach's intelligence; the "animator's" treachery to art is disguised as a personal matter; García Maroto was deceived by the "animator"; lists founders of the Union of Painters and Sculptors who contributed ideas and skills while the "animator" contributed disloyalty; the "animator" claimed credit for a fresco technique developed by Siqueiros and Guerro; the "animator" killed Mexican mural painting and now interferes in all mural painting in Mexico; Maroto says the "animator" is stymied. 10 pp., in Spanish

From José Clemente Orozco, New York, N.Y., September 12, 1928: sends addresses of Jean Charlot and Gabriel Fernandez Ledema; Owens missed the train but hopes to meet Pach soon. 1 p., in Spanish

From Elie Faure, Paris, France, September 22, 1928: received Ananias, but cannot read it without a translator [large portions illegible]. 2 pp., in French

From Susan Macdowell Eakins, Philadelphia, Pa., October 10, 1928: received his letter and book; "whether it is the desire to purchase or not, I am always pleased to show my husband's pictures"; wishes to keep the Rush pictures and studies in Philadelphia. 3 pp

From Arthur B. Springarn, New York, N.Y., November 1, 1928: thanks Pach for dedicating the book to him; best wishes for the volume's success. 1 p

From Eleanor S. Brooks, Westport, Conn., November 14, 1928: five hundred dollars is a satisfactory amount for the manuscript. 1 p

From José Clemente Orozco, New York, N.Y., November 16, 1928: the publisher sent a copy of Pach's wonderful book and requested his opinion; his response expressed enthusiasm and admiration. 2 pp., in Spanish, + 1 p. enclosure (copy of letter, November 14, 1928, to Ruth Raphael, Harper & Bros., From José Clemente Orozco, New York, N.Y.: endorsement of -- Ananias, or The False Artist -- by Walter Pach)

From Lee Simonson, Editor, Creative Art, New York, N.Y., December 18, 1928: thanks Pach for making changes to his Rivera article; his review of Pach's book is "extremely hard-hitting"; offers opportunity for rebuttal in the next issue; "let us keep the thing above personalities"; Alfred Stieglitz and Leo Stein support Simonson's views. 2 pp

From Van Wyck Brooks, Westport, Conn., January 8, 1929: will send chapters for revision; payment can be handled however Pach prefers. 2 pp

From Elie Faure, Paris, France, January 11, 1929: has not finished reading Pach's book because he is unusually busy; his wife is ill; had to put aside projects to complete a book on the Italian Renaissance; with the exception of Sargent, "official" American painters are not known in France; impressionism and its aftermath have not produced any positive result; would like to see Pach's paintings, not just photographs of them; compliments Pach's etchings; a new edition of his work is in preparation; there may be a Serb translation. 4 pp., in French

From Eleanor S. Brooks, Westport, Conn., January 15, 1929: requests a month's extension for their translation work. 2 pp

From Van Wyck Brooks, Westport, Conn., February 14, 1929: chapter I and the introduction are being sent today. 1 p

From Eleanor S. Brooks, Westport, Conn., March 18, 1929: describes working methods; explains problems in translating Faure's writing. 2 pp

From Elie Faure, Paris, France, April 1, 1929: when Pach visits they will look at art and go to Dordogne; discussed Pach's book with his publisher; recommends not using American examples other than Sargent and possibly Alexander and Frieseke in the French edition; will find an apartment for Pach; Miss Mary Morris has not yet called on him; requests books on the psychology of Americans. 2 pp., in French

From Eleanor S. Brooks, Westport, Conn., May 12, 1929: translation work proceeds slowly; Van Wyck is in the hospital; she doesn't want it publicized. 2 pp

From Eleanor S. Brooks, Westport, Conn., May 26, 1929: Van Wyck's health has not improved. 2 pp

From Eleanor S. Brooks, Westport, Conn., July 10, 1929: thanks Pach for his patience; Van Wyck is now in a private sanitarium; she continues to work on the translation. 1 p

From Eleanor S. Brooks, Westport Conn., August 28, 1929: is sending next chapter soon; Van Wyck's condition has not changed. 1 p

From Elie Faure, Dordogne, France, August 28, 1929: his short review of Pach's book has been accepted for publication in the Dial. 2 pp., in French

From Eleanor S. Brooks, [place unknown], August 30, 1929: another chapter is ready. 1 p

From Elie Faure, Dordogne, France, September 13, 1929: went to Basque country with Soutine; had a good rest and thought about the psychology book he is writing; -- The Italian Renaissance -- appears to be a success; is anxious to see Pach's painting and hear about his time in Paris; hopes to interest Pach in Soutine; when working, Soutine hides like a dog gnawing a bone. 2 pp., in French

From Lewis Mumford, Long Island City, N.Y., October 23, 1929: recounts summer travels; is starting a book about the arts in America since 1870; asks for news of Van Wyck Brooks's condition and how Eleanor is coping; he worries about Eleanor's reaction to the proposal that he edit the Emerson book. 2 pp

From Harold M. Tovell, Toronto, Canada, October 25, 1929: "I do think that as a result of patience and education plus your lectures here, that the tide is turning in favor of our Toronto friends"; inquires about Marcel Duchamp; "the house here would be rather bare if it weren't for the Duchamp family. I hope you will tell him how greatly we prize their works." 4 pp

From Jacques Villon, Neuilly-sur-Seine, France, November 23, 1929: Verne wrote on behalf of the Committee of the National Museums accepting Raymond's sculptures; sends text of the Committee's flattering letter; thanks Pach for his continued support of Raymond. 4 pp., in French

From Childe Hassam, New York, N.Y., November 30, 1929: n -- Art in America -- , Pach confuses Horatio and Henry Oliver; Marie Sterner "has gotten together some of the worst things I have ever seen"; "verily art in America is run by old women! but most of them wear trousers." 2 pp

From Leo Stein, Paris, France, December 1, 1929: wants Pach to know the facts regarding his alleged endorsement of Clivette; "I supposed that Hellman was a gentleman and did not suspect a plant." 1 p

From Art Young, New York, N.Y., [postmarked] December 5, 1929: holiday greetings; news of James Opp [ sic], Springarn, Suzanne La Follette, and Glintenkamp; is working on a book and exhibition. 1 p. + 4 pp. enclosure (printed circular, undated, advertising books by Art Young, -- On My Way -- and -- Trees at Night -- , with excerpts from reviews and order form)

From Leo Stein, Paris, France 4218 265-267 [postmarked] January 8, 1930: "There is no artist that I value highly whom you do not also value but... you value many whom I don't"; diagram illustrates Stein's explanation of how their artistic tastes differ. 3 pp

From Elie Faure, Dordogne, France, March 12, 1930: Joubib's [?] awful reputation should be a comfort to Pach's friend who was so badly treated; plans to seek legal advice about suing De la Faille. 2 pp., in French

From Lewis Mumford, Long Island City, N.Y., March 12, 1930: is pleased with his lectures at Dartmouth College; his next book will be "a modern philosophy of life"; compliments Suzanne La Follette's book; he has an article in the first issue of the New Freeman; comments on policies and politics of the "Modern Museum." 4 pp

From Harold M. Tovell, [place unknown], May 16, 1930: "This is about the most perfect thing I have seen for a long time. A truly great work." Picture postcard ("Leonardo da Vinci Bronzlovas. Reiterfigur aus Bronze. Figure a cheval en bronze")

From Susan Macdowell Eakins, Philadelphia, Pa., July 10, 1930: received Pach's picture postcard of a Millet portrait; the "exhibition of Homer, Ryder, and Eakins at the Modern Museum seems to have pleased universally." 1 p

From Bernard Berenson, Florence, Italy, August 22, 1930: "I would rather not see the entire output of a master," even Delacroix; after finishing "the lists of Italian Painters" he will revise Drawings of Florentine Painters; then he plans a book on "The Decline and Revival of Form in the Figure Arts." 8 pp

From Susan Macdowell Eakins, Philadelphia, Pa., September 25, 1930: continues to enjoy the postcards Pach sent, especially the Millet; has found the painting he wants; there will be an exhibition in New York City in December; her good friend Charles Bregler, a pupil of Eakins's, has restored several of the pictures. 2 pp

From Al [Bing?], New York, N.Y., October 19, 1930: "Museum accepts pictures." Telegram

From Susan Macdowell Eakins, Philadelphia, Pa., October 21, 1930: received Barye copy and photos of Millet picture; details of upcoming Eakins show in New York City are uncertain; Charles Bregler has discovered retouching on some pictures; they will be cleaned before the exhibition; some may be placed behind glass to prevent future overpainting done in "ignorance"; enclosed sketch describes a study Eakins did while a student in Paris; wonders where other pieces from that period are, since he did many and returned with few. 2 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., October 23, 1930: through oversight, Pach's watercolors were not presented at the October meeting; "I forsee no trouble in their reception. The modern style has not the bitter enemies it used to have." 1 p

From Ida E. Guggenheimer, New York, N.Y., November 9, 1930: saw a good exhibition of modern French art at Harriman Gallery and a "gem" at Knoedler; is enthusiastic about Villon's colors; subsequent visits to Brummer's confirmed that her collection is superior; Mr. Kraushaar likes Pach's work and promised to see more; "you are right when you say I cannot expect to compete with the hawks of picture dealers"; comments on Ananias; economic conditions depress Mr. Guggenheimer and may prevent them From traveling. 3 pp

From B. Stein, New York, N.Y., November 17, 1930: thanks Pach for his book; saw Villon's "smashing" show; Gretchen purchased The (Rose) Haulers; financial conditions in the United States are "depressing"; is sorry Pach is "impatient" with writing, as he is gifted; is glad Pach is enjoying painting in Paris; describes ideas about modern furniture, which she wants to buy. 5 pp

From Ida E. Guggenheimer, New York, N.Y., December 1, 1930: "sympathetic" to Pach's "natural gratification at the Metropolitan's action;" Kraushaar will look at Pach's work in her apartment; mentions art seen at Reinhardt's and Brummer's galleries; received a letter From Villon. 2 pp

From Susan Macdowell Eakins, Philadelphia, Pa., December 12, 1930: Miss Pendleton took the painting Pach wants and will arrange delivery to him; Miss Pendleton would be a good subject to paint; holiday greetings. 1 p

From Ida E. Guggenheimer, New York, N.Y., December 17, 1930: saw Pach's drawings at Kraushaar's; saw work by Houdon at Anderson Galleries; Pach would enjoy Proust's remarks on music and art. 2 pp

From Allen Tucker, New York, N.Y., January 2, 1931: opinions of Corot-Daumier show at the Modern; Tucker had an exhibition. 4 pp

From Leo Stein, Paris, France, [postmarked] January 19, 1931: discusses "analytic" and "non analytic" approaches to a "nonverifiable subject"; "don't regard this letter as an argument. I never argue about art, but simply attempt to explain an attitude." 5 pp

From Susan Macdowell Eakins, Philadelphia, Pa., January 25, 1931: thanks Pach for bringing Eakins's work to the attention of the Louvre; Charles Linford is a possible choice; "I would prefer to present a picture, rather than sell, so we will not worry about prices"; Riccardo Bertelli's new gallery on 56th is exhibiting Thomas Eakins and Samuel Murray; there is an Eakins show at Babcock Galleries; the national economic situation is too bad to expect painting sales; articles on Eakins mistakenly "report that the little seated figure of Thomas Eakins was his favorite attitude while painting"; pictures shown at Babcock were cleaned by Charles Bregler; glazing was recommended for protection From air pollution; Pach's choice of frame for his Eakins painting is "fine." 4 pp

From Susan Macdowell Eakins, Philadelphia, Pa., February 19, 1931: sends photographs of paintings available for presentation to the Louvre; her choice of the Hamilton portrait is supported by Samuel Murray, Mr. Cranmer, and David Wilson Jordan; the Barker and Wallace portraits are possibilities; her sister-in-law offers the portrait of Susan Eakins' father; sends photographs of Thomas Eakins dating From student days in Paris; she has not seen the Eakins exhibition in New York. 2 pp

From Susan Macdowell Eakins, Philadelphia, Pa., February 21, 1931: Bertelli sold John McClure Hamilton, not understanding that it might go to the Louvre; the Barker and Wallace portraits will not be sold. 1 p

From Morris Kantor, New York, N.Y., March 16, 1931: is busy making frames; saw Pach's exhibition at Kraushaar's; "Paris did you a lot of good because your work has changed.... It has more freedom and a better painting quality"; sympathizes with "Baylie's" misfortune; Kraushaar will give "Baylie" a show; Sloan arranged for him to teach at the League. 3 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., March 17, 1931: "The Museum is much beholden to you however the David matter turns out"; the decision reached at yesterday's meeting will be announced after the painting is unpacked; compliments Pach's show at Kraushaar's; comments on the installation and specific pieces; "as to the Eakins matter I should be honored to cooperate." 2 pp

From A.S. Baylinson, New York, N.Y., March 19, 1931: complimentary comments on Pach's show at Kraushaar's; is moving to a new, fireproof studio at 54 West 74th Street; "I will have the group work there with me evenings as before, and before long we shall forget the fire"; will teach at the Art Students League in the coming year. 2 pp

From Childe Hassam, New York, N.Y., March 27, 1931: Pach's exhibition, which Hassam viewed twice, includes "the best things I have seen of yours"; spoke with John Sloan and Miss Kraushaar at the gallery; describes his etching of Helen Wells and promises to send a photograph of it. 2 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., March 28, 1931: the painting arrived and is "even grander than I had imagined.... It will be one of the masterpieces here"; has been in contact with Mrs. Eakins; thanks Pach for his "beneficent labors." 3 pp

From Susan Macdowell Eakins, Philadelphia, Pa., March 28, 1931: Burroughs and Brummer were consulted in the search for photographs of Eakins paintings; lists sizes of paintings under consideration; J. Carroll Beckwith might interest the Louvre. 2 pp

From Bryson Burroughs, New York, N.Y., March 31, 1931: "David Bought Hooray." Telegram + 1 p. enclosure (April 1, 1931 From Morgan & Cie., Paris, France: debit notice for collect telegram received From New York the previous day)

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., April 14, 1931: Museum is pleased with the David painting; thanks Pach for his role in the transaction; "waiting for the Eakins matter to crystallize"; wants the Pennsylvania Museum to offer Clara or The Bohemian; the Louvre should have an example of Eakins' "very best"; will propose the idea to Kimball. 2 pp

From Arthur B. Springarn, New York, N.Y., April 21, 1931: is "profoundly impressed" by Pach's exhibition; his work shows a new "lack of inhibition"; "I resent the conspiracy of silence of the critics tho' I suppose that is the price you pay for being the author of Ananias"; gives recommendations for Raymond's schooling. 6 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., May 3, 1931: "The Penn. Mus. Eakins project takes shape gradually"; Clara may be "suitable"; the "exchange" proposed is complicated and requires "committee actions"; maybe they could give Clara to the Louvre; Kimball will "come round." 3 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., May 11, 1931: sends copy of a letter From Fiske Kimball and a reproduction of Clara; upon seeing the painting again "my previous judgement was amply confirmed." 1 p. + 1 p. enclosure (May 8, 1931, to Bryson Burroughs From Fiske Kimball, Director, Pennsylvania Museum of Art, Philadelphia, Pa.: "I shall recommend to my Board that a gift be made to the Louvre"; instructs Burroughs to ask Guiffrey whether the Louvre will accept Clara; discusses framing and Eakins's ideas on the subject)

From Jean Guiffrey, Louvre Museum, Paris, France, June 2, 1931: thanks for the Eakins painting; when informed of the gift, his colleagues will be grateful. 1 p., in French

From Abby Greene (Aldrich) Rockefeller, Pocantico Hills, N.Y., June 10, 1931: purchased Pach's painting of anemone; thanks for "the trouble you have taken about the Géricault drawing." 3 pp

From Henri Verne, Director, Louvre Museum, Paris, France, June 18, 1931: thanks Pach for his role as intermediary in the Louvre's acquisition of a Thomas Eakins painting. 1 p., in French

From Bryson Burroughs, [place illegible], France, June 24, 1931: Is arriving in Paris in July; wants to see David-Weill collection; "it is a great comfort the way the Eakins matter turned out and I am really glad to be out of its final arrangement"; is going to Milan to see the -- Très Belles Heures -- . 2 pp

From Susan Macdowell Eakins, Philadelphia, Pa., June 27, 1931: Is pleased with the choice of painting for the Louvre; thanks Pach for his efforts. 2 pp

From Bryson Burroughs, aboard SS De Grasse, July 19, 1931: Guiffrey "is delighted about the Eakins and well appreciative of your efforts in regard to it"; Metropolitan Museum of Art may participate in the French exhibition in London next year; "a new era of liberalism and cooperation is about due with the passing of so many ancient trustees"; describes the excellent condition of the -- Très Belles Heures -- . 3 pp

From Caroline Pratt, Chilmark, Mass., August 14, 1931: Discusses Raymond's academic progress and challenges; gives recommendations for the future. 5 pp

From Elie Faure, Peking, China, October 7, 1931: Received a warm welcome in the United States; the end of his trip and the end of his life are darkened by catastrophe. Picture postcard ("Great Wall of China"), in French

From Beatrice [?], New York, N.Y., October 10, 1931: " Simone is ours." Telegram

From Elie Faure, Angkor, Cambodia, November 14, 1931: Expresses love for America and Americans; thinks the hope of the world is in the United States and also between the Urals and Vistula. Picture postcard ("Ruines D'Angkor"), in French

From Ida E. Guggenheimer, New York, N.Y., November 15, 1931: Etta Cone bought a Pach painting and is "enthusiastic" about Duchamp-Villon; "saw the Mouillots at Brummer's and I must confess to being very disappointed"; she "positively rejoice[s]" in her own piece by Duchamp-Villon; many praise Pach's work in her collection; art prices are down; news of various friends, especially musicians. 4 pp

From Jean Crotti, Paris, France, November 18, 1931: "I have always declined to write prefaces for contemporaries (the cases of Villon and Duchamp-Villon being exceptions which I intend shall remain exceptions); it is a job for a professional critic, and not for a man who is himself engaged in painting." 2 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., November 24, 1931: Gift of 2 etchings by Pach was received by the Museum. 2 pp

From Elie Faure, Colombo, Ceylon, November 25, 1931: Everyone says his wife and daughter were courageous and that helps him tolerate the loneliness; is anxious to see the Corot book, especially the reproductions; will continue writing for -- Petit Parisien -- ; now believes one must write for the masses. 2 pp., in French

From Henri Verne, Director, Louvre Museum, Paris, France, December 22, 1931: Thanks Pach for his gift of an engraving of New York. 1 p., in French

From Al Bing, New York, N.Y., December 23, 1931: Socrates by David and the Havemeyer collection are now hanging at the Metropolitan; Whitney Museum, Frick Gallery, and the Modern Gallery will all be open when Pach returns; Coffin, "a man of great ability and sterling character," has been elected Museum president; is interested in the Bonaparte exhibition; asks Pach to help sell his Renoir. 12 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., January 9, 1932: Trustees will want more information about the Géricault picture; they trust printed sources over his opinions; is hopeful that Coffin can make "improvements"; though Pach is "eminently suited for Museum work," this is a poor time to enter the field. 2 pp

From Albert Morance, La Chef des Services Commerciause et Techniques, Louvre Museum, Paris, France, January 11, 1932: Is returning to Pach the contract concerning his engraving. 1 p. + 2 pp. printed form (Louvre Print Department acquisition form for The Telephone and Telegraph Building, New York, and rules for transfer of works to the Print Department), in French

From Leo Stein, Paris, France, [postmarked] January 12, 1932: Discusses "two questions that always arise in respect to art... (1) What qualities does one note in a work of art. (2) What value has that which one sees." 6 pp

From Allen Tucker, New York, N.Y., January 18, 1932: Pach's stay in Morocco seems to have been beneficial; 1931 was a difficult year; hopeful for the future; "the Whitney has shaken the whole thing up and American shows past and present and I daresay future are everywhere"; "Rivera having a grand time in a pas de deux with Mrs. Rockefeller at the Museum of 'Foreign' Art." 3 pp

From Henri Verne, Director, Louvre Museum, Paris, France, January 26, 1932: Thanks Pach for his role in the Louvre's acquisition of the Eakins painting; it arrived in good shape and was readily accepted; is still considering the Barye castings. 1 p., in French

From Leo Hartman, Harper's Magazine, New York, N.Y., February 1, 1932: The artists mentioned in Pach's article are too obscure for Harper's readers. 1 p

From Al Bing, New York, N.Y., February 7, 1932: Thanks Pach for helping him find a potential buyer for his Renoir; discusses the Furdson and Havemeyer collections at the Metropolitan; family news; is anxious for Pach's return. 7 pp

From Van Wyck Brooks, Westport, Conn., February 8, 1932: "The Depression is not to be underestimated" and could change the social order; discusses colleges for Raymond; Life of Emerson and a volume of his essays reprinted From the Freeman will be out soon; the Prendergasts live nearby; "Charlie P. is surely a true primitive old master to whom only Vasari could do justice in the way of antecedents"; "I kept thinking as I read your book, what new books must logically follow From your mind"; suggests Pach write histories of art criticism and American art. 10 pp

From Henri Verne, Director, Louvre Museum, Paris, France, March 5, 1932: Because Barye's -- Apollon -- is a fragile plaster, the curator cannot risk making castings. 1 p., in French

From Childe Hassam, New York, N.Y., March 8, 1932: Has a print of Helen Wells for Pach; the Metropolitan Museum filmed him at work and play in East Hampton last summer; the Boston Museum commissioned a similar film of Benson. 3 pp

From Ida E. Guggenheimer, New York, N.Y., March 25, 1932: Sent another payment for City of Mexico to Pach's bank; several people have shown interest in Simone; she and the Steins purchased work From Baylinson's Kraushaar show. 3 pp

From Bryson Burroughs, Metropolitan Museum of Art, New York, N.Y., March 26, 1932: The Géricault is a "grand picture, but don't pin any faith on the taste of trustees"; Pach would find it frustrating to work within the museum's structure; is anxious to correspond or converse about Hubert and Jan Van Eyck. 2 pp

From Allen Tucker, New York, N.Y., April 10, 1932: Congratulates Pach on his show and catalog; compliments the Morse exhibition at the Metropolitan; "the Whitney gallery has shaken up the attention of people to the present Americans." 2 pp

From D.T. Sieveking, Director, Antikensammlungen, Munich, Germany, April 27, 1932: Returns the completed questionnaire. 1 p. + 1 p. enclosure (questionnaire about Greek figure known as -- Naked Girl with Cap -- ), in German

From John Sloan, New York, N.Y., April 30, 1932: Recounts the politics of the League's presidential election that he lost; Schnakenberg will be an "inactive president"; when the Board turned down Geo. Grosz, Sloan resigned; Jonas Lie threatened to resign if Pach lectures there; Sloan will teach at Archipenko's school next season; Dolly is a manager for the touring Exhibition of Indian Tribal Arts; Baylinson supported Sloan in the "fight"; financial details of the Sixteenth Annual Independent Exhibition. 2 pp

From Charles Bourgeat, Galerie Dru, Paris, France., May 7, 1932: Received payment for Pach's exhibition there; cannot locate the Sisley and Pissarro photographs Pach sent; their aim to show fine and beautiful painting was accomplished with Pach's exhibition; difficult times account for compliments and no sales. 2 pp., in French

From Ida E. Guggenheimer, New York, N.Y., May 10, 1932: Her opinion of photography remains "good, but not art, and deadly after a certain length of time." 1 p

From Ida E. Guggenheimer, New York, N.Y., May 22, 1932: Hopes Pach's article, "Owning Pictures," will be published; the museum's rehung galleries present interesting new comparisons; asks his opinion of the Art Students League controversy; saw Baylinson at the Independent show; purchased a Baylinson drawing From Kraushaar. 3 pp

From the -- Atlantic Monthly -- , Boston, Mass., May 31, 1932: Pach's article is of limited interest to Atlantic Monthly readers. 1 p

From M.L. Allen, -- Harper's -- Magazine, New York, N.Y., June 2, 1932: Pach's article, "American Art in the Louvre," is not appropriate for a general audience. 1 p

From Gino Severini, Fribourg, Switzerland, June 16, 1932: His schedule will not permit another meeting before Pach's departure; the art market will improve; is interested in the prospect of a show at Brummer's; "decoration work" for Weyhe may end in September; thanks Pach for his help. 2 pp., in French

From P. Dubaut, Paris, France, July 19, 1932: Thanks Pach for sending clippings; the gallery behaved professionally but was not overly kind; was generally pleased with the show; is happy to know Pach. 2 pp., in French

From Alfred Vance Churchill, Rockport, Mass., July 25, 1932: Pach was the first to write of the Smith College Museum as "one of the choicest and best directed collections of art in America"; has received many commendations and is putting together extracts "for certain personal uses"; requests additional thoughts From Pach on the collection. 3 pp

From Alfred Vance Churchill, Rockport, Mass., July 25, 1932: Is trying to arrange a lecture for Pach at Smith College and perhaps at Mount Holyoke College; Jere Abbott will succeed him as museum director; thinks his retirement was forced on the trustees by Paul J. Sachs. 4 pp

From Nadine and Ad. Wuester, Paris, France, January 5, 1933: Pach is missed as their circle of friends diminishes; painted at the Côte d'Azur last summer; shows of Renoir and Delacroix were exceptions in a dull art season; Aubrey's gallery is now a junk shop; mentions auctions of the Strauss and Pacquemont collections; Goetz's Delacroix still-life was reattributed to Andrieux; a sketch said to be by Géricault appeared at the Hôtel Drouot; cheap reproductions are being passed off as Géricault watercolors. 5 pp., in German

From Elie Faure, Paris, France., January 7, 1933: France is declining; sends family news; Paul Morand gave his book a favorable review; inquires whether Pach has found work; there are fewer exhibits in Paris; good paintings are now seen only at the big sales such as Strauss. 2 pp., in French

From Marjorie Carpenter, Hamilton, Ontario, Canada, January 9, 1933: Confirms lecture date at McMaster University. Telegram

From Gertrude Wolf, Executive Secretary, New York University, New York, N.Y., January 9, 1933: Requests syllabus for last 2 lectures of Pach's course and the examination questions. 1 p

From Susan Macdowell Eakins, Philadelphia, Pa., [postmarked] January 19, 1933: Informs Pach of prices of two Eakins portraits; many Eakins paintings were damaged by restorers; others are in "splendid condition" due to the efforts of Charles Bregler; comments on Mrs. Whitney's plans to aid painters. 1 p

From William Reinhold Valentiner, Director, Detroit Institute of Arts, Detroit, Mich., February 9, 1933: Thanks the Pachs for a warm welcome; enjoyed seeing Pach's paintings and his personal collection; the picture signed Hogarth is not by the master; the signature on the Géricault drawing appears genuine. 2 pp., in German

From Elie Faure, Paris, France, June 20, 1933: Has been ill for 2 months; the French economy is poor, resulting in greatly reduced incomes; Rivera has been forbidden to make public speeches; a Chassériau exhibit is open; Joubin, who organized the current Renoir show, knows nothing about painting and villifies artists while they are alive but sanctifies them after they are dead; among the beautiful paintings in the exhibit is a portrait of Sisley and his wife. 6 pp., in French

From Elie Faure, Paris, France, September 23, 1933: Madame Siluster died; she had 4 Delacroix drawings of which Faure kept 2, gave 1 to François, and sent to Pach a portrait sketch of Madame Guizot; Pach should tell Rivera that Faure is upset that he did not translate Mon Périple; is enthusiastic about Rivera's paintings and frescoes and considers him a great illustrator; the chapter Faure sent was ignored, which is a disappointment as he hoped to interest an American editor; is depressed over the rejection of his collected essays; the Renoir exhibition is a disgrace to the memory of the artist, who is misunderstood and detested by the organizers of the show. 4 pp., in French. to Herbert Eustis Winlock From Walter Pach, New York, N.Y. 4218 481-483 November 12, 1933: Refers to previous discussion of the "Indian collection"; suggests a "single gallery of Indian art including Mexican, and adding, if desired, the other peoples whose work has a sufficient art value"; use art rather than anthropology as the criterion; "my idea is that the museum should accept the collection Mr. Sloan intends to offer as a gift From his association, or accept part of it as the nucleus of a gallery of the art of the so-called barbarous peoples." 3 pp

From Elie Faure, Paris, France, December 9, 1933: A Courbet, which Faure believes is his most beautiful, is for sale; indicates price, size, and citation of a reproduction; inquires about the financial crisis in the United States; comments on economic problems, political events, and inertia of the French people; is writing a preface for Rosenberg's Renoir exhibit; asks about Pach's painting and printmaking; requests news of Rivera about whom he wrote an article; Harper's sent money and will reprint The Spirit of the Forms. 4 pp., in French

From Ida E. Guggenheimer, New York, N.Y., December 10, 1933: Saw the Cézanne exhibition twice; "as for Dr. Valentiner, of course I am all with Rivera.... No good can come out of anything as bad as the Hitler program." 2 pp

From Clifton A. Wheeler, Indianapolis, Ind., February 2, 1934: Discusses fellow board members of the Indianapolis Art Association and acquisitions; "modernization" was the response to declining school enrollment; 9 instructors, including Wheeler, were fired; describes life on the top of La Conte Mountain, Tenn., where he painted the previous fall; has mural and portrait commissions, "so long as I can make a living I don't care if I don't teach." 8 pp

From E.D. Smyth, Tangier, Morocco, September 19, 1934: Thanks Pach for sending a painting of Helen; is staying in Helen's house; Gertrude Stein's book about Alice Toklas is "an overwhelmingly cheeky work" that failed to mention Pach; news of mutual friends; reminiscences of visits with the Pachs; James McBey, a Scottish painter and etcher, has settled nearby. 3 pp

From Marcel Duchamp, Paris, France, October 17, 1934: Feels animosity toward Barr, whom he calls narrow-minded; will handle in his own way any resulting confrontation or unpleasantness; told Arensberg, owner of -- Un Descendant -- , not to lend to Barr; asks Pach to find an excuse for refusing Barr; Barr shall reap what he has sown; American collectors are now speculators; sends order forms for his new book. 5 pp., in French

From Elie Faure, Paris, France, December 4, 1934: The owners of the Courbet are impatient; asks if it has arrived in New York; suggests that a collector, Barnes, or the Metropolitan Museum of Art may be interested; his book is being ignored in France; if Pach has money, now is a good time to buy art; tells of works that are selling at reduced prices. 2 pp., in French

From Simonne Maubert, Paris, France, December 22, 1934: Miss Stein wrote with good news of Pach; posed for Miss Stein during the autumn and hopes for similar work next year. 2 pp. + picture postcard ("Palais de Fontainebleau, La Cour Ovale et le Baptistère"), in French

From A. Frohberg and Johanna, Dresden, Germany, December 31, 1934: Thanks Pach for letter and for holiday greetings; the news of Pach's selection for an important commission brings them great joy; news of a family friend who has made progress and overcome obstacles. 2 pp., in German

From Karl Lilienfield, New York, N.Y., May 13, 1935: Confirms the commission Pach will receive if he sells paintings for Alexander M. Bing. 1 p., in German

From Henri Focillon, New Haven, Conn., May 21, 1935: Thanks Pach for sending the fine article he wrote on -- La Patelliere -- , which he saw in Bucharest; when visiting the Politzers, he failed to recognize Pach's name, thus missing the opportunity to express his admiration and respect. 2 pp., in French

From Father [Frohberg] and Johanna, Dresden, Germany, July 2, 1935: Birthday greetings. Picture postcard ("Herzlichen Gluckwunsch zum Geburtstage"), in German

From Bernard Berenson, Florence, Italy, September 13, 1935: Opposes exhibitions such as the current one at the Petit Palais; is revising his work on drawings of Florentine painters; "foulness piled over Michelangelo by a lot of German animals, the worst of whom is a biped named Panofsky." 12 pp

From Elie Faure, Paris, France, September 24, 1935: Asks about Pach's frescoes and requests photographs; discusses the dire economy and his own financial situation; believes the movement born of cubism is dead in France and explores this idea more fully in a preface he wrote for Brummer's upcoming Lipchitz exhibition; discusses an exhibition of Italian art and the poorly received article he wrote about it for L'Humanité; visited London, which seemed more alive than Paris; objects to glass on paintings at the National and the Wallace; has not heard From Rivera, possibly because Faure's article was not flattering enough. 4 pp., in French

From Clifton A. Wheeler, Indianapolis, Ind., October 20, 1935: Pach should notify the director of the John Herron Art Institute of his schedule and lecture fees; is teaching at a high school; the art school is now "purely Yale, Beaux Arts competition, and American Academy in Rome." 2 pp

From Edna Strasser, Amsterdam, the Netherlands, October 26, 1935: Called on friends of Pach, the Brinkman family of Haarlem; saw the portrait Pach painted of their brother in 1906. 3 pp

From Arthur Strasser, Seville, Spain, November 18, 1935: Recounts visit with Brinkmans in Haarlem; is impressed by the Prado, Rubens, and El Greco; at Pach's suggestion, they have attended several performances of gypsy music and dancing. 4 pp

From Elie Faure, [place unknown], November 29, 1935: Is enchanted by and praises the most successful part of Pach's triptych; discusses the economy and prospects for work in France; continues to be pessimistic about painting in France; architecture is what is needed now and cinema may become more important than painting; mentions a Flemish exhibition; congratulates Pach on his portrait of a young man, possibly Raymond; the critics who denounced what Faure wrote on the agony of painting now admit he was right. 4 pp., in French

From A. Frohberg and Johanna, Dresden, Germany, March 2, 1936: Belated birthday greetings; tell Magda everything has been done for Zittau [?]. Picture postcard (untitled), in German

From Gerda Stein, New York, N.Y., March 10, 1936: Thanks Pach for his friendship; "accept this simple expression of my appreciation for what you have given me and the earnest hope that it will bring you an answer to some of the problems that perplex you." 4 pp

From Ida E. Guggenheimer, Ontario, Canada, August 4, 1936: Read his review in the -- Nation -- and wants to see the exhibition; the watercolor of Magda acquired by the Brooklyn Museum is one of Pach's best. 1 p

From Charles Bourgeat, Paris, France, August 21, 1936: The Seligmanns request a meeting about the Ingres paintings Bourgeat and Pach discussed earlier; sends 2 color reproductions of Cézanne paintings that Cézanne's son wants to sell; discusses prices and commissions; saw the Cézanne works now in the Orangerie; asks if Etta Cone might be interested; missed Bing's visit to Paris. 4 pp., in French

From Bernard Berenson, Grusbach, Czechoslovakia, August 26, 1936: "You are one of the last surviving acquaintances who, in the study of art, have not gone over to irrelevant promiscuity"; discusses attribution of Goldman's Madonna; has begun writing "The Decline and Recovery of Form"; spent 6 weeks in Yugoslavia studying Roman remains and Byzantine frescoes. 4 pp

From Bernard Berenson, Florence, Italy, November 30, 1936: Read his article in the -- Virginia Quarterly -- ; he liked the photograph of Pach's fresco more than the article; tell Van Wyck Brooks he is welcome to visit when next in Florence; spent 5 weeks in Paris. 4 pp

From Elie Faure, Paris, France, December 28, 1936: Eight months ago Lizou married a man who died of cancer a few days later; his books are not selling well; History of Art is unavailable and financing cannot be found for a new edition; saw an exhibit of Bonnard and Vuillard; considers mural work the only important current painting; recounts a visit to Spain; Rivera was wounded in Mexico; Rivera's recent silence may be the result of Faure's article. 4 pp., in French

From Herbert Eustis Winlock, Director, Metropolitan Museum of Art, New York, N.Y., February 13, 1937: Winthrop will not loan his collection. 1 p

From Allen Tucker, Castine, Maine, May 30, 1937: "I wonder if Museums and concerts haven't stopped rather than helped our creative efforts"; is glad to be back in America; wrote to Moe; "the foundation likes to bet on the unknown instead of helping anyone who has shown they HAVE ability and have done the work"; congratulates Pach on continuing to paint despite other responsibilities; sorry to hear Sloan is unwell. 1 p

From Ernestine Ludolf, Florence, Italy, June 22, 1937: Pach is "a good and faithful friend"; his kind words about Egisto are like "a flower of remembrance on his grave"; wants to give him a small painting by Egisto, showing a corner of the Montmartre studio where he and Pach first met. 6 pp

From Ida E. Guggenheimer, Paris, France, September 13, 1937: Attended a conference in Paris; visited the Fountain of the Innocents; made a thorough tour of the exhibition with Villon. 3 pp

From Marcel Duchamp, Paris, France, September 28, 1937: Would like to see his painting -- Sad Young Man on a Train -- join related paintings in California and believes Arensberg would agree; requests a photograph of the painting to reproduce in an album he is compiling. 2 pp., in French

From Allen Tucker, New York, N.Y., November 1, 1937: Thanks Pach for the Delacroix book; congratulations on "another great contribution to civilization"; completed a "pretty good summer's work" before his illness. 2 pp

From Van Wyck Brooks, Westport, Conn., November 18, 1937: Thanks Pach for the book on Delacroix; the introduction is "wholly satisfying." 2 pp

From Van Wyck Brooks, New York, N.Y., November 23, 1937: Reads some of Delacroix each day; "I'm beginning to understand your feeling about him." Picture postcard ("Self Portrait by Francesco Goya. Frontispiece to Los Caprichos. Madrid, circa 1803")

From L. (Mme. Elie) Faure, Paris, France, November 30, 1937: Thanks Pach for writing to her; wants to carry out her husband's wishes to make his work publicly accessible; sends a list of Faure's unpublished articles; discusses financial matters relating to the Harper's contract. 4 pp., in French

From Royal Cortissoz, New York, N.Y., January 2, 1938: Thanks Pach for his book on Delacroix, "the work of an artist and man of letters." 3 pp

From Van Wyck Brooks, Westport, Conn., November 2, 1938: "I'm glad to stand by that statement." Picture postcard ("Mountain landscape. Chinese, Ming Period, 15th century, after a design attributed to Ma Yiian (flourished 1190-1221)")

From Henry Watson Kent, Metropolitan Museum of Art, New York, N.Y., November 3, 1938: Thanks Pach for the "kind letter about the Morgan exhibition." 1 p. (frame 589) and envelope

From Henry Watson Kent, New York, N.Y., November 8, 1938: Thanks Pach for the inscribed copy of his book; is proud to be associated with the book and to have Pach say kind things about him. 1 p

From Van Wyck Brooks, Westport, Conn., November 9 and 11, 1938: Read -- Queer Thing, Painting -- ; "I had better begin now by telling my few objections, in order to hand you later my full bouquet"; "you exaggerate the Villon connection"; "you exaggerate the ignorance of Italian art on the part of our forbears"; "you praise some collectors too highly," especially Morgan and John Quinn; "your memory of Yeats is suspect"; Pach has created a "permanent record and source-book" full of "wisdom." 14 pp

From Van Wyck Brooks, Westport, Conn., November 15, 1938: Grants permission to quote From his previous letter; Pach's book is "tremendously important." 2 pp

From Kenneth Hayes Miller, New York, N.Y., November 15, 1938: Congratulations on -- Queer Thing, Painting -- ; the book has "permanent value." 1 p

From Louis Lombard, [place unknown], France, November 23, 1938: Thanks Pach for his letters; describes the horrors of life as a soldier; he reads Whitman to maintain good spirits. 4 pp., in French

From Henry Watson Kent, Metropolitan Museum of Art, New York, N.Y., December 9, 1938: Advises Pach to distribute new cards to schools. 1 p. + 1 p. enclosure (suggested text for announcement of Pach's availability as a lecturer)

From W.S. Rusk, Wells College, Aurora-on-Cayuga, N.Y., December 21, 1938: "Thank you for the conference the other day in which we discussed the artist and the art critic." 1 p

From G. Masolle, Evian, France, December 31, 1938: Thanks Pach for the extract From his book, which she translated immediately; it showed perfect understanding of Jean's character; -- The Prisoners of the World -- is impossible to find; Jean Cocteau has not published Jean's first essays or poems. 2 pp., in French

From Ernestine Ludolf, Florence, Italy, February 20, 1939: Is "grateful" for the "lovely tribute" to her brother, Egisto Fabbri, that appeared in Queer Thing, Painting; she and her brother were students of J. Alden Weir; Pissarro advised them to study the Old Masters; details of the sale of 12 Cézanne paintings From Egisto's collection; sending a privately printed memoir of her brother; invites Pach to call on her and various relatives when he is in Florence. 4 pp

From Simonne Maubert, Paris, France, April 5, 1939: Thanks Pach for sending his book; she was happy to recognize herself in one of the chapters; her English is improving and one day she may be able to read the entire book. 4 pp., in French.

To Magdalene Pach From Van Wyck Brooks, Westport, Conn., July 8, 1939: Is looking forward to the Pachs' visit. 2 pp

From Van Wyck Brooks, Westport, Conn., December 29, 1939: The book is a "glorious achievement... by far your best book"; it "brought back all my gratitude to you for all that you have taught me about art." 4 pp

From Daniel Gregory Mason, New York, N.Y., March 15, 1940: Thanks Pach for the "great pleasure and stimulus" of Ingres; "one grows to feel something of the affection, respect, and admiration for Ingres that you show the way to." 1 p

From Don F. Dickson, Director, Dickson Mound Museum, Lewistown, Ill., March 28, 1940: Sends photographs of pipes that Pach found interesting. 1 p. + enclosures (4 photographs of ceremonial pipes: "Front view of a human effigy tobacco pipe From the Great Temple Mound in Oklahoma, Ceremonial type"; "Front view. Ceremonial type"; "Side view. Ceremonial type"; and "Back view of human effigy tobacco pipe From the Great Temple Mound in Oklahoma, Ceremonial type")

From Bernard Berenson, Florence, Italy, March 30, 1940: Was interested in the Ohio mound builders in his youth; "my writing days are over I fear, for one thing I feel afraid I have nothing to say that would not sound commonplace"; "too much absorbed" in what is going on in this part of the world." 8 pp

From Ernestine Ludolf, Florence, Italy, April 18, 1940: Ingres is "splendid"; sympathizes with the "difficulties" Pach encountered when organizing the World's Fair art exhibition. 6 pp

From Van Wyck Brooks, Boothbay Harbor, Maine, September 2, 1940: Pach has found "the only paragraph in the whole book (which after a dozen rewritings) left me unsatisfied." Postal card

From G. Masolle, Evian, France, October 14, 1940: Is happy that Jean's memoirs are in Pach's hands; awaits English victory; the French are suffering, but she is confident the country will survive. 2 pp., in French

From Van Wyck Brooks, Westport, Conn., April 9, 1941: "We missed you at the John Sloan dinner"; he won't write any more about expatriates. 3 pp

From Alfred Vance Churchill, Northampton, Mass., April 21, 1941: Congratulations on Ingres; recalls Pach's help in acquiring important paintings for the Smith College Museum of Art. 3 pp

From Art Young, New York, N.Y., May 9, 1941: Congratulations on -- Masterpieces of Art -- . 1 p., illustrated with drawing of a stooped man walking with a cane

From Hugo Robus, New York, N.Y., June 13, 1941: Was pleased by Pach's letter praising his marble at the Museum of Modern Art; Alfred Barr was "delighted" by Pach's comments; there is also a Robus bronze at the Museum of Modern Art; "I never dated my work and so the actual year of production is a pretty hazy matter." 2 pp

From Ruth A. Wilmot, Oak Bluffs, Mass., [postmarked] August 2, 1941: She and Donald are enjoying their vacation. Picture postcard ("Yacht Club and Harbor, Edgartown, Mass.")

From Kenneth Hayes Miller, New York, N.Y., August 7, 1941: Comments on paintings From the Louvre shown at the M[etropolitan] M[useum of Art]; he doesn't enjoy the country as Pach seems to. 2 pp

From Bernard Berenson, Florence, Italy, August 30, 1941: "I believe the entire Mississippi basin to its utmost reaches was flooded with Aztec influences"; requests photograph of a piece Pach mentioned seeing in Columbus, Ohio; "French art will rise again"; recalls his first acquaintance with Poussin's work. 2 pp

From Van Wyck Brooks, Westport, Conn., September 4, 1941: "I am reacting against this whole conception of 'mankind' as 'rabble' "; his new book will expound on this. 2 pp

From Charles Cunningham, Assistant Curator of Paintings, Museum of Fine Arts, Boston, Mass., September 11, 1941: Requests additional information about Pach's Delacroix painting; shares information on works in the collection of George Reinhardt, Winterthur, and the Metropolitan. 2 pp

From Charles Cunningham, Assistant Curator of Paintings, Museum of Fine Arts, Boston, Mass., October 15, 1941: Sends summary of information compiled when cataloging the Museum's version of Delacroix's -- Christ on the Sea of Genesareth -- . 1 p. + 4 pp. enclosure (notes on 6 versions of the painting)

From William Mills Ivins, New York, N.Y., [postmarked] January 27, 1942: Thanks for his "warm approval of the Bulletin article." 1 p

From Van Wyck Brooks, Norwalk, Conn., [postmarked] February 3, 1942: Thanks for sending the brochure about Quidor. Picture postcard ("The Dance of Death. The Ploughman Woodcut by Hans Holbein the Younger. German, 1497-1543")

From Van Wyck Brooks, Westport, Conn., [postmarked] February 19, 1942: Thanks for the Quidor catalog; saw the show yesterday; "he's really a discovery." Picture postcard ("Saint George and the Dragon. Woodcut by Lucas Cranach the Elder. German, 1472-1553")

From Van Wyck Brooks, Westport, Conn., [postmarked] February 27, 1942: "What you say about the book makes me regret all the more that it has to be postponed." Picture postcard ("Rembrandt, Dutch, 1606-1669. Portrait of the Artist"), with annotation by Pach: "Book on American Art proposed to the American Philosophical Society."

From Fred M. Stein and Arthur Strasser, New York, N.Y., March 21, 1942: In "recognition of what you have meant to the [Schilling] Fund... [we] take great pleasure in sending you the enclosed." 2 pp

From M.M. Pochapin, Music Appreciation Record Corporation, New York, N.Y., May 6, 1942: Please sign and return a copy of the agreement. 1 p. + 1 p. enclosure (May 6, 1942, From M.M. Pochapin, New York, N.Y. Pach has been selected a Judge for the "Art Appreciation Movement. In this capacity you are to pass on the true value of paintings submitted.").

to Magdalene Pach From M.M. Pochapin, Managing Director, Art Appreciation Movement, New York, N.Y., May 13, 1942: Requests that she read the organization's pamphlet about the Art Appreciation Movement and complete the "lengthy Qualification Form"; "great artists will make their paintings available at these small Public Service prices." 2 pp

From M.I. Block, Art Appreciation Movement, New York, N.Y., May 27, 1942: Receipt for 5 oil paintings consigned. 1 p

From Reginald Poland, Director, Fine Arts Gallery, San Diego, Calif., 5 June 25, 1942: "We realize increasingly that, in the Caravaggio, we have a magnificent work of art"; "we have just acquired a glorious Titian Madonna, painted about 1514-- very strongly Giorgionesque." 1 p

From Van Wyck Brooks, Westport, Conn., [postmarked] July 8, 1942: "What happens to them [artists] when they are 'above' politics? Don't they in the end lead themselves to the politics that destroy them?" Postal card + clipping ("Guest Artists," Time)

From Van Wyck Brooks, Westport, Conn., July 15, 1942: "I won't agree with you about artists and politics"; "a certain breadth of interests and sympathy does not drain one's energy." 2 pp

From Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., July 17, 1942: Discusses insurance and storage arrangements for Pach's property while he is in Mexico. 2 pp

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., July 17, 1942: Agrees to publish his article on Ingres. 1 p

From Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., July 20, 1942: Sends "lost policy releases" and policy numbers. 1 p

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., August 4, 1942: Pach's article on Ingres will appear in the October issue. 1 p

From Gilbert R. Gabriel, Schneider-Gabriel Galleries, Inc., New York, N.Y., August 10, 1942: "Your article on the Ingres is a masterpiece"; discusses the price of a painting of Trinity Church. 2 pp. + enclosures (12 business cards and 4 handwriten notes containing names, addresses, and telephone numbers of Mexican acquaintances)

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., August 19, 1942: Pach's piece on Ingres will be the lead article; accepts his proposal for an article on the "Mexican primitive Bustos." 1 p

From Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., September 3, 1942: Discusses overpayment of insurance premium. 1 p. + 4 enclosures (3 invoices and inventory of artwork in storage). [postmarked September 3, 1942] From John Strasser, New York, N.Y. 4218 703-705 September 4, 1942: Discusses "early Hispano-Mexican" Madonna; "Rosenberg has an attractive show." 3 pp

From John Sloan, Santa Fe, N.Mex., September 8, 1942: Is home From the hospital; his exhibition was in Chicago, Denver, and Santa Fe, and will go to Albuquerque next and then Fort Worth; received "enthusiastic notices"; sold 2 pieces. 2 pp

From Jacob M. Heimann, Beverly Hills, Calif., September 14, 1942: "I greatly appreciate the idea of making an exhibition in Mexico"; inquires about lighting and dimensions of the galleries; "the lack of interest and the ignorance as far as art is concerned here, is unbelievable." 1 p. + 1 p. enclosure (lists of numbers)

From Lasar Kipnis, New York, N.Y., September 18, 1942: "Considering risk expenses at present offer seven and half percent for next three years." 1 p

From Lasar Kipnis, New York, N.Y., September 21, 1942: Expenses will be high; recommends he establish a relationship with Mizracchi [ sic] before arriving in New York; show him some "really valuable" paintings as well as "less expensive works on the sale of which we may really count"; suggests a selection of "object d'art" From A la Vieille Russie; November is the best time for an exhibition in Mexico. 3 pp

From John Strasser, New York, N.Y., September 25, 1942: Pyramid of the Sun, as it appears in the photograph, is "dazzling"; discusses his search for a job. 2 pp

From Lasar Kipnis, New York, N.Y., September 29, 1942: Proposed exhibition may receive the cooperation of the president of Mexico and the king of Rumania; "we must and shall have a first class show"; mentions several works he intends to include. 1 p

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., October 5, 1942: The editor of Cuadernos must insert a notice stating the article was written for publication in Art in America and appears simultaneously in translation. 1 p

From M.M. Pochapin, President, Art Movement, Inc., New York, N.Y., October 8, 1942: Is deciding whether to continue the Art Movement; Marsh resigned; "my enthusiasm has never waned"; Sloan remains involved; plans to market paintings through department stores; work by Walter and Magda Pach is being shown in Philadelphia and Atlanta. 2 pp

From Diego Rivera, [place unknown], October 13, 1942: He and the editors extend thanks and enclose payment. 1 p., in Spanish

From Adrian Bourcart, [place unknown], Mexico, October 21, 1942: Had the pleasure of attending Pach's lectures on art; requests clarification of true art versus false art and live art versus dead art. 4 pp., in French

From Robert Lebel, New York, N.Y., October 22, 1942: Saw Misrachi; likes [filmed twice] Pach's idea for an exhibit in Mexico; Marcel Duchamp and André Breton organized a surrealist exhibition; Guggenheim was inaugurated with an ingenious exhibition; the Dutch show at Duveen's is successful; Rosenberg has a Léger show and is preparing a Cézanne exhibit; Rosenberg is interested in Marsden Hartley; Chagall, now an official member of the surrealist group, is exhibiting at Pierre Matisse; Goetz may exhibit Paul Klee. 1 p., in French

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., October 22, 1942: "I was delighted with your article on Bustos"; "unless the article appears in Art in America prior to publication elsewhere, we cannot print it." 2 pp

From John Strasser, New York, N.Y., November 13, 1942: Comments on Mexico painted by Velasco. 2 pp

From Marjorie D. Mathias, College Art Association of America, New York, N.Y., November 14, 1942: The State University at Bowling Green, Ohio, has inquired about engaging Pach for a lecture. 1 p

From Henry Allen Moe, Committee for Inter-American Artistic and Intellectual Relations, New York, N.Y., November 16, 1942: "We want our grantees to be able to do what they ought to do and live as they ought to live"; Pach should let them know his anticipated expenses and how much time he needs in Mexico. 1 p

From Carlos Merida, Denton, Tex., [postmarked] November 16, 1942: Air time was insufficient to broadcast Pach's full text: note inscribed on Section of Plastic Arts, Department of Fine Arts, Secretary of Public Education, "No. 202 Radio Bulletin for Saturday, November 21, 1942" (transcript of a feature story on José Hermenegildo Bustos abstracted From an article by Walter Pach). 4 pp., in Spanish

From Van Wyck Brooks, Westport, Conn., November 18, 1942: With the help of Eleanor and Kenyon, he has managed to read some of the Cuadernos Americanos Pach sent; "I like immensely its tone and elevated feeling"; "I envy your meetings with Diego Rivera, who has always seemed to me a very great painter"; is "shocked" that Lionello Venturi and William G. Constable don't share his opinion of Rivera; a "complicated family problem" keeps them From traveling; is working on -- The Age of Washington Irving -- . 4 pp

From Stephen Duggan, Director, Institute of International Education, New York, N.Y., November 30, 1942: Is glad that Pach's lectures were well received; hopes Pach can remain in Mexico. 1 p

From Alfonso Reyes, Colegio de Mexico, Mexico City, Mexico, December 3, 1942: He is honored by Van Wyck Brooks's words and wants to correspond with him. 1 p., in Spanish

From Stephen Duggan, Director, Institute of International Education, New York, N.Y., December 7, 1942: Is "delighted to learn that Pach will receive a grant through Mr. Moe and 'his Committee.' " 1 p

From Lasar Kipnis, New York, N.Y., December 8, 1942: "Just returned From Johns Hopkins Hospital." Telegram

From José Clemente Orozco, [place unknown], December 10, 1942: Modern art in Mexico faces a powerful reaction that aims to end 20 years of academic work; looks forward to visiting Pach soon. 1 p., in Spanish

From Henry Allen Moe, New York, N.Y., December 11, 1942: "Your letter received but no word From the university." Telegram

From A.S. Baylinson, New York, N.Y., December 18, 1942: He and Constant were rejected by the jury of the "so called Victory exhibition"; reports the death of Michael Rosenthal. 2 pp

From George Constant, New York, N.Y., December 20, 1942: Is glad that Pach, a "fine painter," now has time to paint; the Artists for Victory exhibition at the Metropolitan is "lousy." 2 pp

From Henry Allen Moe, Committee for Inter-American Artistic and Intellectual Relations, New York, N.Y., December 21, 1942: Confirms that Pach is to receive a grant; a final report is due upon return. 1 p. + 2 enclosures (1 sheet of figures titled "Mex--New York" and copy of 1 p. letter to Rodulfo Brito Foucher, Rector, National University of Mexico, From Henry Allen Moe, New York, N.Y., announcing grant to the University for Pach's lectures)

From Pedro Henríquez Ureña, Buenos Aires, Argentina 4218 764-765 December 22, 1942: Sent photographs of the work of Attilio Rossi; Argentine critic, Julio Rinaldini, will send books. 1 p

From Lasar Kipnis, New York, N.Y., December 29, 1942: Asks Pach to write an article on new acquisitions by Mr. Poland's Museum; wants Pach lecture in San Diego; when a new catalog of the permanent collection is published, "we are sure the work will be entrusted to you." 2 pp

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., December 29, 1942: Robert Montenegro's book impressed him; hopes Montenegro will write on Estrada for Art in America; requests Pach's help in arranging it. 1 p

From Harry Miller Lydenberg, [place unknown], Mexico, December 29, 1942: Discusses origin of the phrase "biblia a-biblia." 1 p

From Marcel Duchamp, New York, N.Y., January 3, 1943: Fearing visa problems, he has decided not to go to Mexico; made several "suitcases"; the opening at Peggy's gallery was a big success; plans a surrealist show with Schiaparelli and Breton; Reynolds, just arrived in Madrid, requested that Pach extend greetings to Frida and Diego. 2 pp., in French

From Arthur Strasser, New York, N.Y., January 7, 1943: Congratulations on receiving a grant; "it is not to the Schilling Fund but to you personally, Walter, that our gift to the Metropolitan was the beginning of the belated recognition of Flannagan's genius"; Fred Stein would appreciate suggestions for the Schilling Fund award. 2 pp

From John Rewald, Weyhe Gallery, New York, N.Y., January 13, 1943: Is glad Pach liked his article on Bonnard; will send Pach a copy of his new book on Seurat. 2 pp., with postscript From Laura Canade: New York Public Library has purchased Pach's Self-Portrait

From John Strasser, New York, N.Y., January 16, 1943: "People who might have enjoyed the 'Victory' show 25 or 30 years back now unanimously dislike that accumulation of junk"; "read of your and Rivera's project for spreading Flannagan's reputation." 3 pp

From Van Wyck Brooks, New York, N.Y., January 17, 1943: Saw Jacques Villon's "grand portrait" of Pach at the "Modern Museum." Picture postcard ("Illuminated initial From a South Italian ms. Valerius Maximus written about 1450")

From M.L. Stafford, American Consul, American Embassy, Mexico, January 22, 1943: Pach's registration of American citizenship was approved. 1 p

From Harry Miller Lydenberg, Biblioteca Benjamin Franklin, [place unknown], Mexico, January 23, 1943: Is sending a check in appreciation of the time and interest Pach contributed to their exhibition; wants to publish Pach's tribute to Bustos. 1 p

From Stephen Duggan, Director, Institute of International Education, New York, N.Y., February 3, 1943: Pach's observation about Mexican education interested him; he is "well informed concerning the anti-American attitude" in Mexico. 1 p

From Jean Lipman, Editor, -- Art in America -- , Cannondale, Conn., February 15, 1943: Thanks Pach for arranging to have Fernando Gambo write an article on Estrada; Pach's writings have stimulated interest in Mexican art; his review will not be published due to "paper restrictions." 1 p

From Van Wyck Brooks, New York, N.Y., March 9, 1943: Has "rediscovered" New York by living in the city temporarily; "I am especially happy to have got to know some of the new young writers"; wants more news of Diego Rivera. 3 pp

From Robert Lebel, New York, N.Y., March 15, 1943: Agrees with Pach that the Metropolitan's La Victoire exhibit resembles a Paris Salon of 30 years ago with the addition of a few abstract pieces; an exhibition commemorating the 30th anniversary of the Armory Show is possible; saw one of Pach's paintings at the Art Students League; Pierre Matisse exhibited his father's work; Matta and Miro made Pierre Matisse's last show, "Art and the War," interesting; the Mexican Room at the Museum of Natural History is being reorganized; recommends Charles Sterling's Gazette des Beaux-Arts article on French primitives; asks if Pach has seen VVV, the review headed by André Breton; no longer wishes to be involved in art sales. 2 pp., in French

From Georges Wildenstein, Director, Gazette des Beaux-Arts, [filmed twice] New York, N.Y., March 26, 1943: Wants to publish Pach's article; hopes he will agree to some minor changes. 1 p., in French

From Lyman Bryson, Conference on Science, Philosophy and Religion, New York, N.Y., March 26, 1943: Requests comments on a paper by Professor William Scott, Randolph-Macon Women's College. 1 p. + 2 pp. enclosure ("Conference on Science, Philosophy and Religion, Reply to Questionnaire of December 7, 1942 by Walter Pach")

From Paul J. Sachs, Fogg Art Museum, Harvard University, Cambridge, Mass., April 8, 1943: Grenville L. Winthrop collection has been bequeathed to the Fogg Museum; wartime conditions have caused universities to curtail their art departments; "it is extremely important that able and understanding North Americans, such as yourself... should be our cultural ambassadors in Latin America"; suggests summer programs in the United States where Pach might teach; tells Pach to add his name to the speakers list maintained by the Coordinator of Inter-American Affairs. 2 pp

From William N. Eisendrath Jr., Chairman, Exhibition Committee, Arts Club of Chicago, Chicago, Ill., April 26, 1943: Requests assistance in selecting works for a Rivera retrospective planned for February 1944. 1 p. + 1 p. enclosure (list of works by Rivera, "suggested by Mrs. Goodspeed, April 26, 1943," with notes by Walter Pach)

From Annette B. Cottrell, Director, Speakers Service Section, Coordinator of Inter-American Affairs, Washington, D.C., April 28, 1943: Thanks Pach for his "interest in inter-American affairs and desire to collaborate with the work of this office as a speaker." 1 p

From Robert Chester Smith, Director, Hispanic Foundation, Library of Congress, Washington, D.C., April 30, 1943: Considers Pach "an historic figure, one of the first to call attention to the development of Mexican art"; this is not the right time for Pach's proposed publications and translations. 1 p

From Harry Miller Lydenberg, [place unknown], Mexico, May 8, 1943: Pach's "review of the Low study on the place of the Museum in our world today" is "admirable"; politically or economically motivated explanations of art will "fail"; he is less "pessimistic" than Pach on the role of public funding; public libraries are a good example. 2 pp

From Annette B. Cottrell, Director, Speakers Service Section, Coordinater of Inter-American Affairs, Washington, D.C., May 25, 1943: Pach will be included among the organization's available speakers. 1 p

From Van Wyck Brooks, Westport, Conn., May 28, 1943: El Hijo Prodigo and Cuadernos are "typographically delightful"; wishes he knew Spanish; would like to be able to contribute articles to Mexican periodicals; John Sloan is reported to be "very frail." 4 pp

From William N. Eisendrath Jr., Chairman, Exhibition Committee, Arts Club of Chicago, Chicago, Ill., June 4, 1943: Need to figure costs for Rivera exhibition before continuing negotiations for loans; Pach must supply further information. 1 p. + 2 pp. enclosure ("List of Rivera Paintings," June 3, 1943)

From Elias Lieberman, Associate Superintendent, Board of Education of the City of New York, Brooklyn, N.Y., June 7, 1943: Pach will be granted a "substitute license" to teach Spanish in the New York public schools. 1 p

From Raymond B. Humphrey, Director, Brown, Crosby & Co., Inc., New York, N.Y., June 18, 1943: Instructions for renewing war damage and fire insurance policies. 1 p

From James A. Porter, Washington, D.C., June 19, 1943: Thanks Pach for the "remarkable" introduction and subtitle suggestions for his book. 1 p.

to Maurice Block, Curator, Henry E. Huntington Art Gallery, San Marino, Calif., From Marjorie S. (Mrs. A.R.) Waybur, Kingsley Art Club, Sacramento, Calif.,June 20, 1943: Inquires about Pach's availability to lecture. 2 pp

From Ignacio Marquina, National Institute of Archaeology and History, Mexico City, Mexico., June 26, 1943: Gives Pach permission to export the 5 archaeological objects specified on the list attached. 1 p. + 1 p. enclosure (copy of form completed by Pach), in Spanish

From Frederick Lewis Allen, -- Harper's -- Magazine, New York, N.Y., August 27, 1943: Rejects 2 articles, "The Negro's Place" and "Your Ancestors of the Soil." 2 pp

From John Sloan, Santa Fe, N.Mex., August 31, 1943: Is recovering From surgery; feeling better, but still unable to travel. 1 p

From Charles A. Thompson, Department of State, Washington, D.C., September 7, 1943: Dr. Moe will contact Pach about writing a book, in Spanish, about "art resources of the United States." 1 p

From Ernst E. Clad, New York, N.Y., September 9, 1943: Outlines Pach's finances; advises specific investments. 3 pp. + 1 p. enclosure (copy of September 9, 1943 letter From Walter Pach to H.C. Wainwright & Co. authorizing sale of stocks)

From Laurence Duggan, Adviser on Political Relations, Department of State, Washington, D.C., September 17, 1943: Cannot assist with funding or promise to purchase his book; Dr. Moe is attempting to finance the project; "I think the preparation of the book would be a far more useful contribution to inter-American understanding than your acting as an unofficial Mexican cultural representative in the United States." 1 p

From René d'Harnoncourt, United States Department of the Interior, Indian Arts and Crafts Board, Washington, D.C., September 29, 1943: Read "Ancestors of the Soil" and was "impressed by the strength and depth of its argument"; "widest dissemination of this theme could be one of the strongest factors in building up Inter-American relations." 1 p

From Charles A. Thompson, Department of State, Washington, D.C. October 4, 1943: Is returning "Ancestors of the Soil"; "Mr. d'Harnoncourt expresses great interest." 1 p

From Eugenio de Anzorena, Secretary, Mexican Embassy, Washington, D.C., October 7, 1943: Brought Pach's letter to the attention of the minister; returns the enclosures. 1 p. + enclosures (letter, June 9, 1943, to Ezequiel Padella, Secretary of Exterior Relations, From Iñes Amor, Francesco Orozco Muñoz, Eduardo Villaseñor, Diego Rivera, José Clemente Orozco, Alfonso Noriega Jr., and Octavio G. Barreda, Mexico: endorses Pach as a representative of Mexican culture, 5 pp., in Spanish; and letter, June 28, 1943, to Iñes Amor, Francesco Orozco Muñoz, Eduardo Villaseñor, Diego Rivera, José Clemente Orozco, Alfonso Noriega Jr., and Octavio G. Barreda, From Ezequiel Padella, Mexico: recommendation of Pach, 1 p., in Spanish)

To Springmeier Shipping Co from J.O. Ellis, New York, N.Y., October 14, 1943: Notification of claim for items missing From shipment of Pach's possessions. 2 pp

From Houston Peterson, Head, Division of Social Philosophy, Cooper Union, New York, N.Y., October 15, 1943: Pach is "definitely on our list of favored speakers" for the second semester. 1 p. + enclosure (brochure for "Cooper Union Forum, first half 1943-1944")

From John Sloan, Santa Fe, N.Mex., December 30, 1943: Went out to his old house, "Sinagua," which reminds him of Dolly; still recuperating From surgery; needs to clean up his Chelsea studio; it is unlikely he can get to New York; read Pach's article on the "Eight"; the name was invented by an Evening Sun writer; "the 'chosen' of Robert Henri we were, not at all a mutual admiration group as I recall the time." 3 pp

From Art Young, New York, N.Y., [postmarked] December 30, 1943: New Year's greetings. Picture postcard ("28th Issue--Art Young's Annual Hello")

From Donald Carlisle Greason, Deerfield, Mass., April 8, 1944: The enclosed letter was sent in a "weak moment"; "is it not time you took up the mightier sword again; or have your ideas changed?" 1 p. + 1 p. enclosure (letter, April 6, 1944, to Hugo Gellert and Gentlemen of the [Exhibition and Competition] Committee, Artists for Victory, Inc., From Donald Carlisle Greason, Deerfield, Mass.: declines invitation to participate in the Artists for Victory exhibition; "I shyly deplore this undignified business of artists thumbing rides of the troop trains, of Patriotism for Publicity--and prizes!"; "did not Pach write the obituary of this [prizes] in his Ananias?")

From Henry Watson Kent, New York, N.Y., November 30, 1944: Hopes his notes on Pach's manuscript will be of use and interest. 1 p. + 7 pp. enclosure (notes, comments, and suggestions relating to Pach's manuscript)

From Ernst E. Clad, New York, N.Y., December 11, 1944: Information about Pach's 1944 taxes. 1 p. + enclosures (completed "Form for Computing Capital Gains and Losses," 1 p., and printed instructions, 5 pp.)

From George Ferdinand Of, [place unknown] Read both of Pach's articles and is returning one; "you must take me to see that charming Miss Roger's paintings."

From George Ferdinand Of, [place unknown], December 28, 1944: Read both of Pach's articles and is returning one; "you must take me to see that charming Miss Roger's paintings." Picture postcard ("'Chapeau de Faille' by Rubens")

From Donald Carlisle Greason, Deerfield, Mass., February 9, 1945: "I thought my annual letter of 'regrets' to the 'Artists for Defeat' might amuse you"; quotes remarks by Sinclair Lewis made when declining the Pulitzer Prize. 1 p

From Rufus E. Clement, Atlanta University, Atlanta, Ga., April 11, 1945: Sends photographs taken at the "art show"; mentions recent reviews of their exhibition. 1 p. + 2 photographs (Pach viewing the exhibition, and Pach speaking in the gallery)

From Viking Press, New York, N.Y., April 30, 1945: Royalty statement for Masters of Modern Art. 1 p

From Harper & Brothers Publishers, New York, N.Y., June 30, 1945: Royalty statement for Ingres and -- Queer Thing, Painting -- . 1 p

From Jacques Lipchitz, Paris, France, July 31, 1945: [Illegible due to show-through]. 2 pp., in French

From Bernard Berenson, Florence, Italy, November 29, 1945: May continue work begun several years earlier on "Aesthetics and History"; working on "Decline and Recovery in the Figure Arts"; when in "hiding" he kept a diary, which he may publish. 2 pp

From Fred M. Stein and Arthur Strasser, Trustees of the Schilling Fund, New York, N.Y., February 8, 1946: Thank Pach for his work on behalf of the Schilling Fund; offer him a salary to continue as an adviser. 1 p., with annotation by Pach (on reverse), February 10, 1946, draft letter of acceptance, 1 p

From Van Wyck Brooks, Westport, Conn., June 23, 1946: Eleanor's leg had to be amputated; they will move to an apartment in New York in October. 2 pp

From Van Wyck Brooks, Westport, Conn., August 26, 1946: "Eleanor's condition has taken a serious turn for the worse, and I fear it is only a question now of a very few weeks." 1 p

From Jacques Lipchitz, Paris, France, November 19, 1946: New York trip was postponed; describes a wonderful exhibit at Delacroix's studio; occasionally sees Jacques Villon, who has a painting in the Salon d'Automne. 2 pp., in French

From Bernard Berenson, Florence, Italy, January 10, 1947: Pach's son and daughter-in-law visited him; publishers are not interested in his diary; Aesthetics and History will have to go to a university press. 2 pp

From Irma L. Richter, New York, N.Y., March 27, 1947: Is returning Pach's copy of ABC on Painting by Severini; "I wonder whether you have tried to follow his advice regarding technique." 1 p

From James Daugherty, Westport, Conn. [postmarked, March April 22, 1947]: Saw Pach's exhibition at Laurel Gallery; "your work has grown simpler and broader and more unified." 1 p

From Octavio G. Barreda, [place unknown], Mexico, October 9, 1947: Thought of Pach when visiting galleries in Italy and Paris; Paris, Rome, and Florence seem to have recovered From the war, but it wasn't the same without the old faces; in both art and literature it is the end of an era; young artists and writers do not know their message; family news; will visit New York and Havana. 4 pp., in Spanish

From Kurt Wolff, Pantheon Books, New York, N.Y., November 5, 1947: Asks Pach to accept all changes made by the editor. 1 p

From Kurt Wolff, Pantheon Books, New York, N.Y., December 4, 1947: Needs to clarify certain points; Pach must bear the cost of retyping. 1 p

From Kurt Wolff, Pantheon Books, New York, N.Y., January 29, 1948: The final pages of his manuscript must be condensed. 1 p.

To Kurt Wolff From Walter Pach, New York, N.Y., January 30, 1948: They never discussed, nor did he authorize, changes to the final pages of his book. 1 p

From Henry Watson Kent, New York, N.Y., February 21, 1948: Remarks on Pach's complimentary statement about him. 1 p

From Margarita Nelkin, Paris, France, September 1, 1948: Has heard From Pach through letters to Mlle. Burchardt; thanks Pach for supporting Spanish Republicans; is going to Rome for the Congres Interparlementaire and then to Brussels and Amsterdam to give a conference on Mexican art; in November she will leave for Mexico. 1 p., in French

From George Ferdinand Of, New York, N.Y., September 5, 1948: Thanks Pach for bringing pictures of his collection and explaining it personally; Pach has "persuaded" him to paint again. 3 pp

From Francis Hackett, Bethel, Conn., November 8, 1948: Pach is one of the "Old Guard"; his book, -- American Rainbow -- , will include "a lot in it about John Quinn"; his wife recently published a volume on Swedenborg. 2 pp

From Van Wyck Brooks, Cornwell, Conn., December 2, 1948: Thanks for the inscribed copy of his "enchanting" new book; glad Pach met Francis Hackett. 3 pp

From Pantheon Books, Inc., New York, N.Y., February 1, 1949: Royalty statement. 1 p

From Pantheon Books, Inc., New York, N.Y., July 1, 1949: Royalty statement. 1 p

From Pantheon Books, Inc., New York, N.Y., August 1, 1949: Royalty statement for The Art Museum in America. 1 p

From Anne Chase (Mrs. Arthur White) Sullivan, Glen Head, N.Y., November 3, 1949: Pach's lecture was "just right as a preliminary to the exhibition"; her father would have approved. 2 pp

From Mary Socard, Paris, France, December 13, 1949: Pach's young friend is making good progress learning French; discusses the student's appreciation of art and philosophy. 4 pp., in French

From Jimmy Stern, New York, N.Y., December 23, 1949: Even with "favorable 'press'," his book has not sold well; is "discouraged"; appreciated Pach's note. 1 p

From Pantheon Books, Inc., New York, N.Y., February 1, 1950: Royalty statement. 1 p

From François Puaux, Acting Consul General of France, New York, N.Y., March 7, 1950: Congratulates Pach on being awarded the cross of Chevalier of the Legion of Honor "for the services you have always rendered to the French cause." 1 p

to John Collier From Walter Pach, New York, N.Y., March 11, 1950: Hopes Professor Collier will want the thoughts expressed in Pach's manuscript "given to a wider audience." 1 p., annotated with reply, May 30, 1950: "This has been good reading for me!"

From Meyer Schapiro, Columbia University, New York, N.Y., [postmarked] March 27, 1950: "Comments on the first draft of W. P., Renoir." 3 pp

to Meyer Schapiro From Walter Pach, New York, N.Y., March 27, 1950: Responses to "Comments on the first draft of W.P., Renoir." 4 pp. draft + 4 pp. final copy

From Charles E. Slatkin, Art Book Guild of America, Inc., New York, N.Y., March 28, 1950: Invites Pach to become a member of the Art Book Guild's Advisory Board. 1 p

From Charles E. Slatkin, Art Book Guild of America, Inc., New York, N.Y., April 17, 1950: Acknowledges Pach's acceptance of appointment to the Advisory Board. 1 p

From Atlantic Monthly Company, Boston, Mass., April 20, 1950: "Assignment of Copyright" to Atlantic Monthly Corporation of Pach's article, "Art Must Be Modern." 1 p

From W.G. Constable, Department of Paintings, Museum of Fine Arts, Boston, Mass., May 30, 1950: Thanks Pach for assistance in securing the Portrait of Madame Villchelis for the museum; agrees that attribution to Gros is most likely; reports the death of Ned Holmes. 2 pp

From Mary Socard, Paris, France, June 20, 1950: The young student has left; he would have benefited From a longer stay but at least had an introduction to European culture; sympathizes with Pach's disappointment over having his prologue replaced by an analysis of painting construction. 3 pp., in French

From Pantheon Books, Inc., New York, N.Y., August 1, 1950: Royalty statement for -- The Art Museum in America -- . 2 pp

From Nanny (Mrs. Sigmund) Pollitzer, New York, N.Y., November 8, 1950: Sorry to learn of Magda's illness. 2 pp

From Nanny (Mrs. Sigmund) Pollitzer, New York, N.Y., November 11, 1950: Extends her sympathy; will try to attend the service. 2 pp

From Eufrosia A.W. Tucker, New York, N.Y., November 11, 1950: Sympathy on the death of Mrs. Pach. 2 pp

From Sarah d'Harnoncourt, New York, N.Y., November 13, 1950: Sympathy on the death of Mrs. Pach. 1 p

From Edith R. Abbot, New York, N.Y., November 13, 1950: Sympathy on the death of Mrs. Pach. 2 pp

From Fanny and Ralph Ellison, New York, N.Y., November 14, 1950: Sympathy on the death of Mrs. Pach. 1 p

From Robert L. Duffus, Westport, Conn., November 15, 1950: Sympathy on the death of Mrs. Pach. 1 p

From Roland Balay, New York, N.Y., November 20, 1950: Offers condolences on the death of Mrs. Pach. 1 p., in French

From Bernard Berenson, Florence, Italy, September 23, 1951: Congratulates Pach on his recent marriage. 2 pp

From Mutual Benefit Health and Accident Association, New York, N.Y., [postmarked] November 23, 1951: "Official Receipt for Premium Due." Postal card

From [signature illegible], Athens, Greece, December 24, 1951: Carouzos will select photographs of the subjects that interest Pach; wants to see photographs of Pach's latest paintings. 4 pp

From Jacques Lipchitz, New York, N.Y., January 12, 1952: Pach is right that endings offer new beginnings; predicts that Pach will resume work soon. 1 p., in French

From Rufino Tamayo, [place unknown], Mexico, January 22, 1952: Appreciates Pach's stimulating critique; expects to spend the next year on a mural for the Palace of Fine Arts; congratulates Pach on his marriage. 2 pp., in Spanish

From Bernard Berenson, Ischia, Italy, May 29, 1952: "My indignation over distorted, abstract, non-representational art is that it can lead nowhere." 2 pp

From George Ferdinand Of, [place unknown], June 19, 1952: The Schilling Fund award is an "honor" he wishes to decline without offending anyone. Picture postcard ("Cézanne. 'Urtiel des Paris'")

From U.S. Treasury Department, Internal Revenue Service, New York, N.Y., August 8, 1952: "Adjustment of tax liability" and audit for calendar year 1950. 1 p. + enclosures (1 p. "Statement of Income Tax Due," and 4 pp. report)

From Bernard Berenson, [place illegible], September 23, 1952: Agrees with most of Pach's letter to the New York Times; "feeling for art is of the few and understanding for even fewer." 2 pp

From André Masson, Aix-en-Provence, France, May 2, 1953: Was considering canceling his New York exhibit before receiving Pach's encouraging and kind letter; hopes they will meet. 1 p., in French

From Bernard Berenson, Florence, Italy, March 17, 1954: Comments on Pach's "poem to Greek art"; is working on a new edition of Italian Paintings; sends an article he wrote on Picasso. 2 pp

From George Ferdinand Of, Rome, Italy. Is in Rome; heading for Naples, [undated (prior to April 18, 1954)]: Picture postcard ("Roma-Foro Romano, veduto del Campidoglio")

From George Ferdinand Of, Padua, Italy, April 18, 1954: Saw Giottos; visited Ravenna, Naples, and Pompeii. Picture postcard ("Padova-Monumento al Generale Gattamelata")

From Bernard Berenson, Florence, Italy, April 25, 1954: He still does not accept the Metropolitan Museum's Madonna as an Antonello; "I remain an optimist" that culture will once again become "genial, creative and human." 2 pp

From Hendrik Willem van Loon, Riverside, Conn., [1955]: He is much better; they have a house near the water where friends are welcome. 1 p., in Dutch

From Bernard Berenson, Florence, Italy, April 21, 1955: "I agree with all you write about the present state of art appreciation"; read the book about Sloan by Van Wyck Brooks; not impressed by Sloan's work; wonders how much Pach influenced Brooks. 2 pp

From William Mills Ivins, Woodbury, Conn., July 17, 1955: Was disappointed to have missed a visit by Pach and Brooks; is living a solitary and quiet life. 2 pp

From Jacques Lipchitz, Beach Haven, N.J., August 7, 1955: After reading Pach's article, he wants to read the book; he no longer appreciates Maillol's sculpture; discusses Renoir's strong judgments of other artists; although Epstein has reached a dead end in Paris, he is a good artist. 3 pp., in French

From Jacques Lipchitz, Beach Haven, N.J., August 15, 1955: Thanks Pach for sending Epstein's book; considers Epstein a good portrait painter but not such a good sculptor; discusses his theory that Jews need to assert their identity. 1 p., in French

From Alfred Russell, Paris, France, September 27, 1955: Thanks Pach for the award; the modern Italian painters he once admired no longer interest him; he finds the sculptors a "revelation"; his exhibition drew "brutal and barbaric insults"; Paris is "the pivot of the universe." 2 pp

From Hendrik Willem van Loon, Riverside, Conn., October 17, [1955?]: "My sincere congratulations upon having finished these miles of paint." 1 p., with illustrated envelope (sailboats) + illustrated card (landscape with windmills)

From Carl Sandburg, Flat Rock, N.C., March 27, 1956: "Values" Pach's letter and plans to affix it to his copy of Faure's History of Art. 1 p

From Germain Seligman, New York, N.Y., April 15, 1957: Ingres's -- Study for the Iliad -- is in the permanent collection of the Art Gallery of Toronto. 1 p. + enclosures (2 pp. description of -- Study for the Iliad -- [Apotheosis of Homer], photograph of -- Study for the Iliad -- , and 2 pp. [photocopies] From Exposition Ingres catalog, 1921)

From Martin Baldwin, Director, Art Gallery of Toronto, Toronto, Ontario, Canada, April 16, 1957: The gallery is conducting further research on Study for the Iliad; will share information when it becomes available. 1 p

From Lewis Mumford, Paris, France, April 27, 1957: Has reviewed his correspondence since 1920; Pach's letters are "real treasures" to be saved for historians; being in Paris made him recall Pach's "friendliness and hospitality in 1932"; has rediscovered Ingres now that his taste is mature. 2 pp

From Van Wyck Brooks, Bridgewater, Conn., January 4, 1958: Will study Howells' letters at the Harvard library; recommends novels by Howells. 2 pp

From Hans Christian, Rome, Italy, April 7, 1958: Is visiting Raymond and Ruth in Rome. Picture postcard ("Roma--Arco di Constantino"), in German
Collection Restrictions:
Use of original papers requires an appointment.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pachwalt2, Series 2
See more items in:
Walter Pach papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw999db4dbe-6c32-4d1e-bcea-c83f9210d3d2
EDAN-URL:
ead_component:sova-aaa-pachwalt2-ref33

Correspondence

Collection Creator:
Cunningham, Imogen, 1883-1976  Search this
Extent:
3.6 Linear feet ((Boxes 1-4))
Type:
Archival materials
Date:
1909-1991
undated
Scope and Contents note:
Correspondence found in this series is with both family members and business colleagues, reflecting both aspects of Cunningham's life.

See Appendix for a list of notable correspondents from Series 2.
Arrangement note:
Correspondence is arranged chronologically with undated correspondence at the beginning of the series, followed by dated correspondence.
Appendix: Notable Correspondents from Series 2:
The following provides a list of notable correspondents from Series 2: Correspondence, showing dates of correspondence. Entries marked with an asterisk (*) indicate letters written by Imogen Cunningham.

Missing Title

Al: Apr 21, 1969*

Al and Phil: Jul 07, 1968*; Jan 02, 1969*; Nov 29, 1969*

Alfred: Dec 28, 1968*; Jul 12, 1969*

Arvilla: Feb 22, 1953

Barbara and Dave: Jul 09, 1968*; May 19, 1971*

Becky: undated

Bess: Mar 19, 1969*

Betsey: Dec 05, 1954*

Betty: Nov 17, 1970*

Beverley: Jan 24, 1966*

Bill: May 08, 1973*

Boris: Aug 28, 1957*

Caroline: Apr 05, 1971*; Jun 28, 1971

Cathy: Jan 06, 1969*

Charis: May 10, 1976

David and Laura: Dec 28, 1974*

Dick: May 29, 1970*; Oct 16, 1970

Dick and Perry: Apr 05, 1975*

Dory and Paul: Sep 14, 1964*

Ed: Nov 19, 1968*; Mar 12, 1969*

Ellen: Dec 16, 1965*; Oct 30, 1974*

Elsa and Joe: undated

Ethel and Willard: Dec 01, 1953*

Evelyn: May 02, 1970

Florence: Mar 10, 1969

Frances: undated; Jul 12, 1966*

Frank: May 15, 1965*

Gael: Sep 02, 1971*

Helen: May 08, 1963*; Jun 02, 1965*; Dec 31, 1973*

Jan: Aug 03, 1974*

Jane and Steve: Jul 07, 1974*

Jean: Jan 06, 1969*; mentioned in letter dated Feb 07, 1969*

Jei?: May 03, 1961

Jim: May 29, 1974

John: Dec 25, 1971*; May 05, 1974

Jose: Jul 06, 1968*

Lato: Feb 17, 1965

Lilli ann: Nov 02, 1971*

Liz: Jan 08, 1965*;

Liz and Louis: Jan 12, 1972*

Liz and Peter: Dec 1951

Maggie: Jan 04, 1971

Margaret: Sep 06, 1964*; Feb 28, 1966*; Mar 04, 1966; Nov 12, 1968*; Feb 11, 1972*; Sep 12, 1973*

Mary: Apr 04, 1967*; Apr 15, 1967; Jun 19, 1967*; Nov 25, 1969; Apr 12, 1970; Aug 31, 1970*; Nov 08, 1970*; Apr 23, 1974; Jan 31, 1976

Mia: Oct 08, 1958*

Midge: Jun 14, 1967*

Mildred: Nov 12, 1965

Nancy: Oct 22, 1966*; Apr 03, 1971*

Neil: Feb 18, 1961*: Nov 17, 1960*; Apr 27, 1962*

Otto and Virika?: Jun 18, 1976

Pat (Goucher College): undated; May 15, 1956; Feb 06, 1964*

Patience: Nov 24, 1959*

Paul: Jun 06, 1970

Peg: Feb 15, 1966

Peggy: Aug 30, 1970*

Phil: Oct 07, 1961

Ruth: Mar 20, 1955*

Ruth (jewelry maker): Aug 10, 1967

Samuel: Aug 12, 1968*

Thur: Dec 15, 1956

Tina (Cunningham relative): Feb 08, 1974; Feb 19, 1974*

Trevor, Thomas, Allen and Stan: Apr 09, 1970*; Mar 28, 1974*

Trisha: [Dec 1973]

831 Photographic Gallery: Jan 15, 1971; Jan 26, 1971*; Apr 10, 1971; Apr 17, 1971*; Apr 11, 1972; May 02, 1972; May 22, 1972*; Jun 07, 1972*; Jul 05, 1972; Jul 11, 1972*; Feb 21, 1974; Mar 06, 1974*

Aalto, Alvar: Jun 08, 1962; Jun 16, 1962*; Jul 02, 1962; Aug 03, 1963*; Sep 9, 1963

Adams, Ansel and Virginia: mentioned in [undated] letter from Cunningham to an unidentified correspondent; undated; Mar 01, 1941; Aug 03, 1949; Mar 28, 1951; Apr 02, 1951 (letter from Minor White); Aug 04, 1952; Jan 10, 1963; Apr 04, 1963; Dec 22, 1963; Jan 03, 1964; Jan 22, 1964*; Jan 23, 1964; Jan 28, 1964*; Feb 07, 1964; Feb 10, 1964*; Feb 12, 1964; Mar 09, 1964*; Mar 18, 1964*; Mar 22, 1964; Mar 26, 1964; Mar 28, 1964*; Apr 09, 1964*; May 21, 1964; Sep 17, 1964*; Sep 18, 1964; Dec 09, 1964; Feb 12, 1965; Jan 12, 1966; Jan 24, 1967; [Apr 12, 1966]; Feb 09, 1967*; Feb 13, 1967; May 22, 1967; May 24, 1967; May 25, 1967; Jun 14, 1967; Aug 14, 1967*; May 05, 1968; Jun 10, 1968*; Jun 14, 1968; Jan 25, 1969; Mar 10, 1969; Jun 04, 1969; Jul 16, 1969*; Jul 19, 1969; Aug 12, 1969*; Aug 13, 1969; Aug 21, 1969*; Dec 09, 1969*; Feb 06, 1970*; Feb 11, 1970; Apr 10, 1970; Jun 15, 1970*; Jul 05, 1970*; Jul 12, 1970; Sep 15, 1970; Dec 14, 1970; Feb 15, 1971; Apr 23, 1971*; Aug 05, 1971; Mar 26, 1972*; Aug 18, 1972; Apr 11, 1973; Jun 30, 1973*; Jul 02, 1973; Dec 13, 1973*; Dec 16, 1973; Feb 20, 1975*; Feb 21, 1975; May 19, 1975*; Feb 22, 1976 (2)

Adams: Ansel Adams Gallery (manager, Bill Turnage): Jul 06, 1973; Jul 13, 1973*; Oct 10, 1973; Oct 21, 1973; Feb 20, 1974*; Mar 19, 1974; Mar 28, 1974*; (workshop director, Norman Locks) Aug 13, 1974; Aug 25, 1974*; Oct 22, 1974*; Oct 23, 1974; Oct 30, 1974; Feb 24, 1975; Sep 01, 1975

AFRO: Aug 26, 1958*

After Dark: Jul 24, 1974

Afterimage: Jul 20, 1973

Ainsworth, Mr.: Oct 16, 1967*

Airame, Jacqueline: Jul 13, 1972; Jul 19, 1972*

Akin, Mrs.: Feb 18, 1965*

Alai, Heshmat: Mar 26, 1939

Album: Dec 12, 1969; Dec 17, 1969*; Jan 01, 1970; Feb 23, 1970; Mar 04, 1970*; Mar 11, 1970*; Mar 20, 1970*; Apr 21, 1970; Jun 24, 1970; Jul 05, 1970*; Sep 02, 1970*; Sep 07, 1970; Sep 14, 1970*; Oct 25, 1970*

Alexander, Jesse: Nov 25, 1974; Dec 03, 1974*

Alinders: Jul 22, 1968*

Allan, Fran: [Dec 24, 1972]; Dec 24, 1972*

Allen, Mary: Mar 11, 1971; Mar 26, 1971*; Aug 02, 1971; Aug 19, 1971*; Nov 02, 1971*; Nov 05, 1971

Allied Arts: Feb 03, 1974*

Alston, Elizabeth: see -- Look

Ameri, Victor: see Batten, Barton, Durstine & Osborn

American Academy of Arts and Sciences: May 10, 1967; Jun 18, 1967*; Mar 19, 1970; Feb 07, 1973*; Oct 15, 1974; Dec 02, 1974*; Feb 14, 1975; May 22, 1975*

American Broadcasting Company, San Francisco: Feb 12, 1965; Feb 19, 1965*

American Film Institute: Feb 19, 1971

American Foundation for the Blind, Inc.: Jan 15, 1965*; mentioned in letter dated Jan 05, 1974 from Witkin Gallery; Jan 18, 1974*; Feb 25, 1974

American Library Publishing Co.: Oct 15, 1966*

American Russian Institute: Apr 10, 1970; Apr 15, 1970*; Apr 21, 1970; Apr 27, 1970*

American Society of Magazine Photographers: Sep 18, 1958; Oct 17, 1963; Jul 14, 1965; Jul 16, 1965 (2); Sep 01, 1965; Sep 10, 1965*; Sep 14, 1965*; Sep 19, 1965*; Oct 12, 1965*; Oct 15, 1965; Nov 28, 1966*; Jan 04, 1967; also see -- Infinity

American West Publishing Company: May 03, 1973; May 07, 1973

American Women in the Arts: Sep 24, 1974; Oct 01, 1974*

Ampliaciones y Reproducciones Mas: Aug 02, 1968 (in Spanish); Sep 23, 1968 (in Spanish); Nov 18, 1968 (in Spanish); Nov 29, 1968 (in Spanish); Dec 22, 1968*; Jan 04, 1969 (in Spanish); Jun 06, 1969 (in Spanish); Aug 11, 1969*

Amthor Imports, Inc.: Jun 26, 1967

Anderson, Arnold: Mar 22, 1967; Mar 29, 1967*

Anderson, Michael and Karen: Oct 08, 1969 (photograph of their new baby)

Anderson, Ruth: Jan 06, 1957*

Anderson, Laura, and Polly Blank: Sep 29, 1956 (2); Dec 26, 1956*; Jan 06, 1957; Feb 08, [1957]; Feb 12, 1957*; [Jul 03, 1957]; Jul 10, 1957*; Jan 30, 1958*; Nov 17, 1959*; Mar 1966; Jan 21, 1967; Feb 04, 1967*; Feb 13, 1967; Jul 17, 1967*; Jul 26, 1968*; May 16, 1970*; Jan 01, 1972; Jun 25, 1974; Dec 18, 1974*; Apr 11, 1976*; May 31, 1976 (2); Jun 29, 1976

Andrews, Alice: see Eastman: George Eastman House

Angel Island Publications, Inc.: Jul 24, 1962; Aug 22, 1962*; Nov 19, 1962; Dec 15, 1962*

Angiulo, Anton: Jul 24, 1974 (including a photograph of Cunningham)

Anglim, Paule: Sep 30, 1974

Aperture: Jan 05, 1958; Jan 15, 1958; Feb 23, 1958; Sep 13, 1958; Dec 28, 1959; Feb 25, 1961; Feb 23, 1964; Dec 08, 1964; Dec 30, 1964*; Jan 18, 1965*; Feb 02, 1965; Mar 12, 1965*; Sep 20, 1965; Jan 17, 1966*; Feb 08, 1967; Nov 01, 1968*; Jan 16, 1970; Jan 16, 1970*; Jun 12, 1970; Dec 05, 1970; Dec 05, 1970*

Aphra: Feb 12, 1971*; Mar 11, 1971; Nov 16, 1971*; Apr 24, 1972; May 10, 1972*

Arbegast, Mai: Jul 16, 1974; Jul 18, 1974*; May 20, 1975*

Arizona State University: Feb 18, 1962; Apr 14, 1962*

Arizona: University of Arizona: Aug 06, 1975; Mar 1976; Apr 08, 1976; May 14, 1976; May 27, 1976

Armitage, Merle: Oct 1955; Aug 22, 1966*

Arnold, Mary: Dec 07, 1960*; Mar 22, 1962*

Arrow: Apr 10, 1970*; Jul 07, 1970*

Art Commission, City and County of San Francisco: see San Francisco: Art Commission

Artibus Asiae -- (Switzerland): Jun 03, 1958

Art Institute of Chicago: Oct 17, 1963; Nov 08, 1963*; Apr 15, 1964*; Apr 25, 1964; Apr 29, 1964; Apr 29, 1964*; May 12, 1964*; May 14, 1964; May 20, 1964*; Jul 17, 1964; Jul 21, 1964; Jul 28, 1964*; Aug 24, 1964*; Sep 23, 1964; Oct 02, 1964; Oct 17, 1964; Dec 09, 1964*

Artweek: Jun 05, 1974; Jun 07, 1974*

Asawa, Ruth: Nov 30, 1956*; Dec 24, 1959*; Sep 15, 1965; Sep 19, 1965*; Nov 27, 1971* (letter of recommendation); Mar 28, 1973*; also see San Francisco: Art Commission, City and County of San Francisco

Aspen Institute for Humanistic Studies: Dec 10, 1951; Apr 22, 1952*

Association du Salon National de la Photographie: Nov 16, 1960; Nov 16, 1961

Atherton, Mrs.: Oct 29, 1967*

Atkins, Carol: see Writings

Aurelius, Vagadu and Robin: [Jan 1968]; Dec 25, 1968; Mar 13, 1971*

Austin, Sin_____ W.: Nov 02, 1967

Axvall, Lydia Strong: Jan 21, 1966*; Feb 01, 1966; Dec 22, 1968*; Mar 07, 1969; Mar 10, 1969*; Apr 16, 1969; Apr 19, 1969

B., H.: Oct 14, 1944

Baar, Betty: Oct 09, [1962]*; May 01, 1963; May 07, 1963*; Jul 09, 1963; Jul 25, 1963*; Aug 02, 1963*; Mar 31, 1964; Apr 09, 1964*; Jan 08, 1965*; Nov 02, 1974

Bacigalupi, Elkus & Salinger: Dec 02, 1959 (re Partridge vs. City and County of San Francisco); Dec 06, 1959*

Baer, Frances and Morley: Mar 07, 1965

Baer, Nancy: see American Women in the Arts

Baliken, L.: Jun 08, 1963

Ballinger, Jinny: Jul 20, 1966

Barcelon-Burger Management Corp.: Aug 01, 1975

Barchfield, Agnes and John: [Apr 11, 1976]

Barnabas, Father: see Mount Angel Abbey Library

Barnes, Marion and Eric: Nov 09, 1973

Bartlett, Lincoln: Dec 12, 1967*; Mar 31, 1970; Jun 20, 1970*; Dec 23, 1972*; Apr 15, 1973; Jun 13, 1973; Jul 09, 1973*; Dec 05, 1973*; Apr 18, 1975; Apr 08, 1976

Bathhouse Gallery: Oct 18, 1971; Jan 07, 1972 (including exhibition announcement); Feb 03, 1972; Mar 09, 1972*; Mar 10, 1972; Mar 14, 1972*; Mar 23, 1972; Mar 26, 1972; Apr 11, 1972*; Jun 09, 1972

Batten, Barton, Durstine & Osborn: Jun 21, 1967* (2); Aug 05, 1967*

Bayard, Edward: Mar 07, 1975*

Bay Area Funeral Society, Inc.: Aug 23, 1973

Bay Area Photographers: Oct 02, 1959; Oct 18, 1959*

Baylis, Douglas: Nov 28, 1971 (death announcement)

Beal, June: May 12, 1973*; Jun 23, 1973*

Beckham, Alicemarie: Mar 01, [1968]; Dec 17, [1969]

Bender: Albert M. Bender & Co., Inc.: Nov 06, 1970*

Bender: Albert M. Bender Memorial Trust: Jun 14, 1951; Mar 22, 1960; Apr 19, 1960

Benjamin, Evelyn: Jun 10, 1963

Bennett, Gordon: Jan 18, 1974

Bennett, Judith: Dec 01, 1966; Dec 12, 1966*

Benvenuto, Elio: Mar 28, 1973*; also see San Francisco: Art Commission, City and County of San Francisco

Bernstein, David: Aug 31, 1971; Sep 05, 1971*

Berriault, Gina: Nov 13, 1966; Nov 28, 1966*; Dec 05, 1966

Bertanelmer: see Hader, Berta and Elmer

Best, Signe (Mrs. Charles Best): Oct 06, 1957; Oct 08, 1974*

Bez, J. Nicholas: Feb 02, 1970; Mar 13, 1970; Nov 12, 1970*; Nov 12, 1970*; Sep 05, 1971*; also see West Coast Airlines

Bibliotheque Nationale: Oct 12, 1959*; Jun 11, 1969; Nov 08, 1969; Dec 11, 1969; Dec 29, 1969*; Jan 09, 1970; Apr 01, 1970*; Apr 28, 1970; Jul 22, 1970*; Aug 06, 1970; Jun 23, 1973; Jul 06, 1973*; Jul 28, 1973; Sep 07, 1973*; Sep 15, 1973; Oct 10, 1973*; Oct 23, 1973; Nov 03, 1973*

Biod, Karin: [Sep 1964]

Biod, Sigrid: Sep 1964

Bishop, G. Paul: Jan 14, 1971; Jan 09, 1973*

Bissantz, Betty: see Goodwin, Betty

Bissantz, Edgar and Jean: undated (5); May 30, 1948*; Mar 29, 1959; Jul 03, 1959; Nov 17, 1959; Dec 10, 1959; Dec 16, 1959*; Jan 05, 1960*; Jan 17, 1960*; Jan 21, 1960; Feb 12, 1960; Nov 21, 1960; Feb 22, 1961; Aug 05, 1961; Dec 18, 1961; May 21, 1962 (including a photograph of Joan); May 28, 1962*; Feb 05, 1963*; Feb 06, 1963*; Feb 20, 1963; Mar 20, 1963; Mar 27, 1963*; Apr 13, 1963*; Apr 25, 1963; May 14, 1963; May 27, 1963; Jun 13, 1963; Jun 17, 1963*; Jul 09, 1963*; Sep 24, 1963*; Sep 28, 1963*; Oct 26, 1963 (2); Nov 09, 1963*; Nov 20, 1963; Nov 28, 1963; Dec 01, 1963*; Dec 19, 1963; Dec 25, 1963 (photo card of Edgar); Jan 21, 1964* (including a blueprint of a house facade); Jan 27, 1964; Feb 17, 1965*; Jul 03, 1964*; Jul 19, 1964*; Sep 22, 1964*; Oct 27, 1964*; Dec 21, 1964*; Feb 01, 1965*; Feb 26, 1965; Mar 01, 1965*; Mar 14, 1965; Apr 16, 1965*; Apr 22, 1965; May 18, 1965; May 27, 1965; Jun 02, 1965*; Jun 17, 1965*; Jun 30, 1965*; Aug 14, 1965*; Aug 16, 1965; Aug 20, 1965*; Dec 08, 1965; Jan 09, 1966*; Jan 16, 1966*; Feb 28, 1966*; Mar 07, 1966*; Oct 02, 1966*; Nov 27, 1966; Jan 20, 1967; Jan 26, 1967*; [Feb 1967]*; Feb 06, 1967*; Mar 17, 1967*; Apr 16, 1967; Jun 19, 1967*; Jul 21, 1967*; Oct 10, 1967; Oct 12, 1967*; Oct 24, 1967; Oct 29, 1967*; Apr 15, 1968; Apr 22, 1968*; May 20, 1968*; Sep 12, 1968; Nov 10, 1968; Nov 21, 1968*; Dec 16, 1968; May 19, 1969; Jul 05, 1969*; Jul 21, 1969; Nov 16, 1969*; Nov 27, 1969 (including photograph); Jan 24, 1970; Aug 06, 1970*; Nov 04, 1970*; Dec 19, 1970; Jan 08, 1971*; May 16, 1971; Aug 05, 1971; Nov 02, 1971*; Nov 19, 1971*; Nov 22, 1971*; Feb 16, 1972*; Sep 06, 1972*; Jan 23, 1973; Feb 12, 1973; Apr 25, 1973*; Aug 23, 1973; Nov 13, 1973; Aug 24, 1974

Blackmarr, Philip M.: [1972] (resume)

Blank, Polly: see Andreson, Laura

Bobtoy (Chin): Aug 18, 1974

Boguszewski, Christina: Apr 04, 1949

Bookworks, The: Dec 20, 1974; Dec 28, 1974*

Boston Arts Festival: Apr 14, 1964; Aug 05, 1964

Bourke-White, Margaret: Dec 20, 1958*; Jun 24, 1971

Bourne, Frank: Sep 17, 1964*

Boyd, Collin: [Aug 23, 1974]; Aug 23, 1974*

Boyd, Nicholas: undated

Brandt, Bill: Dec 15, 1962*

Bransten, John: Jan 18, 1971; May 21, 1974*; May 31, 1974; Nov 12, 1974

Brassai family: Mar 18, 1974*

Breitenbach, Edgar and Margaret: Sep 05, 1962; Jan 11, 1963; Aug 30, 1963; Sep 07, 1963*; Sep 11, 1963; Nov 09, 1963*; Nov 18, 1963; May 25, 1965*; Jun 16, 1965; Jun 30, 1965*; May 03, 1968*; also see Library of Congress

Breitenbach, Margaret and Joseph: Dec 13, 1951; Dec 30, 1956*; Jul 19, 1958*

Breuer, Penelope: Mar 28, [1964]; May 13, 1964*; Apr 26, 1965*; May 15, 1965

Bristol, Bobbie (Horace Bristol, Jr.): Feb 09, 1957*; Feb 12, 1957; Feb 17, 1957*; Apr 09, 1958; Apr 14, 1958*; Apr 18, 1958*; Jul 10, 1958; Jan 26, 1960*; Jan 28, 1960; Jul 15, 1971*; May 27, 1972*

Bristol, Horace and Virginia: Jan 06, 1947; Nov 25, 1947; Feb 11, 1948; Feb 20, 1948; Feb 22, 1948*; Mar 11, 1948; May 03, 1948; Jun 22, 1948; Aug 14, 1948; Oct 03, 1948; Dec 06, 1949*; Dec 15, 1949; Jan 23, 1950; Jan 31, 1950*; May 17, 1950; Jun 05, 1950*; Oct 27, 1950; Nov 12, 1950*; Dec 03, 1950*; Jan 30, 1951*; Feb 08, 1951*; Mar 03, 1951; Apr 22, 1951; Sep 16, 1951*; Nov 11, 1951; Nov 24, 1951*; Jun 26, 1952*; Jul 08, 1952*; Dec 01, 1952; Aug 14, 1953; Sep 20, 1953*; Jul 11, 1956 (notification of Virginia's death); Dec 05, 1956; Dec 09, 1956*; Dec 20, 1956; Jan 08, 1957; Jan 20, 1957; Feb 26, 1957*; Mar 05, 1957 (marriage to Masako); Mar 13, 1957; Mar 19, 1957; Jun 18, 1957*; Nov 29, 1957; Dec 05, 1957*; Jul 04, 1958*; Jan 08, 1959*; Oct 13, 1959*; Sep 14, 1960; Nov 23, 1960; Nov 25, 1960*; Dec 02, 1960; Feb 21, 1961; Feb 25, 1961*; Mar 03, 1961; Mar 11, 1961*; Aug 11, 1961; Feb 23, 1962; Sep 22, 1962*; Jan 25, 1963; Mar 08, 1963*; Mar 22, 1963; May 26, 1963; Jun 12, 1963*; Jul 08, 1963; Oct 22, 1963; Dec 02, 1963; Dec 05, 1963*; Dec 12, 1963; Mar 09, 1964; Mar 27, 1964; Mar 29, 1964; Jul 03, 1964*; Sep 11, 1965*; Jan 18, 1967; Jan 24, 1967* (letter about Bristol); Apr 23, 1971*; May 03, 1971; Sep 02, 1971; Sep 08, 1971*; Mar 29, 1972*; Sep 10, 1972; Oct 01, 1972*

Britton, E. S.: Nov 16, 1947

Broadwater, Mr.: Jan 01, 1960*

Broadway High School Alumni Association: Dec 01, 1972*; Dec 09, 1972; Sep 06, 1974; Sep 08, 1974

Brooks Institute: Jun 02, 1975*

Brooks Institute Alumni Association: May 08, 1975

Brooks, Verena: Sep 28, 1974; Dec 20, 1974

Broughton, Irv: Oct 25, 1974*

Broughton, James, and Suzanna Hart: undated; Dec 08, 1952 (wedding announcement); Feb 18, 1965; Feb 14, 1969; Jun 20, 1970; Jul 25, 1970; Nov 22, 1970; Nov 26, 1970*; Dec 18, 1970* (2 receipts); [Dec 31,] 1970

Broun, Elizabeth: Jan 21, 1970; Nov 19, 1973; Nov 25, 1973*; Nov 30, 1973; Dec 05, 1973*; also see Kansas: University of Kansas

Brown, Emily: Oct 02, 1974; Oct 19, 1974*

Bruton, Esther: undated; Jan 11, 1974; Jan 17, 1974*

Bruton, Margaret and Helen: undated*; undated; Apr 09, 1970; Jan 22, 1971; Mar 21, 1971*; Jun 18, 1971*

Bry, Michael: Oct 04, 1974 (in German)

Buck, K. Robert: Sep 16, 1974; Oct 25, 1974*; Oct 30, 1974

Bullen, Reese: Apr 22, 1966; Dec 16, 1968

Bullock, Wynn and Edna: Nov 09, 1965; Nov 10, 1965*; Aug 07, 1973*; Apr 29, 1974*; May 24, 1974; Mar 23, 1976 (2); Jun 28, 1976

Bunnell, Peter: May 28, 1960; Sep 18, 1960; Oct 12, 1960*; Oct 21, 1960; Feb 13, 1961; Feb 18, 1961*; Feb 23, 1961; Aug 30, 1961; Jan 08, 1962; Feb 03, 1962; Apr 01, 1962*; Apr 09, 1962; Aug 08, 1962*; Aug 16, 1962; Sept 24, 1962; Sep 26, 1962; Nov 29, 1962; Dec 21, 1962; Jan 16, 1963; Mar 22, 1968*; Sep 29, 1968*; Jul 14, 1969*; Sep 27, 1970*; Mar 11, 1971*; also see Museum of Modern Art

Burlingame, Paul: Aug 03, 1970*; Aug 04, 1970 (with photograph); Aug 06, 1970; Aug 10, 1970*; Dec 03, 1970 (including 2 photographs); Jan 26, 1971; Mar 04, 1971; Mar 18, 1971

Burns, Robert: Jul 10, 1967*

Burstein, Beth: Mar 09, 1969*; Nov 19, 1970; Jun 24, 1976

Butler, Catherine: see Johnson, Catherine

Butler, John: undated (6); Dec 10, 1919; Nov 04, 1920 (including a photograph of Butler); Oct 05, 1946*; Oct 15, 1946; Oct 21, 1946*; Oct 24, 1946; Oct 31, 1946*; Aug 23, 1949; Mar 24, 1950; Aug 31, 1950; Oct 05, 1951*; Oct 12, 1951; Dec 14, 1951*; Jan 18, 1953; Nov 12, 1956*; Jun 21, 1957*; May 13, 1958*; Aug 03, 1958*; Dec 07, 1958*; Jan 07, 1959*; Jun 19, 1959*; Sep 23, 1959*; Jan 13, 1960; Jan 15, 1960*; Dec 19, 1960; Dec 25, 1960*; May 17, 1962*; Oct 12, 1962*; Feb 07, 1963*; Feb 19, 1963; May 08, 1963*; Dec 28, 1963*; Mar 08, 1965; Mar 08, 1965*; Jul 09, 1965*; Jul 28, 1965*; Nov 10, 1965*; Nov 09, 1966*; Dec 29, 1966*; Jul 05, 1968*; Jan 12, 1969*; Feb 03, 1969*; Mar 17, 1969; Jul 24, 1969*; Jul 05, 1970*; Aug 30, 1970*; Sep 19, 1973*

Butler, Richard and Carol: Sep 02, 1972 (wedding announcement)

Byers, Horace: Jan 10, 1929

Byron, Jim: Dec 06, 1965 (2)

C., Jack: undated

Caen, Herb: undated (2); Aug 17, 1962; Feb 02, [1964]; Aug 28, 1966*; Oct 16, 1967*; Apr 15, 1970*; May 1970; Sep 23, 1971; Jan 06, 1973*; Jan 24, 1973; also see -- San Francisco Chronicle

California Academy of Sciences: Apr 27, 1976; Feb 10, 1983

California Arts Commission: Feb 09, 1971 (including a booklet of clippings about a University of Santa Clara exhibition)

California Association of Women Deans and Vice-Principals: Mar 12, 1965

California College of Arts and Crafts: Nov 13, 1967; Nov 05, 1970; Nov 17, 1970*; Nov 20, 1970; Apr 23, 1971; Jun 29, 1971; Apr 07, 1972; Apr 16, 1972*; May 10, 1972; May 18, 1972; Jul 19, 1972*; Aug 22, 1972; Dec 07, 1972; Jan 1973; Jan 11, 1973; Feb 12, 1973

California Institute of the Arts: Feb 28, 1972; Mar 09, 1972*; Nov 01, 1972; Nov 07, 1972*

California League for American Indians: Mar 1961 (form letter)

California Living: Jul 05, 1972*

California Physicians' Service: Mar 16, 1966

California State University: Nov 12, 1972

California: University of California at Berkeley: Dec 11, 1956; Mar 14, 1961; Jan 05, 1962; Feb 15, 1962; May 22, 1962; May 24, 1962*; May 29, 1962; Jun 15, 1962; May 14, 1967; Jul 07, 1967; Jun 28, 1968; Jul 23, 1969; Aug 08, 1969 (2); Aug 10, 1969*; Sep 02, 1969*; Sep 04, 1969; Sep 24, 1969; Sep 24, 1969*; Sep 25, 1969; Sep 25, 1969*; Apr 24, 1970; Jul 23, 1970; Sep 07, 1972; Apr 10, 1973; Jun 01, 1973; Jun 07, 1973*; Jun 12, 1973; Jan 24, 1974; Feb 03, 1974*; Jan 27, 1976; Aug 27, 1982

California: University of California at Los Angeles: Apr 28, 1958*; May 13, 1958; May 20, 1958; Mar 09, 1960; Mar 28, 1960; Sep 07, 1960; Oct 14, 1960*; Dec 01, 1960; Apr 25, 1961; Jun 01, 1974*; Jun 21, 1974; Sep 17, 1974; Nov 20, 1974*

California: University of California at San Diego: Aug 31, 1970; Sep 14, 1970*

California: University of California at San Francisco: Apr 13, 1973* (2)

California: University of California at Santa Cruz: May 05, 1970; Aug 27, 1974

California: University of California Extension at Irvine: Nov 15, 1974; Nov 23, 1974*

California: University of California Extension at Santa Cruz: Dec 08, 1970; Dec 16, 1970*

California: University of California Extension Center, San Francisco: Jul 14, 1967*; Sep 13, 1973; Sep 15, 1973

California: University of California Press: Mar 30, 1956; Apr 20, 1956*

Call, Hughes: Jul 16, 1969*; Jul 02, 1976 (letter of condolence to Gryffyd Partridge)

Callahan, Harry: May 19, 1949

Camera: Apr 21, 1973 (letter to Witkin Gallery); Mar 07, 1974*; Jun 03, 1974*; Nov 17, 1974*; Jun 07, 1975*

Campbell, Jack: Aug 10, 1965*; Nov 27, 1971* (letter of recommendation); Jul 30, 1973; May 03, 1974*

Carr, Steve: also see Writings

Carter, William: May 01, 1975; May 20, 1975*; May 22, 1975

Case, Charles Albert: Feb 08, 1956; Feb 17, 1956; Jan 10, 1957; Jun 27, 1958; Jul 15, 1958*; Apr 04, 1959*; Feb 27, 1961*

Casebeer, Vern: Mar 04, 1971; Mar 14, 1971; Mar 26, 1971*

Casler, Chris: Jan 11, 1973

CBS News: Jun 18, 1975; Mar 30, 1976; Jun 04, 1976

Center for Creative Photography: see Arizona: University of Arizona

Center for Humanities, Inc.: Jun 05, 1974; Jun 07, 1974*

Center for Visual Studies: Jan 16, 1973*

Center of the Eye, Inc.: Mar 23, 1970; Mar 24, 1970; Jun 20, 1970*

Chaney, Verne: Dec 13, 1971; Jan 03, 1972; Feb 08, 1972*; Dec 28, 1974*

Chappell, Walter: Dec 01, 1972* (recommendation by Cunningham to Guggenheim Foundation); also see Eastman: George Eastman House

Cheney, Hal: Sep 23, 1972*

Chilberg, Mabel: Dec 22, 1966; Aug 03, 1970*; Aug 08, 1970

Chin, Bobtoy: see Bobtoy

Chinn, Benjamin: undated

Chipp, Herschel: May 05, 1967

Christian Science Monitor: May 29, 1959; Jun 01, 1959; Jun 11, 1959*; Aug 10, 1959; Aug 14, 1959*

Christy, George: May 28, 1974; Jul 30, 1974*

Ciabattari, Jane: see -- Aphra

Cincinnati Art Museum: Mar 07, 1960

Citizens' Vigilance Committee: Aug 14, 1962; Sep 08, 1962* (letter to Board of Supervisors, San Francisco); Sep 08, 1962* (letter to Recreation and Park Commission, San Francisco)

Clayden, Marian: Dec 22, 1974*; May 12, 1976

Cleaver, Virginia: Jul 08, 1974*

Clergue, Lucien: Oct 31, 1972 (6 photographs of Cunningham by Clergue); Apr 04, 1973*; Sep 07, 1973*; Jan 15, 1974*; mentioned in letter dated Feb 01, 1974; Feb 16, 1974

Close-Up: see Polaroid Corporation

Coates, L. D.: Jan 15, 1968

Coburn, Alvin Langdon: Apr 14, 1913; Feb 19, 1953*; Jun 02, 1960; [Jan] 1964; Sep 10, 1964

Coe, Gertrude: Mar 20, 1960; Feb 21, 1966; Feb 28, 1966*; Dec 10, 1966; May 12, 1967*

Coe, Lucy Campbell: Jun 07, [1966]; Sep 13, 1966*; Dec 11, 1966*; Dec 23, 1966; May 30, 1967*; Jun 19, 1967*; Jun 18, 1973 (including a photograph of Elsa Walsh by Cunningham)

Coelen, Leslie: Mar 13, 1971*

Cohan, Mr.: Apr 16, 1965*

Coke, Van Deren: Feb 27, 1969* (including resume)

Cole, Howard: Mar 09, 1967; Mar 17, 1967*; Mar 17, 1967*; May 26, 1967; May 29, 1967*; Jul 06, 1967; Aug 30, 1973

College of Marin: Nov 06, 1967; Nov 11, 1967*; Jan 02, 1968; Jan 05, 1968*; Jan 19, 1968*

Colum, Padraic: Apr 20, 1956*

Colwell, Larry: Dec 03, 1958; Jun 01, 1959*; Apr 12, 1960; Jan 09, 1961*; Jan 18, 1961; Feb 15, 1961*; Apr 20, 1961*; May 02, 1961; Aug 25, 1961; Dec 08, 1964; Feb 14, 1965*; Oct 13, 1965*; Sep 09, 1966; Sep 23, 1966; Oct 02, 1966*; Nov 09, 1966; Dec 21, 1966*; Jan 17, 1967; May 02, 1967*; May 02, 1968*; Nov 10, 1968; Dec 29, 1969*

Comer, Deirdre and Tony: undated (2); Nov 17, 1960*; Feb 07, 1966*; Apr 29, 1969*

Comer, Molly and Fred: undated (2; including a photograph of their view of the river); Jan 29, 1944 (2); Dec 1949 (including 2 photographs of their house); Jun 02, 1951*; Jan 24, 1952*; Jul 18, 1952*; Aug 04, 1952; Dec 02, 1952*; Feb 13, 1953*; Nov 11, 1953*; Nov 27, 1953; Nov 18, 1954; Jan 05, 1955; Nov 19, 1955

Conde Nast Publications, Ltd.: May 12, 1961

Connelly & Associates: Jul 16, 1964*

Connor, Linda: Dec 15, 1973 (including photograph by Connor)

Conrad, Barnaby: Mar 19, 1976

Constantine, Mildred: Oct 13, 1974*

Cook: Thomas Cook & Son: Jan 21, 1960 (re voyage on the BERLIN)

Cooper, Thomas: Sep 20, 1970; Sep 20, 1970*; Nov 09, 1971; Nov 12, 1971*; Nov 16, 1972; Dec 03, 1972*; Sep 20, 1973; Feb 26, 1975

Cooper Union for the Advancement of Science and Art: Jul 16, 1956

Corbett, A.: Jun 04, 1970

Costello, Allison: undated

Couchman, Bea: Feb 26, [1967]; Jan 05, 1968; Jan 10, 1968*; Jan 26, 1970*; Aug 18, 1970*; May 27, 1971; Aug 06, [1973];

Cowll, Sidney: Mar 24, 1974*

Cranbrook Academy of Art: Apr 22, 1976

Crane, Barbara: Feb 11, 1971; Jun 04, 1971*; Nov 24, 1971* (letter of recommendation); Nov 27, 1971* (letter of recommendation); [Apr 1973]*; May 26, 1973

Craven, George and Rachel: Mar 20, 1960; Oct 12, 1960*; Oct 21, 1960; Nov 16, 1960*; Apr 20, 1962*; Apr 26, 1962; [Dec 1963]; Mar 13, 1964*; Apr 09, 1964*; Jun 30, 1964*; Oct 03, 1964; Mar 07, 1966; Mar 10, 1966*; Mar 24, 1966*; Mar 25, 1966; May 02, 1966; May 04, 1966*; Oct 05, 1966*; Dec 21, 1969; Sep 07, 1972 (booklet ?The Group f/64 Controversy" by Craven enclosed in letter to Cunningham from University of California at Berkeley)

Crawford & Conover, Inc.: Aug 06, 1965

Crawford, Earl: Feb 17, 1975; Mar 24, 1975*

Creative and Extraordinary Person Project: Sep 01, 1974

Creative Camera: Feb 10, 1971; Jun 16, 1971; Jun 29, 1971*; Jul 08, 1971*

Crispino, Miss: Jul 06, 1968*

Crockett, Candace: Feb 11, 1974; Feb 17, 1974*

Crouch, Steve: Jan 25, 1960*; Jun 06, 1968; Jun 18, 1968*

Crowder, Katherine Kerr: Jun 21, 1965; Jun 27, 1965*

Crowell: Thomas Y. Crowell Company: Feb 12, 1962; Feb 26, 1962; Mar 02, 1962; Mar 06, 1962

Crowninshield, Frank: May 09, 1935; Jun 10, 1935*; Jun 13, 1935

Cunningham, Andy: Jan 08, 1967

Cunningham, Augusta: May 18, 1976

Cunningham: Friends of Imogen Cunningham: Apr 12, 1979; Apr 12, 1980; Apr 12, 1981; Apr 12, 1982; Apr 12, 1983

Cunningham: Imogen Cunningham Trust: Mar 01, 1976; also see Morrison & Foerster; also see entry under Financial Material

Cunningham, John: May 24, 1974*

Cunningham, June and Alan: Jun 27, 1976

Cunningham, Lynn: Jan 07, 1972; Feb 09, 1972*; Aug 11, 1972*; May 02, 1973; May 16, 1973*

Cunningham?, Min: 1910*

Cunningham, Pearl: 1909 (3)*; 1910 (6, including a photograph of a woman drinking beer while holding a cigarette)

Cunningham Press: Jan 12, 1974*

Cunningham, Roger and Doris: Dec 25, 1967 (including photo Christmas card); Feb 15, 1968; Jul 15, 1968*; Aug 08, 1968; Dec 06, 1968; Dec 07, 1968 (including photo Christmas card); Apr 27, 1969*; May 11, 1969; Dec 13, 1969 (including photo Christmas card); Feb 25, 1970; Mar 03, 1970*; May 21, 1970; May 27, 1970 (including obituary for Nellie Cunningham); Jun 11, 1970; Apr 16, 1971*; Jan 11, 1972; [Apr 29, 1974]; May 08, 1974*; May 16, 1974; May 23, 1974*; Mar 31, 1975*; Apr 21, 1976*; Apr 27, 1976; Nov 30, 1979; Nov 30, 1979

Cunningham, Mr. and Mrs. T. N.: Mar 31, 1975*

Cushing, Nancy: undated; Jun 30, 1976 (letter of condolence to Gryffyd Partridge)

Dadd, Mary: see McEwan, Mary

Dafoe, Dottie and Leslie: Apr 07, 1970; Nov 12, 1970*; Nov 12, 1970*; Dec 11, 1973

Dahl, Arthur L.: Nov 20, 1970*

Daily Express: Jul 07, 1960

Dallas Museum for Contemporary Arts: Dec 11, 1967

Daniel, Edna: Aug 24, 1961; Feb 20, 1963; Feb 26, 1969*; also see California: University of California at Berkeley

Danieli, Fidel: Aug 09, 1974; Oct 28, 1974*

Dater, Judy: Nov 27, 1971* (letter of recommendation); July 1973; Dec 04, 1974* (letter of recommendation); Oct 28, 1979

Daveney, Paula: Sep 07, 1943*; Feb 03, 1948; Jul 10, 1956 (letter from Berta Hader); Mar 02, 1971*; Oct 19, 1973*; Mar 11, 1974*; Sep 14, 1974*; Mar 10, 1975 (filing of Daveney's will); see Personal business records

David: Peter M. David Gallery: Nov 18, 1974; Nov 22, 1974*

Davidos, Rajan and Kimiko: Jan 05, 1969*; Apr 09, 1969; Apr 13, 1969*; also see Photographs

Davies, Louise: undated (3); Mar 04, 1971*; May 16, 1973*

Davies, Ralph: Sep 20, 1970*

Davis, Phil: May 20, 1974; May 25, 1974*; Jun 18, 1974; Aug 20, 1974*

DAY AT NIGHT (television program): Apr 25, 1974; May 03, 1974*

Dearborn, Betty: Apr 10, 1967; Jun 19, 1967*

Dearborn-Massar: see Massar, Phyllis

Dearborn Stove Company: Apr 21, 1965*

DeCordova and Dana Museum and Park: Nov 15, 1961; Mar 07, 1968*

DeGoff, Sidney: Oct 19, 1974*

Deitch, Donna: Jan 07, 1972; Jan 19, 1972*; Feb 24, 1975*; Mar 23, 1976; Apr 01, 1976*

Denny, Grace: Feb 06, 1967; May 06, 1967; Aug 24, 1967

Desmarais, Charles: Oct 11, 1974

Detroit Free Press: Sep 15, 1965; Sep 21, 1965; Oct 25, 1965

Deutsch, Barbara: Feb 18, 1974

De Young Museum: Nov 21, 1970 (letter from Janet Partridge)

De Young Museum Society: Jun 24, 1970

Dhaemers, Mrs.: Mar 04, 1966*

Diablo Valley College: Aug 15, 1972; Nov 15, 1972

Diamond, Martin: Oct 02, 1974; Feb 24, 1975*

Dickinson-Chetham, Helen: Dec 10, 1960*; Aug 28, 1962 (letter to Dorothy MacDonald); Jun 03, 1963

Dill, Robert: Jul 22, 1970; Aug 03, 1970*; Sep 19, 1973

Dinsdale, Elizabeth: Sep 02, 1968; also see Cunningham, Roger

Dixon, Constance (daughter of Maynard Dixon): Jun 30, 1976 (letter of condolence to Gryffyd Partridge)

Dixon, Edith: Nov 1946 (re death of Maynard Dixon)

Dmitri, Ivan: see Photography in the Fine Arts

Dommeyer, Frederick C.: Oct 01, 1965; Jun 21, 1966

Doniach, Sarah: Mar 03, 1970; Mar 12, 1970*

Donnelley, Adelaide: [Mar 29, 1972]; Mar 29, 1972*; Jun 10, 1972*; Jun 28, 1972

Donoho, David: undated (2); Sep 30, 1963; Feb 15, 1965; Mar 01, 1966; Mar 03, 1966*; Dec 12, 1966; Jan 02, 1967; Jan 04, 1967*; Mar 08, 1967; Apr 03, 1967; Apr 11, 1967; May 11, 1967; May 17, 1967; May 24, 1967; May 30, 1967*; Jun 02, 1967; Jul 27, 1967; Aug 01, 1967; Aug 07, 1967; Sep 17, 1967; Sep 29, 1967*; Oct 07, 1967*; Nov 05, 1967; Jul 03, 1968; Jul 08, 1968*; Jul 11, 1968; Sep 27, 1968*; Sep 29, 1968; Oct 13, 1968; Nov 12, 1968; Dec 03, 1968; Dec 24, 1968; Mar 12, 1969*; Mar 16, 1969; May 20, 1970; Mar 23, 1971; Mar 27, 1971*; Apr 20, 1972*; May 21, 1974; Jun 05, 1975; Jun 29, 1975; also see San Jose State College

Dooley: Thomas A. Dooley Foundation, Inc.: see Chaney, Verne

Doubleday & Company, Inc.: Nov 12, 1970; Nov 26, 1970*

Dowling, Ed and Muriel Peterson: Jul 18, 1958*; Aug 29, 1965*

Doyle, Kathleen: undated

Dresden, Maud: May 31, 1910 (2) (a postcard with a photograph of Dresden and Cunningham; and a postcard with a photograph of Dresden and Omer Foisie)

Dreyfus, Emile: Sep 26, 1955 (including 2 photographs of ?old fogies" playing card game)

Drummond, Katherine: Apr 20, 1961*; Oct 07, 1961; Dec 29, 1963*; Jan 27, 1964; Jan 03, 1967; Sep 22, 1968*

Duarte, Carlota: Apr 28, 1976

Ducasse, Mabel and Curt (Brown University): Sep 17, 1956; Dec 25, 1956; Jan 10, 1959*; Dec 07, 1960; Dec 14, 1960*; Dec 29, 1963*; Jan 10, 1964; Jan 20, 1964*; Feb 22, 1964*; Oct 07, 1964; [Jan 1965]; Feb 05, 1966; Feb 12, 1966; Feb 14, 1966*; Feb 26, 1966; Mar 01, 1966*; Mar 25, 1966; Apr 05, 1966*; Oct 16, 1966; Nov 10, 1966*; Dec 27, 1966; Apr 26, 1967*; Apr 29, 1967; May 23, 1967*; May 24, 1967; May 26, 1967*; Jun 07, 1967; Jun 08, 1967; Jun 18, 1967*; Jun 27, 1967; Aug 14, 1967*; Nov 26, 1967*; Dec 15, 1968*; Jan 06, 1969*; Dec 14, 1969; Dec 29, 1969*; Jan 08, 1970; Feb 02, 1970; Mar 08, 1970*; Mar 17, 1970; May 25, 1970; Jun 12, 1970*; mentioned in letter dated Sep 27, 1975

Dunham, Dorothea: Apr 08, [1976]

Duskin, Mr.: undated*

E., Charline: Feb 14, 1967*; Apr 04, 1968; Apr 10, 1968*; Mar 17, 1970

E., W.?: Jul 08, 1960

Eakins Press: Apr 30, 1976*

Eastman: George Eastman House: Jun 25, 1958; Nov 27, 1958*; Feb 05, 1959*; Apr 21, 1959; Jun 23, 1959; Jul 06, 1959*; Jul 16, 1959; Aug 10, 1959; Aug 18, 1959; Sep 04, 1959*; Nov 17, 1959*; Nov 23, 1959; Dec 20, 1959*; Jan 01, 1960*; Feb 12, 1960*; May 12, 1960; Jul 15, 1960; Sep 21, 1960; Oct 14, 1960; Nov 02, 1960; Dec 23, 1960; Dec 30, 1960; Mar 21, 1961*; Apr 06, 1961*; Apr 03, 1962; May 18, 1962*; May 24, 1962; Jun 05, 1962*; Jul 10, 1962; Aug 03, 1962; Nov 28, 1962*; Jan 11, 1963; Jan 17, 1963*; Nov 20, 1963*; [Dec 1963]; Apr 25, 1964*; Jun 08, 1964*; Jul 08, 1964; Jul 28, 1965*; Jun 29, 1967*; Apr 04, 1968*; Aug 14, 1969*; Sep 17, 1969*; Sep 30, 1969; Jul 07, 1970*; Aug 25, 1970; Sep 04, 1970*; Sep 21, 1970; Sep 28, 1970*; Oct 08, 1970; Oct 16, 1970*; Oct 20, 1970; Aug 04, 1971*; Dec 20, 1971; Jan 22, 1972*; Apr 26, 1972*; mentioned in letter dated Feb 18, 1976; also see International Museum of Photography; also see White, Minor

East Shoreline Charter Service: May 04, 1968

Eastwood, Alice: see Printed Material

Eckbo, Royston and Williams: Feb 10, 1947 (including notes and blueprints for landscaping Cunningham's yard in Green Street); Jun 09, 1947*; Sep 21, 1947*

Ecko, Evans: Apr 10, 1976

Edison Street Gallery: Mar 03, 1975; Apr 04, 1975*

Edwal Scientific Products Corp.: Mar 14, 1961*

Edwards, Norman: Aug 08, 1962*; Sep 20, 1962

Eitner, Lorenz: see Stanford University

Elkus, Jonathan, Marilyn and Ian: Dec 14, 1965*; May 1973

Ellegood, Donald: see Washington: University of Washington Press

Elliot, Ralph: Mar 21, 1962*

Embarcadero Center: Sep 20, 1972; Sep 29, 1972*

Emerson, Donna: undated (including a photograph of Emerson)

Emmons, Donn: Nov 12, 1974

Encyclopaedia Britannica: Jun 04, 1965; Jun 15, 1965*; Mar 17, 1971; Mar 22, 1971*; Apr 06, 1971; Apr 16, 1971*; Nov 10, 1971; Nov 23, 1971*; Jan 14, 1972; Jan 21, 1972*; Jan 25, 1972; Jan 28, 1972*; Feb 02, 1971; Feb 10, 1972; Feb 19, 1972*

English, Christopher: Jul 06, 1973; Jul 13, 1973*

Eng-Skell Company: Jan 05, 1959

Epstein, Ellen: Jan 09, 1968*

Epstein, Mrs. Jacob: Nov 21, 1963*

Erceg, Don and Jo (Joseph): Mar 01, 1965; Oct 18, 1965; Jun 21, 1966*; Sep 20, [1966]; Sep 26, 1966*; Nov 09, 1966*; Nov 13, 1966; Nov 25, 1966*; Jan 06, 1967; Jan 25, 1967*; Jun 21, 1967*; Jul 04, 1967; Jul 19, 1967*; Nov 07, 1967; Jul 05, 1968*; Jan 24, 1970*; May 03, 1971*; also see Lynch: Douglas Lynch Associates

Erpen, Gustave: Feb 06, 1966*

Esalen Institute: Apr 20, 1964; Apr 23, 1964*

Ets-Hokins, Jeremy: Sep 18, 1974*

Everyday Art Quarterly: Feb 13, 1948

Exchange National Bank of Chicago: Jan 24, 1968

f/64, Group: Sep 07, 1972 (booklet ?The Group f/64 Controversy" by George M. Craven enclosed in letter from University of California at Berkeley)

Faber and Faber, Ltd.: Jan 26, 1970; Jan 31, 1970* (2); Feb 17, 1970

Falkner von Sonnenburg, Erwin: undated (in German); Jan 03, 1955 (in German); Aug 28, 1967*; Sep 23, 1968 (in German); Oct 19, 1968*; Dec 15, 1968*; Jan 12, 1969*; Jan 28, 1969 (in German); Feb 04, 1969*; Mar 11, 1969 (in German); Apr 16, 1969 (in German); Apr 23, 1969; Nov 28, 1970*; Jun 23, 1971*; Dec 13, 1971 (in German); Dec 25, 1971*; Apr 07, 1972 (in German); Feb 14, 1973 (in German); Jul 26, 1973*; Aug 21, 1973 (in German); Aug 01, 1974 (in German)

Falkner von Sonnenburg, Helene: May 1952 (in German); Jul 10, 1952; Aug 07, 1952; Sep 14, 1952*; Oct 15, 1952*; Nov 10, 1952*; Jan 05, 1953*; Jan 19, 1953*; Jan 27, 1953; Feb 02, 1953*; Feb 09, 1953*; Feb 25, 1953*; Apr 10, 1953*; May 19, 1953*; Jul 10, 1953*; Aug 20, 1953*; Oct 15, 1953 (death notice); mentioned in letters dated Dec 01, 1953*; Mar 19, 1954; May 14, 1954; May 24, 1954

The Family Circle: May 27, 1954*; Jun 07, 1954*; Jun 11, 1954; Jul 21, 1954; Jul 24, 1954*; Jan 25, 1955*; Jan 31, 1955; Jul 19, 1955; Jul 29, 1955; Aug 10, 1955; Sep 12, 1955*

Farley, Mr. and Mrs. William: Sep 22, 1948

Fascioni, Anna: Mar 23, 1971

Feininger, Andreas: Sep 19, 1937

Feininger, Lyonel and Julia: mentioned in [undated] letter from unidentified correspondent; Dec 14, 1951*; Feb 12, 1952*; Mar 18, 1952 (2); Mar 20, 1960

Feminist History Research Project: Jan 03, 1973

Fenno, J. (Jake?): May 27, 1968; May 30, 1968*

Ferry, Frances: Jan 30, 1966; [Mar 1969]; Apr 14, 1969*; Apr 19, 1969*; Jun 22, 1969*; Jul 11, 1969*; Sep 02, 1971*; Oct 16, 1975

Film Dynamics: May 21, 1973*

Finley, Mr. and Mrs. R. W.: Mar 31, 1975*

Finnegan, Josephine: Jul 05, 1972*; Jul 09, 1972

Fisher, Lois: mentioned in letter dated Mar 10, 1955

Focus Gallery: Nov 16, 1966; May 13, 1970; May 18, 1970*; May 30, 1970 (receipt for works); Apr 30, 1973; May 16, 1973; May 21, 1974; Apr 19, 1975; Jun 26, 1979; Jun 03, 1980

Foisie, Omer: see Dresden, Maud

Folger, Mr.: Feb 24, 1966*

Forbes, John D.: Jun 14, 1967*; Jun 17, 1967

Ford, Mr.: Nov 27, 1967*; May 21, 1968*

Forth, Robert: Jan 18, 1973*

Fortune: Mar 27, 1946

Fort Worth Art Center: Feb 27, 1956

Foster, Eve: Nov 13, 1957*; May 17, 1959*; Jan 18, 1960; Dec 10, 1960*

Foster (Zlatovski), Jane: undated; Oct 30, 1952; Dec 19, 1956; Jul 09, 1957* (including clippings about her indictment); see Notes for Foster's excerpts from -- My Ten Years as a Counterspy -- by Boris Morros, 1959

Foster, W. E.: Aug 14, 1957 (including clippings about Jane and George Foster's indictments)

FR Corporation: Feb 09, 1960

Franke & Heidecke: Apr 13, 1959; Jun 05, 1959*; Jun 18, 1959

Frankel, Peg: undated; Nov 28, 1983

Frankenstein, Alfred: see -- San Francisco Chronicle

Freed, Arthur: Aug 17, 1970

Freehe, Clifford: photograph of Freehe contained in letter from Dick Muffley dated May 19, 1974; also see Washington: University of Washington, Seattle

Freemesser, Bernard: Apr 09, 1969; Sep 24, 1973; Oct 27, 1973*; also see Oregon: University of Oregon

Friedman, Marian: [Apr 11, 1976]; May 07, 1976*

Friedman, Mickey: Apr 03, 1975; Jan 12, 1976; Jan 21, 1976; Mar 17, 1976*; Sep 22, 1976 (letter of condolence to Gryffyd Partridge)

Friends of Photography (gallery): Oct 12, 1971*; [May 31, 1973]; Jun 19, 1973; Feb 02, 1974*; May 14, 1974

Friends of the San Francisco Public Library: see San Francisco Public Library

Fuller, Pat: Apr 27, 1974; May 05, 1974*

Fuller, R. Buckminster: Mar 31, 1965

G., P. K.: Jul 05, 1968*

Gaelen, Leslie H.: May 16, 1961*; Nov 21, 1969; Nov 26, 1969*; Apr 29, 1970; Mar 20, 1971; Mar 26, 1971; Mar 31, 1971; May 11, 1971*; May 14, 1971*; Mun 03, 1971; Jun 09, 1971*

Galen, William: Mar 04, 1965; Aug 16, 1965

Gardner, Chrissie: Feb 18, 1968*; Aug 18, 1974*

Gardner, Juanita: Oct 16, 1972

Garnett, William: Dec 04, 1969*; May 09, 1970

Garrod, Richard: Feb 25, 1971

GAUSE (Western Managers of World Personalities): Mar 10, 1955; Mar 13, 1955*

Geddes, Norman Bel: Jun 27, 1932; Jul 07, 1932

Geen, Elizabeth: Mar 30, 1969*

Geldermann, Jessie and Arturo: Jun 12, 1958; Feb 02, 1959*; Feb 06, 1966*

General Foods Corp.: Nov 08, 1966*

Geske, Norman: see Nebraska: University of Nebraska

Gibbons, Mrs.: Jan 13, 1969*

Gichner, Lawrence: May 14, 1970; May 27, 1970*; Sep 14, 1970*

Gilbert, Arnold: Dec 02, 1969; Dec 15, 1969*; Dec 22, 1969; Feb 10, 1970*; Feb 16, 1970; Feb 19, 1970*

Gilbert, Jeffrey: Feb 05, 1976

Gill, Anne and Elwood: Oct 15, 1968; Oct 19, 1968*

Gillet, Anne: Feb 25, 1976 (including a term paper about Cunningham and 2 photographs of details on Cunningham's house)

Gilpin, Laura: May 31, 1959; Jun 04, 1959*; Feb 21, 1976*; Apr 17, 1976

Gisbon, Helen: Jan 28, 1958*

Glaezer, Rabbi: Oct 30, 1966

Glaser, Leslie: Jul 09, 1974*

Glenn: Jack Glenn Gallery: Mar 25, 1974; Apr 05, 1974; May 02, 1974; May 08, 1974*; May 09, 1974; Aug 23, 1974; Oct 04, 1974*

Golden Gate Magazine: May 08, 1961

Goldschmidt, Lisa: [Feb 07, 1969]; Feb 07, 1969*

Goldsmith, David: Jan 22, 1974*; Jan 19, 1975

Goldsmith, John: Oct 17, 1974

Goldsmith, T.: Nov 21, 1973

Goldstein, Virginia (Vagadu Aurelius' mother): Feb 07, 1971; Feb 27, 1971*

Goldstine, Daniel: Jul 05, 1964*

Goldstine, Edgar N.: undated; Jul 10, 1976 (letter of condolence to Gryffyd Partridge)

Goodger-Hill, G.: see Writings

Goodhue, Dr.: Sep 04, 1959* (2); Dec 07, 1972*

Goodwin, Betty: Nov 01, 1974

Goodwin, David: Dec 25, 1969 (photo Christmas card); Jul 22, 1970*; Jun 03, 1970; Dec 25, 1973; Apr 11, 1976

Gordon, Richard: Oct 11, 1974

Gorsline, Jerry: Sep 03, 1968

Grady, Jim: Nov 26, 1956*

Graham: Martha Graham Dance Co.: Apr 29, 1976*

Grant, Cary: Oct 24, 1970*

Grant, Verne: undated; Oct 24, [1974]; Nov 20, 1974

Graves, Morris: Apr 13, 1969*; Feb 23, 1972*; Jun 11, 1973*; Jun 30, 1973; Jul 05, 1973*; Jul 30, 1973; Aug 17, 1973*; Sep 03, 1973*; Dec 21, 1973

Graves, Wallace: Nov 12, 1972

Gray, Burt: Oct 11, 1974*

Grey, Abby and Benjamin: Jan 24, 1965; Feb 10, 1965*

Grieve, Ginger: Feb 04, 1976 (including a photograph of Grieve)

Grotch, Stanley: Nov 16, 1971*; Jan 08, 1971*

Grover, Oliver D.: Jun 26, 1912

Grubb, Erica: see Washington: University of Washington Press

Guggenheim: John Simon Guggenheim Memorial Foundation: undated* (2; one re Gini Dodge Leonard); Nov 30, 1956* (re Ruth Asawa Lanier); Nov 03, 1959 (recommendation for Cunningham from Theodore Roethke); Nov 16, 1959*; Feb 10, 1960; Nov 22, 1966; Dec 21, 1966* (re Thomas Knight); Jan 30, 1967*; Nov 22, 1967; Dec 07, 1968*; Aug 28, 1969; Sep 15, 1969*; Feb 20, 1970; Mar 20, 1970 (2); Mar 23, 1970 (telegram awarding fellowship); Apr 02, 1970; Apr 04, 1970*; Apr 08, 1970; Apr 09, 1970; Apr 21, 1970 (2); Apr 27, 1970 (2); Apr 30, 1970*; May 14, 1970; Jun 01, 1970*; Jun 08, 1970; Jul 26, 1970*; Jul 29, 1970; Sep 11, 1970; Oct 28, 1970*; Nov 18, 1970*; Dec 04, 1970; Dec 11, 1970; Dec 18, 1970*; Dec 22, 1970; Jan 11, 1971*; Jan 15, 1971; Jan 27, 1971; Jan 30, 1971*; Feb 22, 1971*; Mar 03, 1971; Mar 07, 1971*; Mar 11, 1971; Mar 14, 1971*; Apr 07, 1971; Apr 26, 1971; May 02, 1971*; May 11, 1971; Aug 04, 1971*; Aug 06, 1971; Aug 13, 1971; Dec 02, 1971*; Dec 06, 1971; Dec 09, 1971; Dec 25, 1971*; Feb 24, 1972; Feb 29, 1972*; Jun 10, 1972*; Jun 13, 1972; Nov 21, 1972; Dec 01, 1972* (including recommendations by Cunningham for Bill Heick and Walter Chappel); May 03, 1973*; Oct 30, 1974*; Nov 20, 1974; Dec 04, 1974* (letter of recommendation for Judy Dater); Dec 10, 1974

Guillumette: Paul Guillumette, Inc.: Jul 17, 1953

Gustafson, Egil: mentioned in letter dated Nov 02, 1974

Gustaitis, Rasa (Rasa Gustaitis Moss): Dec 24, 1969

Gustin, Paul and Ina: Aug 19, 1965*; Oct 07, 1965

Guthrie, Helen: see MacDonald, Dorothy and Helen

Gutman, Judith Mara: Apr 25, 1971

Haberstitch, David: see Smithsonian Institution; see Writings

Hader, Berta and Elmer: undated; Jul 10, 1956; Aug 22, 1956; Sep 11, 1965*; Jul 22, 1968*; May 01, 1969; Dec 28, 1969; Apr 20, 1971*; Jun 21, 1973; mentioned in letter Oct 19, 1973*; Feb 21, 1974*; Feb 25, 1974; Feb 25, 1975*

Hagan, R. A.: Apr 12, 1975 (poem by Hagan)

Hagberg, Jochen: see Writings

Hagel, Hansel, and Otto: Feb 24, 1965; Apr 22, 1968*; Oct 26, 1973

Hagen, Charles: see -- Afterimage

Hall, James Baker: Mar 14, 1976

Hall, Norman: Dec 09, 1960*,Dec 17, 1960; May 12, 1961; Oct 07, 1962*; May 05, 1963*; Nov 21, 1963*; Dec 30, 1963; Feb 22, 1964*; Jun 11, 1965*; Sep 22, 1968*; Oct 07, 1968; Oct 11, 1968*; Jul 22, 1969*; Nov 25, 1969*; also see -- London Times; -- also see -- Photography

Halprin, Ann: Nov 1970

Hammid, Hella: Apr 25, 1964*; Jan 22, 1967*; Oct 07, 1968*; Aug 27, 1969*; Apr 25, 1972 (letter of recommendation)

Handbook Co.: Mar 28, 1972*

Hansen family: Dec 25, 1968 (including photograph)

Harcourt Brace Jovanovich, Inc.: Feb 07, 1973; Feb 14, 1973; Feb 18, 1973*

Harmon family: Dec 25, 1962

Harnden, Betsey: Jan 20, 1973*

Harootian, Koren Der: Dec 28, 1956

Harper's Bazaar: Jan 07, 1963*; Nov 07, 1970*; Jan 1971 (2)

Harrington, La Mar: see Henry Gallery

Harris, Eugenia: May 11, 1975*

Harrison, Halstead: undated

Harrison, Lynne: Oct 27, 1965; Nov 02, 1965*; Dec 26, 1965; Apr 05, 1966; Oct 16, 1966; Nov 03, 1966*; Mar 08, 1967*; Mar 25, 1967; Feb 08, 1968; Feb 11, 1968*; Aug 09, 1968*; Oct 05, 1973; Jan 23, 1974; Mar 27, 1974*; Apr 23, 1974*; Sep 30, 1974; Oct 02, 1974*

Hartman, Louis: Dec 29, 1967*

Hauberg, John: Mar 28, 1972; Apr 17, 1972*

Haupt, Hanna: Feb 09, 1961 (in German)

Haupt, Peter and Dorle: Jan 25, 1959*; Nov 29, 1960*; Sep 07, 1961 (in German); Dec 14, 1965*; Jul 27, 1967; Aug 28, 1967*; Jul 06, 1968*; Sep 23, 1968*; Nov 24, 1968; Dec 08, 1968*; Jan 10, 1969; Aug 29, 1969*; Jan 03, 1969; May 24, 1971*; Sep 16, 1972; Oct 04, 1972; Jun 09, 1973; Oct 06, 1973; Dec 03, 1974*

Haupt, Otto: Aug 08, 1960 (in German)

Haven, Tom: [Jul 25, 1973]; Jul 25, 1973*

Haynes, Bruce and Joan (Partridge): Aug 30, 1967; Sep 26, 1967*; Dec 29, 1967*; Jan 17, 1968; Jan 31, 1968; Apr 04, 1968*; Jan 05, 1969*; Feb 02, 1969; Feb 05, 1969*; Apr 13, 1969*; Feb 29, 1972*; Jun 07, 1974*; Nov 18, 1974*

Healey, Myrtle: undated calling card

Heick, Bill: undated; mentioned in letter dated Dec 01, 1972*

Heick, Helen: Oct 09, 1958 (including a typescript of Heick's ?On a Freighter to Japan" and a reprint of her "A Panacea Called Haramaki"); Dec 16, 1960*

Heinecken, Robert: see California: University of California at Los Angeles

Heino, Vivica: Mar 25, 1971*; May 05, 1972*

Hellman, Lillian: Dec 02, 1973*; Dec 26, 1973

Helps, Bob: [Jan 31, 1974]; Jan 31, 1974*

Henod Textiles: undated

Henry Gallery (University of Washington, Seattle): May 05, 1958; May 15, 1958*; Jul 27, 1960 (2); Aug 03, 1960 (letter from Gryffyd Partridge); Aug 23, 1960*; Mar 26, 1961*; Mar 17, 1964; Mar 19, 1964*; Mar 30, 1964; Apr 16, 1964*; Apr 20, 1964 (2); Apr 24, 1964*; Aug 30, 1964*; Sep 16, 1964; Sep 27, 1964*; Oct 15, 1964; Dec 10, 1964; Dec 30, 1964*; Jan 12, 1965; Jan 18, 1965*; Mar 30, 1965; Mar 31, 1965; Apr 01, 1965*; Apr 21, 1965*; Jun 04, 1965; Jun 17, 1965; Jun 20, 1965; Jun 23, 1965*; Jun 27, 1965*; Jul 20, 1965; Aug 05, 1965*; Nov 10, 1965*; Jan 03, 1966; Jan 14, 1966; Jan 21, 1966*; Jan 24, 1966; Jan 30, 1966*; Feb 11, 1966; Apr 06, 1966; Jun 20, 1966*; Jun 21, 1966; Jul 04, 1966*; Aug 03, 1966; Aug 09, 1966*; Sep 14, 1966; Oct 21, 1966*; Dec 02, 1966; Dec 11, 1966*; Dec 21, 1966; Feb 02, 1967*; Jun 18, 1967*; Oct 31, 1967; Nov 09, 1967*; Sep 15, 1970*; Sep 28, 1970; Nov 07, 1970*; Nov 24, 1970; Jan 16, 1971*; Jan 26, 1971; Feb 24, 1971; Mar 03, 1971*; Apr 26, 1971; Jun 09, 1971; Jun 16, 1971*; May 08, 1972; Jul 11, 1972; Mar 01, 1973; Mar 28, 1973*; Apr 10, 1973; May 07, 1973*; Oct 17, 1973*; Dec 18, 1973; Jan 18, 1974*; Jan 21, 1974; Feb 06, 1974; Feb 07, 1974*; Feb 12, 1974; Feb 20, 1974; Mar 05, 1974*; Mar 20, 1974; Mar 27, 1974*; Mar 28, 1974; Apr 21, 1974; Apr 26, 1974*; May 05, 1974*; May 06, 1974*; May 10, 1974 (including 5 installation photographs from Cunningham's exhibition); Jun 04, 1974

Heron, Edith: Mar 07, 1974

Herrick, Mariam and Francis: Apr 14, 1971; Dec 1973; Dec 26, 1974; May 30, 1975*

Herring, Frances: Apr 15, 1970

Hershey, Ann: see KPIX 5

Heyman, Therese: undated (2); Feb 26, 1965*; Dec 20, 1965; Apr 25, 1969; Apr 13, 1970; Feb 22, 1971*; Apr 29, 1971; Mar 09, 1974*; Feb 11, 1975 (letter from Cunningham's lawyers, Morrison & Foerster); also see Oakland Museum

Hiatt, Mary: Apr 30, 1970; Jul 12, 1976 (letter of condolence to Gryffyd Partridge)

High, Dennis: mentioned in letter dated May 10, 1976

Higman, Harry W.: Apr 25, 1953; Jun 08, 1965*; Jun 08, 1965*

Himelfarb, Harvey: Mar 27, 1971

Hoffman, Lee: Jun 09, 1972; Jun 15, 1972*; Dec 19, 1972; Jan 06, 1973*

Hoffman, Michael E.: see -- Aperture

Holder, Preston: Mar 21, 1966; Apr 12, 1966*; Sep 12, 1966; Sep 13, 1966*; Sep 18, 1966; Oct 11, 1966; Oct 30, 1966*; Jan 23, 1967; Nov 18, 1968; Nov 19, 1968*

Holger, Zelda: Feb 28, 1976

Holt, Rinehart & Winston, Inc.: Sep 26, 1972*; Oct 11, 1972; Oct 16, 1972*; Oct 18, 1972

Holub, Leo: Aug 20, 1969*; Aug 24, 1969; Dec 25, 1973; Jan 1975; Jun 21, 1976

Homestead Productions: Jan 07, 1971

Hooykaas, Else Madelon: Jan 02, 1971; Jun 09, 1971*; Jun 16, 1971; Jan 12, 1972

Hoover, Herbert (the office of Herbert Hoover): May 21, 1935*; Jun 4, 1935; Oct 05, 1935; Oct 09, 1935*; Feb 25, 1936; Feb 28, 1936*; Apr 22, 1936; Apr 29, 1936*; May 06, 1936; May 13, 1936*

Hosoe, Eikoh: Dec 25, 1974

Howell, Thekla and Robinson: [Jan 1966]; Dec 25, 1968; Feb 08, 1969*

Humboldt State College: Jan 21, 1965 (2); Jan 10, 1966; Jan 13, 1966*; Jan 30, 1966*; Feb 22, 1966; Mar 01, 1966*; Jul 01, 1966*; Sep 24, 1966*; Sep 30, 1966; Oct 05, 1966*; Mar 04, 1968*; Apr 05, 1968; Jul 04, 1968*; Feb 06, 1970*

Hume, Portia Bell: Mar 16, 1942; Mar 20, 1942*; May 03, 1942; May 24, 1942*

Hunt Institute for Botanical Documentation: Mar 01, 1974; May 24, 1975*

Huppe: Sep 07, 1973*

Hurd, Mrs.: Aug 09, 1968*

Illinois: University of Illinois: Jan 14, 1965; Feb 01, 1965*; Mar 17, 1965; Mar 26, 1965*; Apr 09, 1965

Imada, Kinji: Jul 07, 1968*; Dec 25, 1971*

Image Circle: Apr 05, 1971*

Indiana University: Oct 31, 1958; Dec 02, 1958

Infinity: Oct 23, 1965*; Nov 07, 1965*; Jan 26, 1966*; Jun 03, 1966*; Jun 20, 1966*; Oct 04, 1966; Oct 14, 1966*; Oct 19, 1966*; May 24, 1967*; also see American Society of Magazine Photographers

Ingalls, David: Feb 22, 1972

Inokuma, Geniciro: Nov 25, 1955

Institute of International Education: Jan 10, 1965*; Mar 26, 1965*; May 03, 1971

International Invitational of Photography: see Volunteer Service Photographers

International Museum of Photography: Feb 10, 1972; May 03, 1972; Jun 16, 1972*; Nov 10, 1974*; also see Eastman: George Eastman House

Iowa: University of Iowa: Nov 14, 1967; Nov 22, 1967*; Nov 24, 1967*; Dec 04, 1967; Jan 04, 1968; Jan 04, 1968; Jan 13, 1968*; Mar 04, 1968*; Oct 29, 1968; Nov 10, 1968*; Nov 16, 1968; Apr 08, 1969; May 26, 1971

Irwin, Clare: undated; Oct 08, 1960*; Nov 04, 1968*; Jan 10, 1969; Feb 25, 1969*; Mar 11, 1969*; Aug 30, 1970*; Sep 11, 1970; Dec 15, 1970; Mar 26, 1971*; Mar 31, 1971; Apr 02, 1971*; Apr 10, 1971; Dec 15, 1971*; May 10, 1972*; May 26, 1972; Jun 08, 1972*; Oct 05, 1972; Oct 19, 1972*; Sep 18, 1973; Nov 30, 1973*; Jan 24, 1974*; Apr 09, 1974; May 23, 1974*; Feb 26, 1976; Mar 06, 1976*; Oct 20, 1976

Irwin? family: Jul 19, 1967 (in German)

Irwin, Melanie: Sep 24, 1971

Iselin, Leni: Aug 25, 1961; Sep 19, 1961; Sep 23, 1961; Oct 17, 1961; Mar 02, 1962; Apr 29, 1962*; May 19, 1962; May 25, 1962*; Jun 12, 1962*; Oct 23, 1962*; Jan 08, 1963*; Mar 29, 1963*; Jul 18, 1963*; Nov 26, 1963*; Jan 03, 1964*; Jun 02, 1964*; Aug 07, 1964*; Nov 17, 1964*; Jun 18, 1967*; Jul 10, 1967*

Istituto Editoriale Domus: Aug 11, 1958; Aug 17, 1958*; Aug 26, 1958

Jackson, Herbet: Oct 16, 1967

Jacobs, Ken: May 21, 1973*

Jameson, Catherine E.: see Marple, Warren

Janis: Sidney Janis Gallery: Feb 23, 1976

Jay, Bill: see -- Album

Jobert, Muriel: Jan 12, 1960*; Jul 19, 1960; Dec 11, 1960*; Nov 20, 1962; Feb 05, 1964*; Sep 17, 1964*; Dec 12, 1966*; Jan 12, 1967; Feb 04, 1967*; Jun 19, 1967*

Johnson, Catherine: Jan 20, 1968

Johnson, Lyndon B.: Jun 14, 1965 (invitation to reception at the White House)

Johnson, Tom: see College of Marin

Jones, George: Sep 07, 1971; Nov 10, 1971

Jones, Laura: undated

Jourdan, Alda: Jan 15, 1956

Jourdan, Erven: Feb 27, 1976

Junior League of Oakland: Oct 19, 1967

Junior League of San Francisco: Nov 15, 1951; Aug 05, 1965

Ka_____, Kay: [Feb 1973]

Kalamazoo Institute of Arts: Mar 16, 1961; May 22, 1961*; May 24, 1961; Jan 05, 1962

Kalina, Judith: Oct 1972; Mar 14, 1975; May 30, 1975*; Aug 31, 1975

Kalkman, Robert Rodgers: Jan 23, 1973

Kanaga, Consuelo: undated; Mar 05, 1961; Mar 12, 1961*; Jan 06, 1962; May 02, 1968*; May 08, 1968; Feb 25, 1969*; mentioned in letter dated Oct 1972

Kansas: University of Kansas: Mar 05, 1974

Kantor, Jayne: Oct 07, 1974; Oct 13, 1974*; Oct 18, 1974; Jan 15, 1975

Kasler-Holliman, Phyllis: Apr 26, 1967; Mar 30, 1968; Apr 10, 1968*

Kauffman, Eleanor: Oct 21, 1974*

Kauffman, Richard: Mar 08, 1965

Kaufman, Evelyn and Hank: Jun 18, 1976

KCBS-Radio: Apr 14, 1967; also see Writings

Keesling, Mrs. Francis: Sep 08, 1969* (receipt)

Kelly, Dorothea: Jan 04, 1964, (including photograph of a painting in a stairway)

Kelly, Jain: see Witkin Gallery

Kemp, Edward: see Oregon: University of Oregon

Kennedy, Lawton: Feb 16, 1966*

Kent State University Press: Jun 24, 1970

Kewell, Jeanne: Jun 07, 1954; Jun 17, 1954*; Jun 26, 1954; Jul 20, 1954*

Khounta, Penelope: Apr 18, 1973

Kier, Mary Alice: Apr 19, 1971

Kilgore, Don: May 12, 1974; May 25, 1974*; May 25, 1975

Kim-Le, Richard: Apr 01, 1976*

Kingston, Rodger: Dec 22, 1974

Kirkman, Tom: Apr 24, 1972; Jun 24, 1972*; Jun 27, 1972

Kismaric, Carole: see Snyder: Norman Snyder Studios, Inc.

Klemmer, Ruth: Dec 21, 1973 (including 2 photos circa 1916)

Klingenberg, Grace: Jan 07, 1963

Knight, Tom and Katy: Dec 21, 1966* (letter to Guggenheim re Thomas Knight); Jan 21, 1974; Jan 25, 1974*; also see Humboldt State College

Knopf: Alfred A. Knopf, Inc.: Mar 04, 1976; Mar 09, 1976*

Kolbrener, Bob: Dec 02, 1974

Kolisch, Marian Wood (granddaughter of Charles Erskine Scott Wood): Sep 28, 1974

Korty, John: May 21, 1970 (2); Jun 04, 1970*; Jul 20, 1970 (letter from Museum of Modern Art); Jan 24, 1972; Mar 07, 1973; Jan 1974 (3); Feb 09, 1974*; Mar 06, 1976

Koryhut, Wanda: Aug 21, 1957; Aug 30, 1957

Kosmak, Evelyn and George: Jun 19, 1964; Sep 24, 1970

Kouns, John: Nov 27, 1971* (letter of recommendation)

KPIX 5: Apr 07, 1971; Jun 03, 1975 (2); Jun 03, [1975] (2)

KQED: undated; May 12, 1965; Feb 15, 1966; Jun 14, 1971; Aug 07, 1971; Dec 15, 1971*; May 04, 1972; Jun 14, 1972; May 02, 1974; May 01, 1975

Kraft, Jim: undated

Kralka, Ania: Feb 05, 1966; Feb 13, 1967*; May 12, 1967*; Nov 08, 1970*; Jan 1976

Krannert Art Museum: see Illinois: University of Illinois

Krasnow, Peter: May 27, 1976

Krotki, K. J. and Ania: Apr 01, 1961; Dec 25, 1962 (photo Christmas card); Dec 25, 1963 (photo Christmas card); Mar 16, 1970; Jan 18, 1972

Krotta, Krysia: Feb 10, 1959*; Jun 24, 1959; Aug 21, 1959*; Dec 12, 1959*; Nov 25, 1960*; Feb 21, 1961*; Mar 03, 1961*; Mar 09, 1961; Mar 26, 1961*; Apr 13, 1976*

Krupsaw, Warren B.: Apr 18, 1969

Kurtz, Bruce: Apr 18, 1967

KVON (Martha Walker): Sep 27, 1955

Ladies' Home Journal: Aug 24, 1972

Lagrane, Myrtle: Nov 12, 1973

Lamkin, John: Jun 1974; Jun 07, 1974*

Land, Edwin: Mar 09, 1965*

Land, Terre?: Aug 29, [1967]; Sep 07, 1967*; Sep 27, 1967

Lane, William and Saundra: Nov 12, 1968*; Jan 31, 1969*; Feb 27, 1969*; mentioned in letter dated Mar 12, 1969*; Apr 14, 1969*; Apr 18, 1969; Apr 29, 1969*; Jul 30, 1969*; Sep 17, 1969*; Nov 15, 1969; Dec 11, 1969*; Dec 17, 1969; Jan 13, 1970*; Mar 04, 1970*; Aug 24, 1970; Sep 25, 1970*; Oct 20, 1970*; Nov 16, 1970*; Dec 08, 1970; Jul 23, 1971* (2)

Lange, Dorothea: undated; Apr 24, 1958*; Apr 18, 1963*; May 17, 1971 (Dorothea Lange Purchase Award given to Cunningham)

Lanier, Addie Laurie: undated*

Lanier, Eiko: Feb 10, 1963*; Feb 22, 1964*; also see Photographs

Lanier, Ruth Asawa: see Asawa, Ruth

La Paz Pottery: Jun 13, 1973*

Larson, Jerry: see Mount Angel Abbey Library

Laszlo, Ernie: see Writings

Latent Image (Gallery): Mar 19, 1971

Laub, Randolph (Ohio Silver [gallery]): May 14, 1973*; Jun 28, 1973; Jul 24, 1973*

Laughlin, Clarence John: Jan 06, 1952

Laurel, Stan: mentioned in letter dated Feb 22, 1976

Lavenson, Alma: Aug 19, 1953*; Jun 25, 1954*; Dec 07, 1959*; Apr 12, [1968]; Jul 31, 1968*

Lee, Alan W. S.: Jan 11, 1913 (including 14 photographs of China); Apr 17, 1916; Oct 26, 1917; Jan 05, 1918; Mar 1918; Aug 21, 1918 (including 8 photographs of Japanese ceramics); Jan 07, 1919; May 09, 1919; Jun 11, 1919; Jan 14, [1920]; Mar 23, 1920; Apr 14, 1920; May 13, 1920; Jul 17, 1920; Sep 13, 1920; Oct 17, 1920; Dec 01, 1920; Feb 03, 1921; Feb 13, 1921; May 29, 1921; Sep 20, 1921 (including a photograph of the Thames River and Tower Bridge, 4 of Peking, one of a Nagasaki fountain, and one of Poyang Lake); Nov 25, 1921; Jan 09, 1922; Feb 09, 1922; Apr 05, 1922; Aug 24, 1922; Nov 28, 1922; Jan 19, 1923; Aug 31, 1923; Feb 09, 1924; Aug 13, 1924; Mar 23, 1926; Dec 01, 1926; Jan 28, 1927; Jun 02, 1927; Aug 26, 1932; Feb 22, 1934; Oct 18, 1934; Jan 04, 1937 (including 3 photographs of Diplomatic Corps ceremony); Jul 12, 1938; Aug 11, 1939; Aug 31, 1939; Jan 19, 1940

Lee, Hannah Simms: Jan 19, 1957; Feb 12, 1957*; Jun 11, 1965*; Mar 03, 1971*; Mar 13, 1971*

Leefe, Miriam: May 31, 1963*; [Jun 1963]; Aug 07, 1963*; Sep 27, 1963*; Nov 23, 1963*

Lemkin, Mari: Aug 02, 1962; Aug 06, 1962*

Lentz, Bernard: Mar 13, 1958; Nov 23, 1958; Jan 02, 1960; Feb 07, 1960

Leonard, Gini Dodge: Nov 12, 1971; also see undated letter from Cunningham to the Guggenheim Foundation

Leonard, Joanne: Jun 16, 1974

Leone, Anna: Feb 07, 1969*

Leslie, Caird: May 05, 1956*; Dec 10, 1961

Levi Strauss and Company: mentioned in letters dated Sep 20, 1972 and Sep 29, 1972*

Lewis, Carol: Sep 17, 1975

Library of Congress: mentioned in [undated] letter from Cunningham to unidentified correspondent; Jul 14, 1949; Nov 16, 1949; Sep 05, 1962; Dec 03, 1962; Mar 18, 1963; Mar 27, 1963*; May 07, 1963; May 20, 1963*; Jul 08, 1963*; Jul 17, 1963; Jul 30, 1963; Nov 14, 1963; Nov 20, 1963*; Dec 30, 1963*; Feb 18, 1964; Mar 19, 1964*; Mar 26, 1964; Apr 07, 1964*; Apr 15, 1964; Apr 24, 1964*; Jun 04, 1964; Oct 08, 1964

Life: Dec 29, 1959*; Sep 19, 1969*; Oct 02, 1969; Oct 27, 1969; Mar 13, 1970 (2); May 06, 1970; Jan 14, 1972*; Aug 31, 1972; Oct 03, 1972; Oct 09, 1972*; Nov 03, 1972*; Nov 06, 1972*; Dec 29, 1972*; Jan 05, 1973; Jan 26, 1973

LIMELIGHT (exhibitions): Sep 17, 1954; Oct 06, 1954*; Oct 21, 1954*; Jan 10, 1955; Jan 21, 1955*; Mar 08, 1955; Apr 01, 1955*; Apr 25, 1955; Sep 14, 1955; Oct 03, 1955*; Nov 10, 1955*; Feb 24, 1956; Mar 25, 1956*

Linenthal, Alice Adams: Jul 23, 1966

Liston, Mrs. J. Glen: see Western Association of Art Museums

Littlejohn, David: Jun 05, 1970*

Locks, Norman: see Adams: Ansel Adams Gallery

Logan: Reva and David Logan Foundation: Feb 17, 1970; Apr 13, 1970*; Sep 13, 1971*; Nov 16, 1971*; Aug 03, 1973; Mar 25, 1974; Jun 05, 1975

London Times: Dec 30, 1963

Look: Dec 05, 1969; Dec 09, 1969*; Dec 24, 1969*; Jan 09, 1970; May 12, 1970*; May 25, 1970; Mar 13, 1971*; Mar 20, 1971*; Feb 1973; Mar 28, 1973*

Lovatt?, Bill: Jan 06, 1961*

Loveless family: Mar 09, 1971*

Ludington, Wright: Feb 13, 1953

Lushington, Beatrice: Jul 19, 1976

Luther, Dr. R. and Ida: Sep 28, 1923 (in German); Aug 01, 1927 (in German)

Lynch: Douglas Lynch Associates Graphic Design: Sep 20, [1966]

Lyons, Nathan: Nov 20, 1963; Jun 29, 1967*

MacCormack, Robert: Dec 04, 1956*

MacDonald, Dorothy and Helen (Helen MacDonald Guthrie): undated; Mar 09, 1961; Aug 28, 1962 (letter from Helen Dickinson-Chetham); Jun 30, 1965*; Aug 31, 1965*; Jan 24, 1966*; Jul 02, 1966*; Sep 01, 1966*; Jan 03, 1967*; May 29, 1967*; Jul 31, 1967*; Aug 02, 1967; Aug 14, 1967*; Oct 29, 1967*; [Jan 1968]*; Jan 01, 1968 (letter from Joan and Bruce Haynes); Mar 20, 1968*; Mar 27, 1968; Jun 10, 1968*; Jul 05, 1968*; Jul 19, 1968*; Apr 15, 1969*; Apr 20, 1970*; Apr 30, 1970; [Jul 1970]; Jul 19, 1970*; Nov 18, 1970*; [Nov 21, 1970]; Jan 16, 1971*; Jan 30, 1971*; Jul 26, 1971*; Oct 07, 1972*; [Dec 25, 1973]; Feb 14, 1974; [Feb 14, 1974]; Feb 20, 1974*; Mar 26, 1974*; May 16, 1974; Jun 24, 1974 (letter to Gryffyd Partridge); Oct 03, 1974*; Nov 21, 1974*; Dec 28, 1974*; Jun 25, 1976 (letter of condolence to Gryffyd Partridge)

Macfadden Publications, Inc.: Jul 22, 1942

MacGalliard, Wally: Jun 03, 1972; Jun 07, 1972*

MacKay, Alastair: Jun 05, 1972*; Jul 30, 1973*; Aug 11, 1973; Aug 27, 1973*

Mackland, Ray: Feb 10, 1960*

Macmillan Company: Jun 23, 1936; Aug 08, 1939; Aug 31, 1939*

Maddox, Miss (of Atrium): Jun 01, 1966*

Madison Art Center: May 25, 1973; Jun 28, 1973; Jan 15, 1974; May 07, 1974*

Maimone, Paul: Jul 10, 1974; Nov 08, 1974*

Malanga, Gerard: Mar 21, 1973

Malarkey, Mr.: Jul 08, 1965*

Malcolm, Ida Parton: Jul 23, 1967*

Mandel, Mike: Aug 22, 1975 (including 3 postcards designed by Mandel and a baseball card picturing Cunningham holding a ball and glove); Nov 13, 1975

Mann, Margery: undated (3); Jan 08, 1966; Oct 04, 1966 (letter to -- Infinity -- including a typescript "Imogen Cunningham" by Mann); Sep 25, 1967 (letter to Don Ellegood); Aug 09, 1968*; Oct 10, 1968 (letter from Ellegood); Oct 14, 1968*; mentioned in letter dated Apr 29, 1969; Aug 10, 1969; Apr 1970; May 18, 1970 (letter from Washington Press); Feb 08, 1971*; Mar 03, 1971*; Nov 16, 1972; Mar 30, 1973*; Sep 08, 1973*; Feb 06, 1974*; Apr 24, 1974; Aug 21, 1974 (letter from Cunningham's lawyers, Morrison, Foerster, Holloway, Clinton & Clark); Aug 27, 1974 (2); also see Writings

Manning, Harvey: see Washington: University of Washington, Seattle

Manself Press: Oct 26, 1974

Marcus, Lynn: undated

Maring: Dennis E. Maring & Co.: Nov 13, 1975

Marks, Milton (State Senator, Wash.): Nov 24, 1970; Nov 26, 1970*

Marple, Warren, Lorna, and Elliot: Jun 25, 1965; August 1966*; Apr 15, 1974 (2); May 18, 1974; May 21, 1974*; Dec 21, 1974

Martinez, Caroline, Zoura, and Al: Apr 24, 1974; Feb 25, 1975*; Jun 29, 1976

Masclet, Daniel: [Dec 1960] (in French); Dec 06, 1960*; Nov 16, 1961; Jun 13, 1963*

Massachusetts Institute of Technology: Jan 10, 1968; Jan 29, 1968; Feb 25, 1968; Mar 25, 1968; Apr 11, 1968; May 20, 1968; Jun 05, 1969; May 25, 1970; also see White, Minor

Massar, Phyllis: undated (2); Dec 20, 1963; Oct 01, 1969; Oct 08, 1969*; Apr 11, 1970; Aug 08, 1970; Aug 14, 1970*; Sep 03, 1970; Sep 10, 1970*; Sep 14, 1970; Sep 15, 1970*; Oct 01, 1970; Oct 05, 1970*; Oct 17, 1970; Nov 08, 1970; Nov 12, 1970*; Dec 11, 1970; Feb 22, 1971*; Feb 28, 1971; Mar 05, 1971; Mar 12, 1971; Jan 05, 1973; Jan 08, 1973*; Mar 07, 1973; Mar 19, 1973*; Mar 29, 1973; Apr 09, 1973; Apr 25, 1973; Mar 27, 1974*; Jun 23, 1974; Jul 23, 1974; Dec 15, 1974

Mathias, Mr.: Dec 12, 1967*

Mattison, Ethel and Jack: Nov 09, 1947; Dec 25, 1966; Jan 24, 1967*; Oct 12, 1968*

Maugham, W. Somerset: mentioned in letter dated Jun 10, 1936

Mayer, Grace M.: see Museum of Modern Art

Mayer, Helene: see Falkner von Sonnenburg, Helene

Mayer, Ida: Jan 03, 1955 (in German)

Mayes, Elaine: Nov 27, 1971* (letter of recommendation)

Mazzeo family: Dec 31, 1959*

McBride, Mary Margaret: Jan 10, 1961; May 06, 1969; Oct 24, 1970*

McCabe, Darlene: Jan 26, 1976

McCann-Erickson, Inc.: Dec 22, 1970; Dec 30, 1970*; Feb 04, 1971*; Feb 12, 1971*; Mar 05, 1971

McCarthy: Oct 14, 1959*

McCarthy, Jane: Nov 07, 1970

McClatchy, Phebe: Nov 26, 1951

McDougal, Littell & Company: Feb 11, 1970

McEwan, Mary: undated (4); Oct 11, 1954*; Nov 18, 1954*; Dec 26, 1954*; Jan 02, 1955; Jan 14, 1955*; Feb 02, 1955; Feb 25, 1955*; Feb 28, 1955*; Mar 14, 1955*; Mar 27, 1955; Apr 20, 1955; May 11, 1955; May 29, 1955*; Jun 23, 1955; Jul 14, 1955*; Aug 03, 1955; Aug 30, 1955; Sep 22, 1955; Oct 03, 1955*; Oct 12, 1955; Oct 21, 1955 (2); Nov 22, 1955; Dec 11, 1955*; Jan 06, 1956; Jan 16, 1956*; Jan 10, 1956*; Apr 22, 1956 (married to Rex Dadd); Jun 06, 1958; Jun 27, 1958*; Dec 1958; Mar 16, 1959; May 04, 1959; Sep 27, 1959*; Jan 01, 1960*; Feb 13, 1960*; Nov 29, 1960*; Feb 13, 1961; Feb 26, 1961*; May 16, 1961*

McGraw, Dick: Dec 25, 1966; Jun 15, 1967*; Mar 08, 1968*

McGraw-Hill Book Company, Inc.: Mar 29, 1961

McHugh, Vincent: Mar 11, 1970; May 15, 1970; May 21, 1970*

McIntosh, Jenny: Dec 19, 1947

McKee, Tasheira & Wahrhaftig: May 11, 1939 (divorce decree)

McLeod, James: Jun 11, 1970 (letter from Beatrice Roethke); Jul 05, 1970*; Jul 11, 1970*

McLuhan, Teri: see Outerbridge & Dienstfrey

McMinn, Helen: Jan 28, 1972

Mees, Kenneth: Jul 19, 1957*; Jul 26, 1957; Feb 05, 1958*; Jun 01, 1958*; Aug 26, 1958*

Melchert, Ralph (Ramel): Sep 19, 1973

Meltzer, Milton: Jan 27, 1976

Menapace, John: Mar 06, 1969; May 31, 1970*; Jun 10, 1970; Jun 18, 1970*

Mendocino Art Center: Feb 15, 1971; Feb 22, 1971*

Mendocino Historical Research, Inc.: Mar 04, 1976

Menninger, Edwin: undated

Merrill, Forrest: Oct 21, 1974*

Mesaros, Ron: Oct 02, 1970; Oct 11, 1970*

Metcalf: Addison M. Metcalf Collection of Gertrude Steiniana: Mar 23, 1955; Sep 22, 1955*; Sep 26, 1955; Oct 11, 1955

Metropolitan Museum of Art: Jul 12, 1969*; Jul 21, 1969; Aug 11, 1969*; Aug 13, 1969; Aug 16, 1969*; Dec 16, 1969; Dec 21, 1969*; Jan 14, 1970; Feb 22, 1970*; Apr 30, 1970; May 07, 1970*; May 14, 1970; May 31, 1970*; Jun 16, 1970; Nov 30, 1970; Mar 11, 1971; Mar 17, 1971; Mar 22, 1971*; Apr 14, 1971; Feb 20, 1973; Mar 02, 1973*; Mar 08, 1973; Mar 17, 1973* (2); May 15, 1973*; May 31, 1973; Jul 17, 1973

Metzker, Ray: Sep 14, 1960; Dec 06, 1960*; Feb 12, 1962; Apr 27, 1962*

Miles, Josephine: Apr 02, 1973

Miller, Barbara J.: undated

Mills College: Mar 19, 1954; May 14, 1954; May 24, 1954; Jan 27, 1956; Feb 27, 1956*; Apr 11, 1956; Apr 14, 1956*; May 29, 1958; Feb 22, 1965; Apr 08, 1970*; Sep 06, 1973; Sep 08, 1973*; Feb 11, 1975; Feb 25, 1975; Apr 04, 1975*; May 13, 1975*

Minard, F.: Dec 29, 1966

Mind's Eye (gallery): Oct 25, 1973

Minneapolis Institute of Arts: Mar 29, 1957

Mocy?, Robert: Apr 04, 1965

Model, Lisette: May 21, 1970; Jun 11, 1971

Modern Photography: Dec 12, 1950 (typescript of "A Passion for the Medium" by Christina); Feb 27, 1951; Aug 11, 1953; Jul 06, 1954*; Apr 14, 1955; Jan 13, 1956*; Aug 23, 1957*; Feb 01, 1968; Aug 08, 1968; Apr 18, 1972

Moholy-Nagy, L.: Jan 04, 1941

Monk, Heidi: Apr 02, 1969; Apr 14, 1970

Monterey Peninsula College: Jan 21, 1970; Jan 26, 1970*; Jan 27, 1970; Mar 03, 1970; Mar 04, 1970; Mar 11, 1970*; Apr 15, 1970*

Moon, Orrin C.: see Mendocino Art Center

Moore, Richard: May 22, 1975

Morais, Ka: Feb 10, 1976

Morais, Ken: mentioned in letter dated May 10, 1976

Morgan, Barbara and Willard: Jan 09, 1967; Apr 10, 1968*; Dec 26, 1969*; Nov 29, 1970; Dec 03, 1970*

Morgan, Edith: Oct 14, 1953; Jan 03, 1955*; Jun 30, 1957*

Morgan Guaranty Trust Co.: Aug 16, 1969*

Morley, S. Griswold: Oct 09, 1961; Jul 14, [1962]; Jul 08, 1968*; Aug 09, 1968*; also see Printed Material

Morris, Mark: Apr 09, 1974

Morrison, Foerster, Holloway, Clinton & Clark: Aug 21, 1974 (letter to Marjorie Mann); Aug 21, 1974 (letter to Gryffyd Partridge); Sep 11, 1974; Feb 11, 1975 (letter to Theresa Heyman); Feb 18, 1975 (letter to Gryffyd Partridge and Adrian Wilson); Feb 27, 1975; Mar 17, 1975

Morros, Boris: see Notes for Jane Foster's excerpts from -- My Ten Years as a Counterspy -- by Morros, 1959

Mount Angel Abbey Library: Apr 03, 1970; Aug 30, 1971; Sep 06, 1971*; Sep 24, 1971*; Oct 07, 1971; Oct 17, 1971*; Nov 07, 1971*; Nov 08, 1971; Nov 26, 1971; Dec 02, 1971*; Dec 17, 1971; Jan 07, 1972*; Feb 14, 1972; Mar 16, 1974*; also see Photographs

Mozesson, Phiz: mentioned in letter dated Dec 16, 1970*

Mozley, Anita: Apr 08, 1973*; Jun 09, 1973; Jun 15, 1973*

Ms.: Nov 25, 1974; Apr 26, 1975*

Muffley, Dick: Jul 06, 1968*; May 04, 1973 (including a photograph of himself, 2 of his house, and 4 of an atom smasher); May 19, 1973*; May 17, 1974*; May 19, 1974 (including 3 vacation photographs and a photograph of Cliff Freehe)

Munson-Williams-Proctor Institute: Jan 09, 1957; Feb 16, 1957*; Feb 19, 1957*; Feb 21, 1957; Feb 28, 1957

Museum of Fine Arts, Springfield, Mass.: Jun 03, [1974]; Aug 13, 1974; Aug 16, 1974*

Museum of Modern Art: undated; Apr 02, 1937; Sep 17, 1941; Sep 25, 1941*; Oct 22, 1946; Oct 28, 1946; Jan 01, 1960*; Mar 01, 1960; Mar 14, 1960; Apr 08, 1960; Apr 12, 1960; Jun 02, 1960; Nov 03, 1960; Dec 30, 1960; Jan 10, 1961*; Jan 16, 1961; Feb 01, 1961*; Feb 03, 1961; Feb 07, 1961*; May 19, 1961; Apr 04, 1962; May 29, 1962; May 30, 1962; Mar 26, 1963; Apr 05, 1963*; May 03, 1963; May 20, 1963; May 30, 1963*; Jun 04, 1963; Jun 16, 1963*; Jul 02, 1963; Jul 04, 1963*; Jul 08, 1963*; Jul 22, 1963; Aug 07, 1963*; Aug 12, 1963; Oct 16, 1963*; Oct 28, 1963; Oct 31, 1963; Nov 08, 1963*; Dec 12, 1963; Jan 25, 1964*; Jan 29, 1964; Apr 13, 1964; Apr 21, 1964; Jun 01, 1964; Jun 08, 1964; Sep 21, 1964*; Sep 29, 1964; Jan 02, 1965*; Jan 06, 1965; Jul 15, 1965 (2); Jul 28, 1965* (2); Sep 30, 1965; Oct 12, 1965*; Oct 20, 1965; Nov 14, 1965; Jul 28, 1966*; Jul 31, 1966; Aug 11, 1966; Sep 01, 1966*; Sep 06, 1966; Nov 09, 1966*; Dec 01, 1966; Dec 07, 1966; Jan 25, 1967 (2); Apr 03, 1967; Apr 07, 1967*; Apr 10, 1967*; May 23, 1967; Jun 17, 1967; Dec 09, 1967; Feb 13, 1968; May 15, 1968; Jun 13, 1968; Jul 11, 1968; Sep 12, 1968*; Oct 09, 1968; Oct 21, 1968; May 10, 1969; Jul 14, 1969*; Sep 05, 1969; Sep 08, 1969; Apr 09, 1970; Apr 21, 1970; Jul 20, 1970 (letter to John Korty); Nov 18, 1970; Mar 08, 1971; Aug 04, 1971*; Sep 07, 1971*; Feb 16, 1972; Apr 10, 1973*; Dec 18, 1974; Dec 24, 1974*; Jun 09, 1975; also see Steichen, Edward

Myers, Evelyn: Jan 29, 1958*

Nathan, Joan: Jul 07, 1969*

National Council on the Aging, Inc.: Jan 23, 1973 (including booklet "Older Americans and the Arts: A Human Equation")

National Institute of Arts and Letters: Jan 05, 1961*

National Organization for Women: Jun 18, 1974

NBC: see TONIGHT SHOW

Nebraska: University of Nebraska: Nov 03, 1965; Nov 20, 1965*; Mar 17, 1966; Apr 04, 1966*; Apr 25, 1966; Jun 02, 1966*; Jun 14, 1966; Jul 19, 1966; Jul 25, 1966*; Jul 28, 1966; Aug 26, 1966*; Sep 06, 1966; Sep 12, 1966*; Nov 01, 1966; Nov 10, 1966*; Nov 16, 1966; Dec 21, 1966*; Mar 17, 1967*; Mar 23, 1967

Neevel, Paul: see Writings

Nesbit, Norman: Mar 30, 1969*

Neumann, J. B.: see New Art Circle

Neumeyer, Fred (Alfred): Apr 15, 1970

New American Library: Jul 08, 1966*; Jul 10, 1967; Jul 19, 1967*

New Art Circle (J. B. Neumann, Dir.): Oct 22, 1937

Newberry, James H.: Sep 13, 1969

New Directions: Apr 01, 1963*; Jan 22, 1964*

Newhall, Beaumont and Nancy: mentioned in [undated] letter from Cunningham to unidentified correspondent; Aug 26, 1957; Aug 05, 1967*; Aug 09, 1967; Aug 12, 1967*; Jan 24, 1968; Feb 02, 1968*; May 03, 1968*; Sep 17, 1969; Sep 23, 1969; Mar 03, 1971 (including resume for Beaumont Newhall); Mar 09, 1971*; Jul 17, 1974; Jul 24, 1974*; Aug 15, 1974; also see Eastman: George Eastman House; also see Writings

Newman, Arnold: Sep 02, 1969*; Dec 31, 1969; Jan 06, 1970*; Jan 16, 1970*; Apr 17, 1970; Aug 03, 1970*

Newmann, Vera: see Vera

New Orleans Museum of Art: Jun 17, 1974

New Roses (gallery): undated

Newsweek: Sep 03, 1974; Sep 12, 1974*; Apr 04, 1975*

New Yorker: Nov 19, 1962

New York Graphic Society, Ltd.: Sep 25, 1974; Oct 01, 1974*; Oct 16, 1974; Feb 25, 1976; Mar 09, 1976*; Mar 12, 1976

New York Times: May 02, 1973; May 06, 1973*

New York Times Book Review: Oct 31, 1966*; Nov 03, 1966

Nicastro, Peter: see Writings

Nord, Ina: Dec 10, 1950

Nordberg, Rod: Feb 06, 1975; Feb 19, 1975*

Norman, Dorothy: Oct 28, 1959*; Nov 02, 1959; Nov 05, 1959

Norman, Mrs. P.: Oct 08, 1973*; Jun 07, 1974*; Oct 15, 1974*; Nov 21, 1974*

Norris University Center: see Northwestern University

Northwestern University: Apr 22, 1975

Norton: W. W. Norton & Company, Inc. Katherine Barnard): Jan 08, 1957; Jan 18, 1957*; Jan 21, 1957; Feb 02, 1957*

Noskowiak, Sonya: Jan 08, 1974*; Dec 25, 1974

Novack, Ellen: Aug 27, 1967; Apr 22, 1973

Noyes, Pat and Dick: Feb 06, 1966*; Jan 25, 1967; Feb 06, 1967*; Jul 31, 1967*; Sep 26, 1967*; Oct 12, 1967; Oct 29, 1967*; Jun 02, 1968; Sep 13, 1968*; Jan 04, 1969*; Jan 11, 1969; Apr 28, 1969; Jul 15, 1969; Jul 25, 1969*; Dec 12, 1969*; Dec 29, 1969*; May 16, 1970; Jan 24, 1971; Apr 01, 1971*; Nov 16, 1971*; May 24, 1972; Jun 08, 1972*; [May 1973] (including a photograph of a mountain range; Oct 24, 1973; Nov 30, 1973*; [Dec 02, 1973]; Dec 02, 1974; Jan 27, 1975*; Jul 22, 1976 (letter of condolence to Gryffyd Partridge)

Oakland Art Museum: Mar 11, 1963; Mar 14, 1963*; Mar 19, 1963; Jul 07, 1967; Oct 14, 1968; Dec 27, 1973; Mar 11, 1974; Mar 28, 1974; Aug 27, 1974; Oct 23, 1974; Jan 08, 1974; Jan 16, 1975*; Jan 22, 1975*; Feb 25, 1975; Mar 18, 1975; Apr 14, 1976; Jun 03, 1976; also see Heyman, Therese

Oakland Museum Association: Dec 20, 1965; Apr 25, 1969

Oakland Public Museum: Nov 15, 1957; Nov 25, 1957; May 17, 1971

Oka, Jane: Jun 30, 1976 (letter of condolence to Gryffyd Partridge)

O'Keeffe, Georgia: undated Christmas card; Feb 08, 1971*; Feb 16, 1971; May 02, 1971; Jan 31, 1972; Feb 04, 1974*; Feb 11, 1974; Jan 31, 1975; Mar 16, 1976; Mar 24, 1976*; Apr 02, 1976

Oklahoma: University of Oklahoma Press: Dec 16, 1957; Jan 03, 1958*; Jan 24, 1958; Jan 17, 1958*; Jan 31, 1958; Feb 25, 1958; Mar 07, 1958*

Olsen, Cynthia: Sep 29, 1970; Oct 24, 1970*

Oregon: University of Oregon: Sep 23, 1965; Feb 23, 1966; Feb 28, 1966*; Mar 07, 1966; Apr 11, 1966; Apr 12, 1966*; Nov 16, 1966; Nov 25, 1966*; Dec 14, 1966; Feb 03, 1967; Feb 06, 1967*; Feb 20, 1967; [Mar 1967]; Apr 17, 1967; Apr 24, 1967; May 01, 1967; May 25, 1967; Jun 21, 1967*; Jun 23, 1967; Jul 27, 1967; Jul 28, 1967*; Aug 02, 1967*; Aug 31, 1967; Sep 05, 1967; Sep 06, 1967; Sep 17, 1967*; Sep 26, 1967; Oct 06, 1967*; Oct 07, 1967*; Oct 11, 1967; Oct 13, 1967*; Apr 09, 1968; Apr 17, 1968*; Apr 19, 1968*; May 17, 1968; Mar 16, 1969; Mar 30, 1969*; Apr 25, 1973; Nov 16, 1974; Dec 02, 1974*

Orion Service & Trading Co., Inc.: Aug 08, 1958; Aug 17, 1958*

Orpet, Mildred: Feb 03, 1958; Feb 06, 1958*

Oskar, Keri: Sep 14, 1972; Sep 19, 1972*

Ostroff, Eugene: see Smithsonian Institution

Otis, Norman: Apr 08, 1949

Outerbridge & Dienstfrey: Mar 10, 1972

Owings, Margaret Wentworth: undated (4)

Ozenfant, Amedee: Oct 05, 1939; Nov 25, 1939; [1940]; Feb 26, 1940

P., J.: Feb 26, 1975

Pacific Telephone and Telegraph Company: Jan 16, 1952; Jan 20, 1952*; Oct 29, 1968*; Nov 07, 1968; May 01, 1969*

, Christina: Dec 12, 1950 (typescript of "A Passion for the Medium" by for -- Modern Photography)

Palfi, Marion: Apr 13, 1976

Palmer, Jon: undated

Palmer, Phil: Dec 01, 1965

Parasol Press: Jan 15, 1974*

Park, David: mentioned in letter dated Dec 26, 1961 from United States Information Agency

Park, Henry (Susan Park's son): May 10, 1970; Dec 07, 1972

Park, Susan: May 05, [1968]; Oct 31, 1968; Jul 24, 1969*; Aug 21, 1969*; Nov 21, 1969*; Nov 30, 1969; Dec 06, 1969*; Jan 03, 1972; Dec 07, 1972; Jan 17, 1973*; Dec 04, 1973

Parker, Elizabeth: May 20, 1960 (including a Cunningham photograph of Parker, circa 1906)

Parker, Fred: see Pasadena Art Museum

Parkin, John: May 08, 1974*; Apr 08, 1976; Jul 14, 1976 (letter of condolence to Gryffyd Partridge)

Parrish, Martha Cunningham: Feb 15, 1968; Jul 19, 1968*

Partridge, Bruce: Jun 07, 1966; Jan 03, 1974

Partridge, Gryffyd, Janet, Rym, and Loren: undated (3); Mar 30, 1943; Sep 03, 1943*; [1944]; Jul 14, 1946*; Feb 28, 1954; Jun 19, 1958; Nov 05, 1958*; Nov 05, 1958 (2); Oct 11, 1959*; Apr 14, 1960*; Apr 18, 1960; Apr 18, 1960; Apr 21, 1960*; Apr 30, 1960*; May 08, 1960*; May 18, 1960*; May 26, 1960; May 28, 1960*; Jun 04, 1960*; Jun 07, 1960*; Aug 03, 1960 (letter to Henry Gallery); Aug 05, 1960*; Feb 27, 1961; Apr 03, 1961; Jun 22, 1961; Aug 31, 1961; Sep 05, 1961; Sep 09, 1961*; Sep 13, 1961; Sep 18, 1961; Sep 21, 1961; Sep 29, 1961; Oct 08, 1961; Oct 19, 1961; Nov 10, 1961; Nov 13, 1961; Nov 21, 1961; Nov 27, 1961; Nov 27, 1961*; Dec 01, 1961; Jan 01, 1962; Apr 18, 1963*; Mar 12, 1965*; Apr 18, 1965*; Nov 27, 1966 (announcement of Loren's wedding to Frank Tose); Apr 19, 1967; Jun 01, 1968*; Jun 27, 1968*; Jul 04, 1968*; Jul 05, 1968; Jul 11, 1968*; Jul 22, 1968; Jul 27, 1968*; Aug 07, 1968*; Aug 09, 1968*; Aug 11, 1968*; Jan 24, 1970*; Nov 21, 1970 (2); Jun 21, 1971*; Aug 19, 1971; Feb 03, 1973*; Apr 30, 1974 (letter from Padraic); Jun 24, 1974 (letter from Dorothy MacDonald); Aug 21, 1974 (letter from Cunningham's lawyers, Morrison, Foerster, Holloway, Clinton & Clark); Aug 27, 1974; Sep 20, 1974; Feb 18, 1975 (letter from Cunningham's lawyers, Morrison & Foerster); also see Partridge, Loren

Partridge, Loren: Oct 04, 1968*; Oct 05, 1968; Oct 11, 1968*; Oct 17, 1968; Oct 31, 1968*; Nov 12, 1968*; Nov 21, 1968*; Dec 05, 1968*; Dec 08, 1968; Dec 14, 1968*; Jan 25, 1969*; Mar 03, 1969*; May 03, 1969*; Jun 04, 1969*; Jun 16, 1969*; Jun 21, 1969; Jul 19, 1969; Jul 22, 1969*; Jul 23, 1969*; Aug 09, 1969; Aug 09, 1969*; Sep 03, 1969; Oct 08, 1969*; Aug 02, 1971; Jan 27, 1974*; Feb 25, 1974*

Partridge, Padraic, Marjorie, and Kayla: undated (27); Aug 24, 1942; Sep 14, 1942; Jun 12, 1947; Sep 10, 1947; Nov 03, 1947; Dec 18, 1947; Jan 16, 1950; Sep 11, 1951 (Kayla's birth announcement); Jun 24, 1960; Sep 16, 1960; Jan 14, 1961*; May 09, 1961; Jan 10, 1962; May 20, 1962*; Jun 09, 1962*; Jul 23, 1962; Sep 10, 1962*; Dec 31, 1962; Sep 05, 1964*; Jan 18, 1965*; Mar 07, 1965*; Mar 25, 1965 (including 4 poems by Kayla); Apr 18, 1965* (2); Aug 11, 1965*; Aug 11, 1965; Aug 14, 1965*; Jan 12, 1966*; Feb 01, 1966*; May 08, 1966*; Aug 07, 1966; Aug 10, 1966*; Oct 04, 1966*; Nov 13, 1966*; Dec 1966; Dec 05, 1966*; Jan 04, 1967*; May 18, 1967; May 22, 1967*; Sep 22, 1967*; Oct 04, 1967*; Dec 03, 1967*; Feb 14, 1968*; Apr 10, 1968*; May 23, 1968*; Jul 07, 1968*; Sep 27, 1968*; Nov 30, 1968*; Jan 15, 1969; Mar 12, 1969*; Jul 23, 1969*; Dec 12, 1969*; Apr 01, 1972; Jan 11, 1973; Jan 12, 1974*; Jan 23, 1974; Jan 24, 1974*; Jan 26, 1974; Jan 29, 1974; Jan 31, 1974*; Feb 12, 1974*; Mar 08, 1974*; Apr 05, 1974*; Apr 16, 1974*; Apr 30, 1974 (letter to Gryffyd); May 12, 1974; May 27, 1974*; Jun 08, 1974*; Aug 13, 1974*; [Sep 11], 1974; Sep 14, 1974*; Sep 15, 1974*; Sep 28, 1974; Oct 02, 1974*; Nov 07, 1974; Nov 07, 1974; Dec 01, 1974*; Dec 24, 1974*; Dec 26, 1974*; Dec 27, 1974*; Feb 22, 1975*; Feb 28, 1975*; Mar 17, 1975; also see Photographs

Partridge, Roi and May Ellen: undated (6); Jun 16, 1958; Sep 13, 1958; Nov 07, 1958; Nov 12, 1958; Apr 15, 1960*; Dec 16, 1961; Sep 01, 1964; Mar 03, 1965; Apr 07, 1967; Apr 22, 1967; Apr 24, 1967*; Jan 06, 1968*; Apr 12, 1968; May 23, 1968; Nov 29, 1968*; Dec 27, 1968; Jul 23, 1969; Aug 12, 1969*; Aug 19, 1970; Dec 22, 1971*; Apr 1972 (poem to Rym); Sep 21, 1973; May 09, 1974; May 22, 1974*; May 22, 1974* (2); Apr 05, 1975; Jan 01, 1976; Jan 21, 1976; Feb 10, 1976; Feb 14, 1976; Apr 19, 1976; Jun 30, 1976 (letter to Gryffyd Partridge)

Partridge, Rondal, Elizabeth, Joan, Joshua, Aaron, Betsy, and Meg: undated (5); Jul 07, 1940; Sep 27, 1953*; Jan 04, 1959; Jan 03, 1960; Jul 24, 1960; Oct 14, 1961; Dec 17, 1961; Sep 29, 1962; Dec 26, 1962; Feb 08, 1965*; Apr 08, 1965*; May 04, 1965*; Apr 18, 1965*; May 10, 1965; Jun 07, 1965*; Jun 20, 1965*; Jul 03, 1965; Jul 07, 1965*; Jul 08, 1965*; Aug 04, 1965*; Aug 26, 1967 (announcement of Joan's wedding to Bruce Haynes); Jul 14, 1968*; Jul 31, 1968*; Aug 23, 1968*; Oct 14, 1968*; Dec 29, 1973; Jan 17, 1974*; Nov 29, 1974*

Pasadena Art Museum: Sep 29, 1969; Nov 19, 1969*; Oct 20, 1970; May 14, 1974

Pascal, Naomi: undated

Patkowska, Marja (Maryla): Nov 06, 1963; Sep 10, 1964; Sep 11, 1965*; Sep 25, 1965; Aug 06, 1967*; Dec 08, 1968*; Feb 08, 1973*Feb 10, 1973*

Pattee, Hilary: Oct 03, 1967; Oct 10, 1967*; Feb 02, 1968

Penick: S. B.Penick & Company (botanical products): Jul 14, 1950

Penington, Ruth: undated; Apr 04, 1974*; May 18, 1974*; May 22, 1974; May 28, 1974*; Apr 02, 1975*; Jun 10, 1975*; Aug 05, 1975 (2)

Percival, Willa: Sep 05, 1968; Feb 09, 1969*

Perry, Mrs.: May 04, 1957*

Phillips, Michael: May 25, 1972*

Phoenix College: Aug 10, 1969; Aug 28, 1969*; Sep 11, 1969; Dec 02, 1969; Dec 09, 1969*; Apr 04, 1975*

Photographer's Gallery: Nov 28, 1973*; May 22, 1974; May 29, 1974*

Photographer's Place: [Mar 31,] 1976

Photographic Society of China: Nov 27, 1962

Photography: Mar 29, 1954; Jan 31, 1955; Feb 15, 1955*; Apr 30, 1955*; Aug 30, 1955; Oct 06, 1955; Feb 02, 1956*; Oct 13, 1957*; Oct 17, 1957; Nov 12, 1958*; Jan 28, 1959*; Feb 03, 1959; Apr 29, 1959; Oct 21, 1959*; Nov 24, 1959*; Jan 01, 1960*; Feb 19, 1960; Oct 16, 1960; Feb 03, 1961; Mar 10, 1961*; Mar 24, 1961*; Apr 07, 1961; May 05, 1961*; May 09, 1961*; Oct 17, 1961; May 04, 1962; Jul 20, 1962; Aug 01, 1962; Aug 10, 1962*; Oct 07, 1962*; Jun 04, 1963; Jun 07, 1963*; May 10, 1965*

Photography Annual: Feb 12, 1954; [Nov 1955] (2); Apr 12, 1956*

Photography House: Jun 21, 1972

Photography in the Fine Arts: Apr 03, 1961; Feb 08, 1963*; Jun 21, 1966; Jun 22, 1966*; Jul 07, 1966; Jul 08, 1966*; Jul 12, 1966*; Jul 26, 1966; Oct 19, 1966 (2); Oct 28, 1966; Nov 04, 1966; Nov 09, 1966*; Dec 09, 1966; Dec 12, 1966*

Photography of the World: Oct 30, 1956

Photography Publishing Corp.: Sep 16, 1953

Photography Year Book: see -- Photography

Piaskowski, Nata: Jul 14, 1976 (letter of condolence to Gryffyd Partridge)

Pi Beta Phi Fraternity: undated; May 03, 1961; Nov 28, 1969*; Apr 05, 1970; May 1970; May 30, 1973; May 17, 1974*; Mar 18, 1991

Polaroid Corporation: Mar 09, 1965*; Feb 03, 1966*; May 01, 1973; May 04, 1973*

Polish Embassy: Mar 03, 1961*

Pond-Smith, David: Oct 26, 1974

Poon, Irene: mentioned in letter dated Dec 07, 1968; May 03, 1976; May 04, 1976*

Porter, Allan: see -- Camera

Porter, Bern: undated (2); May 24, 1960; Feb 05, 1964*

Posner, Irina: May 20, 1976

Powell, Jim: Feb 14, 1975

Prism: Apr 12, 1974

Professional Photographers of Northern California, Inc.: Dec 18, 1962; Jan 04, 1963*

Protze, Jens: Jun 06, 1972*

Publications Photo-Cinema Paul Montel: Nov 07, 1962 (in French)

Purcell, Victor: Dec 29, 1960; Jan 31, 1961*; Feb 28, 1961; Jun 04, 1961

Pynchon, Peter: [Sep 1965]; Apr 11, 1966

Quaker, Anna: Jul 07, 1959*

Quivira Bookshop and Photograph Gallery: Mar 28, 1972

R., Rossi: Feb 12, 1948

Raab, Michael: Jul 21, 1966; Mar 05, 1969*; Apr 07, 1970

Rack, Grace: Oct 11, 1974*

Radin, Rhea: Jun 17, 1976

Rado, Charles: see Guillumette: Paul Guillumette, Inc.

Raffner, Jim: [Dec 1973]*

Rags: Jul 17, 1970*; Aug 11, 1970*; Aug 24, 1970; Aug 27, 1970*

Ramsing, Roy: Aug 17, 1969

Randlett, Mary: Feb 18, 1971; Feb 27, 1971*

Random House, Inc.: Feb 01, 1971; Feb 15, 1971*; Jan 18, 1972; Jan 21, 1972*; Apr 15, 1976; Apr 17, 1976*

Rasmussen, Karen, Margarete, and Steendeiler?: [Dec 1960]; Mar 30, 1961*; Dec 25, 1961; Feb 07, 1966*

Ratcliffe, M. S.: Jan 01, 1973

Ray, Man: mentioned in letter dated Oct 17, 1961; Jan 12, 1969*

Reed, Gervais: see Henry Gallery

Reed, Robert: Oct 31, 1967

Reese, Lynn: [Dec 31, 1971]; Jul 22, 1974; also see Writings

Reimers, Margaret (Peggy): Feb 01, 1965*; Jan 13, 1969*; Mar 16, 1974*

Reynard, Jessica: Jan 27, 1967; Feb 15, 1967*

Reynoso, Louise: Jun 02, 1966*; Feb 16, 1967

Rhodes, Daniel: Jul 09, 1968*; [Jan 1969]; Jun 15, 1970; Aug 04, 1970*; Jun 09, 1971*

Richmond Art Center: Feb 10, 1967

Riordan, Dan: Sep 18, 1962 (including a calling card and a photograph of a stunt rider and horse)

Rioux, Seggei John: May 21, 1975*

Rivera, Diego: mentioned in letter dated Feb 22, 1931

Roberts, Jackie Paul: Jun 19, [1962]; Jul 01, 1962*

Robertson, Clark: Nov 06, 1967; Dec 28, 1969*

Rochester Institute of Technology: Jan 09, 1970; Feb 18, 1970*

Rockford College: Mar 15, 1967

Roerich: Nicholas Roerich Museum: Feb 24, 1960

Roethke, Beatrice and Theodore: Aug 22, 1959; Oct 29, 1959*; Nov 03, 1959 (recommendation to Guggenheim for Cunningham from Theodore Roethke); Nov 11, 1959; Dec 08, 1961; mentioned in letter dated Sep 15, 1965; Oct 21, 1968; Oct 30, 1968*; Jun 11, 1970 (letter to James McLeod); Sep 12, 1971; [Sep 12, 1971]*; May 05, 1972*; May 17, 1972; Oct 14, 1972

Ronis, N.: Feb 15, 1971*

Rosenfeld, Dr.: Sep 04, 1952*

Rosenstein, Mrs.: Jul 23, 1971*

Rosenthal, Ellen: Feb 04, 1971; Sep 12, 1973*; Sep 19, 1973

Ross, Don and Estelle: Oct 08, 1968; Jun 08, 1970; Aug 03, 1970*; Sep 03, 1970; Sep 09, 1970

Ross, Nancy: Apr 08, 1976

Ross, Richard M.: Nov 19, 1968; Nov 22, 1968*; Jan 30, 1969; Feb 18, 1969

Rothstein, Arthur: Mar 12, 1972*

Rowan, Dick: Nov 19, 1970 (5 photographs of Cunningham)

Rubinstein, Eva: Sep 23, 1974; Sep 30, 1974*; Oct 19, 1974*

Rudzinski, Jim: [Jul 1972]

Ruffner, Jim: Apr 09, 1972

Rusk, Virginia Foisie: Jan 06, 1969*; Dec 02, 1971*

Russell, Elizabeth H.: Sep 08, 1954

Rustin, Arnold and Jean: Apr 05, 1965; Apr 24, 1965; Apr 28, 1965; May 04, 1965*; Jun 07, 1965*; Jun 16, 1965; Jun 21, 1965*; Aug 09, 1965*; Mar 05, 1967; Mar 09, 1967*; Sep 16, 1967*; Nov 26, 1967*; Feb 17, 1969*; Sep 20, 1970*; Dec 23, 1971*

Rustin, Debbie: undated*; Dec 10, 1961; Apr 22, 1968; Apr 30, 1968*; May 05, 1968; May 25, 1968; May 30, 1968*; Aug 12, 1968; Sep 03, 1968; Sep 10, 1968 (including photograph); Sep 10, 1968*; Sep 17, 1968; Sep 29, 1968*; Oct 28, 1968; Nov 04, 1968; Nov 23, 1968*; Nov 29, 1968; Jan 31, 1969; Feb 03, 1969*; Dec 02, 1970*; Jan 30, 1971; Mar 03, 1971*; Apr 13, 1971; May 11, 1971*; May 10, 1974; Jul 27, 1974

Ryan, Elaine: Nov 22, 1971

S., B.: Aug 23, 1963*; Sep 30, 1963*; Oct 08, 1968*

S., Thomas: Feb 22, 1931

St. Petersburg: Museum of Fine Arts: Apr 07, 1972

Sandahl, Margaret: [May 1965]; May 13, 1965*

Sands, Don: mentioned in letter dated Mar 06, 1969

San Francisco: Art Commission, City and County of San Francisco: Mar 08, 1973; Mar 28, 1973*; Apr 14, 1973; Sep 10, 1973; Sep 12, 1973*

San Francisco Art Institute: Oct 21, 1970; Jun 21, 1971; Jun 24, 1971*; Apr 17, 1973

San Francisco Chronicle: Feb 23, 1965*; Feb 26, 1965*; Nov 20, 1970*; Sep 23, 1971

San Francisco Examiner: Oct 27, 1969; Nov 09, 1969*

San Francisco International Film Festival: Dec 11, 1966*

San Francisco Museum of Art: Jun 18, 1952; Dec 04, 1964; Mar 19, 1965 (letter to John Humphrey from Phil Palmer); Jul 09, 1965; Sep 23, 1969; Feb 25, 1971; Apr 12, 1973; Feb 19, 1975; Apr 15, 1975

San Francisco Psychoanalytic Institute: Apr 14, 1959; Apr 15, 1959*

San Francisco Public Library: Apr 12, 1973; Apr 16, 1973; Feb 20, 1975; Apr 30, 1975

San Francisco State College: Mar 19, 1964; Mar 20, 1964*; Mar 09, 1965*; Apr 09, 1965*; Jan 14, 1969; Jan 28, 1969 (2); Feb 10, 1969; May 14, 1971

San Francisco Women Artists: Apr 13, 1970 (2); Apr 18, 1970*

San Jose State College: Sep 07, 1965; Mar 22, 1967; Mar 29, 1967*; Apr 03, 1967; Jul 03, 1968; Nov 12, 1968; Jun 01, 1971; also see Donoho, David

Santa Barbara Museum of Art: Apr 03, 1972; Aug 24, 1972*; Nov 21, 1972; Jan 09, 1973*; Mar 29, 1973; Apr 26, 1973*; May 07, 1973; Sep 07, 1973*; Nov 06, 1973; Nov 16, 1973*; Nov 27, 1973; Mar 28, 1974*; Apr 03, 1974; May 03, 1974*; Oct 28, 1974*; Nov 18, 1974; Nov 25, 1974

Santa Clara: University of Santa Clara: May 20, 1966; Feb 09, 1971 (including a booklet of clippings about a University of Santa Clara exhibition)

Santa Rosa-Sonoma County Free Public Library: Feb 24, 1971

Saturday Evening Post: May 24, 1962*; Jul 25, 1962*

Savage, Naomi: Sep 03, 1970; Sep 10, 1970*; Dec 06, 1970; Jun 06, 1971*

Sawahata, Alfred: [1943]; Feb 17, 1943; Mar 08, 1943; Apr 07, 1943; Aug 27, 1944; Jan 26, 1945; Feb 21, 1945; Apr 08, 1945; Mar 19, 1946; Dec 27, 1949; Nov 19, 1950*; Jun 27, 1976 (letter of condolence to Gryffyd Partridge)

Saxton (U.C. Medical School): Jun 07, 1940

Schaefer, Nance: Oct 09, 1973; Oct 29, 1973*

Schaeffer: Rudolph Schaeffer School of Design: Jan 08, 1967; Nov 05, 1974; Jul 06, 1976

Schappert, Liz: Mar 11, 1969*; Jan 07, 1974*

Scherbatsky, Serge and Phoenix: Feb 26, 1969*; Sep 18, 1973; Nov 14, 1973; Oct 19, 1974*; Mar 24, 1975; May 28, 1975*

Schoener, Allon T.: Dec 02, 1955; Dec 07, 1955*; Feb 05, 1956; Feb 15, 1956*; Feb 27, 1956*; Sep 02, 1956; Dec 02, 1956; Dec 09, 1956*; Jan 01, 1957; Jan 30, 1957*; Feb 18, 1957*; Feb 24, 1957; Feb 26, 1957*; Mar 10, 1957; Apr 06, 1957*; May 19, 1957; Jun 18, 1957*; Nov 08, 1957*; Dec 04, 1957; Dec 26, 1957; Jan 07, 1958*; Mar 10, 1958*; Dec 20, 1958*; Oct 03, 1960; Jan 09, 1973*; Feb 03, 1973*; May 02, 1973*; [Dec 25, 1973]; Jan 07, 1975*; Jan 20, 1975

Schoener, Ida and Harry: Jan 06, 1957; Jan 24, 1957*; Oct 03, 1960

Schoener, Jason and Virginia: Dec 08, 1964; Jun 11, 1965*

Schott-Hawks, Susan: Nov 12, 1973

Schultz, Carl: [Apr 05, 1971*]; Apr 05, 1971

Sculthorp, Esther: Apr 05, 1969*

Seagram: Joseph E. Seagram & Sons, Inc.: Jun 06, 1974; Jun 07, 1974*; Jul 11, 1974

Seattle Art Museum: Jun 30, 1957; Jul 16, 1957; Jan 28, 1959*; Feb 02, 1959; Jun 12, 1959 (letter from Gerdes, Montgomery & Miller re photo of Alfred Salmony); Oct 03, 1964; Dec 08, 1970; Dec 23, 1970*; Jan 22, 1971*; Jan 25, 1971; Jan 26, 1971; Jan 28, 1971*; Feb 08, 1971; May 11, 1971; May 14, 1971*; Jul 04, 1971*

Seattle: Office of Public Services: May 06, 1974*

Seaver, Keven: Aug 02, 1974

Seiberling (Steinberg), Dorothy: see -- Life

Selz, Peter: see California: University of California at Berkeley:

Semanco, Al and Bill Sonnenstahl: Apr 18, 1973

Shad's Gallery (Shedrich Williams, director): Feb 20, 1974*; Oct 12, 1974; [Oct 11, 1974]; Jan 20, 1975*; Mar 19, 1975*

Shaftel, Stanley: Aug 05, 1974

Shapiro, Norman: Oct 17, 1966; Dec 11, 1966*

Shartsis, Arthur: Mar 30, 1975*; Jun 13, 1975*; Aug 19, 1975; Sep 11, 1975; Sep 12, 1975; Sep 22, 1975; Sep 25, 1975; Nov 21, 1975; Jan 20, 1976; Feb 18, 1976; Mar 02, 1976; Mar 29, 1976; Jun 02, 1976

Sheeler, Charles: Feb 17, 1956

Shelton, Sybil: Sep 29, 1973

Shen Yao: Mar 31, 1955; Dec 11, 1955*; Oct 07, 1965*; Oct 12, 1965; May 07, 1968; Jun 12, 1970; Jan 05, 1971; Jun 21, 1971; Jan 26, 1972; Dec 30, 1972*; May 31, 1973; Jun 12, 1973*; Dec 21, 1973*; Mar 07, 1974; Mar 15, 1974*; Nov 15, 1974*; Jan 10, 1975; Jan 13, 1975*; Jul 31, 1975; Feb 23, 1976; Mar 29, 1976; Apr 23, 1976

Siegel, Arthur: undated

Siembab: Carl Siembab Gallery: Jun 10, 1968; Sep 13, 1968; Sep 17, 1968*; Sep 19, 1968; Oct 04, 1968*; Nov 04, 1968*; Nov 18, 1968; Nov 30, 1968*; Dec 27, 1968*; Mar 10, 1969*; Apr 24, 1969*; Apr 24, 1969; Jul 11, 1969*

Silverman, Jan Edward: Oct 23, 1974; Oct 28, 1974*

Sinel, Jo: Jun 25, 1942; Sep 30, 1964*; Jan 08, 1967

Siskind, Aaron: undated (see Siegel, Arthur); Feb 03, 1968*; Feb 26, 1968

Sivertz, Victorian: Oct 14, 1974; Oct 22, 1974*

Slack, Charles: May 18, 1971; May 24, 1971*

Slattery, Paul: Jan 27, 1940

Smit, R. H.: Jul 25, 1971*

Smith, Ethel Sabin: May 20, 1970 (2); Sep 21, 1970*; Jul 30, 1973*; Aug 27, 1973*

Smith, Henry Holmes: Jun 13, 1970; Jul 20, 1970*; Oct 09, 1970; Feb 02, 1971*

Smith, W. Eugene: Apr 13, 1975

Smithsonian Institution: Jul 11, 1968; Jul 23, 1968; Aug 01, 1968*; Aug 12, 1968; Sep 06, 1968; Oct 14, 1968*; Dec 28, 1968*; Jan 05, 1969*; Jan 13, 1969; Jan 13, 1969*; Jan 26, 1969; Feb 03, 1969*; Feb 08, 1969*; Mar 08, 1969*; Jul 14, 1969*; May 18, 1970; Jun 03, 1971*; Jun 09, 1971*; Jul 08, 1971*; May 29, 1974; Sep 05, 1974*; Jul 09, 1976 (letter of condolence to Gryffyd Partridge); also see Writings; also see Photographs

Snowden, Earl of: Dec 06, 1965 (letter signed by his secretary)

Snyder: Norman Snyder Studios, Inc.: Mar 04, 1976; Mar 19, 1976*

Sobel, Dr.: Mar 10, 1966*

Society for the Engouragement of Contemporary Arts: May 13, 1974

Society for Photographic Education: Apr 09, 1969

Solari, Paolo: see Photographs for gallery installations

Solem, Arnie: Jul 20, 1967

Sonnenburg: see Falkner von Sonnenburg, Erwin

Sonnenstahl, Bill: see Semanco, Al

Sonoma League for Historic Preservation: Dec 16, 1970

Sooy, Francis: see California: University of California at San Francisco

Southern Pacific Company: Dec 06, 1941; Dec 08, 1941*; Dec 23, 1941

Spear, Ann: Jul 27, 1957

Spencer, Paul: Aug 20, 1971

Spink & Gaborc, Inc.: Feb 12, 1965

Staempfli Gallery, Inc.: Jan 24, 1962

Stahlman, George: Oct 01, 1974; Oct 08, 1974*; Oct 19, 1974

Stammer, Ron: Jul 17, 1969*

Standard Pyroxoloid Corp.: Mar 12, 1969*; May 20, 1970*

Stanford University: Jan 23, 1967*; Feb 01, 1967; Feb 04, 1967; Feb 08, 1967; Feb 09, 1967; May 30, 1967*; Aug 20, 1969*; Sep 12, 1969; Jul 03, 1972; Jul 19, 1972*; Jul 27, 1972

State: U.S. Department of State: Jun 08, 1971; Jun 14, 1971*

Stauffacher, Jack Werner: Feb 17, 1965

Steichen, Edward: May 06, 1950*; May 22, 1950; Nov 17, 1959*; Jul 14, 1965; Jul 19, 1965*; Mar 17, 1969 (invitation)

Stein, B. F.: Jun 13, 1975*

Stein, Gertrude: see Metcalf: Addison M. Metcalf Collection of Gertrude Steiniana

Steinberg, Stefanie: Jan 07, 1973; Dec 25, 1973

Steinert, Otto: Dec 30, 1972*; mentioned in letter dated Jan 07, 1973 from Stafanie Steinberg; mentioned in letter dated Feb 01, 1974; Feb 07, 1974*; Feb 17, 1974*; Feb 28, 1974 (in German); Mar 01, 1974* (in German); Mar 25, 1974 (in German); Jun 03, 1974*

Stettner, Mr.: Jun 22, 1966*

Stewart, Mrs.: Jul 16, 1965*

Stieglitz: Alfred Stieglitz Archives, Yale University Library: Aug 30, 1961; Jan 08, 1962; Feb 03, 1962; Apr 09, 1962; Sep 26, 1962; Nov 29, 1962; Dec 21, 1962; Jan 16, 1963; also see Bunnell, Peter

Stieglitz, Jean (Alfred's niece): Feb 05, 1967; Feb 02, 1969; Feb 05, 1969*; Apr 19, 1969*; Apr 24, 1969; Apr 28, 1969*

Strand, Paul and Hazel: mentioned in [undated] letter from Cunningham to unidentified correspondent; Mar 18, 1960*; Mar 24, 1960; May 06, 1960; Jan 09, 1971*; Feb 23, 1971; Mar 26, 1971*; Jan 1973 (including photos of a house and 2 landscapes); Apr 14, 1973

Stratford, Hugh: Dec 19, 1966; Jan 06, 1967*

Straub, Bernice, and Maple Young: undated

Streeta, H. V. (Associated Press): Feb 04, 1967

Strother, John: Sep 23, 1971

Struss, Karl: Jan 25, 1919; Jan 1959; Jun 02, 1975; Jun 08, 1975*; Jun 21, 1975; Sep 15, 1975; Oct 11, 1975

Strybing Arboretum Society: Oct 28, 1976

Stuck, Mrs. Howard: Sep 06, 1964*

Sussman, Ross: see David: Peter M. David Gallery

Swift, Florence Alston: undated; [Oct 6], 1961; [Nov] 1, 1961

Tabler, Barbara: Oct 03, 1975

Tatlock, Hugh: Dec 20, 1964*; Jan 07, 1965; Apr 21, 1965*; Jan 19, 1967; Jul 31, 1967*; May 28, 1971; Jun 23, 1971*; Jan 12, 1972; Nov 08, 1972*; Nov 13, 1972

Taussig, Arthur: Jul 20, 1973; Oct 13, 1973; Oct 20, 1973*

Taylor, Adrian: Apr 07, 1972; Apr 12, 1972*

Teatro Municipale: Feb 10, 1983

TeeJay Publications: Oct 31, 1974; Nov 23, 1974*

Telford, John: see Edison Street Gallery

Thomas, Michael: Jun 23, 1973*; Sep 26, 1974; Oct 03, 1974*

Thomas, Randy: see Mind's Eye

Thompson, Carol: see California: University of California at Berkeley

Thomson, Kristyne: May 13, 1974*

Tice, George: May 23, 1970; Mar 24, 1975*

Tice, Opal: Apr 21, 1967*

Time, Inc.: Dec 09, 1969*; Oct 13, 1975

Time-Life Books: Oct 11, 1969*; Dec 04, 1969; Dec 10, 1969; Dec 15, 1969; Feb 03, 1970; Feb 10, 1970; Feb 12, 1970*; Apr 13, 1970*; May 28, 1970*; Jul 19, 1970*; Aug 29, 1970*; Apr 30, 1971*; Jun 30, 1971*; Nov 16, 1971; Nov 19, 1971*; Nov 29, 1974*

Tintype Photography Center: Jul 13, 1971; Jul 19, 1971*

TIO Fotografer: Jul 14, 1961

Todd, Jeannette: Mar 15, 1965; Oct 04, 1974

Toelle, Alan D.: Mar 09, 1967

Toklas, Alice B.: Dec 22, 1952*; Jan 07, 1953; Oct 21, 1954*; Nov 07, 1954; Jun 12, 1960; Sep 06, 1964*

Tomoko, Bobby: Jan 02, 1965

TONIGHT SHOW: Mar 24, 1976*; Apr 13, 1976; Apr 21, 1976*; also see Photographs

Toth, Dr. Tas: Nov 04, 1966; Jan 25, 1967*

Troeller, Linda: Jul 10, 1973

Trumbull, Harlan and Dorothy: Apr 27, 1965; Jul 09, 1965*; Jul 19, 1965; Apr 05, 1968; May 13, 1974*; May 17, 1974

Tucker, Anne: Jan 24, 1974

Tucker, Kay: Nov 14, [1968]; Nov 17, 1968; Sep 18, 1973 (including a photograph of Yankee Beach)

Turnage, Bill: Oct 22, 1974*; Oct 30, 1974; also see Adams: Ansel Adams Gallery

Tuttle, Lyle: undated

Tynan, Kenneth ( -- The New Yorker): -- Jan 29, 1960

Ulman, Elinor: undated (5); Apr 10, 1968*; Jan 26, 1971*; Mar 17, 1972*; [Apr 05, 1974]; Apr 05, 1974*; Sep 07, 1974*; Sep 27, 1974; Nov 17, 1974*; Feb 29, 1975

Ulrich, David: Sep 07, 1972; Sep 26, 1972*

U.S. Camera -- magazine (Tom Maloney): Apr 05, 1940*; Aug 25, 1941; Sep 02, 1941*; Feb 10, 1954; Mar 29, 1954; Apr 08, 1955*; Apr 30, 1956*; Jun 29, 1957*; Jan 12, 1959; Jan 19, 1959*; Jan 1969; Feb 27, 1969*; Oct 12, 1969* (2); also see Vestal, David

United States Information Agency: Jan 14, 1961*; Apr 04, 1961; Dec 26, 1961; Jun 06, 1971*;

Unte_____, Liesel: Jul 08, 1968*

Unteutsch, Liesel: May 1, 1969* (in German)

Untitled (gallery): May 04, 1976; May 13, 1976*; Jul 19, 1976 (letter of condolence to Gryffyd Partridge)

Valeska, Lette: Sep 20, 1973; Oct 20, 1973*

Valvo, Ninfa: see Stanford University

Vanasse, Sally: Apr 30, 1969

Van der Zee, John: May 27, 1972*; also see International Museum of Photography

Van Dyke, Milton: Dec 23, 1969 (photo Christmas card)

Van Dyke, Willard: Jul 28, 1947*; Apr 28, 1957*; Nov 05, 1960; Dec 15, 1960; Sep 14, 1965; Dec 01, 1966; May 14, 1967*; Jun 11, 1967; Feb 02, 1968*; Feb 17, 1968; May 15, 1968; May 19, 1968*; Jul 05, 1968*; Jul 11, 1968; Mar 16, 1970*; Apr 13, 1970*; Feb 07, 1972*; Dec 07, 1972*; May 03, 1973; [Feb 06, 1974]*; Feb 06, 1974*; Nov 25, 1974; May 11, 1975*; Jun 28, 1976 (letter of condolence to Gryffyd Partridge); also see Museum of Modern Art

Vanity Fair: May 09, 1935; Jun 10, 1935*; Jun 13, 1935

Van Meter, Bruce and Barbie: undated (2); Mar 04, 1968*; Feb 17, 1969*; Sep 19, 1969; Dec 25, 1969; Dec 29, 1969*; Mar 08, 1971; Mar 11, 1971*; Jul 25, 1971*; Aug 03, 1971; Dec 05, 1971*; Apr 29, 1976*

Vaughan, Carolyn H.: May 21, 1971; Dec 10, 1971; Dec 15, 1971*; Jan 17, 1972; Jan 21, 1972*; Feb 03, 1974* (letter of recommendation)

Vera (the designer): Mar 21, 1961*

Vestal, David: Apr 23, 1969*; Dec 08, 1969

Vignes, Michelle: Sep 30, 1974

Viking Press: Dec 13, 1956*; Jan 07, 1957

Virginia Slims Books of Days: May 22, 1973; Jun 07, 1973*

Visual Dialogue Foundation: Mar 16, 1970*

Vodman, Mary Ann: Aug 25, 1973; Mar 28, 1974*

Voelckers, Frau: Jul 31, 1947*; Jun 28, 1948; Jul 02, 1949*; Aug 14, 1949*; Feb 27, 1950*; Nov 27, 1950*; Aug 01, 1952*; Jan 09, 1953*; Dec 08, 1954*; Jan 14, 1955; Dec 26, 1955*

Voelckers, Renate: Dec 24, 1969*

Volckers, Maria Therese: Dec 20, 1958; Jan 11, 1959*; Jul 13, 1961 (in German); Jun 10, 1965*

Volunteer Service Photographers: Dec 1974

Vondras, Radek: undated

von Probpsoc.?, Jan: Aug 06, 1969*

von Sonnenburg: see Falkner von Sonnenburg, Erwin

Voyages: [Aug 12, 1968]; Dec 23, 1968*; Dec 31, 1968; Jan 06, 1969*; Jan 08, 1969; Mar 12, 1969*; Mar 26, 1969

Voystock, Thomas: May 1973

Wagstaff, Samuel: Apr 11, 1975; Apr 16, 1975*

Wahrhaftig, Alma: Jun 20, 1976

Wahrhaftig, Clyde: Jun 09, 1957; Aug 20, 1957

Waite, Esther: Jul 22, 1976

Walkinshaw, Jean: undated

Walsh, Elsa: Aug 12, 1960; Aug 30, 1965; Oct 06, 1965*; Jan 19, 1971; Oct 06, 1972*; Oct 10, 1972*; mentioned in letter dated Jun 18, 1973; Jun 25, 1973*; Jun 30, 1973; May 27, 1975*; Jul 06, 1976 (letter of condolence to Gryffyd Partridge)

Warden, J. E.: Aug 07, 1947

Warnecke: John Carl Warnecke and Associates: May 16, 1961; Dec 01, 1961; Dec 01, 1961*; Apr 25, 1962*; Jul 19, 1962; Jul 08, 1963*

Washington: University of Washington, Seattle: Jan 20, 1965; Feb 02, 1965; Mar 03, 1965; Mar 09, 1965*; Mar 12, 1965; Mar 19, 1965*; May 14, 1965; Mar 19, 1965*; Jul 28, 1965; Jun 21, 1967*; Jan 22, 1970*; Mar 14, 1974; Mar 26, 1974*; Apr 24, 1974; May 17, 1974*; Jun 03, 1974; Jun 21, 1974; Jun 25, 1974; also see Henry Gallery; also see Photographs

Washington: University of Washington Alumni Association: Feb 27, 1974; Mar 01, 1974*; Apr 04, 1974; Apr 29, 1974; May 05, 1974*; May 06, 1974*; May 10, 1974; May 14, 1974*; Jun 05, 1974*; Jul 25, 1974; Aug 03, 1974*

Washington: University of Washington Libraries: May 06, 1976

Washington: University of Washington Press: Jul 12, 1965; Jul 24, 1965*; Jul 26, 1965; Jul 29, 1965*; Jul 30, 1965; Sep 21, 1965; Oct 23, 1965*; Mar 16, 1966; Apr 04, 1966*; May 10, 1967; Sep 25, 1967; Sep 29, 1967; Apr 30, 1968; May 09, 1968*; Sep 29, 1968*; Oct 10, 1968; Nov 04, 1968*; Feb 26, 1969*; Apr 16, 1969; Apr 29, 1969; Apr 30, 1969*; Jun 19, 1969 (including contract); Jul 14, 1969*; Jul 18, 1969; Sep 15, 1969*; Sep 17, 1969*; Sep 22, 1969; Oct 08, 1969*; Oct 27, 1969; Nov 21, 1969; Nov 25, 1969*; Dec 09, 1969; Dec 23, 1969*; Jan 02, 1970; Jan 22, 1970*; Jan 27, 1970; Apr 09, 1970; Apr 26, 1970*; Apr 30, 1970; May 16, 1970*; May 18, 1970; Jun 17, 1970*; Jul 05, 1970*; Jul 28, 1970*; Aug 04, 1970; Aug 11, 1970*; Aug 14, 1970; Sep 14, 1970*; Sep 22, 1970; Sep 22, 1970*; Sep 30, 1970*; Oct 07, 1970; Oct 11, 1970*; Oct 14, 1970; Oct 15, 1970; Oct 16, 1970*; Oct 30, 1970; Nov 06, 1970*; Nov 16, 1970; Nov 17, 1970; Nov 20, 1970; Nov 26, 1970; Dec 07, 1970*; Dec 11, 1970; Dec 23, 1970*; Dec 28, 1970; Jan 05, 1971; Jan 16, 1971*; Jan 19, 1971; Feb 08, 1971*; Feb 10, 1971 (2); Feb 16, 1971*; Feb 23, 1971; Mar 11, 1971*; Mar 17, 1971; Mar 15, 1971*; Mar 29, 1971; May 02, 1971*; May 04, 1971; Jun 01, 1971; Jun 09, 1971*; Jun 16, 1971; Jun 22, 1971; Jun 27, 1971*; Jul 01, 1971; [Jul 01, 1971]*; Sep 13, 1971*; Sep 17, 1971; Feb 29, 1972*; Mar 02, 1973; Mar 28, 1973*; Apr 04, 1973; Oct 01, 1973; Nov 26, 1973; Dec 31, 1973*; Jan 10, 1974; Jan 21, 1974*; Jan 27, 1974 (including contract); Feb 05, 1974; Feb 09, 1974*; Feb 20, 1974; Mar 07, 1974*; Mar 13, 1974; Mar 30, 1974*; Apr 01, 1974; Apr 18, 1974; May 05, 1974*; May 07, 1974; May 24, 1974*; May 29, 1974 (2); Jun 03, 1974*; Sep 22, 1974*; Oct 25, 1974*; Oct 29, 1974; Oct 31, 1974; Dec 22, 1974*; Dec 26, 1974; Jan 07, 1975; Jan 27, 1975; Feb 02, 1975*; May 12, 1975; May 29, 1975*; Oct 16, 1975; Jan 09, 1976; Jan 14, 1976; Feb 27, 1976; Mar 17, 1976; Mar 23, 1976; Apr 19, 1976*; May 20, 1976; Jun 04, 1976; Jun 24, 1976

Watkins, Malcolm and Joan: Mar 13, 1969; Apr 14, 1969*; Sep 10, 1970*; Oct 24, 1970; Oct 25, 1970*; Oct 26, 1970*; Feb 15, 1971*

Watterston, Henning: Dec 11, 1948*; Feb 10, 1949*; Feb 21, 1949*; Mar 18, 1949*; Aug 01, 1949*; Nov 19, 1949*; May 22, 1950*; Dec 04, 1951*; Jan 12, 1954*; Jan 03, 1956*; Feb 22, 1971; Feb 26, 1971*

Weaver, Gay: Jun 01, 1974

Webb, Lucille and Todd: Dec 11, 1971 (including photograph of the Webbs)

Weber, Al: Apr 12, 1971

Wehr, Wesley: Feb 06, 1974

Welpott, Jack: Nov 27, 1971* (letter of recommendation); mentioned in letter dated May 15, 1974

Werling, Bob: Mar 12, 1972*; May 29, 1972*; Mar 29, 1974*; Sep 04, 1974; Apr 28, 1975*; May 22, 1975*; Jan 1976; Apr 16, 1976*

Wessels, Glenn: Jan 05, 1968

West Coast Airlines: Jun 07, 1966; Jun 11, 1966*; Jun 14, 1966; Jun 20, 1966*; Jun 21, 1966; Jul 01, 1966; Nov 09, 1966*; Nov 14, 1966; Nov 30, 1966; Dec 08, 1966*; Dec 11, 1966*; Jan 26, 1967*; Jul 26, 1967; Jan 04, 1968; Jan 09, 1968*

Western Association of Art Museums: Feb 02, 1967*; Feb 22, 1967; Feb 25, 1967*; Mar 02, 1967; Mar 17, 1967*; Feb 19, 1976 (2)

Western Family: Oct 1955

Weston, Edward: Jan 12, 1928 (photocopy)

Wheat, Beth: undated

Whistler Productions: May 02, 1974*

White House Cultural Affairs Office: Dec 06, 1969

White, Maynard (Clarence White's nephew): Jun 28, 1974

White, Minor: undated; Apr 02, 1951; Jul 20, 1951 (including a typescript re the Albert M. Bender Trust); Mar 08, 1954*; Mar 25, 1954; Jul 07, 1954*; Jul 16, 1954; Jul 28, 1954*; Aug 03, 1954; Aug 09, 1954*; Sep 07, 1954; Oct 21, 1954*; Oct 25, 1954; Nov 12, 1954*; Feb 10, 1955*; Feb 22, 1955; Aug 10, 1955; Aug 21, 1955*; Aug 26, 1955; Jan 23, 1956; Mar 01, 1956*; Mar 02, 1956; Mar 18, 1956*; Mar 22, 1956; Jan 23, 1957; Mar 11, 1957*; Mar 13, 1957; Mar 20, 1957; Mar 28, 1957*; Apr 02, 1957*; Apr 03, 1957; Apr 10, 1957; Apr 29, 1957*; May 10, 1957; May 14, 1957*; Jun 24, 1957*; Sep 12, 1957*; Jan 05, 1958; Jan 15, 1958; Feb 12, 1958*; Feb 23, 1958; Apr 06, 1958*; Sep 07, 1958*; Sep 13, 1958; Jun 01, 1959*; Oct 23, 1959; Nov 20, 1959*; Dec 12, 1959; Dec 20, 1959*; Dec 28, 1959; Feb 25, 1961; Mar 10, 1961*; Apr 1961; Dec 26, 1962; Feb 28, 1963*; Apr 02, 1963 (2); May 07, 1963; Nov 12, 1963; Feb 23, 1964; Mar 19, 1964; Mar 24, 1964; Mar 28, 1964*; Apr 01, 1964; Apr 04, 1964; Apr 21, 1964; Apr 30, 1964*; May 20, 1964*; Jun 11, 1964; Aug 10, 1964*; Sep 27, 1964*; Nov 26, 1964*; Dec 08, 1964; Dec 20, 1964*; Feb 13, 1965; Jun 11, 1965*; Jun 23, 1965*; Jul 13, 1965; Dec 08, 1966*; Jan 09, 1967; Jan 20, 1967*; Feb 22, 1967*; May 26, 1967*; Jan 10, 1968; Jan 26, 1968; Jan 29, 1968; Feb 02, 1968*; Feb 14, 1968*; Feb 15, 1968; Feb 25, 1968; Mar 25, 1968; Apr 02, 1968* (2); Apr 11, 1968; May 20, 1968; Aug 09, 1968*; Jan 01, 1969; May 03, 1969*; Jan 13, 1970*; Jan 16, 1970; May 07, 1970* (2); Aug 30, 1970*; Sep 27, 1970*; Oct 05, 1970; Oct 09, 1970*; Nov 05, 1970*; Nov 17, 1970; Aug 09, 1971*; Oct 07, 1971; Feb 29, 1972*; Mar 21, 1972; Dec 04, 1973; Dec 23, 1973*; Jan 07, 1974; Jan 17, 1974; Jan 13, 1975*; mentioned in letter dated Mar 14, 1976; Apr 10, 1976; also see Massachusetts Institute of Technology

Whitney Museum of American Art: Mar 11, 1959; Mar 14, 1959*; Jun 01, 1973; Jun 13, 1973*; Jul 23, 1973; Sep 21, 1973; Nov 13, 1973; Mar 20, 1974; Apr 22, 1974*; May 07, 1974; Nov 26, 1974; Feb 19, 1975; Feb 24, 1975

Wiggins, Jim: [Sep 23, 1972]; Sep 23, 1972*; Dec 12, [1972]

Wigh, Leif: see Writings

Wilcox, Jeduthan: Oct 16, 1971; Nov 08, 1971*; Nov 24, 1971; Nov 26, 1971*

Wildenhain, Marguerite: Feb 08, 1955; Feb 28, 1955*

Willard, Marian: Nov 23, 1956

Williams, Jonathan: Jan 20, 1971; Apr 10, 1971

Williams, Shedrick: see Shad's Gallery

Williams, Tina: Jun 25, 1963*

Williamson, Irene: Jan 08, 1971*; Mar 22, 1971*; Aug 22, 1977

Willis, Elizabeth Bayley: Nov 10, 1970

Wilson, Adrian and Joyce Lancaster: Dec 26, 1965; Feb 18, 1975 (letter from Cunningham's lawyers, Morrison & Foerster)

Wilson, Nicholas: Dec 19, 1973 (including 23 picture postcards)

Winkler, John (Wink): Jan 05, 1952; Jul 26, 1958; Jan 28, 1959; May 08, 1961; Sep 18, 1963; Jun 06, 1964; May 20, 1971; Jun 09, 1971*

Winlaw, Joseph: undated

Winningham, Geoff: Dec 10, 1968; Dec 12, 1968*; Dec 20, 1968; Dec 28, 1968*; also see Latent Image (Gallery)

Winokur?, Paula and Bob: Nov 05, 1963

Wisdom: Dec 12, 1956; Dec 24, 1956*

Wiseman, Diane: Apr 12, 1975; May 21, 1975*

Witkin Gallery (Lee Witkin, director): undated; Jan 13, 1969*; Jan 16, 1969; Aug 10, 1969; Sep 26, 1969*; Oct 16, 1969; Oct 18, 1969*; Jan 19, 1970; Apr 22, 1970; May 27, 1970; Jul 31, 1970; Aug 03, 1970*; Aug 08, 1970; Sep 07, 1970*; Sep 12, 1970; Sep 29, 1970; Oct 08, 1970*; Oct 24, 1970*; Oct 27, 1970; Nov 05, 1970*; Nov 06, 1970*; Nov 14, 1970; Nov 22, 1970; Dec 03, 1970*; Dec 08, 1970*; Feb 03, 1971; Feb 10, 1971*; Feb 13, 1971; Mar 27, 1971*; Apr 08, 1971; Apr 26, 1971*; May 02, 1971; Aug 04, 1971; Aug 07, 1971; Nov 09, 1971; Nov 18, 1971; Dec 15, 1971; Dec 17, 1971; Jan 23, 1972; Jan 28, 1972*; Mar 18, 1972; Mar 26, 1972*; Apr 17, 1972; Apr 24, 1972; May 15, 1972*; Dec 06, 1972; Mar 03, 1973; Mar 19, 1973*; Mar 26, 1973*; Mar 29, 1973; Apr 12, 1973; Apr 21, 1973; Apr 23, 1973*; May 09, 1973; May 10, 1973; May 17, 1973*; May 31, 1973; Jun 28, 1973*; Jun 30, 1973; Jul 25, 1973; Sep 05, 1973*; Sep 08, 1973; Sep 19, 1973*; Sep 28, 1973; Oct 17, 1973; Nov 07, 1973*; Nov 11, 1973; Nov 23, 1973; Nov 29, 1973*; Jan 05, 1974 (including letter dated Aug 08, 1973 from the American Foundation for the Blind); Jan 11, 1974*; Feb 07, 1974*; Mar 06, 1974*; Mar 13, 1974*; Mar 20, 1974; Mar 30, 1974; Apr 05, 1974*; Apr 11, 1974; Apr 18, 1974*; Jun 01, 1974*; Sep 07, 1974; Sep 11, 1974*; Oct 15, 1974*; Feb 01, 1975*; Feb 27, 1975*; Apr 12, 1975; Apr 25, 1975; Apr 30, 1975*; May 14, 1975*; Jan 16, 1976; Feb 28, 1976; Mar 29, 1976*; Apr 14, 1976; May 05, 1976*; May 18, 1976; May 27, 1976

Witt, Doreen: Dec 12, 1974

Witt-Diamont, Ruth: Nov 17, 1959*; Nov 30, 1970

Wolman, Baron: [Aug 1972]; Aug 02, 1972*

Wood, Charles Erskine Scott: see Kolisch, Marian Wood

Woods, Gurdon: undated; May 1970; Feb 15, 1971*

Wornum, Michael: Feb 08, 1966*

Worth, Courtia: undated

Worth, Don: Oct 31, 1968; mentioned in letter dated Dec 17, 1970*

Wright, Evelyn: Jan 08, 1973*

Wurlitzer, Pauline: Sep 11, 1958; Sep 11, 1958*; Sep 24, 1958; Nov 05, 1958*; Oct 31, 1960

Wurster, William (Bill): Jun 07, 1967; Jul 15, 1967*; Jul 28, 1967*; Jun 04, 1968*; Jul 04, 1968*; Jan 31, 1969*; Feb 03, 1969; Feb 25, 1969*; Apr 08, 1969; Apr 22, 1969; Apr 15, 1970

Yale University Library: see Stieglitz Archives

Yale University School of Art: Mar 12, 1976; Mar 19, 1976*; Apr 26, 1976

Yamamoto, Norito: Jul 01, 1959*; Sep 24, 1959*

Yao, Shen: see Shen Yao

Yick Contractors: Dec 21, 1966*; Jan 25, 1967*; Feb 25, 1967*

Young, Maple: see Straub, Bernice

Zane, Marjorie: Dec 14, 1967*

Zapton, Steve: see Untitled (gallery)

Zeldin, Karen Dash: undated

Zins, Ronald: Jun 25, 1970; Jun 29, 1970*

Zinszer, Mary Lemoyne: Oct 10, 1947*; Jan 31, 1969*; May 03, 1969*; Aug 07, 1969*; Oct 01, 1969; Nov 14, 1969*; Dec 09, 1969*; Jan 08, 1970*; Dec 23, 1971*

Zlatovski, Jane: see Foster, Jane

Zorach, William: Jan 15, 1960
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnimog, Series 2
See more items in:
Imogen Cunningham papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99a2bbe4d-16a9-4645-9c39-5ee32383baf2
EDAN-URL:
ead_component:sova-aaa-cunnimog-ref17

Newcomers 1976 Exhibition, Municipal Art Gallery

Collection Creator:
Nengudi, Senga, 1943-  Search this
Container:
Box 9, Folder 1
Type:
Archival materials
Date:
1976
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Senga Nengudi papers, 1947, circa 1962-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Senga Nengudi papers
Senga Nengudi papers / Series 5: Professional Activities
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995e372eb-ca1f-476b-a473-fee3081183cf
EDAN-URL:
ead_component:sova-aaa-nengseng-ref261
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Marcia Tucker papers

Creator:
Tucker, Marcia  Search this
Names:
New Museum of Contemporary Art (New York, N.Y.)  Search this
Allen, Richard, 1945-  Search this
Bourgeois, Louise, 1911-2010  Search this
Brown, Joan, 1938-1990  Search this
Johnson, James W.  Search this
Melamid, Bruce  Search this
Pindell, Howardena, 1943-  Search this
Ratz, Markus  Search this
Snyder, Joan, 1940-  Search this
Staley, Earl, 1938-  Search this
Staley, Suzanne  Search this
Weber, Idelle, 1932-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1973-1994
Summary:
The papers of curator and museum director Marcia Tucker measure 2.4 linear feet and date from 1973-1994. The collection documents Tucker's tenure as the Director of the New Museum of Contemporary Art in New York through artists' files, correspondence, project files, printed material, and photographs. The papers also reflect Tucker's activities as an advocate for women in the arts.
Scope and Contents note:
The papers of curator and museum director Marcia Tucker measure 2.4 linear feet and date from 1973-1994. The collection documents Tucker's tenure as the Director of the New Museum of Contemporary Art in New York through artists' files, correspondence, project files, printed material, and photographs. The papers also reflect Tucker's activities as an advocate for women in the arts.

Artists' files include correspondence, artists' statements, exhibition lists, press releases, printed material, and photographs of artwork. There is extensive correspondence with Richard M. Allen, James W. Johnson, Bruce Melamid, and Earl and Suzanne Staley.

Correspondence consists of a mix of professional and personal letters between Tucker and artists, business colleagues, and friends. Correspondence relating to the founding of the New Museum includes draft versions of the mission statement. Among the notable correspondents are: Louise Bourgeois, Joan Brown, Howardena Pindell, Markus Raetz, Joan Snyder, and Idelle Weber. Project files reflect Marcia Tucker's activities as an educator, writer, and advocate for women's role in the arts.

Photographs include an inscribed photograph to Marcia Tucker from Raymond Lark.
Arrangement note:
The collection is organized into 5 series. The papers are arranged by material type and chronologically thereafter.

Missing Title

Series 1: Artists' Files, 1976-1994 (Boxes 1-2; 1.3 linear feet)

Series 2: Correspondence, 1976-1994 (Box 2; 0.6 linear feet)

Series 3: Project Files, 1973-1990 (Boxes 2-3; 0.15 linear feet)

Series 4: Printed Material, 1984-1994 (Box 3; 0.15 linear feet)

Series 5: Photographs, 1985-1994 (Box 3: 0.2 linear feet)
Biographical/Historical note:
Curator and museum director Marcia Tucker (1940-2006) lived and worked in New York.

In 1961, Marcia Tucker received her Bachelor of Arts from Connecticut College. She then went on to earn a Masters of Art from New York University's Institute of Fine Arts in 1965. In 1969, Tucker became curator of Painting and Sculpture at the Whitney Museum of American Art. Influenced by the political ferment of the 1960s, Marcia Tucker directed her curatorial efforts to organizing exhibitions that reflected the political and social currents of the day. An early exhibit that she co-curated with James Monte, "Anti-Illusion: Procedures/Materials," was one of the first major exhibitions dedicated to Process Art or Post Minimalism. She curated major surveys for the work of Lee Krasner, Joan Mitchell, Bruce Nauman, Richard Tuttle, and Jack Tworkov. Some of Marcia Tucker's curatorial choices were critically received by colleagues and others in the artistic community. In 1977, she left the Whitney Museum to take on the role of founding director at the New Museum of Contemporary Art in New York. At the time, the New Museum was one of the few experimental centers for contemporary and emerging artists working in graphic arts, video, and film, serving as a venue for artists outside the mainstream, gay artists, and members of radical Hispanic and feminist groups. During her tenure at the New Museum, Tucker directed a number of major exhibitions, such as "Bad Girls," 1994; "A Labor of Love," 1996; "The Times of Our Lives," 1999, among others.

Marcia Tucker's interests extended to writing and teaching. She was the series editor for the New Museum's Documentary Sources in Contemporary Art. Tucker was also a freelance art critic; her criticism appeared in such publications as Art in America, Artforum, and ArtNews. Tucker also taught and lectured at academic institutions and art schools, including the School of Visual Arts, Bard Center for Curatorial Studies, Cornell University, and Colgate University.

In 1999, Marcia Tucker left her post as Director of the New Museum, though she continued to be engaged in the contemporary art scene. In recognition of her innovative practices as a curator, Tucker received a number of awards, including the Skowhegan Governors Award for Lifetime Services to the Arts, 1988; Bard College Award for Curatorial Achievement and the Art Table Award for Distinguished Service to the Visual Arts, 2000. She was also the recipient of three Yaddo fellowships from 2003-2005.

In 2006, Tucker died in Santa Barbara, California. She is survived by her husband, Dean McNeill, an artist and their daughter, Ruby Tucker.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Marcia Tucker conducted by Paul Cummings, August 11-September 8, 1978.
Provenance:
The collection was donated by Marcia Tucker to the Archives of American Art in 2000.
Restrictions:
Use of original papers requires an appointment.
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.
Topic:
Museum directors -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Women museum curators  Search this
Women educators  Search this
Women authors  Search this
Genre/Form:
Photographs
Citation:
Marcia Tucker papers, 1973-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tuckmarc
See more items in:
Marcia Tucker papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw921ac0b35-ea2b-417a-b063-0e12bb7fa068
EDAN-URL:
ead_collection:sova-aaa-tuckmarc
Online Media:

Edward Borein

Collection Creator:
Museum of the American Indian, Heye Foundation  Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957  Search this
Type:
Archival materials
Biographical / Historical:
John Edward Borein (1873-1945) was born in San Leandro, California. He worked several ranches in Mexico as well as in California and, while working as a ranch-hand, recognized his abilities as an artist. In 1902, Borein set up a studio in Oakland. He was 29 years old and, although he had no formal training, was making a name for himself as a western genre painter. In 1907 Borein moved to New York City and studied art, including etching, with Childe Hassam and Ernest Roth at the famed Art Students League. When Borein returned to California, he set up a studio in Santa Barbara and, during the 1920s, taught at the Santa Barbara School of Art. Deeply fascinated by the Old West, Borein was acquainted with Annie Oakley, Buffalo Bill Cody, Will Rogers and Theodore Roosevelt, and was also friends with the well known journalist and humorist, Irving S. Cobb. Borein is best known for his metal plate engravings, but is also appreciated for his pen and ink illustrations and watercolor paintings. (He abandoned oil painting early in his career.) Borein died in Santa Barbara at the age of 72.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Museum of the American Indian/Heye Foundation records
Museum of the American Indian/Heye Foundation records / Series 6: Collectors
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv48bbf5c17-491b-4573-956a-f62755551daa
EDAN-URL:
ead_component:sova-nmai-ac-001-ref15715

Annual Reports

Collection Creator:
Museum of the American Indian, Heye Foundation  Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957  Search this
Container:
Box 404, Folder 3
Type:
Archival materials
Date:
1925 - 1927
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Museum of the American Indian/Heye Foundation records
Museum of the American Indian/Heye Foundation records / Series 12: Publications / 12.1: Annual Reports
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4baa74eba-582b-4879-9270-61b3ccf8a888
EDAN-URL:
ead_component:sova-nmai-ac-001-ref15242
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Annual Reports digital asset number 1

Annual Reports

Collection Creator:
Museum of the American Indian, Heye Foundation  Search this
Collection Director:
Heye, George G. (George Gustav), 1874-1957  Search this
Container:
Box 405, Folder 2
Type:
Archival materials
Date:
1946 - 1950
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
See more items in:
Museum of the American Indian/Heye Foundation records
Museum of the American Indian/Heye Foundation records / Series 12: Publications / 12.1: Annual Reports
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv46f16cf1b-7392-48e7-b738-4c12221e6979
EDAN-URL:
ead_component:sova-nmai-ac-001-ref15248
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Annual Reports digital asset number 1

Arcady

Collection Creator:
Garden Club of America  Search this
Extent:
1 Slides (photographs) (col., 35mm.)
Type:
Archival materials
Slides (photographs)
Reproductions
Place:
Arcady (Montecito, California)
United States of America -- California -- Santa Barbara County -- Montecito
Date:
circa 1930s
General:
Painted by Lelia Tuckerman on a magazine cover on the 26th of March.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Summer  Search this
Stairs  Search this
Mountains  Search this
People  Search this
Painting  Search this
Gardens -- California -- Montecito  Search this
Genre/Form:
Slides (photographs)
Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA070023
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA070: Montecito -- Arcady
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb662b1deee-95d7-4ba1-9416-e7bbdc014a05
EDAN-URL:
ead_component:sova-aag-gca-ref25083

Casa del Herrero

Creator:
Steedman, George F. Mrs  Search this
Bass, Medora S.  Search this
Santa Barbara City Coll. Found  Search this
Landscape architect:
Forest, Lockwood de, Jr.  Search this
Stevens, Ralph  Search this
Horticulturist:
Reidel, Peter  Search this
Architect:
Smith, George Washington  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
1930
General:
Reference: Montecito Guide, 1982.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Summer  Search this
Painting  Search this
Fountains  Search this
Porches  Search this
Houses  Search this
Spanish Colonial  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA062063
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA062: Santa Barbara -- Casa del Herrero
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb67a88b754-e712-4687-bb02-88178f89ac65
EDAN-URL:
ead_component:sova-aag-gca-ref26103

Las Tejas

Creator:
Hayne, William Alston Col  Search this
Thorne, Oakleigh  Search this
Thorne, Oakleigh, Mrs.  Search this
Leadbetter, Fredrick, Maj  Search this
Rojas, Manuel Mr Mrs  Search this
Pearl, Frank H. Mr Mrs  Search this
Smith, George Washington  Search this
Landscape architect:
Stevens, Ralph  Search this
Architect:
Wilson, Francis W.  Search this
Colorist:
Pratt, Gladys L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
[between 1914 and 1949?]
General:
Las Tejas means "the roof tiles."
Mount reads: "Painted by: Gladys Pratt- Am. Mus. Nat. Hist. New York, New York."
Historic plate number: "20."
Historic plate caption: "Mrs. Oakleigh Thorne."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Ferns  Search this
Ponds  Search this
Cascades  Search this
Rocks  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA063005
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA063: Santa Barbara -- Las Tejas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb68e1c42af-92e5-4dea-883a-c576ac3c6a13
EDAN-URL:
ead_component:sova-aag-gca-ref26124

Las Tejas

Creator:
Hayne, William Alston Col  Search this
Thorne, Oakleigh  Search this
Thorne, Oakleigh, Mrs.  Search this
Leadbetter, Fredrick, Maj  Search this
Rojas, Manuel Mr Mrs  Search this
Pearl, Frank H. Mr Mrs  Search this
Smith, George Washington  Search this
Landscape architect:
Stevens, Ralph  Search this
Architect:
Wilson, Francis W.  Search this
Colorist:
Pratt, Gladys L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
[between 1914 and 1949?]
General:
Las Tejas means "the roof tiles."
Mount reads: "Painted by: Gladys Pratt- Am. Mus. Nat. Hist. New York, New York."
Historic plate number: "4."
Historic plate caption: "Mrs. Oakleigh Thorne."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Driveways  Search this
Hedges  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA063006
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA063: Santa Barbara -- Las Tejas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb607ff630d-b88c-4d65-a19f-c26b95f4378c
EDAN-URL:
ead_component:sova-aag-gca-ref26125

Las Tejas

Creator:
Hayne, William Alston Col  Search this
Thorne, Oakleigh  Search this
Thorne, Oakleigh, Mrs.  Search this
Leadbetter, Fredrick, Maj  Search this
Rojas, Manuel Mr Mrs  Search this
Pearl, Frank H. Mr Mrs  Search this
Smith, George Washington  Search this
Landscape architect:
Stevens, Ralph  Search this
Architect:
Wilson, Francis W.  Search this
Colorist:
Pratt, Gladys L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
[between 1914 and 1949?]
General:
Las Tejas means "the roof tiles."
Mount reads: "Painted by: Gladys Pratt- Am. Mus. Nat. Hist. New York, New York."
Historic plate number: "13."
Historic plate caption: "Mrs. Oakleigh Thorne."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Walkways, stone  Search this
Standard  Search this
Conifers  Search this
Sculpture  Search this
Roses  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA063007
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA063: Santa Barbara -- Las Tejas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6d027877c-4fc1-4ca7-8b43-14371863f744
EDAN-URL:
ead_component:sova-aag-gca-ref26126

Las Tejas

Creator:
Hayne, William Alston Col  Search this
Thorne, Oakleigh  Search this
Thorne, Oakleigh, Mrs.  Search this
Leadbetter, Fredrick, Maj  Search this
Rojas, Manuel Mr Mrs  Search this
Pearl, Frank H. Mr Mrs  Search this
Smith, George Washington  Search this
Landscape architect:
Stevens, Ralph  Search this
Architect:
Wilson, Francis W.  Search this
Colorist:
Pratt, Gladys L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
[between 1914 and 1949?]
General:
Las Tejas means "the roof tiles."
Mount reads: "Painted by: Gladys Pratt- Am. Mus. Nat. Hist. New York, New York."
Historic plate number: "10."
Historic plate caption: "Mrs. Oakleigh Thorne."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Rose gardens  Search this
Standard  Search this
Walkways, stone  Search this
Columns  Search this
Sculpture  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA063008
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA063: Santa Barbara -- Las Tejas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6c1bb7114-4e51-4227-9964-6439e93a1053
EDAN-URL:
ead_component:sova-aag-gca-ref26127

Las Tejas

Creator:
Hayne, William Alston Col  Search this
Thorne, Oakleigh  Search this
Thorne, Oakleigh, Mrs.  Search this
Leadbetter, Fredrick, Maj  Search this
Rojas, Manuel Mr Mrs  Search this
Pearl, Frank H. Mr Mrs  Search this
Smith, George Washington  Search this
Landscape architect:
Stevens, Ralph  Search this
Architect:
Wilson, Francis W.  Search this
Colorist:
Pratt, Gladys L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
[between 1914 and 1949?]
General:
Las Tejas means "the roof tiles."
Mount reads: "Painted by: Gladys Pratt- Am. Mus. Nat. Hist. New York, New York."
Historic plate number: "14."
Historic plate caption: "Mrs. Oakleigh Thorne."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Driveways  Search this
Columns  Search this
Hedges  Search this
Conifers  Search this
Finials  Search this
Sculpture  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA063009
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA063: Santa Barbara -- Las Tejas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6dd046b62-24fc-43f0-a983-a08802c1ff42
EDAN-URL:
ead_component:sova-aag-gca-ref26128

Las Tejas

Creator:
Hayne, William Alston Col  Search this
Thorne, Oakleigh  Search this
Thorne, Oakleigh, Mrs.  Search this
Leadbetter, Fredrick, Maj  Search this
Rojas, Manuel Mr Mrs  Search this
Pearl, Frank H. Mr Mrs  Search this
Smith, George Washington  Search this
Landscape architect:
Stevens, Ralph  Search this
Architect:
Wilson, Francis W.  Search this
Colorist:
Pratt, Gladys L.  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, hand-colored, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Place:
California -- Santa Barbara
United States of America -- California -- Santa Barbara County -- Santa Barbara
Date:
[between 1914 and 1949?]
General:
Las Tejas means "the roof tiles."
Mount reads: "Painted by: Gladys Pratt- Am. Mus. Nat. Hist. New York, New York."
Historic plate number: "94."
Historic plate caption: "Mrs. Oakleigh Thorne."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Pergolas  Search this
Walkways, brick  Search this
Hedges  Search this
Standard  Search this
Stairs  Search this
Columns  Search this
Colonnades  Search this
Genre/Form:
Lantern slides
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item CA063010
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / California / CA063: Santa Barbara -- Las Tejas
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6e1a70458-3922-486c-8fb3-638b982c1731
EDAN-URL:
ead_component:sova-aag-gca-ref26129

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