The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.
Scope and Contents:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.
Warner's relationships with artists are documented in extensive letters which make up the bulk of the collection. Subjects range from exhibitions, the art market, artists' methods and works, art criticism, and collecting to personal subjects. Letters from Roland Dorcely and Alexander Calder include illustrated letters and postcards. Letters from Calder discuss a mix of business and personal matters, including a discussion of the design of jewelry commissioned for Warner's wife, Edna. Letters from Dorcely document Warner's cultivation, criticism, and collection of Dorcely's work, as well as the hardships of Haitian artists and Dorcely's views on art. The letters are in French with some English translations.
Correspondence with Alfred Stieglitz documents his common endeavor with Warner in collecting the paintings of John Marin, and Stieglitz's gallery, An American Place. Letters associated with An American Place continue after Stieglitz's death in 1946. Found with Alfred Stieglitz's letters are two letters from Georgia O'Keeffe. Max Weber letters include comments on his painting and sculpting, his retrospective show at the Whitney, the art press, national politics, and also refer to Stieglitz and Marin. An extensive group of correspondence with Stanton MacDonald-Wright is mostly undated; MacDonald-Wright writes freely about Stieglitz, the "291" group of artists, and his partner in Synchromism, Morgan Russell. Also included are letters from Piet Mondrian related to collecting, as well as letters from unidentified correspondents.
Warner's collecting files consist of diverse materials concerning his research, writing, and relationships with artists whose paintings he collected, particularly Roland Dorcely and Stanton MacDonald-Wright. Included are biographical sketches; writings about and by the artists, including manuscripts and published materials; newspaper and magazine clippings; exhibition announcements and catalogs; and photographs of works of art. Writings by Roland Dorcely, on the subject of his artistic process and perspective, include handwritten essays in French as well as typed English translations. Published articles from Script magazine (1945-1946) by Stanton MacDonald-Wright document his career as an art critic. Writings on Alexander Calder and Paul Rosenburg, taken from Warner's journal on Calder, and on the early relationship of Alfred Stieglitz and Georgia O'Keeffe, documented on a visit with Stieglitz on May 3, 1944, are also present.
Artwork consists of work by Alexander Calder and Roland Dorcely. Calder's work includes sketches proposing mobiles with notations as to material, scale, and cost. Dorcely's work includes sketches in graphite and ink of abstract figures and objects.
Arrangement:
The collection is arranged as 3 series.
Missing Title
Series 1: Correspondence, 1940-1963 (0.4 linear feet; Box 1-2)
Series 2: Collecting Files, circa 1940-1975 (12 folders; Box 2, OV 3)
Series 3: Artwork, circa 1945-circa 1965 (2 folders; Box 2)
Biographical / Historical:
Keith Warner (1895-1959) was an American art collector. Warner was born and lived in Gloversville, New York, and maintained a manufacturing business that took him to New York City intermittently. Warner began collecting Chinese porcelains after World War I, and a few years later his interest shifted to American abstract painting. Warner retired from business in 1944. His collection was sold gradually after his death, mostly to private collectors, though some works are in museums in the United States and Japan.
Provenance:
The Keith Warner papers were donated in 1992 by Edna K. Allen, wife of Keith Warner.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The 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:
Art -- Collectors and collecting -- New York (State) Search this
Morgan Russell. Morgan Russell letter to Jean Gabriel Lemoine, 1923. Jean Gabriel Lemoine papers relating to Morgan Russell, 1921-1923. Archives of American Art, Smithsonian Institution.
The Jean Gabriel Lemoine papers relating to Morgan Russell measure 0.2 linear feet and are comprised of 20 items that date from 1921-1923 and 1964. The item dating from 1964 is a typescript of a letter fragment. Included are 17 letters and letter fragments written by Morgan Russell in 1923 to Jean Gabriel Lemoine, art critic for L'Echo de Paris. In these letters Russell explains his art and the Synchromism style that he developed with Stanton MacDonald-Wright. Also found are a one page list naming ten paintings in his studio, an article by Lemoine about Russell, and a typed extract about Russell from La Peinture Abstraite by Michel Senghor.
Scope and Content Note:
The Jean Gabriel Lemoine papers relating to Morgan Russell measure 0.2 linear feet and are comprised of 20 items that date from 1921-1923 and 1964. Included are 17 letters and letter fragments written by Morgan Russell in 1923 to Jean Gabriel Lemoine, art critic for L'Echo de Paris. One item dates from 1964 and is a typescript of a letter fragment. In these letters Russell explains his art and the Synchromism style that he developed with Stanton MacDonald-Wright. Also found are a one page list naming ten paintings in his studio, written in 1921 in Morgan Russell's hand, a news clipping of article by Lemoine about Russell, and a typed extract about Russell from La Peinture Abstraite by Michel Senghor. All of the items in the collection are in French. The collection also includes a few notes about the items in each folder, probably written by Lemoine.
Arrangement:
Due to the small size of this collection, items are arranged into one series.
Missing Title
Series 1: Jean Gabriel Lemoine papers relating to Morgan Russell, 1921-1923, 1964 (Box 1; 5 folders)
Biographical Note:
Jean Gabriel Lemoine was an art critic for L'Echo de Paris at the time that he corresponded with abstract painter Morgan Russell (1886-1953). Lemoine also wrote for Gazette des Beaux-Arts, Revue Belge d'Archeologie et d'histoire de l'Art and Beaux Arts Magazine. Morgan Russell studied at the Art Students League in New York with James Earle Fraser and Robert Henri from 1906 to 1907. His first trip to Europe in 1906 was sponsored by Gertrude Vanderbilt Whitney, and he returned to Paris in 1908 and joined the Academie Matisse. He settled in Paris and did not return to the United States until 1946. In 1911 he studied with Canadian color theorist Ernest Tudor-Hart. Also at this time he met fellow artist Stanton Macdonald-Wright with whom he developed the theories of Synchromism. In 1913 he and Macdonald-Wright exhibited together as Synchromists at the Bernheim-Jeune gallery, Paris, where they attracted the attention of French critics, including Lemoine. Russell continued to paint abstract works until 1930 when he began painting large-scale religious works.
Related Material:
Also available at the Archives of American Art are the Stanton Macdonald-Wright letters to Morgan Russell, 1913-1938, found on microfilm reel 1266. Microfilm reels 4524-4542 contain Morgan Russell papers that were loaned for filming by the Montclair Art Museum in 1991.
Separated Material:
One annotated exhibition catalog, Les Synchromistes: Morgan Russell et S. Macdonald-Wright, from 1913, and four photographs of Russell's artwork were kept by the Smithsonian American Art Museum and Portrait Gallery Library when they transferred the collection to the Archives of American Art. These items are also available on microfilm reel 1190 at the Archives of American Art.
Provenance:
The papers were transferred to the Archives from the National Collection of Fine Arts (now the Smithsonian American Art Museum) in 1976. NCFA acquired them as part of a purchase in 1972 of Russell's artwork from Lucien Goldschmidt, Inc.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
The papers of Southern California painter Stanton Macdonald-Wright measure 17.2 linear feet and date from 1890 to 2008. The collection contains biographical material including address books and interview transcripts; correspondence with family, friends, and artists, including Morgan Russell, and his wife Suzanne Binon, Michel and Suzanne Seuphor, Ann and John Summerfield, and Bethany Wilson; contracts, correspondence, and other material related to exhibitions Macdonald-Wright participated in or that featured his works in the decades following his death; notes, drafts and manuscripts for books, and other writings; diaries and travel journals; invoices, inventories, legal and estate documents, and other personal business records; scrapbooks consisting of clippings and exhibition materials; clippings, exhibition announcements, exhibition catalogs, and other printed materials; sketches and other artwork; photographs, slides and transparencies of Macdonald-Wright, family portraits, travels, and artwork.
Scope and Contents:
The papers of Southern California painter Stanton Macdonald-Wright measure 17.2 linear feet and date from 1890 to 2008. The collection contains biographical material including address books and interview transcripts; correspondence with family, friends, and artists, including Morgan Russell, and his wife Suzanne Binon, Michel and Suzanne Seuphor, Ann and John Summerfield, and Bethany Wilson; contracts, correspondence, and other material related to exhibitions MacDonald-Wright participated in or that featured his works in the decades following his death; notes, drafts and manuscripts for books, and other writings; diaries and travel journals; invoices, inventories, legal and estate documents, and other personal business records; scrapbooks consisting of clippings and exhibition materials; clippings, exhibition announcements, exhibition catalogs, and other printed materials; sketches and other artwork; photographs, slides and transparencies of MacDonald-Wright, family portraits, travels, and artwork.
Biographical material consists of address books, interview transcripts, and obituary and funeral material.
Correspondence consists of letters with family, friends, and artists, including Morgan Russell, and his wife Suzanne Binon, Michel and Suzanne Seuphor, Ann and John Summerfield, and Bethany Wilson.
Exhibition files consists of contracts, correspondence, and some printed material related to exhibitions that Macdonald-Wright participated in or that has featured his works in the decades following his death. Some of the exhibitions include the Southern California Art Project, Kineidoscope film, and "Color and Myth: Stanton MacDonald-Wright and Syncronism."
Writings consist of drafts of essays, plays, and book manuscripts. There are drafts of A Treatise on Color with palettes and color wheels, The Basis of Culture, and Macdonald-Wright's autobiography Bittersweet: An Artist's Life. At the end of the series are a number of files containing photographs, printed material, and some notes that Macdonald-Wright used for various book projects.
Diaries consist of a number of diaries and travel journals. One diary was written in Paris in 1909 in which Macdonald-Wright muses over the aesthetics of art and his color theories. Five additional disbound diaries cover his life from 1939-1973. Travel diaries date from 1959-1972 and cover trips to Italy, Japan, and Hawaii.
Personal business records consists of inventory cards and lists, invoices, property records, and legal documents related to the Macdonald-Wright estate. Also included are files between the estate and various galleries, such as the Esther Robles Gallery and the Goldfield Galleries, in regards to donations of works of art during both his active career and by his estate in the years after his death.
Scrapbooks consist of a scrapbook related to exhibitions featuring MacDonald-Wright's works and scrapbooks of clipping.
Printed material includes a copy of Les Synchromistes exhibition catalog, a newspaper clipping, and The Future of Painting by Willard Wright. Artwork consists of blueprints for Macdonald-Wright's Synchrome Kineidoscope, a color and light projecting machine first envisioned by Macdonald-Wright and Morgan Russell as early as 1913 and finally completed in the late 1950s. Also included are newpaper and magazine clipping, exhibition announcements, and exhibition catalogs.
Artwork consists of a sketchbook, and a number of sketches and drawings.
Photographic material consists of photographs of Stanton Macdonald-Wright and portraits and photographs of his family. Among these photographs is a glass plate negative of his family coat-of-arms. Also included are photographs, slides and transparencies of travels to Japan and Hawaii, and of Macdonald-Wright's artwork. There are also five glass plate images of some of Macdonald-Wright's paintings.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical Material, 1909-2008 (0.2 linear feet; Box 1)
Series 2: Correspondence, circa 1907-2005 (1.7 linear feet; Boxes 1-2)
Series 3: Exhibition Files, 1941-2005 (0.2 linear feet; boxes 2-3)
Series 4: Writings, 1913-2003 (4.7 linear feet; Boxes 3-7)
Series 5: Diaries, 1909-1991 (1.5 linear feet; Boxes 7-9)
Series 6: Personal Business Records, 1946-2006 (1.3 linear feet; Boxes 9-10)
Series 7: Scrapbooks, 1910-1994 ( 0.3 linear feet; Boxes 10, 19)
Series 8: Printed Material, 1912-2002 (1.8 linear feet; Boxes 10-12, 19)
Series 9: Artwork, circa 1897-1970 (0.2 linear feet; Boxes 12, 19)
Series 10: Photographic Material, 1890-2004 (5.3 linear feet; Boxes 12-18, OV 20)
Biographical / Historical:
Stanton Macdonald-Wright (1890-1973) was the creator of a modernist style of painting based on pure spectral color known as chromatic abstraction or "Synchromism." He worked in New York and later primarily in Los Angeles.
Stanton Macdonald-Wright was born in 1890 in Charlottesville, Virginia. In 1900 the family moved to Santa Monica, California where they ran a seaside hotel. A few years later he took courses at the Art Students League in Los Angeles, studying under Warren T. Huges. His older brother was Willard Huntington Wright, a respected art critic who wrote Modern Painting: Its Tendency and Meaning (1915), upon which he collaborated with his younger brother Stanton, and The Future of Painting (1923), and later became a detective novelist under the name S. S. Van Dine.
At the age of seventeen, Stanton Macdonald-Wright married his first wife and moved to Paris where he immersed himself in European art and studied at the Sorbonne, the Académie Julian, the École des Beaux-Arts, and the Académie Colarossi. While in Europe he also befriended fellow American painter Morgan Russell and the two artists began working closely together. They studied with Canadian painter Percyval Tudor-Hart between 1911 and 1913 and were deeply influenced by their teacher's color theory, which connected the qualities of color to those of music. Together Macdonald-Wright and Russell developed a style of painting based on color and named it "Synchromism." They introduced their work in 1913 at the Der Neue Kuntsalon in Munich and in Paris at the Galerie Bernheim-Jeune. These exhibitions helped to establish Synchromism as an major influence in modern art well into the 1920s.
Stanton Macdonald-Wright and Morgan Russell returned to the United States eager to promote their work and theory. It was not long before the two separated, but both continued to work in the Synchromist style. Together, they held one more Synchromist exhibition in New York in 1916 which received significant critical support. Macdonald-Wright also participated in the prestigious 1916 "Forum Exhibition of Modern American Painters" in New York and exhibited his work at Alfred Stieglitz's famed 291 gallery in New York in 1917. Yet, financial success evaded him.
Macdonald-Wright moved to Santa Monica in 1918, where he taught and served as director of the Los Angeles Art Students League. In 1924 he published his instructive Treatise on Color. In 1927 he organized another joint exhibition with Morgan Russell at the Los Angeles County Museum of Art, where he also exhibited five years later. He exhibited at the Oakland Art Gallery, the California Palace of the Legion of Honor in San Francisco, Alfred Stieglitz's An American Place gallery in New York, and the Stendahl Galleries in Los Angeles. From 1935 to 1942 Macdonald-Wright served as director of the Works Progress Administration's Federal Art Project for Southern California, followed by a faculty position at the University of Southern California at Los Angeles where he taught for sixteen years.
In the late 1950s, Macdonald-Wright completed the Synchome Kineidoscope, a color and light projecting machine first envisioned by Macdonald-Wright and Morgan Russell as early as 1913.
Macdonald-Wright traveled extensively throughout the 1960s and early 1970s, spending time in Hawaii, Italy, and Japan. Macdonald-Wright married three times and died in California in 1973, at the age of 83.
This biographical note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
The Archives of American Art holds several collections related to the Stanton Macdonald-Wright papers. There is an oral interview of Stanton Macdonald-Wright conducted 1964 Apr. 13-Sept. 16, by Betty Hoag. There are also Stanton Macdonald-Wright Letters to Alan and Fanny Leslie, the Stanton Macdonald-Wright Collection of photographs, Stanton Macdonald-Wright Letters to Morgan Russell, Walter Houk Letters from Stanton Macdonald-Wright, and an Oral History of Stanton Macdonald-Wright by Jeanne M. Marshall for the Voice of America Conducted in 1967.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reels LA 1 and LA 5) including a brochure on the Santa Monica Library murals and six photographs of the panels while in Macdonald-Wright's studio. There is also a 1939 exhibition catalog for "Southern California Art Project" a master's thesis on Macdonald-Wright by Dori Jean Watson (1957), and one scrapbook of photographs, clippings, and other printed materials dating from circa 1910-1964. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Stanton Macdonald-Wright first loaned materials to the Archives of American Art for microfilming in 1964. David Nellis, a gallery owner, gave the Archives the artist's unpublished autobiography in 1978. The bulk of the Stanton Macdonald-Wright papers were donated to the Archives of American Art by his widow, Jean Macdonald-Wright, in 2 installments in 1995 and then in 2019 as a bequest.
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.
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.
The collection of Morgan Russell sketches and notes measures 40 items and includes preliminary sketches, drawings and notes by Morgan Russell that he used to develop the abstract art form Synchromism. The documents date from circa 1912-1920.
Scope and Contents:
The collection of Morgan Russell sketches and notes measures 40 items and includes preliminary sketches, drawings and notes by Morgan Russell that he used to develop the abstract art form Synchromism. The documents date from circa 1912-1920.
Arrangement:
Due to the collection's small size it is arranged into one series.
Biographical / Historical:
Morgan Russell (1886-1953) was a painter and sculptor in New York City. He studied at the Art Students League and the New York School of Art with James Earle Fraser, Andrew Dasburg and Robert Henri from 1906 to 1907, before settling in Paris in 1909 where he remained for almost forty years. After meeting Stanton Macdonald-Wright in 1911, he became interested in Synchromism and studied with Canadian color theorist Ernest Tudor-Hart. In 1913 Russell produced the first abstract Synchromies and in 1917 developed a series of Synchromies entitled EIDOS.
Related Materials:
Related materials at the Archives of American Art include Microfilm of the Morgan Russell Papers, 1891-1977, and the Stanton Macdonald-Wright letters to Morgan Russell.
Provenance:
Donated in 2021 by William C. Agee, who received the material from Russell's step daughter, Mrs. Walter Joyce.
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.
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.
Occupation:
Painters -- New York (State) -- New York Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Morgan Russell sketches and notes, circa 1912-1920. Archives of American Art, Smithsonian Institution.
The Morgan Russell sketches and notes include preliminary sketches, drawings and notes by Morgan Russell that he used to develop the abstract art form Synchromism, dating from circa 1912-1920.
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.
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:
Morgan Russell sketches and notes, circa 1912-1920. Archives of American Art, Smithsonian Institution.
16.2 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1916-1973
Scope and Contents:
Correspondence; biographical information; family memorabilia; scrapbook; subject files; photographs; writings; business and financial records; and printed material.
REEL 2423: Material regarding MacAgy's research on Gerald Murphy and Morgan Russell included as correspondence with Gerald Murphy and Jean Lipman about an article on Murphy for ART IN AMERICA, notes for and drafts of the article; and a typescript of it, GERALD MURPHY (16 pages) with 4 photos of Murphy's work. Materials regarding Russell includes: a letter to MacAgy from Henri Dorra, February 25, 1960, about documents relating to Russell; a handwritten statement by Russell about his work, 1916 (3 pages) [an edited version appears in the catalog, THE FORUM EXHIBITION OF MODERN AMERICAN PAINTERS, Anderson Galleries, 1916]; a pencil sketch with notes by Russell, ca. 1938; a photocopy of a statement by Russell about his work, 1947 (4 pages); 2 biographical essays on Russell; and a printed brochure, MORGAN RUSSELL SOME AUTHORITATIVE OPINIONS, undated.
UNMICROFILMED: Correspondence; photographs and slides; biographical information; family memorabilia; Elizabeth Tillett's scrapbook; subject files; writings and notes; business and financial records; and printed material.
Biographical / Historical:
Art historian, administrator, museum director. Died 1973. MacAgy was chosen to revitalize the 70 year old California School of Fine Arts in San Francisco, after WWII, then he was a special consultant to the director of The Museum of Modern Art in New York, as director of research for an art dealer in New York, as director of the Dallas Museum for Contemporary Arts, and he was Director of National Exhibitions at the National Endowment for the Arts, 1968-1972.
Provenance:
Donated 1973 by Elizabeth MacAgy, widow of Douglas MacAgy.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
This series contains letters from many prominent individuals who played a significant role in Russell's artistic development, including Mabel Alvarez, Robert Henri, Walter Huston, Michel Kikoine, Stanton Macdonald-Wright, Leo Stein, Igor Stravinsky, and Getrude Vanderbilt Whitney.
See Appendix for a list of miscellaneous correspondents and postcards from Series 1.
Arrangement note:
The series begins with correspondence with named correspondents. Named files are arranged alphabetically and then chronologically. This is followed by miscellaneous correspondence, arranged chronologically.
Postcards have generally been separated from the miscellaneous correspondence and filmed separately in order to maintain the lender's arrangement, although some postcards are interfiled with the named and miscellaneous correspondence. These are indicated by an asterisk.
Appendix: Miscellaneous Correspondents/Postcards from Series 1:
Alsthom: April 18, 1944
Altenburg, Alexandre: undated letters (5), October 21, 1925, May 3, 29, 1926, July 3, 9, 1926, October 14, 20, 1927, December 13, 1927, July 12, 1928, September 11, 1928*, October 8, 1928, November 3, 1928, November 17, 1929, November 27, 1929, December 3, 1929, May 28, 1930, June 26, 1929, 1930*, September 7, 1930, October 9, 1930, May 27, 1931, May 2, 1936, September 16, 1937, November 2, 1939, April 24, 1940
Altenburg, Alexandre and Otto: January 21, 1940
Alvarez, Mabel (letters to Russell from Alvarez): undated letters (6), September 17, 1913*, July 16, 1932, May 13, 1933, October 20, 1933, December 8, 1933, August 17, 1934, October 31, 1934, July 14, 1935, September 17, 1935, October 4, 1935, December 3, 1935, January 9, 1936, March 9, 1936, April 21, 1936, October 3, 1936, August 18, 1936, November 6, 1936, January 29, 1937, April 13, 1937?, July 5, 1937, August 5, 1937, September 22, 1937, November 16, 1937, January 22, 1938, February 23, 1938, May 23, 1938, September 25, 1938, October 8, 1938, November 16, 1938, January 29, 1939, April 16, 1939, May 6, 1939, July 5, 1939* August 24, 1939, November 9, 1939, February 1, 1940, March 7, 1940, July 20,1940, January 16, 1945, July 4, 1945, October 28, 1945
Alvarez, Mabel (letters to Alvarez from Russell): November 15, 1934, February 21, 1935, June 18, 1935, July 31, 1935, October 10, 26, 1935, December 15, 1935, March 26, 1936, June 14, 1937, October 17, 1937, December 19, 1937, April 3, 1938, June 13, 1938, October 28, 1938, December 13, 1938, February 13, 1939, April, 24, 1945, October 26, 1945, January 3, 1946, May 23, 1946, September 18, 1946, October 7, 1946, November 10, 1948, September 20, 1950, November 3, 1950, December 17, 1952, August 3, 1964
Arnold, Henri of the Salon des Tuileries: May 7, 1929, June 11, 1931
Bachich (?), Oscar: undated letters (2), September 14, 1935, October 29, 1935
Baldenweck: April 16, 1946
Banillot, Ch.: undated letter (1)
Basler, Adolphe: April 20, 1919, April 25, 1929, January 29, 1931
Beaulieu: January 8, 1929*
Benedictus, J.: October 13, 1919*, December 6, 1919*, June 26, 1920*, August 15, 1920*, September 10, 1920*, November 12, 1920*, 1928*
Benoit, M.: May 2, 1944
Berger, Prof.: December 15, 1942, March 29, 1943
Berin (?), Henri: February 1, 1923
Bernard, Jean: undated letter (1), May 21, 1934, November 28, 1936
Berthier, Georges: August 18, 1942, August 26, 1942
Betts, P. C. of the State Department: October 29, 1938
Binon, Denyse: June 30, 1939, August 21, 1945
Binion, Subry: undated* (1), September 13, 1914*, 1939*
Boaq (?), R. M.: January 19, 1927*
Bodtsler, Maria: undated letter (1)
Boll, Marcel: undated letter (1), April 26, 1914, February 21, 1944, March 31, 1944
Bouche, G. Louis (for John Wanamaker): June 23, 1923, September 6, 1923, October 11, 1923, May 12, 24, 1924, July 18, 1924, August 15, 1924, September 27, 1924, October 10, 1924, October 13, 1924
Bouche, G. Louis: May 20, 1926, June 21, 1926
Briotet, Francis: undated letter (1)
Brooker, K. M. (for Forest Monroe): July 30, 1932
Bryant, Harriet of the Carroll Art Galleries: undated letters (4)
Callahan, Miriam: undated letter (1)
Capoll: January 21, 1925
Carco (?): April 20, 1919, April 13, 1921
Carlock, George: undated letters (2), 1916 (31)
Chapin, L.: June 1920*
Chauvin, Madeleine: undated letters (1)
Cheute, Renee (?): undated letter (1)
Choguard, Veuve: February 20, 1923*, June 1928
Clauser, Henry (?): undated letter (1)
Clemenm?, undated letter (1)
Clerge, Auguste: 1927*, February 10, 1927*
Coevoet-Hacart, Andre: October 17, 1945
Compagnie Franco-Suisse: April 15, 1920
Consulat de Suisse, Dijon: May 23, 1942, June 30, 1942, July 20, 1942, July 31, 1944, November 7, 1944
Consulat de Suisse, Paris: July 6, 1942
Coquist, Gustave: undated letter (1)
Cossonet Freres: October 19, 1936
Cottereau, H. of Galerie Choiseul: February 2, 1923
Credit Lyonnais: November 13, 1936
Crofutt (?), Edward F.: undated letter (1), May 1, 1928, September 1929
Danz, Louis: March 5, 1932
Davis, B. of the La France Textile Industries: August 26, 1929
De Gratiollet, Baron d'Aubas: November 26, 1927, December 3, 11, 1927, August 16, 1920
De Ridder, Elisabeth: February 28, 1935, June 16, 1936, January 5, 1937*, March 1, 1939
Depierris, Louise Charlotte: November 22, 1929
De Wrobleroska, L.: September 29, 1924*
Dracopoli, John: December 25, 1921, November 3, 1925, January 10, 1928
Dracopoli, K. N.: undated letters (4), September 7, 1918, March 30, 1921, January 24, 1928
Draft, M. R.: September 13, 1923
Eans (?), Howard J.: May 10, 1919
Editions Salabert: September 26, 1941
Ente Nazionale per le Industrie Turistiche: November 24, 1933
Evans, Aimee: undated letters (11), March 25, 1937, December 14, 1938
Evans, Anne: undated letters (4), May 27, 1929, November 27, 1929, March 9, 1930, August 6, 12, 1930, October 23, 1930, July 3, 1936, December 2, 12, 1936
Evans, John (letter from Russell): November 18, 1944
Eversole, Mary: undated letter (1)
F., Jeanne: December 27, 1931
Flanagan, John: undated letter (1)
Fonbonne, J.: undated letters (2), July 27, 1915, December 11, 1944
Fonten ? R.: June 14, 1934, July 19, 1934, May 6, 1935
Fozet, Jean C.: April 15, 1937*
Fried, Rose (to Simone): May 14, 1954
Frun ?, Yvonne: 1941, September 8, 1942, February 17, 1943
Galerie Danthon: May 8, 1930
Galerie Armand Drouant: November 20, 1926
Gance, Abel: June 10, 1925, December 15, 1925
Gans, Howard S: February 27, 1917, March 17, 1945
Garnsey, Julian Ellsworth: undated letter (1)
Gautherin, Auguste: undated letters (7), July 28, 1923*, July 25, 1924*, July 15, 1926*, November 20, 1926, July 14, 1929*, September 8, 1940
Gavronsky, L.: March 25, 1930, May 3, 1930
Genauer, George: undated letter (1)
Georges, B.: July 26, 1930
Gilboughy (?): February 6, 1911* (2)
Goodwin, Elizabeth Page: undated letter (1)
Hacart, Yves: undated letters (3), March 20, 1939, April 13, 22, 1939, June 20, 1939, August 14, 1939, July 8, 1941, November 14, 1941, May 28, 1942, March 27, 1945
Halo, Leo Greenlaw: March 12, 1945, August 13, 1945
Halperin, Th.: April 8, 12, 23, 1929, February 11, 1930
Halpert, Edith, of Downtown Gallery: September 20, 1929
Hancock (?), Vivi: August 30, 1933
Hirsch, Sidney: undated letters (3)
Howe, Thomas C., Jr.: December 8, 1931
Huston, John: undated letter (1)
Huston, Walter: June 7, 1934 (signed by secretary A. E. Sunderland), October 11, 1934 (signed by Huston)
Imprimerie Studium: December 23, 1926
Iris Letter-box: June 6, 1935
Jonquieres, Henri: July 15, 1926
Jossier, G.: August 5, 1935
Kahn, Gustave: undated letter (1)
Kelly, G: June 29, 1935
Kennicott, Robert Helm: undated letters (6), June 10, 1938, October 1, 1938, August 25, 1939
Kent, Atwater: April 6, 1946, December 7, 1946
Kritchevsky, B.: February 1, 1923
Krohg, Lucy: November 26, 1935, October 7, 31, 1936
L., Jean: July 23, 1910*
La Revue Moderne -- : June 13, 1923
Landowski, Francoise: September 9, 1937*, December 6, 1938
Lasky, Bessie: undated letter (1)
Le Gaillard: October 15, 20, 1938
Lemoine, Jean Gabriel: undated letters (2), October 21, 1920*, June 3, 1930
Lerondelle, R.: September 30, 1934, January 14, 1936, May 17, 1936, July 13, 1936, July 27, 1937, February 27, 1939*, January 31, 1947, September 18, 1936
Letellier, Pierre: January 7, 1936*
Letty, Junia: undated* (4), October 21, 1923*, 1924*, September 29, 1924*
Lezaner (?), Daniel: October 17, 1927
Liger, Cecil: July 24, 1914*
Lun, Kuen: undated letters (3)
Macay (?): August 15, 1942
Macdonald-Wright, Stanton (to Suzanne): (letters are grouped together after 1964) undated letters (5), May 30, 1953, May 20, 1955, June 22, 1956, June 30, 1956, July 6, 1956, March 5, 1957, August 7, 1957, February 10, 1958, May 13, 1958, November 5, 1959
Madge, E.: June 6, 1935
Madoz, Gastone: August 15, 1935*
Magneron, Jacques: February 12, 1944
Marseille, Leon: May 16, 1918
Mary Pickford Studios: January 5, 1932
Meurer, Giselda: December 12, 1932
Militarverwaltungarat: August 11, 1943, July 6, 1944
Milliers, The: December 1931
Montross, N. E.: September 14, 1917
Morier, M.: undated letter (1)
Mttron-Hirsch, Sidney: May 22, 1923, April 1925
O'Brien, P. P.: August 28, 1931
O'Connor, Sally: March 19, 1931
Osterkamp, F. E.: June 18, 1928, December 2, 1929
Pisar, Charles J. of the American Consular Service: January 5, 1935
Prefecture de l'Yonne: March 7, 1933, March 16, 1933, December 11, 1941, May 21, 1942, September 12, 1942, July 20, 1944
Presses Universitaires de France: April 14, 1944
Preston, Stuart: undated letter (1)
Price, Miriam: undated letter (1)
Public Buildings Administration: May 20, 1940
R., M. V., Feldkommandatur: November 26, 1943
R., Willy S.: undated letter (1), November 20, 1920
Renault, Germaine: January 3, 1925*
Rich, John Hubbard: October 27, 1931
Rider, Ione Morrison: undated letters (2)
Robinson, Alexandre: March 11, 1918, October 13, 1926
Rollins, Lloyd Lapage: November 14, 1931
Rosieres, G.: undated letter (1)
Runyon, Cornelia M.: December 10, 1938
Russell, Morgan to (?): April 18, 1913*, June 6, 1924
Russell's father: December 7, 1909
Ry, Rene: January 8, 1923
S., E. A.: undated letter (1)
S., Michel: July 19, 1935
Sakey: 1945
Sarfatti: January 13, 1937
Sazalgette, L (?): undated letter (1), undated* (1), August 26, 1919, November 2, 1920
Scaifoglio, V.: February 11, 1935
Schanhaft, Petra: July 28, 1931
Sconhoft, E.: November 20, 1930
Scott, Mrs. F. A.: undated letter (1)
Serstevens, O (?): undated letter (1), undated* (1), 191? , September 19, 1919*, October 4, 1920
Severe, Marc. L., of the State Department: August 24, 1932, October 20, 1937, October 25, 1939, February 3, 1940
Societe des Artistes Independants: November 23, 1928
Sol, Louis: undated letters (7), undated* (1), July 18, 1927, November 27, 1929, November 26, 1945?, April 9, 1931, August 12, 1935, November 9, 1943, June 23, 1929
Som_liot (?), T.: undated letter (1)
Sogourin, G.: September 30, 1931*
Starr, Alfred: February 14, 21, 1924
Stravinsky, Igor: February 2, 1916
Studer, Ch.: 1924
T., Hector: December 23, 1931
Taylor, Robert M., the American Consul: February 21, 1946
Telkamp, Gerard: January 1931
Terouelle, J.: undated* {1)
Terullaz (?), H.: undated letter (1)
Turnbull, Blanche: August 13, 1930, September 25, 1930, September 10, 1931, October 17, 1931, March 1, 1932
Turnbull, Ruth: undated letters (6), June 25, 1931, March 5, 1934, August 7, 1934, December 17, 1937, October 4, 1939
U. S. Embassy: May 14, 1940, January 27, 1945
Upton, Louise: December 24, 1931
Vatican City: February 21, 1934
Vauxcelle, L.: June 14, 1919
Viaud-Bruant: undated letters (5), January 3, 31, 1922, February 1, 9, 1922, March 12, 1922, July 6, 1922, January 20, 1923, June 30, 1926, October 7, 1926, November 5, 1926, June 29, 1927
Violette, Jacques: undated letter (1), February 3, 1923
Watson, J., of Art in Federal Buildings: October 23, 1936
Weil, B.: September 18, 1922
Wells (?): July 31, 1932
Whitney, Gertrude Vanderbilt: undated letter (1), December 1, 1913
Wood, John R.: May 9, 1941
Wyler, Melanie: July 16, 1932
Zamie (?): undated letter (1), 1925*, September 12, 1929, January 1930*
Zarraga, A.: undated letter (1)
Zelegua, H.: undated* (1)
Alison (?): May 30, 1921
Augusta: undated letters (3), August 31, 1928, November 26, 1928, December 1929, September 14, 1933
Billy: undated letter (1)
Charles: undated*, May 22, 1910*
Clairette: August 13, 1933*
Dodo: undated letter (1), July 9, 1936
Dorette: November 23, 1935, August 18, 1937*, April 14, 1938*
Fran: March 20, 22, 1946
Fred: undated letters (5), November 25, 1933, December 4, 1933, January 9, 1936, October 13, 1936
Genevieve: October 13, 1914
John, of Universal Pictures Corp.: April 21, 1932
Leo: February 5, 1939
Lucette: undated letters (2), 1913*, August 7, 1913*, October 20, 1913*, March 21, 1914*, June 10, 1920*, February 21, 1926*, September 12, 1932*, September 6, 1933*, August 14, 1935*, August 22, 1935*, September 7, 1924
Lucienne: December 24*, 29*
Lula: May 25, 1910*
Marguerite: July 12, 1910*, July 18, 1913*, May 26, 1932*
Michel: undated letter (1)
Odette: May 25, 1939*
Renee: June 5, 1912*
Robby: undated letters (2), April 1923*, April 25* 1923, October 10, 1923*, October 22, 1925*, May 24, 1929, May 30, 1929, September 12, 1929, November 22, 1929, December 7, 12, 1929, May 5, 1930, July 2, 1930, November 7, 1929
Simone: undated letter (1), 1938*, plus letter from Russell dated June 12, 1945
Simonetta: November 13, 1938*
Suzanne: August 19, 1928*, October 3, 1939
Yvette: September 17, 1945*
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Collection Citation:
Morgan Russell papers, 1891-1977. Microfilm reels 4524-4542. Originals in the Montclair Art Museum.
