Family and professional correspondence; exhibition and sales records; sketches; sketchbooks; photographs and printed materials documenting the career and activities of Alexander James.
A marriage certificate; a genealogy of the James family; autobiographical notes; passports for James and his wife Frederika Paine James; a diary with entries by both James (1907) and his mother (1921); loose pages from diaries kept by James and his wife (intermittent, 1917-1939). Correspondence to and from James family members, including eight letters from his father, William James; letters to and from colleagues, friends, museums, galleries, clients, and posthumous exhibition correspondence. Correspondents include Abbott Handerson Thayer, Rockwell Kent, and Eric Gugler.
There are also biographical notes on Abbott Handerson Thayer; a notebook containing James' description of his gesso techniques; Frederika James' notes on her husband's paintings and her account of a family trip to France; reminiscences of James by Barry Faulkner and Thornton Wilder; exhibition files containing correspondence, lists of works, address lists, guest books, clippings and catalogs (1937-1978); commission files; a card file with information on James' paintings, exhibitions and sales; sketches of landscapes and people including sketches of his father and John Singer Sargent.
Five sketchbooks (one too faint to film); an oil study of his father; three watercolors of Giverny, France; three pigment studies (unfilmed); 12 woodcuts by Julius J. Lankes; and a sketch of James by his brother, William James; expense journals; bank records; tax returns; insurance figures for paintings; a notebook of sales' records; price lists; invoices and receipts for materials; deeds; a will; certificates of name changes; photos of James, his studio and his work; photos and a photo album of William James and other family members; two albums of exhibition photos; photos of two sketches of James, one by John Singer Sargent, and the other by Barry Faulkner.
Reels 4195-4201: I. Biographical materials. II. Family correspondence. III. General correspondence. IV. Writings. V. Exhibition files. VI. Commission files. VII. Card file. VIII. Art works. IX. Financial materials. X. Legal materials. XI. Photographs. XII. Photograph albums. XIII. Printed materials. Chronologically arranged except for commission files which are arranged alphabetically by name of subject.
Biographical / Historical:
Portrait painter. The younger son of psychologist William James (1842-1910), brother of painter William James (1882-1961), and nephew of novelist Henry James, Alexander James was actually christened Francis Temple Tweedy James in 1890. In 1925 he had his name officially changed to Alexander Robertson James. Later in life he dropped the Robertson and became Alexander James. He studied with Abbott Handerson Thayer and was a close friend of John Singer Sargent and Rockwell Kent.
Also found in the Archives on microfilm only (reel 3828) is a bound volume containing 37 letters from William James to his youngest son, Alexander James, one letter from his mother, Alice Howe Gibbens James, and 11 postcards.
Donated 1986 by Michael James, the son of Alexander James, except for the bound volume on reel 3828 which was lent for microfilming.
Reel 3828: Authorization to publish, quote, or reproduce requires written permission from Alexander R. James, Glandore, County Cork, Ireland. Contact Reference Services for more information.
The papers of surrealist artist Gertrude Abercrombie date from circa 1880-1986, with the bulk of the material dated 1935-1977, and measure 5.9 linear feet. Found within are biographical material; correspondence (mostly incoming letters) with friends, museums, and galleries; files for artists that interested her; writings and notes, including five journal-type notebooks; scattered personal business records; two sketchbooks by Abercrombie and additional sketches and drawings, some by others; printed material, audio recordings, one scrapbook, photographs, and estate records.
Scope and Content Note:
The papers of surrealist artist Gertrude Abercrombie date from circa 1880-1986, with the bulk of the material dated 1935-1977, and measure 5.9 linear feet. Found within the papers are biographical material; correspondence (mostly incoming letters) with friends, museums, and galleries; artists files; writings and notes, including five journal-type notebooks; scattered personal business records; two sketchbooks by Abercrombie and additional sketches and drawings, some by others; printed material, audio recordings, one scrapbook, photographs, and estate records.
Biographical material consists of biographical notes, Gertrude Abercrombie's will, address books, and a file titled "memorabilia." Personal and professional correspondence consists mainly of incoming letters and some drafts of Gertrude Abercrombie's outgoing letters. Letters from museums and galleries concern loans of paintings and exhibitions. A large amount of the personal correspondence consists of post cards including many antique ones, as well as cards containing original art work by Julio de Diego, Jerry [Jerome] Karidis, Karl Priebe.
Artist files consist of correspondence, printed material, and photographs concerning painters, writers, a jazz musician, and a photographer. The individuals represented are: Dudley Huppler, Jerome Karidis, Karl Priebe, James Purdy, Sonny Rollins, Carl Van Vechten, Wendell Wilcox, John Wilde, and Thornton Wilder.
Writings and notes include reminiscences, miscellaneous writings and notes, and a girlhood diary with brief entries. Five notebooks contain a variety of writings dating from 1953 through 1975, and undated. One volume concerns only her second husband Frank Sandiford.
Business records include a painting catalog on file cards, mailing and guest lists, and miscellaneous sales records. In addition, six notebooks record expenses, sales, inventories, mailing lists, a register of paintings, and a guest book.
There are two sketchbooks, Christmas card designs, sketches and drawings done by Gertrude Abercrombie. There are also prints, drawings, and a painting by Emil Arman, B. Evans, de Diego, and unknown artists.
Printed material consists of articles and clippings about Gertrude Abercrombie, exhibition catalogs, and reproductions. Also included are books by friends inscribed by the authors, among them: Nelson Algren, Richard Armour, Dudley Huppler, James Purdy, Ned Rorem, Paul Warren [pen name of Abercrombie's second husband, Frank Sandiford], Studs Terkel, and Thornton Wilder.
Audio recordings (33-1/3 rpm phonograph alums) are inscribed to Gertrude Abercrombie by the artists. Orlando's album cover, designed by Abercrombie, incorporates one of her paintings.
Records of the Estate of Gertrude Abercrombie and the Gertrude Abercrombie Trust, Donald Baum, Executor, consist mainly of correspondence with the institutions that were offered works of art by Gertrude Abercrombie and from her personal collection. Also included are general correspondence, financial and tax records, and legal documents.
There is one scrapbook dated 1943 containing photographs and printed material.
Photographs are of art work, people, places, and miscellaneous subjects; negatives, slides, and transparencies are included in this series, too. Photographs of art include the work of Gertrude Abercrombie, Karl Priebe, and Charles Sebree. People pictured are Gertrude Abercrombie and family, including her parents, Richard I. Livingston, Dinah Livingston, and Frank Sandiford. There are also 19th and early 20th century photographs of ancestors. Among the images of friends are: Ivan le Lorraine Albright, Arnold Blanch, Dudley Huppler, Doris Lee, Karl Priebe, and Richard Purdy. Photographs of jazz artists include: Louis Armstrong, George Davis, Erroll Garner, Dizzy Gillespie, Earl Hines, Orlando, Charlie Parker, Sonny Rollins, Sarah Vaughn, and the Modern Jazz Quartet. Of particular note the portraits of Gertrude Abercrombie and Dizzy Gillespie by Carl Van Vechten.Among the photographs of places are interior views of Gertrude Abercrombie's home and studio, unidentified landscapes, travel pictures of San Francisco and commercially produced stereopticon slides of other locations. Miscellaneous subjects are automobiles, cats, exhibition installations, and a still life setup.
The collection is arranged into 11 series:
Series 1: Biographical Material, circa 1902-1976 (Box 1, OV9; 0.1 linear ft.)
Series 2: Correspondence, circa 1935-1977 (Boxes 1-2; 1.65 linear ft.)
Series 3: Artist files, circa 1935-1977 (Box 2; 0.25 linear ft.)
Series 4: Writings and Notes, circa 1919-1977 (Box 3; 0.1 linear ft.)
Series 5: Business Records, circa 1944-1977 (Box 3; 0.2 linear ft.)
Series 6: Art Work, circa 1939-1975 (Boxes 3, 7; O.2 linear ft.)
Series 7: Printed Material, circa 1906-1977 (Boxes 3-4; 1.6 linear ft.)
Series 8: Audio Recordings, circa 1970-1974 (Box 7; 0.1 linear ft.)
Series 9: Estate Records, circa 1976-1986 (Box 5; o.5 linear ft.)
Series 10: Scrapbook, circa 1943(Box 5; 1 folder)
Series 11: Photographs, circa 1880-1978(Boxes 5-7; OV8, 1.0 linear ft.)
Surrealist painter Gertrude Abercrombie (1909-1977) lived and worked in Chicago and was a prominent member of Chicago's Hyde Park arts community.
Abercrombie was known for surrealist oil paintings featuring dreamlike landscapes and fantasies. Her wide circle of friends included locally and nationally known artists, writers, and jazz musicians who made her home a popular avant-garde salon. She was the inspiration for Richie Powell's "Gertrude's Bounce" and, appeared as a fictional character in Malcolm, Eustace Chisholm, and as herself in Gertrude of Stony Island Avenue all by James Purdy.
The only child of Tom and Lula Janes [Jane] Abercrombie, Gertrude was born in Austin, Texas in 1909, while her opera singer parents were in town with a traveling company. In 1913, the family relocated to Berlin to further Jane's career, but the outbreak of World War I forced their return to the United States. They lived with Tom Abercrombie's family in Alledo, Illinois, before permanently settling in Chicago.
Gertrude Abercrombie had a facility with language and possessed musical and artistic talents. After graduation from the University of Illinois at Champaign-Urbana with a degree in romance languages in 1929, she studied figure drawing at the School of the Art Institute of Chicago for a short time. She then enrolled at the American Arcademy of Art, also in Chicago, for a year long course in commercial art. Her first job was drawing gloves for Mesirow Department Store ads, followed by a stint working as an artist for Sears.
By 1932, Gertrude Abercrombie began painting seriously. The following summer, she participated in an outdoor art fair in downtown Chicago where she made her first sale and received favorable mention in a newspaper review of the event. Abercrombie's work that featured self-portraits and recurring images of personal symbols - trees, horses, owls, keys, shells, doors, stairways, ladders - began to attract attention. Beginning in 1934, Gertrude Abercrombie was employment as a painter in the WPA Federal Art Project in 1934, enabling her to feel validated as an artist and move from the home of her conservative, Christian Scientist parents to her own apartment. The Chicago Society of Artists presented a solo exhibition of Abercrombie's work in 1934, and in 1936 she showed at the Katharine Kuh Gallery (along with Rita Stein and Nicola Ziroli). In 1936 and 1938 Gertrude Abercrombie won prizes at the Art Institute of Chicago's Annual Exhibition of Works by Artists of Chicago and Vicinity.
She left the WPA in 1940 and married lawyer Robert Livingston. Their daughter, Dinah, was born in 1942, and they soon moved to a large Victorian house on South Dorchester St. where Gertude lived for the remainder of her life. The couple divorced in 1948. That same year she married Frank Sandiford, a music critic whose pen name was Paul Warren. An accomplished improvisational pianist, Gertrude Abercrombie became friends with many prominent jazz artists whom she met through Sandiford; in fact, Dizzy Gillespie performed at their wedding. Abercrombie and Sandiford separated in 1964.
The 1940s through 1950s were Gertrude Abercrombie's most productive and prolific period. Although she no longer painted many portraits, he work remained focused on the same themes and symbols. She believed that art was about ideas rather than technique and insisted that "It is always myself that I paint." During this period, Amercrombie exhibited widely in group shows and had solo exhibitions at the Art Institute of Chicago, Associated American Artists (New York), and Leonard Linn, Inc. (Winnetka, Ill.)
By the late 1950s, Gertrude Abercrombie began a long decline. Alcoholism started to take a toll. She suffered serious financial reverses, and in 1964 separated from Frank Sandiford. Debilitating arthritis eventually landed her in a wheel chair, and she became reclusive. In 1977, very near the end of her life, Gertrude Abercrombie was honored with a well-received retrospective exhibition at the Hyde Park Art Center, Chicago. She was able to attend the reception and enjoy seeing the many old friends who were at the event.
Gertrude Abercrombie died in Chicago in 1977. Her will established The Gertrude Abercrombie Trust that cared for and distributed to various institutions her own paintings and a personal collection of works by other artists to selected institutions, mainly in the Midwest.
A photograph of Gertrude Abercrombie at home with her painting "Slaughter House", was donated by Donald Baum to the National Collection of Fine Arts in 1979 and transferred to the Archives of American Art that same year.
Donald Baum, executor of both the estate and trust of Gertrude Abercrombie, donated the papers to the Archives of American Art in 1978 and 1986.
Use of original papers requires an appointment.