The papers of Joseph Cornell (1903-1972) measure approximately 24.9 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.
Scope and Content Note:
The Joseph Cornell papers measure approximately 24.9 linear feet and date from 1804 to 1986, with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers (which comprise a series of biographical material). The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.
Cornell's correspondence is typically with family, friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired, "helpers," and various charitable institutions. Correspondence generally concerns the creation, exhibition, sale, and reception of Cornell's art work; his "explorations" and other research and collecting activities; his preoccupations with certain individuals and motifs; his usual practices of giving gifts of art work to those he liked or admired and making donations to charities in aid of those less fortunate; and his relationships and shared interests with family, friends, and colleagues. Also found is correspondence between and amongst various other members of the Cornell family, including, most notably, Robert Cornell's letters to his sisters, Elizabeth (typically addressed as Nell) and Helen.
Dating from 1941 to 1972, Cornell's diaries span almost the entirety of his career as an artist, which began in earnest when he left his job at the Traphagen textile studio in 1940 to pursue art full-time and ended with his death in 1972. The diaries record his day-to-day experiences (usually comprising his thoughts, feelings, impressions, and ideas); and reflect on his various art projects (boxes, films, and collages) and creative activities ("explorations," and various other research, collecting, and publishing ventures). They also explore many of the themes and underlying concerns of his art work; and document his intense preoccupations with certain individuals, his wide-ranging interests, and the interconnectedness of his ideas and activities. Cornell's style of writing in the diaries tends to be stream-of-conscious with entries being composed of phrases, rather than complete sentences and with the progression of passages being more poetic and associative than either logical or narrative. He tended to compose by hand, occasionally typing up his notes into more formal entries, and also to use abbreviations for oft-repeated words and initials for individuals. At times, his handwriting can be difficult to read, and his references can be difficult to decipher. It was also common practice for him to review or revisit previous entries at various points in time, often making revisions or comments on them with dated annotations in the margins or on the reverse side of a page.
Cornell's source material is largely comprised of files of newspaper and magazine clippings, cutouts, notes, writings, book excerpts, photostats (or stats), prints, postcards, art reproductions, and other printed material. Some files are devoted to people (ballerinas, actresses, singers, artists, and writers) and topics (astronomy, romantic and modern ballet, birds, films, literature, music, plants, and science, among others). Other files relate to specific art works, "explorations," publishing projects, and exhibitions. Source material documents Cornell's preoccupation with certain individuals (past and present), events, subjects, and motifs; the development of some of his major "explorations" and their influence on his various artistic and commercial projects; and his work on certain box constructions and collages, publishing ventures, and exhibition catalogues. Source material also sheds light on Cornell's efforts to gain access to the past; his interest in the symbolism of images and objects; the linkages he found between seemingly unrelated things; and the connections between his many creative endeavors.
Ephemera and artifacts include various objects, mementos, and items of memorabilia, some of which were accumulated by Cornell (in much the same way that he collected his source material) and some of which are of uncertain origin. For Cornell, items such as these were not merely inanimate objects, but were instead evocative of past worlds and capable of bringing the past into the present (an idea which he often expressed in his diaries as the "metaphysique d'ephemera"). He seems to have used some of these items in a layout he designed for Good Housekeeping. Other items may have been used as source material for some of his box constructions.
The collection also houses photographs of Cornell, his family, art work, other artists, and friends, as well as photographs taken by various individuals and publicity photographs from the New York City Ballet. Also found are scattered works of art, including collage fragments and Rorschachs (or ink blot drawings) by Cornell, collages by Cornell's sister, Betty Cornell Benton, on which he collaborated, and a box by Christine Kaufman, which was a gift to Cornell. The books in the collection most likely comprise the remainder of Cornell's library, which was transferred to the Joseph Cornell Study Center, and include some that seem to have belonged to his sister, Betty. Printed material includes various publications and clippings collected by Cornell apart from that which he collected as source material. Writings about Cornell include an article by the poet, Mina Loy, and copies of various theses, presentations, and articles by graduate students in art history received by Benton (who assisted them in their research).
The Joseph Cornell Estate Papers consist of correspondence relating to Betty Cornell Benton's administration of the part of Cornell's estate for which she was responsible and legal documents relating to her various legal disputes with the executors of the estate, as well as a limited amount of printed material, some of which was originally accumulated by Cornell and subsequently shared with Benton, and miscellaneous papers belonging to Benton and their mother, Helen S. Cornell. Estate Papers provide insight on the exhibition and sale of Cornell art works after his death; the disposition of his belongings (including art work, papers, books, records, and source material); and Benton's efforts to foster and safeguard the memory and legacy of Cornell. The Robert Cornell Papers include correspondence, writings, art works, photographs, printed material, and scattered financial and personal records, documenting the full and creative life Robert led despite being confined to a wheelchair. Their inclusion in the collection suggests the family's effort to foster Robert's memory.
Arrangement:
The collection is arranged into eleven series:
Missing Title
Series 1: Biographical Material, 1918-1972, 1975 (Box 1; 0.8 linear feet)
Series 2: Correspondence, 1909-1982 (Boxes 1-5, OV 31; 4.3 linear feet)
Series 3: Diaries, 1941-1973 (Boxes 6-10; 5 linear feet)
Series 4: Source Material, 1804-1972 (Boxes 11-18, 25-28, OV 29; 8.5 linear feet)
Series 5: Ephemera and Artifacts, 1858-1946 (Boxes 18, 23; 0.8 linear feet)
Series 6: Photographs, circa 1905-1972 (Boxes 18, 28, OV 30; 0.3 linear feet)
Series 7: Art Works, circa 1966-1971 (Boxes 19, 23; 0.2 linear feet)
Series 8: Books and Printed Material, 1806-1968 (Boxes 19, 23; 0.5 linear feet)
Series 9: Writings about Cornell, 1950, circa 1975-1980 (Box 19; 0.3 linear feet)
Series 10: Joseph Cornell Estate Papers, circa 1911, 1944-1986 (Boxes 19-22; 3.5 linear feet)
Series 11: Robert Cornell Papers, 1924-1965 (Boxes 24, 28; 0.4 linear feet)
Biographical Note:
Joseph Cornell, assemblagist, collagist, and filmmaker, was born on December 24, 1903 in Nyack, New York. He was the oldest son of Joseph I. Cornell, a textile salesman and designer, and Helen Storms Cornell, and had two younger sisters, Elizabeth (b. 1905), nicknamed Nell and later Betty, and Helen (b. 1906), and a younger brother, Robert (b. 1910), who suffered from cerebral palsy. Cornell shared close relationships with his siblings, and was especially attached to his brother whom he took care of as an adult. His fondest childhood memories included family Christmas celebrations, outings to Manhattan where he saw vaudeville shows and strolled around Times Square, and trips to Coney Island where he encountered penny arcade machines. These childhood memories, among others, inspired some of the themes later explored in his art work.
After his father's death in 1917, Cornell was sent to study at the Phillips Academy in Andover, Massachusetts. He remained there for four years, but left without receiving a diploma. During this time, the family moved from Nyack to Bayside, Queens, where they lived in a series of rented houses. Cornell rejoined his family in 1921, at which time he went to work as a salesman in the Manhattan office of a textile wholesaler, the William Whitman Company. He joined the Christian Science church in the mid-1920s, and in 1929, the family bought a house at 37-08 Utopia Parkway in Flushing, where he resided for the rest of his life, living there with his mother and brother after both his sisters married and moved away.
During the 1920s, Cornell developed his passion for walking the city streets and taking in their sights, sounds, and impressions; browsing in the secondhand bookshops along Fourth Avenue; and collecting material such as books, prints, postcards, and printed and three-dimensional ephemera. He cultivated his growing interest in culture and the arts by attending opera and ballet performances, seeing plays (the 1922 play Rain, which starred Jeanne Eagels, was among his favorites), visiting galleries and museums, reading, and going to the movies.
In 1931, Cornell began to frequent the Julien Levy Gallery, where he encountered Surrealist art for perhaps the first time. Around this time, he created his first works of art - a series of black-and-white collages composed from cutouts of nineteenth-century engravings - inspired by Max Ernst's collages, in particular his collage-novel, La Femme 100 tetes (1929). Cornell went on to create three-dimensional works of art such as pill boxes and a glass bell series (consisting of objects arranged under a bell jar). His work, including several collages and a glass bell, was first exhibited as part of the groundbreaking "Surrealisme" show at the Levy Gallery in January 1932. He also designed the cover of the show announcement. His first one-man show at the gallery, "The Objects of Joseph Cornell," followed in the fall of 1932. (It was seven years before his next solo show.) By this time, Cornell had been laid off from his job at Whitman's. He was out of work for several years before getting a job as a textile designer at the Traphagen Commercial Textile Studio in 1934. During the next several years, he continued to work on his art at night.
Around this time, Cornell began collecting movies and movie stills, and embarked upon various film-related projects. In 1933, he wrote a scenario for a silent movie, Monsieur Phot. A few years later, he made his first film, Rose Hobart (1936), comprised of re-edited footage from the B-movie, East of Borneo (1931), which starred the actress, Rose Hobart. And he began work on a trilogy of collage-films - The Children's Party, Cotillion, and The Midnight Party (circa 1937). He then took a break from making films until the mid-1950s, but continued to collect film-related material, which he began to incorporate into his other art work.
In 1936, Cornell constructed his first glass-fronted shadow box, Untitled (Soap Bubble Set), which was included that same year in the "Fantastic Art, Dada and Surrealism" exhibition at the Museum of Modern Art, along with a cabinet box and several glass bells. In creating some of his other early boxes, he began the practice of using photo reproductions of images which he located in books and magazines, or in the Picture Collection at the New York Public Library, among other places. In his tribute boxes to actresses (1930s), he made use of publicity shots, and in the box, Dressing Room for Gilles (1939), he employed a photostat (or stat) of a reproduction of Jean-Antoine Watteau's painting, Gilles (1718).
Over the years, Cornell came into contact with various figures of the art, dance, and literary worlds. In the 1930s and 1940s, he met the artists, Max Ernst, Marcel Duchamp, and Salvador Dali, and befriended the artists, Lee Miller and Dorothea Tanning. His formative friendships during 1940s were with the artist, Pavel Tchelitchew, the writers, Charles Henri Ford (founder of the avant-garde periodical, View), Parker Tyler, and Donald Windham, and the balletomane, Lincoln Kirstein (founder of Dance Index). His other friends included the artists, Roberto Matta Echaurren and Robert Motherwell, the dancer and actress, Tilly Losch, and the poets, Mina Loy and Marianne Moore. In the 1950s, he associated with artists from the Abstract Expressionist movement, including Willem de Kooning, Jack Tworkov, and Mark Rothko. Beginning in the mid-1950s, he befriended many young artists, including Lee Bontecou and Carolee Schneeman, and young actresses, including Lois Smith, Gwen Van Dam, and Suzanne Miller, whom he sought to appear in his films. And in the early 1960s, he met the Pop artists, Robert Indiana, James Rosenquist, and Andy Warhol.
Beginning in 1940, Cornell developed a keen interest in dance, particularly ballet. Ballerinas from the Romantic era, such as Marie Taglioni and Fanny Cerrito, especially captured his imagination, inspiring such works as the box, Taglioni's Jewel Casket (1940), and the Portrait of Ondine "exploration," which comprised a portfolio of material relating to Cerrito and her famous role in the ballet, Ondine. Cornell was also fascinated with the modern counterparts of the Romantic ballerinas. In 1940, he befriended the Russian ballet dancer, Tamara Toumanova, and over the years produced many works in homage to her, including swan boxes (inspired by her role in Swan Lake), boxes made with scraps from her costumes, and scrapbooks of clippings, stats, and memorabilia. In 1949, he became enamored of the French dancer, Renee "Zizi" Jeanmarie, after seeing her perform in Carmen and meeting her backstage, and he created several dance-related boxes in her honor. In 1957, he met the ballerina, Allegra Kent. After meeting again in 1964, they became friends, and she served as the subject of several works based on images reproduced from a Parmigianino painting.
In December 1940, Cornell left his job at the Traphagen textile studio to pursue art full-time. He set up a workshop in the basement of the house on Utopia Parkway, which served as a combination studio and storage space. While he spent most days at home, he continued to make regular trips into Manhattan to wander around the city, visit with friends, and hunt for material. Around this time, he began to keep a diary, recording his day-to-day experiences (usually comprising his thoughts, feelings, impressions, ideas) on scraps of paper (including used envelopes, paper bags, napkins, and ticket stubs, among other fragments). He would then type up some of these notes into more formal diary entries, but most of them remained, in his word, "scribblings." Diary keeping eventually became one of his primary activities, along with box construction, collage, research, and collecting.
By this time, his art work was beginning to sell, yet he was not able to live from these sales alone. During the 1940s, he primarily supported himself by doing freelance work for magazines such as Vogue, Harper's Bazaar, and Good Housekeeping, supplying illustrations from his picture collection and designing covers and layouts. He also regularly contributed pieces to View and Dance Index. His notable contributions to View included "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (December 1941), "Story Without a Name - for Max Ernst" (April 1942), and "The Crystal Cage [portrait of Berenice]" (January 1943). His projects for Dance Index included various collage-covers, essays, and thematic issues, such as the Summer 1944 issue, which comprised a 22-page tribute to the Romantic ballerinas, Taglioni, Carlotta Grisi, Cerrito, and Fanny Elssler. To supplement his income, Cornell also held brief positions at an electronics plant, the Allied Control Company, Inc. (in 1943), and at a nursery, the Garden Centre (in 1944).
In 1942, Cornell created one of his more memorable works, Medici Slot Machine, embarking upon a large series of Medici boxes in which he utilized reproductions of portraits by Italian Renaissance artists, such as Sofonisba Anguissola and Pinturicchio. His other boxes from this time period explored themes ranging from ballet, as in A Pantry Ballet (for Jacques Offenbach) (1942), to doomed love, as in Paolo and Francesca (1943-48), to nature, as in the Sand Boxes (1940s) and Sand Fountains (1950s). Cornell often created boxes in series, producing variations on a theme with variants that differed significantly or only slightly. Over the years, series included: Pink Palaces, Pharmacies, Habitats, Aviaries, Dovecotes, Hotels, Observatories, and Night Skies, among others.
In late 1945, Cornell joined the Hugo Gallery, which was run by Alexander Iolas, and a year later mounted the show, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell" (December 1946). He designed the exhibition catalog for this show, which consisted of portraits - box constructions, objects, and "dossiers" - of the opera singers, Giuditta Pasta and Maria Malibran, the ballerinas, Taglioni and Cerrito, and the actresses, Eleanora Duse, Jeanne Eagels, Greta Garbo, and Jennifer Jones, and which also featured one of his most famous boxes, Untitled (Penny Arcade Portrait of Lauren Bacall) (1945-46).
In 1949, Cornell joined the Egan Gallery, which was run by Charles Egan. Around this time, he began creating his series of Aviary boxes, which explored the symbolism of birds and birdcages. He showed twenty-six of these box constructions in his first exhibition at the Egan Gallery, "Aviary by Joseph Cornell" (December 1949-January 1950). He created other series of whitewashed boxes, including the Dovecote series and a small group relating to the poet, Emily Dickinson. He then went on to explore the themes of astronomy and celestial navigation in the Observatory, Night Skies, and Hotel series. Works from these series were featured in his two remaining shows at the Egan Gallery, "Night Songs and Other Work" (December 1950-January 1951) and "Night Voyage" (February-March 1953). In the fall of 1953, sparked by seeing the painting, Figure Seated in a Cafe (1914), Cornell embarked upon a major series of bird constructions dedicated to the Cubist artist, Juan Gris. Notably, these were the only boxes he explicitly dedicated to another artist.
Over the next couple of years, Cornell's work was exhibited across the country. In 1955, he joined the Stable Gallery, which was run by Eleanor Ward. His first one-man show there, in the winter of 1955-56, was "Winter Night Skies," which featured various box constructions based on constellations. During the mid-1950s, he embarked upon a series of Sand Fountains (vertical standing boxes featuring a broken glass and sand that flowed through it when turned upside down), elaborating upon his earlier Sand Boxes (1940s). These boxes along with some of his other latest works, including the Bleriot boxes and the Space Object boxes (which comprised his final box series), were exhibited in his second and last show at the Stable Gallery, "Selected Works" (December 1957).
After leaving the Stable Gallery, Cornell had several dealers handle his work rather than allowing any one to assume too much control. Dealers included Richard Feigen (in Chicago and then in New York) and Irving Blum (in California), among others. Throughout his career, Cornell never liked selling his boxes. He was always reluctant to let his work go and became increasingly uneasy about the growing status of his work as a commodity. He preferred instead to make gifts of his art work to friends and individuals he admired (especially female ones).
In the mid-1950s, Cornell returned to making films. Rather than just splicing together found images as he had in his films of the 1930s, he began to collaborate with others to shoot original footage. He worked with the experimental filmmaker, Stan Brakhage, on two films, one about the Third Ave El which was about to be torn down ( Wonder Ring or Gnir Rednow) and the other about an old house in Cornell's neighborhood that was slated for demolition ( Centuries of June). Cornell then went on to make nine films with the filmmaker, Rudy Burckhardt, including Aviary, A Legend for Fountains, and Nymphlight, among others. In the late 1960s, he enlisted the help of Larry Jordan, who was also a filmmaker, in completing the trilogy of collage-films that he had begun in the 1930s.
Along with creating works of art and making films, Cornell was involved in a host of other creative endeavors throughout his career as an artist. These included: keeping a diary, which was for him another medium for exploring and expressing the themes, ideas, and concerns recurrent in his art work; carrying out "explorations," which typically involved conducting research, collecting material, and compiling files on persons or topics of interest to him; and other projects, such as publishing pamphlets (or brochures) dedicated to the nineteenth-century opera singers, Malibran and Giulia Grisi. Cornell's "explorations" clearly informed his artwork, but they were also works of art in and of themselves. He continually sought to share this work with an audience and twice had the opportunity to do so, when he exhibited versions of his Portrait of Ondine "exploration" at the Museum of Modern Art in 1945 and at the Wittenborn Bookstore in 1956.
Around the mid-1950s, Cornell returned to making collages as independent works of art. Unlike his earlier ones, which were composed from cutouts of black-and-white engravings, his latest collages were made with color images cut out of contemporary magazines and books. In these collages, he explored many of the same themes and preoccupations of his box constructions, including birds, as in Couleur de Peche (1967) and Untitled (Vierge Vivace) (1970), children's games, as in the Penny Arcade series (1960s), and actresses, as in The Sister Shades (1956). Towards the end of his career, collage became his principal medium.
By this time, Cornell was taking fewer trips into Manhattan. Instead, he spent more time at home or traveled only so far as downtown Flushing, where he frequented the public library, hunted for material in stores, such as Woolworth's, and passed time in the coffee-shops on Main Street. From this time on, he kept his diary with increasing regularity, taking down notations with more frequency and creating entries of greater length.
In 1961, fourteen of Cornell's boxes, including Medici Slot Machine, were exhibited as part of the "The Art of Assemblage" show at the Museum of Modern Art. As his biographer notes, Cornell came to view this show "as a turning point in his creative life," marking the "[fall] off in his work" that took place in the sixties (Solomon 271-2). He continued to work on boxes that he had begun long before, but, after this time, rarely if ever constructed new ones. Instead, he focused on making collages and became increasingly concerned with other projects, such as organizing his basement workshop, for which he hired various "helpers" or assistants (mostly young women) over the years. He also became more and more prone to obsessions (or preoccupations, as he called them) with various young women that he encountered both in fantasy (actresses on stage or in films) and in real life (working girls in the city, "teeners" on Main Street, or his female visitors and "helpers" at home). These preoccupations infused his diary writings, and inspired the keeping of "dossiers" on particular individuals and the creation of various collages dedicated to others, including most notably the Penny Arcade series dedicated to Joyce Hunter (or "Tina," as he referred to her in his writings).
After Robert's death in February 1965, Cornell created a series of collages in his memory, many of which incorporated his brother's drawings of animal characters. In January 1966, he exhibited some of these collages, alongside a selection of Robert's drawings, in a show at the Robert Schoelkopf Gallery, "Robert Cornell: Memorial Exhibition." In 1967, there were two retrospective exhibitions of Cornell's work, "An Exhibition of Works by Joseph Cornell" at the Pasadena Art Museum and "Joseph Cornell" at the Guggenheim Museum. By now, Cornell was receiving considerable public recognition for his work. He had received his first profile (by Howard Griffin) in the December 1957 issue of Art News and, ten years later, was treated to a 12-page spread (by David Bourdon) in the December 1967 issue of Life magazine. He was also the recipient of various prizes for his art work, including the M.V Kohnstamm Prize at the Art Institute of Chicago's "62nd American Exhibition of Painting and Sculpture" in 1957 and the winning prize in India's first Triennale of Contemporary World Art in 1968.
In the last years of his life (especially from the time of his mother's death in the fall of 1966), Cornell suffered from severe depression and loneliness, and withdrew even further from the outside world. However, he still maintained relationships with various young friends and artists, who frequently visited Utopia Parkway and/or served as one of his assistants. He became more and more interested in sharing his work with a younger audience and his last two exhibitions in 1972 were expressly for children, "A Joseph Cornell Exhibition for Children" at the Cooper Union School of Art and Architecture and "Joseph Cornell - Collages and Boxes" at the Albright-Knox Art Gallery in Buffalo, New York.
Cornell continued to work until the end of his life, "refurbishing" earlier boxes and creating memorial collages. Following prostate surgery in June 1972, he spent several months recuperating with family in Westhampton before returning to Utopia Parkway in November. He died of heart failure at home on December 29, 1972.
The biographical note draws heavily from Deborah Solomon's biography, Utopia Parkway: The Life and Work of Joseph Cornell (New York: Farrar, Strauss, and Giroux, 1997), and Diane Waldman's book, Joseph Cornell: Master of Dreams (New York: Harry N. Abrams, Inc., 2002).
Related Material:
The Archives holds several collections of different provenance that relate to Joseph Cornell, including the small collections of Allison Delarue (comprised of two letters from Cornell, available on reel 2803), Muriel Streeter Schwartz (comprised of two letters from Cornell, available on reel 4283), Wayne Andrews (comprised of letters from Cornell and printed material), and Marion Netter (comprised of items received from Cornell). In addition, photographs of Cornell can be found amongst the Hans Namuth photographs and papers. Also found within the Archives is a transcribed interview of Cornell's sister, Elizabeth Cornell Benton, conducted on April 21, 1976 as part of the oral history program.
Separated Material:
The bulk of Cornell's source material resides in the Joseph Cornell Study Center, Smithsonian American Art Museum, along with his library and record collection. Cornell's sister, Betty Cornell Benton, donated a portion of this material directly to SAAM (then known as the National Museum of American Art), occasioning the creation of the Study Center circa 1978. The bulk of the source material and library that she donated to AAA, including approximately 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books, was transferred to the Study Center in 1994 and 1995.
Originals of loaned material returned to the donor after microfilming include: some unidentified and miscellaneous correspondence; significant correspondence between Joseph Cornell and Helen S. Cornell; significant correspondence between Helen S. Cornell, family members and others; and some of Joseph Cornell's family correspondence and general correspondence from the Robert Cornell papers. The loaned material is available on microfilm reels 1055-1058 but is not described further in the Series Descriptions/Container Listing of this finding aid.
Provenance:
The Joseph Cornell papers were donated and microfilmed in several installments from 1974 to 1989 by Joseph Cornell's sister, Betty Cornell Benton. Most, but not all, of the correspondence, which was loaned for microfilming in 1974, was subsequently donated in 1989. Additional material was donated in 2004 by the Joseph and Robert Cornell Memorial Foundation.
Restrictions:
Use of the 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.
National Portrait Gallery, Smithsonian Institution; partial gift of Lynda Lanker and a museum purchase made possible with generous support from Robert E. Meyerhoff and Rheda Becker, Agnes Gund, Kate Kelly and George Schweitzer, Lyndon J. Barrois Sr. and Janine Sherman Barrois, and Mark and Cindy Aron
National Portrait Gallery, Smithsonian Institution; this acquisition was made possible by generous contributions from Jeane W. Austin and the James Smithson Society
The papers of artists Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.
Scope and Content Note:
The papers of Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.
Biographical Materials include a last will and testament, biographical narratives, and other official documents, as well as an audio recording of an interview with William Dove made around 1961 by George Wolfer. Correspondence includes letters from friends, clients, other artists, and Dove's patron Duncan Phillips. There is also correspondence with family members Helen Torr and Paul Dove. Drafts of outgoing letters from Dove to various correspondents including Phillips and Alfred Stieglitz are found.
Writings are extensive and include diaries, autobiographical essays, essays about art, artists, and other subjects, and poetry by Arthur Dove; as well as essays, reminiscences, and notes of Helen Torr. Printed Materials include exhibition catalogs for Dove's shows and the shows of other artists in the Stieglitz Circle, examples of Dove's early magazine illustration work, newspaper reviews of Dove's exhibitions, and various pamphlets related to modern art. Personal Business Records include an accounting ledger of the Doves' expenses, sales receipts, tax records, and an undated art inventory. Artwork consists of ten items, mostly sketches in pencil, watercolor, ink, and colored pencil. Photographs are undated and unidentified, but depict mostly family, homes, and coastal scenes.
Arrangement:
The collection is arranged into 7 series:
Missing Title
Series 1: Biographical Materials, 1928-1937, circa 1961 (Box 1; 2 folders)
Series 2: Correspondence, circa 1920-1974 (Box 1; 0.8 linear feet)
Series 3: Writings, circa 1924-1945 (Boxes 1-3; 1.5 linear feet)
Series 4: Printed Materials, circa 1905-1975 (Box 3; 0.3 linear feet)
Series 5: Personal Business Records, circa 1921-1965 (Box 3; 0.3 linear feet)
Series 6: Artwork, undated (Box 3; 1 folder)
Series 7: Photographs, 1909, undated (Box 3; 4 folders)
Biographical Note:
Arthur Garfield Dove was an early twentieth-century painter, collagist, and illustrator who was one of the first American artists to embrace abstraction in art. He was a part of Alfred Stieglitz's Circle of modern American artists introduced at Stieglitz's 291 Gallery along with John Marin and Georgia O'Keeffe. Dove spent his career developing his own idiosyncratic style of formal abstraction in painting based on his ideas about nature, feeling, and pure form, and characterized by experimentation with color, composition, and materials.
Born in Canandiagua, NY in 1880, Dove grew up in the small, rural town of Geneva, NY. He was first exposed to art by a local farmer and painter named Newton Weatherly, who gave him canvas and paint, and who Dove himself cited as an early influence. Dove went to Cornell University to study law, but soon shifted to art and illustration. He graduated in 1903 and quickly became a success as a magazine illustrator, working for Collier's, McClure's, St. Nicholas, and The Illustrated Sporting News, among other publications. In 1904, he married Florence Dorsey, a Geneva woman, and they lived in New York City. Their son, William Dove, was born in 1910.
In 1908 the couple traveled to Paris to enable Dove to pursue his interest in painting. In Paris, he met Alfred Maurer, Jo Davidson, and other American artists living abroad. The influence of his European and expatriate contemporaries would prove to be a lasting one, exposing him to ideas about abstraction and experimentation that he would develop in his work for the rest of his life.
Soon after Dove's return to the United States, he met Alfred Stieglitz and began a lifelong friendship. Stieglitz ran the Little Galleries of the Photo-Secession, which came to be known as 291, in New York. His daring, avant-garde exhibitions of both European and American modern art at 291 provided a venue and gathering-place for progressive American artists that was unique for its time. Dove's first solo exhibition at 291 was held in 1912, and consisted of ten pastel drawings that have come to be known as the "Ten Commandments." The attention it received established Dove as a prominent abstract painter.
Around 1920, Dove met another Westport artist named Helen S. Torr, also known as Reds. A Philadelphia-born painter who had studied at the Pennsylvania Academy of Fine Art, Reds was married at the time to the cartoonist Clive Weed. Torr and Dove eventually left their unhappy marriages and began a life together, moving to a houseboat docked in Manhattan. In 1922, they moved to Halesite, Long Island, New York, where Dove's artwork once again flourished. By the mid-1920s, he was exhibiting regularly, paralleled by the rise of Stieglitz's new Intimate Gallery in 1925. His work continued to explore abstraction and organic forms, and, in addition to paintings, he produced assemblages made of found materials.
Although a building teardown brought the Intimate Gallery to a sudden end in 1929, the financial support of friends enabled Alfred Stieglitz to open An American Place soon thereafter. There Stieglitz would focus on the work of a few American artists, including Dove, John Marin, and Georgia O'Keeffe. Helen Torr was also exhibited at An American Place, in a group show with Arthur in 1933. It was also at this gallery that the art collector Duncan Phillips was introduced to Dove's artwork. Phillips' interest in Dove grew into an ongoing patronage of Dove that would see them through the Depression and periods of serious illness in the 1930s and 1940s. Their arrangement, whereby Phillips had first refusal on all of Dove's new artwork, enabled him to gradually assemble the largest collection of Dove's work held anywhere.
In 1938, while on a trip to New York to attend his exhibition, Dove became suddenly ill. Although he recovered somewhat that year, his health never entirely returned to normal, and he spent long periods during what remained of his life housebound and in a wheelchair. He and Reds bought a home in Centreport, on Long Island, where they would stay the rest of his life. In 1939 he was so ill that neither his family nor Stieglitz thought he would ever paint again. Despite his physical limitations, he continued to work, turning to the less physically strenuous media of drawing and watercolor, and produced new work for five solo exhibitions in the 1940s. His work of this period embraces pure abstraction more fully than ever, and is regarded by some to be a culmination or crystallization of his singular style and approach to abstract painting.
Arthur Dove suffered a stroke in 1946 and died that November, just four months after his lifelong friend and mentor Alfred Stieglitz died of a heart attack. Reds lived until 1967 in their Centreport home. Dove's importance to American art has since been recognized with more than a dozen retrospective exhibitions at major museums and galleries.
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 725 contains Arthur Dove's letters from Alfred Stieglitz (1918-1946) and Georgia O'Keeffe (1921-1948), and two letters from William Einstein (1937). The original letters were later donated to the Beinecke Library at Yale University, which holds the Stieglitz/O'Keeffe Archives. Reel 2803 contains photocopies of Arthur Dove's card catalog of paintings that were discarded after microfilming. This material is not described in the collection container inventory.
Provenance:
The papers of Arthur and Helen Torr Dove were loaned to the Archives of American Art by Arthur Dove's son, William Dove, for microfilming in several increments between 1970 and 1975. The papers were later donated to the Archives by William Dove via the Terry Distenfass Gallery of New York City in multiple accessions between 1982 and 1989, with two major exceptions: 177 letters from Alfred Stieglitz, sixteen letters from Georgia O'Keeffe, and two letters from William Einstein; and Arthur Dove's card catalog of paintings, a photocopy of which had been loaned for microfilming. The papers were digitized in 2006.
Restrictions:
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion 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.
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