Search Results

Creator:

McGrath, James A.  Search this

Names:

Rauschenberg, Robert, 1925-2008  Search this

Tobey, Mark  Search this

Wiley, William T., 1937-  Search this

Extent:

5.4 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Poems

Prints

Postcards

Paintings

Sketches

Illustrated letters

Christmas cards

Photographs

Date:

1950-2011

Summary:

The papers of arts educator James A. McGrath measure 5.4 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.

Scope and Content Note:

The papers of arts educator James A. McGrath measure 5.4 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.

James McGrath's papers regarding his artist's residencies and workshops are currently unprocessed.

Wiley's high school student files consist of exams and two Columbia High School yearbooks with contributions from Wiley. Correspondence includes mostly letters written from Wiley to McGrath, some of which are illustrated. There are also Christmas cards, postcards, prints and a wedding invitation and photograph of Wiley and his wife Mary. Wiley writes about his artwork, family, travels and his mother's death. There are also letters to McGrath from Wiley's first and second wives, Dorothy and Mary, his mother, and artists Robert Rauschenberg and Mark Tobey.

Printed materials include exhibition catalogs and announcements, news and magazine clippings, and the books Distraction, Lyrica and Almost Old/New Poems, all illustrated by Wiley.

Artwork by Wiley includes block prints, sketches and drawings, poems, paintings, prints and posters. Photographs are of Wiley's high school yearbook staff, art work and exhibitions, and a dinner honoring Wiley. There is a signed high school photograph of Wiley and a booklet of photographs of an exhibition of McGrath's art. There are also slides of artwork by Wiley, Bob Hudson and Bill Allan.

Arrangement:

The papers are arranged as 2 series.

Series 1: James A. McGrath Papers Concerning William T. Wiley (Box 1-3, OVs 4-6; 2.0 linear feet)

Series 2: Unprocessed James A. McGrath Papers, circa 1990-1995 (Boxes 7-9, OVs 10-12)

Biographical Note:

Arts educator James A. McGrath was a high school art teacher at Columbia High School in Richland, Washington where he taught William T. Wiley in the mid-1950s. They remained life-long friends. Later, McGrath worked at the Institute of American Indian Arts in Santa Fe as Director of Arts, Professor of Painting, and Dean. In 1973 he became Director of Arts, Humanities and Culture in the Department of Defense and was stationed in Japan, Korea, Okinawa, Taiwan and the Philippines. He also worked for the United States Information Agency in Yemen, Saudi Arabia and the Republic of the Congo. He continues to be active as an arts education specialist.

William T. Wiley (b. 1937)is a contemporary artist painting and teaching primarily in the San Francisco area. His artwork is associated with the Bay area Funk Movement. Wiley studied at the California School of Fine Arts and completed his MFA in 1962. One year later he joined the faculty of the UC Davis art department along with artists Robert Arneson and Roy DeForest. Wiley's students included Bruce Nauman and Deborah Butterfield.

Wiley's first solo exhibition was held at the San Francisco Museum of Modern Art in 1960, and he had works in the Venice Biennial (1980) and Whitney Biennial (1983), as well as major exhibitions at the San Francisco Museum of Modern Art and the M.H. de Young Memorial Museum in San Francisco. His artwork is in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden and the Los Angeles County Museum of Art, among many others. Wiley was the recipient of the Guggenheim Fellowship Award in 2004 and, in 2009, the Smithsonian American Art Museum presented a retrospective exhibition of Wiley's career.

Related Material:

The Archives of American Art also holds several collections related to William T. Wiley including an oral history interview conducted by Paul J. Karlstrom, October 8-November 20, 1997 and the William T. Wiley illustrated journals on microfilm reel 910. The University of Washington also holds papers of James A. McGrath.

Separated Material:

Six Documenta catalogs, originally donated to AAA with the James A. McGrath Papers Concerning William T. Wiley, were transferred to the Smithsonian Institution Libraries.

Provenance:

The papers were donated by James A. McGrath in five accessions between 2010-2015. A drawing on tree bark was donated by William T. Wiley in 2016.

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.

Occupation:

Sculptors -- California -- San Francisco  Search this

Painters -- California -- San Francisco  Search this

Topic:

Performance artists -- California -- San Francisco  Search this

Illustrators -- California -- San Francisco  Search this

Genre/Form:

Drawings

Poems

Prints

Postcards

Paintings

Sketches

Illustrated letters

Christmas cards

Photographs

Citation:

James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.mcgrjame

See more items in:

James A. McGrath papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-mcgrjame

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Extent:

1 Sound recording (compact audio cassette)

Type:

Archival materials

Sound recordings

Date:

1995 September 26

Collection Restrictions:

Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.

Collection Rights:

Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.

Collection Citation:

Smithsonian Folklife Festival records: 1996 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1996, Item FP-1996-CT-0952

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Smithsonian Folklife Festival records: 1996 Festival of American Folklife

Smithsonian Folklife Festival records: 1996 Festival of American Folklife / Series 3: Iowa - Community Style / Fieldwork

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

EDAN-URL:

ead_component:sova-cfch-sff-1996-ref3513

Collection Creator:

Butterfield, Jan  Search this

Extent:

1 Sound tape reel (Handwritten on original box: "In 'Meditations' show SFAI / Performance and partial interview")

Container:

Box 2, Item 9

Type:

Archival materials

Audio [31027000762597]

Sound tape reels

Date:

1977 February 17

Scope and Contents:

Interview begins approximately 10 minutes into side 2. Tape also contains a fragment of an interview with an unidentified male sculptor, circa 1975, beginning approximately 76 minutes into side 2.

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:

Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.

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Jan Butterfield papers

Jan Butterfield papers / Series 1: Interviews and Lectures

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-buttjan-ref112

Collection Creator:

Butterfield, Jan  Search this

Extent:

9 Sound cassettes (microcassette)

Container:

Box 8, Folder 24-26

Type:

Archival materials

Sound cassettes (microcassette)

Date:

circa 1990

Scope and Contents:

Microcassette 1 of 9

John Millei

Sam Maloof

David Ireland

Ron Cooper

Microcassette 2 of 9

Ron Cooper -- (continued)

Lita Albuquerque

Gus Foster

David Kimball Anderson

Robert Arneson

Unidentified sculptor

David Pearson

Louis Pearson

Microcassette 3 of 9

Louis Pearson -- (continued)

Guy Dill

Laddie Dill

Microcassette 4 of 9

James Morris

Howard Buchwald

Dean Johnson

Ann Adair

Microcassette 5 of 9

Add Adair -- (continued)

Tom Marioni

James Linnehan

Annette McCormick

Tim Mather

Microcassette 6 of 9

Gillian Theobald -- (Note with Theobald's name indicates this may be part 2 of this interview, but no part 1 is extant.)

Keith Milow

Norma Pechansky Glasser

Zizi Raymond

Rosaline Delisle

Marilyn Levine

Nelson Valentine

Frank Romero

Peter Alexander

Yoshio Taylor

Microcassette 7 of 9

Gretchen Ewart -- (Note by Ewart's name indicates this is part 2 of the interview, but no part 1 is extant.)

Skip Miller

Buelbo (?)

Richard Deutsch

Tom Ashcraft

Microcassette 8 of 9

Inez Storer

Jean Lowe

Eleane Grove

Andrew Ginzel

Kristen Jones

Charles Arnoldi

Microcassette 9 of 9

Charles Arnoldi -- (continued)

Fran Martin

Paul Sarkisian

Carol Sarkisian

Steven Beye

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:

Jan Butterfield papers, 1959-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Council on Library and Information Resources "Hidden Collections" grant program.

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Jan Butterfield papers

Jan Butterfield papers / Series 3: Project Files / 3.1: The Art Collection of Pacific Enterprises Artist Files and Interviews

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-buttjan-ref417

Collection Creator:

Kiesler, Lillian, 1910?-2001  Search this

Extent:

(Box 1-39, 47-52, OV 53-55; 41.1 linear feet, ER01; 0.001 GB)

Type:

Archival materials

Date:

circa 1910s-2003

Scope and Contents note:

Series 1 documents Lillian Kiesler's personal life and professional career as an artist, actor, teacher, arts benefactor and promoter of Frederick Kiesler's legacy. Biographical material (Subseries 1.1) includes diaries, address books, calendars and appointment books, mailing lists, guest lists, identification, medical records, obituaries, and personal writings by Lillian Kiesler and others. Lillian Kiesler's correspondence (Subseries 1.2) is extensive and primarily personal in nature, including letters and greeting cards from Etel Adnan, Alcopley, Fritz Bultman, Steve Buscemi, Mike Diamond, Burgoyne Diller, Lucia Dlugoszewski, Piero Dorazio, Jean Dubuffet, Jay Gottlieb, Erick Hawkins, Burgess Meredith, Henry Miller, James Purdy, and Herrel Thomas. There is some business correspondence with museums, galleries, and foundations, including John Simon Guggenheim Memorial Foundation, The Metropolitan Museum of Art, The Whitney Museum of American Art, The University of Iowa Museum of Art, and Erick Hawkins Dance Foundation.

Legal and financial files (Subseries 1.3) are related to Lillian Kiesler's estate and finances such as burial plans and her will. Teaching files (Subseries 1.4) include teaching plans and reference materials, essays, pamphlets, class lists, correspondence from schools, student artwork and essay assignments, notebooks, writings on teaching, and a book of weaving samples. Also included are writings about teaching art and lesson plans by New York University professor Chandler Montgomery.

Exhibition and performance files (Subseries 1.5) contain correspondence, photographs, artwork, printed materials, scripts, rehearsal schedules, reviews, monographs and notes related to Kiesler's exhibitions and peformances dating from the 1970s-2001. Among the directors, artists and writers found are Jo Andres, Steve Buscemi, Cindy Lugar, Tim Miller and James Purdy. Artwork (Subseries 1.6) contains original drawings, sketches, photographs and notes by Lillian Kiesler and others, including photographs by Bob Del Fredici and drawings by Piero Dorazio. Subject files (Subseries 1.7) include collected materials about artists, friends, colleagues, performances, and organizations in which Lillian Kiesler supported, such as the Anthology Film Archives. Printed material (Subseries 1.8) includes collected postcards, magazines and magazine articles about art and performance, newspaper clippings about fellow artists, invitations and announcements, and exhibition catalogs, including several signed exhibition catalogs and a reprint article inscribed by Alcopley. Lillian Kiesler's library (Subseries 1.9) includes numerous monographs written by friends or about friends, most with inscriptions by authors. Found here are books inscribed by Max Weiler and Piero Dorazio, an inscribed first edition of Henry Miller's Black Spring (1936), and a 1937 monograph by Harry Holtzman titled American Abstract Artists.

The Papers Related to Frederick Kiesler (Subseries 1.10) primarily were created or compiled by Lillian Kiesler and document Frederick Kiesler's legacy as an architect, sculptor, and set designer. It includes biographical material, correspondence, inventory lists, business and financial records, exhibition files, transcribed and recorded interviews, photocopied writings and notes, printed and digital material, photographs, slides, and negatives, and sound and video recordings. This subseries is divided into ten sub-subseries, with the arrangement described in detail in the subseries description. The bulk of the Papers of and Related to Hans Hofmann (Subseries 1.11) were created or compiled by Lillian Kielser and document Hofmann's career and legacy. It includes correspondence, exhibition files, interviews and writings about Hofmann, printed materials, photographs, and sound recordings about Hans Hofmann. However, also found are papers of Hans Hofmann including some correspondence, typed and handwritten lectures given by Hofmann, literature and brochures from the Hans Hofmann School of Fine Arts and three boxes of card files on students, and photographs of Hofmann. This subseries is divided into nine sub-subseries, with the arrangement described in detail in the subseries description. The personal papers of artist Alice Hodges (Subseries 1.12) include biographical material, correspondence, exhibition files, printed material, writings, personal items, artwork, and photographs. This subseries is divided into eight sub-subseries, with the arrangement described in detail in the subseries description.

Photographic Material (Subseries 1.13) is mostly black and white and color snapshots of Lillian Kiesler's friends and family at events and at home, including candid photos of Hans Hofmann, Alice Hodges, Frederick Kiesler, and Alcopley. Slides include those of Frederick Kiesler's work prepared by Lillian for a lecture on him and are accompanied by her notes on index cards. Sound and Video Recordings (Subseries 1.14) document productions in which Lillian Kiesler performed, and music, film, or live stage performances written, directed, or performed by friends.

Arrangement note:

The series is arranged as 14 subseries:

1.1: Biographical Material, 1911-2002, undated

1.2: Correspondence, 1911-2001, undated

1.3: Legal and Financial Records, 1938-2001, undated

1.4: Teaching Files, 1938-1994, undated

1.5: Exhibition and Performance Files, 1945-2002, undated

1.6: Artwork, 1958-2001, undated

1.7: Subject Files, 1925, 1957-2000, undated

1.8: Printed Material, 1930-2002, undated

1.9: Lillian Kiesler Library, 1936-2000, undated

1.10: Papers Related to Frederick Kiesler, circa 1913-2003, undated

1.11: Papers of and Related to Hans Hofmann, 1932-2000, undated

1.12: Papers of Alice Hodges, circa 1910s-1965, undated

1.13: Photographic Material, circa 1920s-2000

1.14: Sound and Video Recordings, 1978-2001, undated

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:

Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kieslill, Series 1

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Lillian and Frederick Kiesler papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kieslill-ref15

Collection Creator:

Kiesler, Lillian, 1910?-2001  Search this

Type:

Archival materials

Date:

circa 1913-2003

Scope and Contents note:

The Papers Related to Frederick Kiesler primarily were created by Lillian Kiesler and document Frederick Kiesler's legacy as an architect, sculptor, and set designer. Found are biographical materials, correspondence dated primarily after 1965, inventory lists, business records, exhibition files, transcribed and recorded interviews, writings and notes, printed and digital material, photographic material, and sound and video recordings. There is some overlap between this subseries and the Frederick Kiesler Papers, 1923-1992 (Series 2), especially exhibition files, printed material, and photographs. This subseries is arranged in ten sub-subseries, each described in more detail in the sub-subseries description.

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:

Lillian and Frederick Kiesler papers, circa 1910s-2003, bulk 1958-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.kieslill, Subseries 1.10

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Lillian and Frederick Kiesler papers

Lillian and Frederick Kiesler papers / Series 1: Lillian Kiesler papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kieslill-ref339

Collection Creator:

Koblick, Freda  Search this

Extent:

1.7 Linear feet (Boxes 2-4, OV 7)

Type:

Archival materials

Date:

circa 1950s-2009

Scope and Contents:

Koblick's personal business records document her work as a sculptor. Included are her files regarding commissions, exhibitions, travels, grants, artwork sales, and publicity. Of note are extensive commission files for her sculpture at the San Francisco airport, including contracts, photographs, fabrication plans, and legal records. Also of note is an interview transcript and related correspondence for an article about Koblick in Craft Horizons.

Collection Restrictions:

Use of original papers requires an appointment.

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:

Freda Koblick papers, 1934-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.koblfred, Series 3

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Freda Koblick papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-koblfred-ref70

Collection Creator:

Pineda, Marianna, 1925-1996  Search this

Extent:

0.7 Linear feet (Box 1)

Type:

Archival materials

Date:

1943-1998

Scope and Contents:

Biographical material compiled by Pineda includes resumes, passport fragment, an interview transcript, two loose sketches, and correspondence with art historians, museums and galleries, and family; administrative correspondence, student evaluations, and other papers documenting her time at Newton College of the Sacred Heart, Boston University, and Boston College; and several files related to Pineda's membership in the Sculptor's Guild, National Sculpture Society, and National Academy of Design that consist of correspondence, exhibitions, gifts of artwork, printed material, and some sales records. Writings found in this series include drafts of artist statements and other writings and one journal. Also included are materials related to Marianna Pineda's memorial organized by Harold Tovish; and one VHS recording of a lecture given by Tovish.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

Collection Rights:

The 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:

Marianna Pineda papers, 1943-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.pinemari, Series 1

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Marianna Pineda papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pinemari-ref9

Collection Creator:

Faulkner, Barry, 1881-1966  Search this

Extent:

(Boxes 1-2; 1.0 linear foot)

Type:

Archival materials

Date:

1912-1966

Scope and Contents note:

Most of this series consists of writings by Faulkner about other artists and writers who were friends and contemporaries. There are writings on Gifford Beal, George de Forest Brush, James Earle Fraser, Harriet Hosmer, Paul Manship, Charles Adams Platt, Hiram Powers, Edward Willis Redfield, Joseph Lindon Smith, Mary Lawrence Tonetti, Mark Twain, Lawrence Grant White, and Mahonri Young.

Other writings are about the history of New Hampshire and the Connecticut River Valley, including essays on the towns of Cornish, Walpole, and Chesterfield in New Hamphire, New Hampshire captivity narratives, stories of the Revolutionary War, and historic sites around Keene, New Hampshire. Two long essays document the history of the Dublin and Cornish art colonies, whose inhabitants included George de Forest Brush, Augustus Saint-Gaudens, and Abbott Handerson Thayer. Another essay is a history of the American Academy in Rome.

Of special interest is an unpublished manuscript called A Neighborhood of Artists which covers the art, history, and the inhabitants of the Connecticut River Valley from the 1800s to the early 1900s. Personages discussed in the manuscript include the eighth president of Yale University Timothy Dwight, notorious criminal Stephen Burroughs, judge and playwright Royall Tyler, architect Richard Morris Hunt, the painter George Fuller, and the sculptors Henry Kirke Brown and Harriet Hosmer. Another chapter discusses the periodical Farmers Weekly Museum.

There is a manuscript of Faulkner's memoir Swift River, published posthumously under the title Sketches of an Artist's Life.

Other writings are about Faulkner's mural commissions including his works for the Elliot Community Hospital in Keene, New Hampshire, the National Archives, the New Hampshire Senate Chambers, and the Oregon State Capitol. Also found are essays on Amherst College, camouflage, the Hopewell Furnace in Pennsylvania, the explorer John Ledyard, walking, and witchcraft.

Writings by others include essays about Faulkner by Leon Kroll and Paul Manship. Also found are miscellaneous essays on the camouflage section in World War I, the history of herb gardens and gardener Margaret Fitch Brewster, the scholar Olivia Rodham, mural paintings in Pennsylvania and the Villa Bosco Parasio in Rome, both written by Eric Gugler. Of special interest is a 1966 interview with Faulkner by John Bond about Augustus Saint-Gaudens.

Arrangement note:

This series has been scanned in its entirety, except for 3 folders containing writings by others that are unrelated to art.

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website.

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:

Barry Faulkner papers, circa 1858-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.faulbarr, Series 3

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Barry Faulkner papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-faulbarr-ref61

Collection Creator:

Hofmann, Hans, 1880-1966  Search this

Extent:

3 Linear feet (Box 1-3)

Type:

Archival materials

Date:

1914-1966

Scope and Contents note:

The correspondence of Hans Hofmann consists mainly of incoming letters about personal and professional matters. Correspondents include museums, galleries, art dealers, collectors, former students, art historians, critics, fans, friends, and relatives. Although the date of Hofmann's reply is often noted on letters received, outgoing letters are limited to a small number of drafts and carbon copies. Because Hofmann's wife, Miz, often handled his business affairs and was friendly with his former students, many letters are addressed to her. Letters in foreign languages-mostly German, but some in Italian and French-are noted.

Correspondents include Art of This Century Gallery (Peggy Guggenheim), Baltimore Museum of Art, Hofmann's dealer Samuel M. Kootz, the Museum of Modern Art, Mortimer Brandt Gallery (Betty Parsons), Betty Parsons Gallery, Howard Putzel of 67 Gallery, and the Whitney Museum of American Art. Their letters document arrangements for Hofmann's major exhibitions and also concern the loan, sale, and donation of paintings.

With the exception of a file titled "War Compensation," correspondence is limited to the years of Hofmann's residence in the United States. "War Compensation" correspondence and related records, 1912-1923, concern Hofmann's claim against the German government for personal property-including works of art-removed from his Paris apartment in 1914 while he was in Corsica. Correspondence documents attempts to learn the fate of his paintings and the claims process. The correspondents are painter Rudolph Levy, who may have sold Hofmann's paintings and possessions during the time he sublet the apartment; sculptor Eugen Steinhof, Monsieur Haven and Hermann Hailer, who would assist with the claim; and the Bund des Auslandsdeutschen, Bavarian Section. Supporting documentation consists of leases for his Paris apartment and a floorplan, drawn by Hofmann, that indicates placement of furniture and includes an inventory of possessions, including works of art, with values for each item.

Small quantities of additional correspondence are filed with other series. School of Fine Arts Records (Series 2) include inquiries from prospective students; requests for transcripts and recommendations; Immigration and Naturalization Service approval of the school; correspondence about foreign students; and correspondence with the Veterans Administration. Financial Records (Series 4) contain correspondence with the American Express Company, the Social Security Administration, and several banks. Estate Records (Series 9) include correspondence regarding taxes, Hofmann's Provincetown house, and legal matters concerning settlement of his estate. Papers of Renate Schmitz Hofmann (Series 10) include personal and estate correspondence, as well as condolence letters.

Arrangement:

Correspondence is arranged alphabetically by correspondent and also includes a few subject files (e.g. "Autograph Requests," "Car Accident," and "War Compensation"). Unknown, unsigned, or illegible letters are filed at the end of the series.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Collection Rights:

Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. Contact Reference Services for more information.

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:

Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.hofmhans, Series 1

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Hans Hofmann papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-hofmhans-ref17

Collection Creator:

Kuhn, Walt, 1877-1949  Search this

Extent:

(4 of 4)

Container:

Box 26, Folder 10

Type:

Archival materials

Date:

1965

Scope and Contents note:

Reel 7 (labeled 6B): Brenda Kuhn attends Elizabeth Navis day at Wichita Museum; discusses the Murdoch collection; Kuhn's relationship with Maurice Prendergast and William Glackens; importance to Kuhn of Eakins' painting The Gross Clinic. (Note: Side 2 of this reel is not recorded)

Reel 8 (labeled #7), Side 1: Garnett McCoy interviews Brenda Kuhn, November 19, 1965. Selected subjects include Kuhn's feelings about his contemporaries and artist circles; Kuhn's personality and aesthetic, and his attitudes towards art, politics, family, religion, Jews, etc.; Kuhn's work with collectors, especially John Quinn; Penguin Club; vaudeville; Kuhn's 14th St. studio; Clara Davidge; Frederick James Gregg; writing and distribution of "The Story of the Armory Show;" discovery of Armory Show records and Milton Brown; Arthur B. Davies; brief recollections of Edward and Jo Hopper, Edith and William Glackens, Charles Sheeler, John Sloan, personality and death of George Luks, Walter Pach, Abraham Walkowitz, Georgia O'Keeffe, Louis Bouché, George Bellows, Robert Henri; Kuhn in Florida.

Reel 8 (labeled #7), Side 2: Garnett McCoy interview with Brenda Kuhn, cont. Selected subjects include relationships with dealers Annie Montross, Edith Halpert, the Harrimans, Durand-Ruel, and Maynard Walker; Albert Freueh, Marius de Zayas; Kuhn's attitude towards critics; Kuhn's public relations philosophy; the dissolution of the Association of American Painters and Sculptors; Jules Pascin; Mary Roberts; Kuhn's mental illness; Vera Kuhn; disposition of the estate.

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.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.

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 / 4.12: Audio Recordings

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kuhnwalt-ref1029

Collection Creator:

Mangravite, Peppino, 1896-  Search this

Extent:

(Boxes 1-2; 1.75 linear ft.; Reels 5878-5880)

Type:

Archival materials

Date:

1918-1977, undated

Scope and Contents note:

Chronological correspondence documents Mangravite's career as a painter and educator and is with employers, dealers, museums, galleries, collectors, clients, arts and educational organizations, publishers, and other artists. The majority of the letters are written in English, but some are composed in French and Italian as well. Although primarily business correspondence, there is also a significant amount of personal correspondence with friends, colleagues, and former students. The letters often cover both business and personal topics, as Mangravite seemed to form close relationships with many of the people at the galleries and schools with which he was associated. Correspondence dated from 1918 to the 1950s is comprised mostly of incoming letters. Starting in the 1950s, the correspondence includes more outgoing correspondence, usually in the forms of onion skin copies and handwritten drafts. Correspondence is arranged chronologically, except two folders of undated letters, which are arranged alphabetically by last name of writer. A list of major correspondents follows.

A large amount of correspondence is between Mangravite and his dealers, the Dudensing Gallery and the Rehn Galleries, and discusses financial agreements, sales, and accounts. There is also correspondence with other galleries and museums where his paintings were exhibited. Mangravite's mural commissions are also discussed in the correspondence. Also found are invitations to participate in exhibitions, notifications of prize awards and artwork sales, invitations to be on juries for art competitions, or miscellaneous requests from fellow artists, fans, collectors, and clients. Significant events documented here include Mangravite's two Guggenheim Fellowships and his trip to Europe in 1955 to interview famous artists.

Mangravite's long teaching career is also documented in this series. Correspondence is found with Columbia University, Sarah Lawrence College, Avon School, Fieldston School of the Ethical Culture Schools, Potomac School, Dana Hall School, and the Colorado Springs Fine Art Center. Additionally, Mangravite was also a sought-after speaker and his correspondence includes many lecture invitations and requests as well as arrangements for accepted speaking engagements.

Other topics covered in the correspondence concern Mangravite's published or proposed writings, particularly articles and books reviews, most notably for the Saturday Review of Literature and American Magazine of Art. Also, there is some correspondence with publishers regarding book project ideas and manuscripts. Mangravite's membership activities in a variety of artists' organizations, such as the College Art Association, the American Society of Painters, Sculptors and Gravers; the American Artists' Congress, and the American Federation of Arts are well-represented in the correspondence. Of particular interest is Mangravite's response to an artists' rental policy debate during the 1930s, concerning the payment of rental fees for artworks exhibited in shows and galleries.

Major Correspondents

American Artists Congress

American Federation of Arts

American Society of Painters

Arms, John Taylor

Avon School

Barr, Alfred

Barzun, Jacques (Columbia University)

Bear, Donald J.

Benson, Emanuel

Biddle, George

Burchfield, Charles

Canaday, John

Canby, Courtlandt

Chagall, Marc

Clancy, John (Rehn Galleries)

Cole, Sylvan Jr. (Associated American Artists)

College Art Association

Colorado Springs Fine Art Center

Columbia University

d'Harnoncourt, Rene

Dana Hall School

Davis, Stuart

Dudensing, Richard

Fieldston School of the Ethical Culture Schools

Force, Juliana

Gonzales, Xavier

Harper & Brothers Publishers

Knight, Frederick

Larom, Henry V.

Lockwood, Ward

Magafan, Ethel and Jenne and Edward Chavez

Maldarelli, Oronzio

Manso, Leo

Manzella, David

Moe, Henry Allen

Mumford, Lewis

Pearson, Ralph M. (Design Workshop)

Philips, Duncan

Picken, George

Poor, Henry V.

Potomac School

Preston, Carol (Potomac School)

Rehn, Frank K. M.

Rice, Norman (Art Institute of Chicago)

Rich, Daniel Catton (Art Institute of Chicago)

Robinson, Boardman (Colorado Springs Fine Arts Center)

Roosevelt, Willard

Root, Edward W.

Saint-Gaudens, Homer

Sarah Lawrence College

Sculptors and Gravers

Simonson, Lee

Speicher, Gene

Sweet, Frederick A. (Portland Art Museum)

Talbot, William

Thayer, H. Standish

Vander Sluis, George

Watson, Forbes

Watkins, Franklin C.

Weston, Harold

Wilder, Mitchell A. (Colorado Springs Fine Arts Center)

Wyatt, Stanley

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:

Peppino Mangravite papers, 1918-1982. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.mangpepp, Series 1

See more items in:

Peppino Mangravite papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-mangpepp-ref14

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.

2.1: Family Correspondence, 1883-1980

2.2. General Correspondence, 1903-1969

Appendix: Partial Chronological List of Letters from Series 2:

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.

Sponsor:

Funding for the initial digitization of the microfilm of this collection was provided by the Gladys K. Delmas Foundation. Funding for the processing of the addition to the Walter Pach papers and digitization of the fully re-processed collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.pachwalt2, Series 2

See more items in:

Walter Pach papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-pachwalt2-ref33

Collection Interviewer:

Wechter, Vivienne Thaul  Search this

Collection Creator:

Fordham University  Search this

Extent:

0.5 Linear feet (Box 1-2)

Type:

Archival materials

Date:

1972-1973

Scope and Contents:

Interviews conducted by Vivienne Thaul Wechter, for WFUV's "Today's World" program featuring artists, museum directors, and art historians. Interviewees are: Richard Brown, Henry Tyler Hopkins, Chapman Kelley, Alvin Loving, Brenda Miller, Brian Nissen, Arlene Slavin, Stella Snead, John Watson and Harriet Zinnes, and Henry Botkin, Barbara Krashes, and Joe Solomon of the Federation of Modern Painters and Sculptors.

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. Interviews are untranscribed. 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:

WFUV radio interviews relating to art, 1969-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.forduniv, Series 2

See more items in:

WFUV radio interviews relating to art

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-forduniv-ref6

Collection Interviewer:

Wechter, Vivienne Thaul  Search this

Collection Creator:

Fordham University  Search this

Extent:

1 Sound tape reel

Container:

Box 2, Folder 2, Item 1

Type:

Archival materials

Audio [31027000857074]

Sound tape reels

Date:

1973 March 11

Scope and Contents:

The "Federation of Modern Painters and Sculptors" reel is a panel discussion on the state of the art world moderated by Vivienne Thaul Wechter.

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. Interviews are untranscribed. 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:

WFUV radio interviews relating to art, 1969-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

WFUV radio interviews relating to art

WFUV radio interviews relating to art / Series 2: "Today's World" Radio Program Interviews

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-forduniv-ref9

Collection Creator:

Kazanjian, Dodie, 1952-  Search this

Tomkins, Calvin, 1925-  Search this

Container:

Box 14, Folder 18

Type:

Archival materials

Date:

undated

Collection Restrictions:

This collection is access restricted; written permission is required. Contact Reference Services for more information. Access, with permission, to original papers and audiovisual material requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

Authorization to publish, quote, or reproduce requires written permission from Dodie Kazanjian and Calvin Tomkins. Contact Reference Services for more information.

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:

Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman, circa 1927-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman

Dodie Kazanjian and Calvin Tomkins research materials on Alexander Liberman / Series 1: Interviews and Transcripts / 1.2: Interview Transcripts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-kazadodi-ref206

Collection Creator:

Roberts, Colette, 1910-  Search this

Container:

Box 1, Folder 38

Type:

Archival materials

Date:

circa 1960

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:

Colette Roberts papers and interviews with artists, circa 1930-1971. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by The Brown Foundation, Inc.

See more items in:

Colette Roberts Papers and Interviews with Artists

Colette Roberts Papers and Interviews with Artists / Series 2: Notes and Writings / Notes and Writings by Colette Roberts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-robecoli-ref53

Collection Creator:

Weir family  Search this

Extent:

0.8 Linear feet (Boxes 1-2, OVs 3-4)

Type:

Archival materials

Date:

1809-circa 1961

bulk 1830-1920

Scope and Contents:

Letters to John F. Weir form the bulk of the series. Of particular note are letters which provide insight into the minds of some of the most important landscape and impressionist artists of the late-19th century and evoke a sense of the waning years of the Hudson River School and the efforts of those artists to capture the undeveloped wildness of the American landscape before it passed into history. Five letters and a sketch from Jervis McEntee are deeply personal as the artist expresses despair about his inability to find subjects in the landscape of Roundout, New York, that had previously so inspired him. He writes of how "The country has changed and lost its quiet," and his desperate need for the companionship of other artists that he had enjoyed with Sanford Gifford and Worthington Whittredge, concluding that "Now when I go away alone to these isolated mountain vallies [sic] I nearly die from loneliness…" Ironically later letters from Frederic Edwin Church refer to the death of Jervis McEntee, and Church's desire to seek seclusion and paint alone in his house.

There is an 1834 letter from Thomas Cole and draft of an agreement relating to his renting a room from John Trumbull at the American Academy of Fine Arts for the exhibition of a picture The Angel Announcing the Birth of Our Savior.

Several letters from renowned actor Edwin Booth, mention contributions of sketches to his wife's album from Sanford Robinson Gifford, Jervis McEntee, and Weir himself. There are 4 letters and 3 sketches from Sanford Robinson Gifford enclosing a photo of Gifford. In one letter he describes re-working the sky of his painting Ruins of the Parthenon against the strong recommendation of Frederic Edwin Church, and declares the work a success.

Additional details regarding individual correspondents are provided in the container listing.

In addition to photographs of Julian Alden Weir, Robert Weir, and others, there is a photograph of Robert Fulton's drawing, Love's First Interview, inscribed to John F. Weir, and a photograph of a war monument by an unknown sculptor.

Arrangement:

The series is arranged by type of material. Letters to John F. Weir are arranged alphabetically. Correspondents represented with 5 or more items are housed in named files.

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:

Weir family papers, 1809-circa 1961. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.weirweir, Series 1

See more items in:

Weir family papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-weirweir-ref1

Creator:

Southern California Committee for Contemporary Art Documentation  Search this

Karlstrom, Paul J.  Search this

Nodelman, Sheldon, 1935-  Search this

Paul, Stella  Search this

Boshier, Derek  Search this

Brauer, David  Search this

Chipp, Herschel Browning  Search this

Gerlach, Murney  Search this

Harrison, Helen Mayer, 1929-  Search this

Harrison, Newton, 1932-  Search this

Holt, Nancy, 1938-  Search this

Hopkins, Henry, 1928-2009  Search this

Collection Creator:

Archives of American Art  Search this

Extent:

Sound recording: sound files (digital, wav file)

Container:

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Item IM100RC.072

Type:

Archival materials

Audio [31027000061867]

Audio [31027000061875]

Audio [31027000061883]

Audio [31027000061800]

Audio [31027000061818]

Audio [31027000061826]

Audio [31027000061834]

Audio [31027000061842]

Audio [31027000061859]

Sound recordings

Date:

1988 March 26

Scope and Contents:

A panel discussion sponsored by the Southern California Committee for Contemporary Art Documentation.

The participants speak of the relationship between documentation and contemporary art.

The participants are: Stella Paul, Sheldon Nodelman, Henry Hopkins, Helen Mayer Harrison, Newton Harrison, David Brauer, Herschel Browning Chipp, Murney Gerlach, Derek Boshier, Nancy Holt, and Paul Karlstrom. The event is hosted by the Archives of American Art.

Biographical / Historical:

The Southern California Committee for Contemporary Art Documentation is a consortium representing galleries, museums, libraries and archives throughout Southern California. Established in 1985 to promote an understanding of and interest in documentary records relating to contemporary art activity in the area.

General:

Originally recorded on 9 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hr., 47 min.

Funding note:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Collection Restrictions:

Use requires an appointment.

Occupation:

Conceptual artists -- California, Southern  Search this

Educators -- California, Southern  Search this

Environmental artists -- California, Southern  Search this

Filmmakers -- California, Southern  Search this

Painters -- California, Southern  Search this

Sculptors -- California, Southern  Search this

Topic:

Art, American -- California, Southern  Search this

Genre/Form:

Sound recordings

Sponsor:

Funding for the digital preservation of these recordings was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.archiv57, Item AAA

See more items in:

Archives of American Art sound recordings

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-archiv57-ref4

Collection Creator:

Barrie, Dennis  Search this

Extent:

2 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

circa 1984

Scope and Contents:

The Dennis Barrie interviews of Ohio artists were produced by the New Organization for the Visual Arts in conjunction with the Archives of American Art. The project was originally titled the "Artists in Residence Series." Dennis Barrie, Midwest Director of the Archives of American Art, in five separate videos, interviews Ohio artists, including painters Patricia Zinsmeister Parker and Ken Nevadomi, sculptor John Clague, fiber artist Wenda Von Weise, and ceramicist George Roby. Each discusses their background, training, lifestyle, and problems they've faced as artists. The videos are dated 1984, but may have orignally been created in 1980. Production included Paula L. Grooms, producer, and videographers, Howard J. Schwartz, Eric P. Caldwell.

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:

Dennis Barrie interviews with Ohio artists, circa 1984. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.barrdenn, Series 1

See more items in:

Dennis Barrie Interviews of Ohio Artists

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-barrdenn-ref4