Walter Pach papers, 1857-1980

A Finding Aid to the Walter Pach Papers, 1880-1980, in the Archives of American Art, by Nancy Malloy and Catherine Stover

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Funding for the digitization of the microfilm of this collections was provided by the Gladys K. Delmas Foundation

Table of Contents:



Biographical Information

Artist, critic, lecturer, art adviser, and art historian Walter Pach (1883-1958) wrote extensively about modern art. Through his numerous books, articles, and translations of European art texts, such as Elie Faure's 5-volume History of Art and The Journal of Eugène Delacroix, Pach was able to bring an emerging modernist viewpoint to the American public. He wrote the first article published in America on Cézanne in 1908 and until his death fifty years later continued to champion the cause of modernism in this country. Pach organized exhibitions of contemporary art for important New York City galleries of the period, as well as the landmark exhibition of 1913, "The International Exhibition of Modern Art," commonly known as the Armory Show. Along with painters Arthur B. Davies and Walt Kuhn, he was able to bring together leading contemporary European and American artists. Pach helped to form major collections for John Quinn and Walter Arensberg. He was also instrumental in securing individual works of art for museums, such as a portrait for the Louvre Museum by American master Thomas Eakins, and Jacques-Louis David's Death of Socrates for the Metropolitan Museum of Art.

Walter Pach was born in New York City, July 11, 1883. His father, Gotthelf Pach, was a prominent commercial photographer who, along with his family, ran the New York firm of Pach Bros. The company did the bulk of the photographic work for the Metropolitan Museum of Art, and the young Pach often accompanied his father on museum assignments. In 1903, Pach graduated from the City College of New York with a degree in art. He also studied with Robert Henri at the New York School of Art and went abroad to paint with William Merritt Chase in the summers of 1903 and 1904.

In 1907, Pach moved to France and soon became part of the Gertrude and Leo Stein circle. As an artist and critic, he moved among the Parisian avant-garde, exhibiting with them and writing about their work and new artistic vision. Pach also wrote on such established artists as Claude Monet, whom he interviewed in 1908 for Scribner's Magazine.

Pach married artist Magdalene Frohberg in February 1914, and their son Raymond was born at the end of that year. The Pachs lived primarily in New York, but spent time abroad from 1928 to 1932. Intermittently, they lived on the West Coast, where Pach taught at the University of California at Berkeley. In the 1920s he taught at the University of Mexico on a Schilling Fund grant, lecturing and writing on Native American art. He took an active interest in organizing exhibitions and raising money for a museum to be dedicated to the indigenous art of the Americas. In addition, he was a friend of José Clemente Orozco and Diego Rivera and helped organize the Mexican chapter of the Society of Independent Artists, the New York-based organization he founded in 1917 with Walter Arensberg and Marcel Duchamp.

While not well known today as a painter, Walter Pach devoted much of his creative effort to painting. He considered himself both an artist and a writer, even though friends like art historian Bernard Berenson urged him to devote all his time to writing. Among his writings are monographs on a wide range of subjects, social commentary on the art world, and a book on museum structures. Among is first publications were a series of brochures produced for the 1913 Armory Show, including Odilon Redon; and, in the same year, A Sculptor's Architecture, a book about the work of Raymond Duchamp-Villon, a close friend whom he admired greatly. In 1923, Pach wrote Georges Seurat, a book later cited by art historian John Rewald as an important early text on the artist. Masters of Modern Art and the monograph Raymond Duchamp-Villon were published the following year, and in 1928 Pach's well-known indictment of opportunistic artists and corruption in the art world, Ananias, or The False Artist, created a stir in art circles. Pach considered Vincent Van Gogh to be a seminal figure in the development of modern art and was the first historian to lecture on him in America. In 1936, he published his well-received monograph, Vincent Van Gogh. His recollections of a life spent in art, Queer Thing, Painting appeared in 1938. Ingres was published in 1939, as well as Masterpieces of Art, written for the 1939 New York World's Fair, for which Pach was exhibition director. His Art Museum in America, published in 1948, called into question the relevance, responsibility, and future direction of the American art museum. He long championed the artists of Mexico and published an essay on Diego Rivera in 1951 for the National Museum of Fine Arts, Mexico, for its 50-year retrospective exhibition on the artist. The Classical Tradition in Modern Art, Pach's la st book, was published posthumously in 1959.

Pach's fluency in French, German, and Spanish allowed him to understand and interpret new avant-garde ideas developing in Europe and to translate them for an English-speaking audience. His language skills also allowed him to communicate personally with many noted artists in Europe and Mexico and to mediate between gallery dealers and museum curators on their behalf. His correspondence with major figures in 20th-century art are a fascinating and important source of information, not only about the artists themselves but about the art world in general during the first half of this century.

    Date
    Event
    1883
    Born July 11, New York City, son of Frances Wise Pach and well-known commercial photographer, Gotthelf Pach, of the firm Pach Bros.
    1903
    Graduated from the City College of New York. Studied painting with Leigh Hunt, Robert Henri, and William Merritt Chase. Trip to Europe with Chase's class.
    1904
    Trip to Holland and England with Chase's class. Purchased Hokusai Manga book (artist's manual). Saw Sir Frank Brangwyn's extensive collection of Japonaiseries.
    1906
    Presented first art history lecture, Westfield State Normal School, Westfield, Mass.
    1907
    Moved to France. Met Gertrude and Leo Stein. Painted Portrait of Japanese Painter Moriye Ogihara.
    1908
    "Cézanne," by Walter Pach, the first American article on the subject, published in December issue of Scribner's.
    1909
    "Portrait of Walter Pach," by Gertrude Stein.
    1911
    "Albert P. Ryder," by Walter Pach, published in January issue of Scribner's.
    1912
    Met with Arthur B. Davies and Walt Kuhn to begin preparations for the Armory Show. Was responsible for the exhibition's European operations. Completed Portrait of Gigi Cavigli (exhibited at the Armory Show the following year). "Pierre-Auguste Renoir," by Walter Pach, published in May issue of Scribner's.
    1913
    Exhibited 5 paintings and 5 etchings in "The International Exhibition of Modern Art" (Armory Show), which opened in New York City on February 13. Served as administrator, publicist, and gallery lecturer for the Armory Show Chicago with Kuhn for the run of the exhibition. At the close of the show, Matisse, Brancusi, and Pach were hanged in effigy by the students of the School of the Art Institute of Chicago.
    1914
    Married Magdalene Frohberg, a German artist. Resumed residence in the United States. Traveled to France to secure works for important modern art shows in New York City at the Carroll Gallery and Montross Gallery's Matisse exhibition. Birth of son, Raymond.
    1915
    Publication of The John Quinn Collection, catalog of a collection Pach was instrumental in assembling.
    1916
    Founded Society of Independent Artists in collaboration with Marcel Duchamp, Walter Arensberg, and others. Adviser to collector Walter Arensberg.
    1917
    Designed sets for Wallace Stevens's play, Bowl, Cat and Broomstick, produced at the Neighborhood Playhouse, New York City. Arranged a Gino Severini exhibition at Stieglitz's 291 gallery, New York City.
    1918
    "Universality in Art," by Walter Pach, published in February issue of Modern School. "Jean Le Roy," by Walter Pach, published in October issue of Modern School
    1919
    "The Schamberg Exhibition," by Walter Pach, published in May 17 issue of the Dial. Wrote introduction for Odilon Redon, the catalog for a graphics show at Albert Roulliers Gallery, Chicago.
    1920
    "The Art of the American Indian," by Walter Pach, published in January 20 issue of the Dial. His paintings abandoned the cubist-futurist mode and returned to a more naturalistic style.
    1921
    Publication of History of Art: Ancient Art, volume 1, by Elie Faure, translated by Walter Pach.
    1922
    Lecturer, University of Mexico, where he developed a strong interest in Pre-Columbian art. Lectured at Société Anonyme. Publication of History of Art: Mediaeval Art, volume 2, by Elie Faure, translated by Walter Pach. Contributed a chapter, "Art," to Civilization in the United States: An Inquiry by Thirty Americans, edited by Harold E. Stearns.
    1923
    Publication of Georges Seurat by Walter Pach. Publication of The Art of Cineplastics and History of Art: Renaissance Art, volume 3, by Elie Faure, translated by Walter Pach. "Georges Seurat," by Walter Pach, published in March issue of the Arts.
    1924
    Publication of Masters of Modern Art, by Walter Pach. Publication of Raymond Duchamp-Villon, by Walter Pach. Publication of History of Art: Modern Art, volume 4, by Elie Faure, translated by Walter Pach. "The Greatest American Artist," by Walter Pach, published in January issue of Harper's Magazine.
    1926
    "Graveur Américain," by Léon Rosenthal, an article about Pach's graphics (illustrated with an original etching, New York), published in September issue of Byblis, Miroir des Arts du Livre et de L'Estampe. "Brancusi," by Walter Pach, published in December 1 issue of the Nation. Instructor, New York University.
    1927
    "What Passes for Art," by Walter Pach, published in June issue of Harper's Magazine
    1928
    Publication of Ananias, or The False Artist, by Walter Pach. Pach family relocated to Europe.
    1929
    "The Evolution of Diego Rivera," by Walter Pach, published in January issue of Creative Art. "John Ruskin and Walter Pach: Defenders of the Faith," by W.H. Downes, published in August issue of American Museum Art.
    1930
    Publication of An Hour of Art, by Walter Pach. Publication of History of Art: The Spirit of the Forms, volume 5, by Elie Faure, translated by Walter Pach. "Notes sur le classicisme de Delacroix," by Walter Pach, published in June issue of L'Amour de L'Art.
    1931
    Solo exhibition at Kraushaar Gallery, New York City, with review published in March 21 issue of Art News. "Raymond Duchamp-Villon," by Walter Pach, published in May issue of Formes XV.
    1932
    "Le Classicisme de Barye," by Walter Pach, published in November issue of L'Amour de L'Art Returned to the United States.
    1933
    "Address at the Worcester Opening of International, 1933," by Walter Pach, published in January issue of Parnassus. "Georges Rouault," by Walter Pach, published in January issue of Parnassus. "American Art in the Louvre," by Walter Pach, published in May issue of Fine Arts 20. "On Owning Pictures," by Walter Pach, published in August issue of Fine Arts 20. "Rockefeller, Rivera and Art," by Walter Pach, published in September issue of Harper's Magazine.
    1934
    Organized Maurice Prendergast retrospective for Whitney Museum of American Art.
    1935
    Exhibition at Knoedler Gallery, New York City included Walter Pach's Respice, Adspice, and Prospice, a fresco commissioned for the City College of New York by the Class of 1903.
    1936
    Exhibition of watercolors at Kleemann Galleries, New York City. Publication of Vincent Van Gogh, by Walter Pach." The Raphael from Russia," by Walter Pach, published in January issue of Virginia Quarterly Review. "First Portfolio of American Art," by Walter Pach, published in October 3 issue of Art News. Wrote foreword to First Exhibition in America of Géricault, catalog of exhibition at Marie Sterner Gallery, New York City. "The Outlook for Modern Art," by Walter Pach, published in April issue of Parnassus. Article about Pach's City College mural published in February issue of City College Alumnus Magazine.
    1937
    Publication of The Journal of Eugène Delacroix, translated by Walter Pach. Publication of Thomas Eakins, by Walter Pach, catalog of exhibition at Kleemann Gallery, New York City.
    1938
    Publication of Queer Thing, Painting: Forty Years in the World of Art, by Walter Pach. "Delacroix Today," by Walter Pach, published in January issue of Magazine of Art.
    1939
    Publication of Ingres, by Walter Pach. Appointed general director, "Masterpieces of Art" exhibition, New York World's Fair.
    1940
    Publication of Masterpieces of Art, New York World's Fair, 1940, Official Illustrated Catalogue, by Walter Pach.
    1941
    Solo exhibition at Schneider-Gabriel Gallery, New York City.
    1942
    "Newly Discovered Ingres: The Lovers," by Walter Pach, published in October issue of Art in America Exhibition at Whitney Museum of American Art, "Between the Wars: Prints by American Artists, 1914-1941," included Walter Pach's etching Saint-Germain-des-Pres (1911). Lecturer, University of Mexico, Schilling Fund grant.
    1943
    "A Newly Found American Painter: Hermenegildo Bustos," by Walter Pach, published in January issue of Art in America. "Unknown Aspects of Mexican Painting," by Walter Pach, published in October issue of Gazette des Beaux-Arts. Marriage of son, Raymond.
    1944
    "The Eight, Then and Now," by Walter Pach, published in January issue of Art News. "Problemas del arte americano," by Walter Pach, published in December issue of Origenes.
    1946
    "La Barricade in America," by Walter Pach, published in July issue of Art News. "On Art Criticism," by Eugène Delacroix (first published in Revue de Paris, May 1829), translated by Walter Pach for catalog of exhibition at Curt Valentin, New York City.
    1947
    Publication of Picasso, by Juan Larrea, edited by Walter Pach. Publication of "Museums Can Be Living Things," by Walter Pach, in Laurels Number One, Laurel Gallery. Etching, Scopasian Head, by Walter Pach, included in Laurels Number Two, Laurel Gallery.
    1948
    Publication of The Art Museum in America, by Walter Pach. "The Past Lives On," by Walter Pach, parts 1 and 2, published in October and November issues of American Artist.
    1949
    "Thus Is Cubism Cultivated," by Walter Pach, published in May issue of Art News.
    1950
    Contributed a chapter, "The State of the Arts in the Democratic Way of Life: A Postscript," to Perspectives on a Troubled Decade: Science, Philosophy and Religion, 1939-1949, edited by Lyman Bryson, Louis Finkelstein, and R.M. MacIver. Death of wife, Magdalene.
    1951
    "Reaciones entre la cultura nordeamericana y la ombre de Diego Rivera," a major essay by Walter Pach published in Diego Rivera, 50 años de su labor artistica, exposition de normenaje nacional, Museo nacional de artes plasticas, Mexico City. Married Nikifora.
    1953
    "A Modernist Visits Greece," by Walter Pach, reprinted in autumn issue of Archaeology.
    1954
    "John Sloan," by Walter Pach, published in August issue of Atlantic Monthly.
    1956
    "Introducing the Paintings of George Of (1876-1954)," by Walter Pach, published in October issue of Art News.
    1958
    Professor, City College of New York. Died, New York City, following an operation for stomach ulcers.
    1959
    Publication of The Classical Tradition in Modern Art, by Walter Pach.
    1986
    Exhibition, "Walter Pach, A Retrospective," at Asheville Art Museum, Asheville, North Carolina.
    1988
    Exhibition, "The Art of Walter and Magda Pach," at Butler Institute of American Art, Youngstown, Ohio. Walter Pach's papers, previously in the possession of Salander-O'Reilly Galleries, acquired by the Archives of American Art with the assistance of the Brown Foundation, Inc.
    1990
    Exhibition, "Discovering Modernism: Selections from the Walter Pach Papers," at the Archives of American Art, New York City.
    1991
    Exhibition, "The Paintings of Walter Pach," at Forum Gallery, New York City.

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Overview of the Collection

Scope and Contents

The Walter Pach papers, 1880-1980, contain personal and family papers, extensive professional correspondence with noted artists and art world figures, a large group of handwritten and edited versions of manuscripts by Pach, a selection of drawings and prints, printed material, memorandums and notes, photographs, a scrapbook, a guestbook, and selections from Walter Pach's library.

Arrangement and Series Description

The Walter Pach papers are arranged as eight series. All book and article titles have been translated into English; titles of periodicals and works of art are not translated.

Correspondence and writings are arranged chronologically, followed by undated items arranged alphabetically by name of correspondent or by title of manuscript. The other series are further organized by category or record type, with arrangement noted in the detailed series descriptions.

Subjects and Names

This collection is indexed in the online catalog of the Archives of American Art under the following terms:

Subjects:

  • Chase, William Merritt, 1849-1916
  • Henri, Robert, 1865-1929
  • Sheeler, Charles, 1883-1965
  • Association of American Painters and Sculptors (New York, N.Y.)
  • Armory Show (1913 : New York, N.Y.)

Subjects-Topical:

  • Art -- Study and teaching
  • Art criticism
  • Modernism (Art)
  • Art schools -- Photographs
  • Mural painting and decoration, Mexican
  • Art critics
  • Art historians
  • Artists

Types of Materials:

  • Travel diaries
  • Photographs

Names:

  • Prendergast, Maurice Brazil, 1858-1924
  • Rivera, Diego, 1886-1957
  • Schamberg, Morton L., 1881-1918
  • Sloan, John, 1871-1951
  • Stein, Leo, 1872-1947
  • Stieglitz, Alfred, 1864-1946
  • Villon, Jacques, 1875-1963
  • Berenson, Bernard, 1865-1959
  • Brancusi, Constantin, 1876-1957
  • Brooks, Van Wyck, 1886-1963
  • Burroughs, Bryson, 1869-1934
  • Davies, Arthur B. (Arthur Bowen), 1862-1928
  • Duchamp, Marcel, 1887-1968
  • Duchamp-Villon, Raymond, 1876-1918
  • Eakins, Susan Macdowell
  • Faure, Elie, 1873-1937
  • Matisse, Henri, 1869-1954
  • Monet, Claude, 1840-1926
  • Renoir, Auguste, 1841-1919
  • Orozco, Jos?© Clemente, 1883-1949

Provenance

After Pach's death, his widow sold the papers to Salander-O'Reilly Galleries. They were acquired by the Archives of American Art in 1988 through the generosity of the Brown Foundation, Inc. Eight family photographs, donated by Raymond Pach, son of Walter Pach, were received after microfilming had been completed.

How the Collection was Processed

The collection was processed by Nancy Malloy and Catherine Stover in 1997 and microfilmed, with the exception of Series 8: Selections from Walter Pach's Library. The microfilmed portion was digitized in 2008.


How to Use the Collection

Restrictions on Use

Use of original papers requires an appointment.

Ownership & Literary Rights

The Walter Pach papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Available Formats

The bulk of this collection has been digitized from 6 reels of microfilm and is available on the Archives of American Art website.

How to Cite this Collection

Walter Pach papers, 1880-1980. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Personal and Family Papers, 1883-1980, undated.

This series includes biographical information on Pach and his family and letters, mainly from his son Raymond who spent many years abroad pursuing an operatic career. Of particular note is a travel diary, dated 1903-1904, recording Pach's trips to Europe with William Merritt Chase's class.

The series is organized into three subseries:

This microfilm for this series has been scanned in entirety.

1.1: Biographical Information, 1883-1950

This subseries includes Pach's birth certificate, graduation programs, copying permit, and identification cards; an article about Pach and his photography studio from Portrait magazine in August 1916; a clipping and funeral guestbook from Magda Pach's file; and a receipt for Raymond Pach's birth certificate. There is also a diary from June 24 to September 12, 1903, and June 14 to August 2, 1904 (1 volume) and August 1904 (loose pages) with entries recording a 1903 trip to Haarlem, the Netherlands, and a 1904 trip to London with William Merritt Chase's class. Entries comment on life abroad, classmates Morton L. Schamberg and Charles Sheeler, interest in Japonisme, collecting Japanese prints, and the purchase of a Manga book (an artist's manual).

Reel Frames
4216 16-40 Walter Pach, 1883-1944
4216 43-53 Gotthelf Pach (father), 1916
4216 56-65 Magda Pach, 1950
4216 68-69 Raymond Pach (son), 1914
4216 71-136 Diary of Walter Pach, 1903-1904

1.2: Family Letters, 1883-1980, undated

Reel Frames
4216 139 From Aunty and Uncle, 1883
4216 142-145 From Father, 1894
4216 147-154 To Father from Walter's School, 1895
4216 156-157 From Brother, Mother, 1897
4216 159-160 From Uncle Oscar; to Father from School, 1898
4216 163-166 From Father, 1900
4216 168-169 To Father from his Brother Barney, 1901
4216 171-176 To Father from Mother; from Father, 1902
4216 179-190 To Father from Mother, Father, Brother; from Mother, 1903
4216 192-193 From Mother, 1904
4216 196 From Nephew Alf[red Pach], 1911
4216 198-201 From Alfred, 1912
4216 203-205 From Mother, Father, 1914
4216 207-208 From Mother, Father, 1915
4216 211-213 From Father, 1918
4216 215-218 To Raymond from Martha Butter, 1920
4216 220-221 From Magda, 1921
4216 223-228 From Father, 1922
4216 231 From Alfred, 1926
4216 233 From Alfred, 1927
4216 235-236 From Alfred, 1928
4216 239-240 From Alfred, 1931
4216 242-245 From Alfred, 1932
4216 247-254 From Magda, Frohberg Family, 1933
4216 256-260 From Magda and Raymond, 1936
4216 261 From Raymond Pach, 1936
4216 264-265 From Frohberg Family, 1938
4216 268-273 From Raymond, 1940
4216 276-282 From Raymond, 1950
4216 285-302 From Raymond, 1951
4216 305-335 From Raymond, 1952
4216 338-361 From Frohberg Family, Raymond, 1953
4216 364-451 From Frohberg Family, Raymond, 1954
4216 454-522 From Frohberg Family, Raymond, 1955
4216 525-531 From Frohberg Family, Raymond, 1956
4216 534-547 From Raymond, 1957
4216 550-553 From Frohberg Family, 1958
4216 556-576 Fo Nikifora from Amherst College (with draft of catalog), 1968
4216 579 to Nikifora from Delaware Art Museum, 1975
4216 582-599 To Nikifora from Hirshhorn Museum (with abstract of College Art Association paper), 1978
4216 602 To Nikifora from Yale University Beinecke Library, 1980
4216 604-606 To Nikifora from Virginia Zabriskie, undated

1.3: Financial Records, 1946-1961

Reel Frames
4216 610-694 Financial Records, general bank statements, income tax returns, insurance policies, and miscellaneous receipts, 1925-1958
4216 697-730 Nikifora Pach's co-op apartment, 1961

Series 2: Professional Correspondence, 1900-1958, undated

This is the most important series and the richest source of information for scholars. It contains letters from artists, critics, writers, and collectors. Among the correspondents are artists Marcel Duchamp, Raymond Duchamp-Villon, Henri Matisse, Claude Monet, Maurice Prendergast, Diego Rivera, Morton Livingston Schamberg, John Sloan, Alfred Stieglitz, and Jacques Villon; critic Leo Stein; art historians Elie Faure and Bernard Berenson; Thomas Eakins's widow, Susan; writer Van Wyck Brooks; and Bryson Burroughs, curator of painting at the Metropolitan Museum of Art. All letters are to Walter Pach and in English unless otherwise noted.

The correspondence is arranged chronologically. Undated correspondence can be found at the end of the series and is arranged alphabetically by name of correspondent or title of manuscript.

The microfilm of this series has been scanned in entirety.

Reel Frames
4216 735-736 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."
4216 738-739 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").
4216 741 from Theodore Roosevelt, Washington, D.C. March 5, 1904
President's autograph. Card with engraving of the White House.
4216 743-748 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).
4216 751-752 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.
4216 753-754 from Edith Bell, New York, N.Y. [postmarked] December 24, 1905
Christmas greetings; thanks Pach for showing her the Goya sketch. 2 pp.
4216 757 to Georges from 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.
4216 760-761 from Charles Scribner's Sons, New York, N.Y. February 13, 1907
Printed form letter with payment for "The Memoria of Velasquez."
4216 762-764 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.
4216 765-766 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.
4216 767-768 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.
4216 769-770 from Moriye Ogihara, Vitry-sur-Seine, France, [postmarked] September 10, 1907
Wonders if and when Pach is returning to Paris. Postal card.
4216 769-770 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").
4216 771-772 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.
4216 775 from Claude Monet, Giverny, France, November 4, 1907
Monet will receive Pach this week on Wednesday or Thursday afternoon. 1 p., in French.
4216 773-774 from Lelebuss, New York, N.Y., November 21, 1907
Thanks Pach for birthday greetings; several friends are now married.
4216 776-777 from Lelebuss, New York, N.Y., November 21, 1907
Thanks Pach for birthday greetings; several friends are now married.
4216 778-784 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).
4216 787-789 from Moriye Ogihara, Florence, Italy, December 25, 1907
Christmas greetings; discusses travels in Italy and art seen. 4 pp.
4216 785-786 from Moriye Ogihara, Florence, Italy, December 26, 1907
Has been to the Academy; praises Miss Frohberg. Picture postcard ("Firenze Lung' Arno Corsine").
Reel Frames
4219 401-402 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.
Reel Frames
4216 792-793 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").
4216 792-793 from Moriye Ogihara, Rome, Italy, [postmarked] January 14, 1908
Staying at the same pensione as Frost. Picture postcard ("Torso di Belvedere di Dietro").
4216 794-797 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.
4216 798-799 from Gerda Stein, [place unknown], January 29, 1908
"Dearest love to Lena and best wishes for a very happy Birthday." Greeting card.
4216 798-799 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.
4216 801-802 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").
4216 800 from [Rais?], Paris, France, [postmarked] March 19, 1908
Invites Pach to visit on Friday. 1 p., in French.
4216 803-804 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.
4216 749-750 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.
4216 805 from Senateur de la Sarthe, Paris, France, August 4, 1908
Expression of sympathy. Note on business card, in French.
4216 806-807 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.
4216 808-809 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.
4216 812-813 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.
4216 814 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.
4216 815 from Piet van der Laan, Leeuwarden, the Netherlands, March 15, 1909
Discusses Shaw's Candida and Man and Superman; is studying Nietzsche. 2 pp.
4216 816 from Arthur B. Davies, New York, N.Y., May 29, 1909
Discusses Pach's essay about him. 1 p.
4216 801-802 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").
4216 818-819 from Arthur B. Davies, New York, N.Y., June 1 [10?], 1909
Wishes to reschedule studio visit by Pach and Mr. Of. 2 pp.
4216 817 from Arthur B. Davies, New York, N.Y., [postmarked] July 9, 1909
Interested in Gauguin and how he compares with Degas. 1 p.
4216 820-821 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.
4216 824-825 from Arthur B. Davies, New York, N.Y., April 8, 1910
Sends clipping about Matisse; recommends article about the Venus de Milo. 1 p.
4216 826-833 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.
4216 834-835 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.
4216 836-837 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").
4216 838 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.
4216 839-840 from [unknown], New York, N.Y., [postmarked] October 5, 1910
Empty envelope with no return address. Sketch of head on reverse.
4216 841-844 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).
4216 845-850 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.
4216 851-852 from Julian Alden Weir, New York, N.Y., November 25, 1910
Discusses his interest in etching, especially drypoint. 4 pp.
4216 853-857 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).
4216 858-859 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.
Reel Frames
4217 15-18 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.
4217 19-20 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.
4217 21-22 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.
4217 23-26 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.
4217 27 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.
4217 28-29 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.")
4217 30-36 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.
4217 37-39 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.
4217 40-41 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.
4217 42-43 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.
4217 44-45 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.
4217 46-47 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.
4217 50-54 from Margherita Innocenti, Pensione Innocenti, Florence, Italy, February 9, 1912
to Ladies Will be happy to have friends of Pach stay at the pensione. 1 p., in Italian.
4217 55-60 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.
4217 61-62 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.
4217 63-64 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.
4217 65-66 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.
4217 67-70 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.
4217 71-72 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 (in frame 76-82)(brief thank you notes from M. Lernait, Tererco?, L. Lombard, Louis Varday, and Romanet), in French.
4217 76-82 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.(in frame 71-72) + 5 enclosures (brief thank you notes from M. Lernait, Tererco?, L. Lombard, Louis Varday, and Romanet), in French.
4217 73-75 from Georges Speirer, Paris, France, June 6, 1912
Heard from friends that Pach is in Florence. 2 pp., in French.
4217 83-84 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.
4217 85-88 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.
4217 89-92 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.
4217 93-94 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.
4217 95-96 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.
4217 97-98 from Egisto Fabbri, Paris, France, November 28, 1912
Declines Pach's invitation, due to illness. 1 p.
4217 99-100 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.
Reel Frames
unfilmed unfilmed from [unknown], Gambier, Ohio, [postmarked] December 4, 1912
Empty envelope with no return address.
Reel Frames
4217 101-102 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.
4217 103-104 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.
4217 107-111 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.
4217 112-113 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.
4217 114-117 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.
4217 118-119 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.
4217 120-121 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.
4217 122-123 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.
4217 124-125 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.
4217 126-127 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.
4217 128-129 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.
4217 130-131 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.
4217 132-133 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.
4217 136-137 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.
4217 138-139 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.
4217 140-141 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.
4217 142-145 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.
4217 146-147 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.
4217 148-151 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.
4217 152-153 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.
4217 154-155 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.
4217 156-157 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 .
4217 158-160 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.
4217 161-162 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.
4217 163-166 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.
Reel Frames
4219 429-430 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.
Reel Frames
4217 169-170 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.
4217 171-172 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.
4217 173-174 from Walter Arensberg, Boston, Mass., March 1, 1914
"The exhibition was tremendously fresh and fine"; compliments Pach's work. 1 p.
4217 175-175 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.
4217 176-177 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.
4217 178-179 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.
4217 180-181 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").
4217 182-183 from Odilon Redon, Bièvres, France, July 10, 1914
If Pach organizes another exhibition, he wants to participate. 3 pp., in French.
4217 184-186 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.
4217 187-188 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.
4217 189-190 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.
4217 191-192 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.
4217 193-195 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.
4217 196 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.
4217 197-198 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.
4217 199-200 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.
4217 201-202 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.
4217 203-204 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").
4217 205-206 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.
4217 209-210 from Georges Rouault, Paris, France, [postmarked] January [5?], 1915
Tell Quinn he intends to write but is very busy; cannot go to New York until after the war; received notice of a conference on French painting; Quinn should know details of the conference; fears the American climate would be bad for his health. 2 pp., in French.
4217 211-212 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.
4217 213-215 from Marcel Duchamp, Paris, France, January 19, 1915
Congratulations on the birth of Raymond; was declared unfit for military service by the disability board but is not angry about the decision; his red piece on glass is still unfinished; Brancusi left Paris; Raymond is still at Saint-Germain; is happy to learn the watercolor and gouaches sold; thanks Pach for sending exhibition catalogs. 4 pp., in French.
4217 216-219 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.
4217 220-221 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.
4217 222-223 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.
4217 224-225 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.
Reel Frames
4219 329-331 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.
4219 332-335 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.
Reel Frames
4217 226-228 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.
Reel Frames
4219 325-328 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.
Reel Frames
4217 229-230 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.
4217 231-232 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.
4217 233-234 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.
4217 235-238 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.
4217 239-243 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.
4217 244-245 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.
4217 246-247 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.
4217 248-249 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.
4217 250-251 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.
4217 252-254 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.
4217 255-260 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.
4217 261-262 from Louis Lombard, [place unknown], France, December 28, 1915
Best wishes for the coming year. Postal card, in French.
4217 263-264 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.
4217 265-268 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.
4217 275-276 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.
4217 271-274 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.
Reel Frames
4219 410-415 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.
Reel Frames
4217 382-383 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.
4217 277-278 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.
4217 279-280 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.
4217 281-282 from Jacques Villon, [place unknown], February 10, 1916
Speculates that an art form may develop from the war. 1 p., in French.
4217 283-284 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.
4217 285-286 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.
4217 287-288 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.
4217 289-290 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.
4217 291-292 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.
4217 293-295 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.
4217 296-297 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.
4217 298-299 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.
4217 300-301 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.
4217 302-305 from Emil Gay, Watkins Glen, N.Y., June 12, 1916
Enjoyed Pach's lectures. 6 pp.
4217 306-309 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.
4217 311-312 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.
4217 310 from Camille Redon, [place unknown], July 4, 1916
Redon is gravely ill with pulmonary congestion; the doctors are concerned. 1 p., in French.
4217 313-315 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.
4217 316-317 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.
4217 318-319 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.
4217 320-321 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.
4217 322-327 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.
4217 328-329 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.
4217 330-331 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.
4217 340 from Florence Bing, New York, N.Y., [undated (1917)]
Condolences on the death of Pach's mother. 1 p.
4217 336 from Albert Gabriel, [place unknown], [undated (1917)]
"Accept my sincere sympathy." Note on calling card.
4217 339 from Leigh Hunt, [place unknown], [undated (1917)]
"Heartfelt sympathy." Note on calling card.
4217 334-335 from Everett Lewis, New York, N.Y., [undated (1917)]
Condolences on the death of Pach's mother. 3 pp. [filmed with the wrong envelope].
4217 339 from Professor Adolph Werner, [place unknown], [undated (1917)]
"Condolence." Note on calling card.
4217 337-338 from Ruth Wilmot, [place unknown], [undated (1917)]
Condolences on the death of Pach's mother. 2 pp.
4217 341-343 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.
4217 346-347 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.
4217 344-345 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.
4217 348-349 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.
4217 350-351 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.
4217 352-353 from [signature illegible], New York, NY., May 14, 1917
.
4217 354-355 from [signature illegible], New York, NY., May 16, 1917
.
4217 356 from Charles Sheeler, Philadelphia, PA., May 17, [1917?]
.
4217 357 from Charles Cooper, New York, NY. May 19, 1917
.
4217 358-359 from B. E. Lewis, New York, NY. July 16, 1917
.
4217 360-361 from [signature illegible], [Vienna, Austria?], July 22, 1917
.
4217 362-365 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.
4217 366-367 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.
4217 368-369 from [signature illegible], [place unknown], October 26, 1917
.
4217 370-371 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.
4217 372-373 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.
4217 374-375 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.
4217 376-377 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.
4217 398-399 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.
4217 380-381 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.
4217 400-401 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.
4217 402-403 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.
4217 404-405 from Arthur Burdett Frost, [place unknown], [between February 1 and March 12, 1918]
Returning Pach's manuscript; requests a copy. 2 pp.
4217 384-391 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).
4217 392-393 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.
4217 394-397 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.
4217 406-407 from Mme. Le Roy, Paris, France., May 19, 1918
Jean died while a prisoner of war. 3 pp., in French.
4217 408-409 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.
4217 410-411 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.
4217 412-413 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.
4217 414-415 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.
4217 416-417 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.
4217 418-419 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.
4217 420-421 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.
4217 422-425 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.
4217 426-427 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.
4217 428-429 from Vincent Van Gogh Bonger, Kobe, Japan, October 27, 1918
"Best regards from Vincent." Picture postcard ("Joie de Vivre").
4217 430-431 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.
4217 432-435 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.
4217 436-437 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.
Reel Frames
4219 336-338 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.
Reel Frames
4217 438-441 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.
4217 442-444 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.
4217 445 from the Butlers, New York, NY., [postmarked] December 23, 1918
Christmas card, "Victory Christmas".
4217 452-453 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.
4217 454-455 from Mabel Torrance, New York, N.Y., January 12, 1919
Just learned the classes will be discontinued. 3 pp.
4217 448-451 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.
4217 456-459 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.
4217 460-461 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.
4217 462-465 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.
4217 134-135 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].
4217 466 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.
4217 469-470 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.
4217 473-474 from Xavier Martinez, Piedmont, Calif., June 16, 1919
Received Courbet, Society of Independent Artists, and Redon catalogs; congratulates Pach. 2 pp., in Spanish.
4217 475-477 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).
4217 478-479 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.
4217 480-481 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.
4217 482-483 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.
4217 484-489 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.
4217 490 from Sybil Kent Kane, New York, N.Y., [postmarked] November 26, 1919
Thanks Pach for etchings of "my beloved Chapel." 1 p.
4217 491-492 from Pietro Brunelleschi, Florence, Italy, [postmarked] December 5, 1919
Accepts Pach's invitation for the following day. Note on business card, in Italian.
4217 503-504 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.
4217 495-502 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.
4217 505 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.
4217 506-507 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).
4217 536-539 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.
4217 540-541 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.
Reel Frames
4218 39-40 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.
Reel Frames
4217 508-509 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.
4217 510-511 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 & Craftsmanship" article in the Dial. 2 pp., illustrated with a drawing of Sloan in his studio.
4217 512-515 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.
4217 516-517 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.
4217 518-519 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.
4217 520-524 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.
4217 525-526 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.
4217 527-530 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.
4217 531-534 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.
4217 535 September 12, 1920
note indicating Samuel Ramos is with the Comision Mexicana de Cooperacion Intelectual.
4217 542-543 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.
4217 544-549 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.
4217 550-551 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 Harper's; 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.
4217 552-553 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.
4217 556-559 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.
4217 560-561 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.
4217 568-570 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.
4217 562-563 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.
4217 564-565 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.
4217 566-567 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.
4217 576-577 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.
4217 571-575 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").
4217 578-579 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.
4217 580-581 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.
4217 600-601 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.
4217 582-583 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.
4217 584-585 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.
4217 586-587 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.
4217 588-589 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.
4217 590-593 from Elie Faure, Dordogne, France, August 15, 1921
4 pp., in French.
4217 594-597 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.
4217 598-599 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.
4217 602-603 from [Mme.] Duchamp-Villon, Puteaux, France, September 18, 1921
[Illegible]. 2 pp., in French.
4217 604-605 from Elie Faure, Paris, France, September 29, 1921
2 pp., in French.
4217 606-609 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.
4217 612-613 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.
4217 610-611 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.
4217 614-619 from Elie Faure, Paris, France, November 13, 1921
Discusses the details of his contract with Harper's, 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.
4217 620-621 from Elie Faure, Paris, France, November 28, 1921
If the misunderstanding concerning the Harper's 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.
4217 622-625 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.
4217 626-627 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.
4217 628-630 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.
4217 633-634 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.
4217 635-636 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.
4217 637 from Leigh Hunt, New York, N.Y., [postmarked] February 23, 1922
Congratulates Pach and the museum. 1 p.
4217 638-640 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.
4217 641-642 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.
4217 643 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.
4217 660-661 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.
4217 666-667 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).
4217 645-646 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.
4217 647 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.
4217 648-649 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.
4217 650-651 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!]").
4217 652-653 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.
4217 654-655 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.
4217 656-657 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.
4217 658-659 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.
4217 662-665 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.
4217 668-671 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.
4217 672-677 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.
4217 678-681 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.
4217 682-685 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.
4217 686-693 from Jacques Villon, [place unknown], France, December 21, 1922
[Illegible]. 8 pp., in French.
4217 694-695 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.
4217 699-700 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.
4217 701-706 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.
4217 707-708 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.
4217 709-710 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.
4217 711-713 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.
4217 714 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.
4217 715-716 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.
4217 717-718 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.
4217 719-724 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.
4217 725-728 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.
4217 729-732 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.
4217 733-734 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.
4217 735-736 from Lewis Mumford, Brooklyn, N.Y., July 5, 1923
Congratulates Pach on Modern Art; "it is far & away the best piece of criticism we've had in America, to my knowledge." 1 p.
4217 737-738 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.
4217 739-740 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.
4217 741 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.
4217 742-743 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.
4217 749-750 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.
4217 751-755 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.
4217 836-837 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.
4217 758-759 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.
4217 760-761 from Bernard Berenson, Florence, Italy, February 6, 1924
Read Pach's article in Harper's "with interest, with zest & with envy." 4 pp.
4217 762-767 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.
4217 768-769 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.
4217 770-771 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.
4217 772-773 from Suzanne La Follette, Plymouth, England, March 11, 1924
The voyage has been "rough and dull." 2 pp.
4217 774-775 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.
4217 819-822 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.
4217 776-779 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.
4217 780-781 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.
4217 782-783 from E.H. Anderson, Director, New York Public Library, New York, N.Y., April 9, 1924
Acknowledges gift of etchings. 1 p.
4217 784-785 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.
4217 786-787 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-----").
4217 788-790 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.
4217 791-792 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.
4217 793 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.
4217 794-795 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.
4217 796-799 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 & 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.
4217 800-801 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.
4217 802-803 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.
4217 804-805 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, & at best manure makers only. Artists they are not & Picasso not at all;" Pach "overestimates" Delacroix's ability as an artist. 4 pp.
4217 806-807 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.
4217 808-809 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.
4217 810-814 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.
4217 815-818 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.
4217 823-826 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.
4217 827-830 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.
4217 831-832 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.
4217 833 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.
4217 834-835 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.
Reel Frames
4218 13-15 from Elie Faure, [place unknown], January 9, 1925
Commiserates with Pach over his rejection by Harper's Magazine; 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.
4218 16-17 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.
4218 18-19 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.
4218 20-22 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.
4218 23-26 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.
4218 27-28 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.
4218 29-32 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.
4218 33-38 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.
4218 41-42 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.
4218 43-46 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.
4218 47-48 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.
4218 49-50 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.
4218 51-52 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.
4218 53-56 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.
4218 57-59 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.
4218 60-65 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.
4218 66-69 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.
4218 70-74 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.
4218 75-76 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.
4218 77-80 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.
4218 81 from F.P. Keppel, New York, N.Y., October 21, 1925
Has received Pach's letter with proofs and suggestions. 1 p.
4218 82-85 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.
4218 86-89 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.
4218 90-91 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.
4218 92-95 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.
4218 98-102 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).
4218 103-106 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.
4218 107 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.
4218 108 from Harold O. Voorhis, Secretary, New York University, New York, N.Y., March 5, 1926
Received Pach's acceptance of faculty appointment. 1 p.
4218 109-110 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.
4218 111-112 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.
4218 113-118 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.
4218 119-120 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.
4218 121-122 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.
4218 123-124 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.
4218 125-130 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.
4218 131-132 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.
4218 133-138 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.
4218 139-140 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.
4218 145-148 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.
4218 141-144 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.
4218 151-152 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.
4218 153-154 from Suzanne La Follette, [place unknown], January 9, 1927
The publisher is not promoting her book well; thinks Lewis Mumford is "gifted." 3 pp.
4218 155-156 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.
4218 157-158 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.
4218 159-160 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.
4218 161-164 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.
4218 165-166 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.
4218 167-170 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.
4218 171-172 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.
4218 173-174 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.
4218 175-176 from Bernard Berenson, Stockholm, Sweden, July 25, 1927
Pach's review showed "intelligent & friendly comprehension"; "my Three Essays is an ironied & 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.
4218 177-178 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.
4218 179-180 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.
4218 181-184 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.
4218 186-187 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.
4218 188-191 from Elie Faure, [place unknown], 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.
4218 192-193 from [signature illegible (Canaan L. Morris?)], Hartford, Conn., May 4, 1928
Compliments Pach's lecture of the previous evening; critiques its structure. 2 pp.
4218 194 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.
4218 195-196 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.
4218 197-200 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.
4218 201-210 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.
4218 211-212 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.
4218 213-214 from Elie Faure, Paris, France, September 22, 1928
Received Ananias, but cannot read it without a translator [large portions illegible]. 2 pp., in French.
4218 215-216 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.
4218 217 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.
4218 218 from Eleanor S. Brooks, Westport, Conn., November 14, 1928
Five hundred dollars is a satisfactory amount for the manuscript. 1 p.
4218 219-221 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).
4218 222-223 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.
4218 226-227 from Van Wyck Brooks, Westport, Conn., January 8, 1929
Will send chapters for revision; payment can be handled however Pach prefers. 2 pp.
4218 228-231 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.
4218 232-233 from Eleanor S. Brooks, Westport, Conn., January 15, 1929
Requests a month's extension for their translation work. 2 pp.
4218 234 from Van Wyck Brooks, Westport, Conn., February 14, 1929
Chapter I and the introduction are being sent today. 1 p.
4218 235-236 from Eleanor S. Brooks, Westport, Conn., March 18, 1929
Describes working methods; explains problems in translating Faure's writing. 2 pp.
4218 237-238 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.
4218 239-240 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.
4218 241-242 from Eleanor S. Brooks, Westport, Conn., May 26, 1929
Van Wyck's health has not improved. 2 pp.
4218 243 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.
4218 246 from Eleanor S. Brooks, Westport Conn., August 28, 1929
Is sending next chapter soon; Van Wyck's condition has not changed. 1 p.
4218 244-245 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.
4218 247 from Eleanor S. Brooks, [place unknown], August 30, 1929
Another chapter is ready. 1 p.
4218 248-249 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.
4218 250-251 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.
4218 252-255 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.
4218 256-259 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.
4218 260-261 from Childe Hassam, New York, N.Y., November 30, 1929
In 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.
4218 262-263 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.
Reel Frames
4217 744-748 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).
Reel Frames
4218 265-267 from Leo Stein, Paris, France, [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.
4218 268-269 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.
4218 270-273 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.
4218 274-275 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").
4218 276-277 from Susan Macdowell Eakins, Philadelphia, Pa., July 10, 1930
Received Pach's picture postcard of a Millet portrait; the "exhibition of Homer, Ryder, & Eakins at the Modern Museum seems to have pleased universally." 1 p.
4218 278-281 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.
4218 282-283 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.
4218 284-285 from Al [Bing?], New York, N.Y., October 19, 1930
"Museum accepts pictures." Telegram.
4218 368-371 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.
4218 286-288 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.
4218 289-290 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.
4218 291-295 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.
4218 296 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.
4218 297 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.
4218 298 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.
4218 301-304 from Allen Tucker, New York, N.Y., January 2, 1931
Opinions of Corot-Daumier show at the Modern; Tucker had an exhibition. 4 pp.
4218 305-309 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.
4218 310-313 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.
4218 314-315 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.
4218 316-317 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.
4218 318-320 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.
4218 321-322 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.
4218 323-324 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.
4218 325-326 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.
4218 329-330 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.
4218 327-328 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.
4218 331-332 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).
4218 333-334 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.
4218 335-340 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.
4218 341-343 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.
4218 344-345 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).
4218 346-349 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.
4218 350-351 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.
4218 352 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.
4218 353-354 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.
4218 355-356 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.
4218 357-358 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.
4218 359-363 from Caroline Pratt, Chilmark, Mass., August 14, 1931
Discusses Raymond's academic progress and challenges; gives recommendations for the future. 5 pp.
4218 364-365 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.
4218 366-367 from Beatrice [?], New York, N.Y., October 10, 1931
"Simone is ours." Telegram.
4218 372-373 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.
4218 374-377 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.
4218 378-379 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.
4218 382-383 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.
4218 380-381 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.
4218 384 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.
4218 386-391 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.
4218 394-395 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.
4218 396-398 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.
4218 399-404 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.
4218 405-410 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 & American shows past & present & 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.
4218 411 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.
4218 412 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.
4218 413-416 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.
4218 417-422 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.
4218 423 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.
4218 424-425 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.
4218 426-427 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.
4218 428-429 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.
4218 430-431 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.
4218 432-433 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.
4218 434-438 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.
4218 439-440 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.
4218 441 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.
4218 442-443 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.
4218 444 from the Atlantic Monthly, Boston, Mass., May 31, 1932
Pach's article is of limited interest to Atlantic Monthly readers. 1 p.
4218 445 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.
4218 446-447 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.
4218 448-449 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.
4218 450-452 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.
4218 453-456 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.
4218 458-462 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.
4218 463-464 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.
4218 465 from Marjorie Carpenter, Hamilton, Ontario, Canada, January 9, 1933
Confirms lecture date at McMaster University. Telegram.
4218 466 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.
4218 467-468 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.
4218 469-470 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.
4218 471-476 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.
4218 477-480 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.
4218 481-483 to Herbert Eustis Winlock from Walter Pach, New York, N.Y., 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.
4218 484-487 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.
4218 488-489 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.
4218 492-497 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.
4218 498-501 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.
4218 502-505 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.
4218 506-507 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.
4218 508-509 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.
4218 510-511 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.
4218 514 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.
4218 515-516 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.
4218 517-518 from Father [Frohberg] and Johanna, Dresden, Germany, July 2, 1935
Birthday greetings. Picture postcard ("Herzlichen Gluckwunsch zum Geburtstage"), in German.
4218 519-524 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.
4218 525-528 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.
4218 529-530 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.
4218 531-532 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.
4218 533-534 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.
4218 535-538 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.
4218 541-542 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.
4218 550-551 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.
4218 543 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.
4218 544-545 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.
4218 546-549 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 & Recovery of Form"; spent 6 weeks in Yugoslavia studying Roman remains and Byzantine frescoes. 4 pp.
4218 552-553 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.
4218 554-557 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.
4218 560 from Herbert Eustis Winlock, Director, Metropolitan Museum of Art, New York, N.Y., February 13, 1937
Winthrop will not loan his collection. 1 p.
4218 561-562 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.
4218 563-566 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.
4218 567-568 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.
4218 569-570 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.
4218 571-572 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.
4218 573-574 from Van Wyck Brooks, Westport, Conn., November 18, 1937
Thanks Pach for the book on Delacroix; the introduction is "wholly satisfying." 2 pp.
4218 575-576 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").
4218 577-580 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.
4218 583-584 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.
4218 585 from Diego Rivera, [place unknown], Mexico, October 11, 1938
Likes the photographs he saw of Pach's frescoes; he and Breton are among Frida's many fans; thanks Pach for telling him that Marcel Duchamp complimented his work. 1 p., in Spanish.
4218 587-588 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)").
4218 586 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.
4218 589 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. and envelope (frame 586).
4218 590 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.
4218 591-598 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.
4218 601-602 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.
4218 599-600 from Kenneth Hayes Miller, New York, N.Y., November 15, 1938
Congratulations on Queer Thing, Painting; the book has "permanent value." 1 p.
4218 603-604 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.
4218 605-606 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).
4218 607 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.
4218 608 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.
4218 611-614 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.
4218 615-618 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.
4218 619-620 to Magdalene Pach from Van Wyck Brooks, Westport, Conn., July 8, 1939
Is looking forward to the Pachs' visit. 2 pp.
4218 621-624 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.
4218 627-628 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.
4218 629-630 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").
4218 631-634 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.
4218 635-639 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.
4218 640-641 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.
4218 642-643 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.
4218 647-648 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.
4218 649-652 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.
4218 653-654 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.
4218 655-656 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.
4218 657-658 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.").
4218 659-660 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.
4218 661-662 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.
4218 663-665 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.
4218 666-667 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.
4218 668-672 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).
4218 675 from William Mills Ivins, New York, N.Y. [postmarked] January 27, 1942
Thanks for his "warm approval of the Bulletin article." 1 p.
4218 676-677 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").
4218 676-677 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").
4218 676-677 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.".
4218 678-679 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.
4218 680-681 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.").
4218 682-683 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.
4218 684 from M.I. Block, Art Appreciation Movement, New York, N.Y., May 27, 1942
Receipt for 5 oil paintings consigned. 1 p.
4218 685 from Reginald Poland, Director, Fine Arts Gallery, San Diego, Calif., 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.
4218 686-687 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).
4218 688-689 from Van Wyck Brooks, Westport, Conn., July 15, 1942
"I won't agree with you about artists and politics"; "a certain breadth of interests & sympathy does not drain one's energy." 2 pp.
4218 691-692 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.
4218 690 from Jean Lipman, Editor, Art in America, Cannondale, Conn., July 17, 1942
Agrees to publish his article on Ingres. 1 p.
4218 693 from Raymond B. Humphrey, Brown, Crosby & Co., Inc., New York, N.Y., July 20, 1942
Sends "lost policy releases" and policy numbers. 1 p.
4218 694 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.
4218 695-701 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).
4218 702 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.
4218 706-712 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).
4218 703-705 [postmarked September 3, 1942] from John Strasser, New York, N.Y., September 4, 1942
Discusses "early Hispano-Mexican" Madonna; "Rosenberg has an attractive show." 3 pp.
4218 713-714 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.
4218 715-717 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).
4218 718 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.
4218 719-720 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.
4218 721-722 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.
4218 723 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.
4218 724-725 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.
4218 726-728 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.
4218 729 from Diego Rivera, [place unknown], October 13, 1942
He and the editors extend thanks and enclose payment. 1 p., in Spanish.
4218 730-733 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.
4218 734-735 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.
4218 736-737 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.
4218 738-739 from John Strasser, New York, N.Y., November 13, 1942
Comments on Mexico painted by Velasco. 2 pp.
4218 740-741 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.
4218 742-743 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.
4218 746-749 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.
4218 744-745 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.
4218 750 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.
4218 751-752 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.
4218 753 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.
4218 754 from Lasar Kipnis, New York, N.Y., December 8, 1942
"Just returned from Johns Hopkins Hospital." Telegram.
4218 755 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.
4218 756 from Henry Allen Moe, New York, N.Y., December 11, 1942
"Your letter received but no word from the university." Telegram.
4218 757-758 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.
4218 759-760 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.
4218 761-763 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).
4218 764-765 from Pedro Henríquez Ureña, Buenos Aires, Argentina, December 22, 1942
Sent photographs of the work of Attilio Rossi; Argentine critic, Julio Rinaldini, will send books. 1 p.
4218 767-768 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.
4218 766 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.
4218 769-770 from Harry Miller Lydenberg, [place unknown], Mexico, December 29, 1942
Discusses origin of the phrase "biblia a-biblia." 1 p.
Reel Frames
4219 14-15 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.
4219 16-17 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.
4219 18-19 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.
4219 20-22 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.
4219 23-24 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").
4219 25-26 from M.L. Stafford, American Consul, American Embassy, Mexico, January 22, 1943
Pach's registration of American citizenship was approved. 1 p.
4219 27 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.
4219 28-29 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.
4219 30-31 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.
4219 32-33 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.
4219 34-35 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.
4219 36-37 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.
4219 38-41 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").
4219 42-43 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.
4219 44-45 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).
4219 46 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.
4219 47-48 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.
4219 50-51 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.
4219 52-53 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. 1p.
4219 54-55 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.
4219 56-59 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).
4219 60-61 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.
4219 62 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.
4219 63-64 from James A. Porter, Washington, D.C., June 19, 1943
Thanks Pach for the "remarkable" introduction and subtitle suggestions for his book. 1 p.
4219 65-66 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.
4219 67-69 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.
4219 70 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.
4219 71-73 from John Sloan, Santa Fe, N.Mex., August 31, 1943
Is recovering from surgery; feeling better, but still unable to travel. 1 p.
4219 74 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.
4219 75-78 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).
4219 79 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.
4219 80 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.
4219 81 from Charles A. Thompson, Department of State, Washington, D.C. Is returning "Ancestors of the Soil"; "Mr. d'Harnoncourt expresses great interest." 1 p. October 4, 1943
.
4219 82-89 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).
4219 90-92 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.
4219 93-107 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").
4219 108-110 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.
4219 111-112 from Art Young, New York, N.Y., [postmarked] December 30, 1943
New Year's greetings. Picture postcard ("28th Issue--Art Young's Annual Hello").
4219 115-117 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?").
4219 118-122 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).
4219 123-127 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.).
4219 128-129 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." Picture postcard (" 'Chapeau de Faille' by Rubens"). December 28, 1944
.
4219 132 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.
4219 133-135 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).
4219 136 from Viking Press, New York, N.Y., April 30, 1945
Royalty statement for Masters of Modern Art. 1 p.
4219 137 from Harper & Brothers Publishers, New York, N.Y., June 30, 1945
Royalty statement for Ingres and Queer Thing, Painting. 1 p.
4219 138-141 from Jacques Lipchitz, Paris, France, July 31, 1945
[Illegible due to show-through]. 2 pp., in French.
4219 142-143 from Bernard Berenson, Florence, Italy, November 29, 1945
May continue work begun several years earlier on "Aesthetics & History"; working on "Decline & Recovery in the Figure Arts"; when in "hiding" he kept a diary, which he may publish. 2 pp.
4219 146-147 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.
4219 148 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.
4219 149 from Van Wyck Brooks, Westport, Conn., August 26, 1946
"Eleanor's condition has taken a serious turn for the worse, & I fear it is only a question now of a very few weeks." 1 p.
4219 150-152 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.
4219 154-155 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 & History will have to go to a university press. 2 pp.
4219 159 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.
4219 156 from James Daugherty, Westport, Conn., [postmarked April 22, 1947] March
Saw Pach's exhibition at Laurel Gallery; "your work has grown simpler and broader and more unified." 1 p.
4219 157-158 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.
4219 160 from Kurt Wolff, Pantheon Books, New York, N.Y., November 5, 1947
Asks Pach to accept all changes made by the editor. 1 p.
4219 161 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.
4219 164-166 from Kurt Wolff, Pantheon Books, New York, N.Y., January 29, 1948
The final pages of his manuscript must be condensed. 1 p.
4219 167 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.
4219 168 from Henry Watson Kent, New York, N.Y., February 21, 1948
Remarks on Pach's complimentary statement about him. 1 p.
4219 169 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.
4219 170-171 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.
4219 172-173 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.
4219 174-175 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.
4219 179 from Pantheon Books, Inc., New York, N.Y., February 1, 1949
Royalty statement. 1 p.
4219 179 from Pantheon Books, Inc., New York, N.Y., July 1, 1949
Royalty statement. 1 p.
4219 178 from Pantheon Books, Inc., New York, N.Y., August 1, 1949
Royalty statement for The Art Museum in America. 1 p.
4219 180-181 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.
4219 182-183 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.
4219 184 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.
4219 187 from Pantheon Books, Inc., New York, N.Y., February 1, 1950
Royalty statement. 1 p.
4219 188 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.
4219 265 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!".
4219 189-191 from Meyer Schapiro, Columbia University, New York, N.Y., [postmarked] March 27, 1950
"Comments on the first draft of W. P., Renoir." 3 pp.
4219 192-199 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.
4219 200 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.
4219 201 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.
4219 202 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.
4219 203-204 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.
4219 205-207 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.
4219 208-209 from Pantheon Books, Inc., New York, N.Y., August 1, 1950
Royalty statement for The Art Museum in America. 2 pp.
4219 210-211 from Nanny (Mrs. Sigmund) Pollitzer, New York, N.Y., November 8, 1950
Sorry to learn of Magda's illness. 2 pp.
4219 212-213 from Nanny (Mrs. Sigmund) Pollitzer, New York, N.Y., November 11, 1950
Extends her sympathy; will try to attend the service. 2 pp.
4219 214-215 from Eufrosia A.W. Tucker, New York, N.Y., November 11, 1950
Sympathy on the death of Mrs. Pach. 2 pp.
4219 218 from Sarah d'Harnoncourt, New York, N.Y., November 13, 1950
Sympathy on the death of Mrs. Pach. 1 p.
4219 216-217 from Edith R. Abbot, New York, N.Y., November 13, 1950
Sympathy on the death of Mrs. Pach. 2 pp.
4219 220-221 from Fanny and Ralph Ellison, New York, N.Y., November 14, 1950
Sympathy on the death of Mrs. Pach. 1 p.
4219 222 from Robert L. Duffus, Westport, Conn., November 15, 1950
Sympathy on the death of Mrs. Pach. 1 p.
4219 223-224 from Roland Balay, New York, N.Y., November 20, 1950
Offers condolences on the death of Mrs. Pach. 1 p., in French.
4219 227-228 from Bernard Berenson, Florence, Italy, September 23, 1951
Congratulates Pach on his recent marriage. 2 pp.
4219 229-230 from Mutual Benefit Health and Accident Association, New York, N.Y., [postmarked] November 23, 1951
"Official Receipt for Premium Due." Postal card.
4219 231-232 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.
4219 235 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.
4219 237-238 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.
4219 239-240 from Bernard Berenson, Ischia, Italy, May 29, 1952
"My indignation over distorted, abstract, non-representational art is that it can lead nowhere." 2 pp.
4219 241-242 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'").
4219 245-250 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).
4219 243-244 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 & understanding for even fewer." 2 pp.
4219 253 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.
4219 257-258 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.
4219 259-260 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").
4219 259-260 from George Ferdinand Of, Padua, Italy, April 18, 1954
Saw Giottos; visited Ravenna, Naples, and Pompeii. Picture postcard ("Padova-Monumento al Generale Gattamelata").
4219 261-262 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 & human." 2 pp.
4219 278 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.
4219 266-267 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.
4219 268-269 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.
4219 270-272 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.
4219 273 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.
4219 275-276 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 & barbaric insults"; Paris is "the pivot of the universe." 2 pp.
4219 277 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).
4219 281 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.
4219 284-291 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).
4219 292 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.
4219 293-294 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.
4219 297-298 from Van Wyck Brooks, Bridgewater, Conn., January 4, 1958
Will study Howells' letters at the Harvard library; recommends novels by Howells. 2 pp.
4219 299-300 from Hans Christian, Rome, Italy, April 7, 1958
Is visiting Raymond and Ruth in Rome. Picture postcard ("Roma--Arco di Constantino"), in German.
4219 303-304 from Gene Anaizeau, [place unknown], [undated]
Regrets being unable to call on Pach. 1 p., in French.
4219 305-306 from Walter Arensberg, Pomfret, Conn., [postmarked] July 29, [19??]
Is disappointed not to have seen the Matisse monotypes; is confident that Pach will find a publisher; plans to see Duchamp. 2 pp.
4219 307-310 from Mollie C. Benthall, [place unknown], Wales, [postmarked] May 21, [19??]
Thanks Pach for his kindness when she visited Paris. 4 pp.
4219 311-312 from Van Wyck Brooks, Bridgewater, Conn., [undated] Tuesday morning
Will miss Magda; thinking of Pach and hopes to see him more often. 2 pp.
4219 313-314 from Emile-Antoine Bourdelle, [place unknown], [undated]
Three masons are working on marble slabs to be ready on the evening of the 13th; requests news of America. Note on business card, in French.
4219 315-318 from Jean Charlot, [place unknown], [undated]
Apologizes for not having sent the photographs Pach requested of a fresco he is painting; mentions Leal, Cano, and Siqueiros; complains of Diego's dictatorial manner; Charlot paintings in an upcoming exhibition are unfairly priced. 4 pp., in French.
4219 319-320 from Jean Charlot, [place unknown], Mexico, [undated]
Compliments Pach's latest work, which Diego showed him; thinks Pach successfully mixed the plastic with the descriptive, something he is attempting to do himself; sends reproductions for critique. 2 pp., in French.
4219 321 from Jean Charlot, [place unknown], Mexico, [undated]
Christmas greetings. 1 p., illustrated with image of the Devil and a woman stabbing a man, in French.
4219 322-323 from Taulb Correz, Grenoble, France, October 8, [19??]
Decided not to pay customs tax because it exceeds the value of the package. Picture postcard ("Dauphine--La Grave--D'Hotel de la Meije et les Glaciers"), in French.
4219 339-340 from Raymond Duchamp-Villon, Paris, France, December 22, [19??]
Saw Raymond, who seems to be in good spirits; condemns those who fled the war; still at Saint-Germain Hospital, but plans to join the ambulance corps at the front; Pach is lucky to be far away. 4 pp., in French.
4219 342-343 from Elie Faure, [place unknown], November 11, [19??]
Understands from his wife that Pach agrees to translate his book; needs a written agreement that the book will be published in France first; asks Pach to consult with the editor. 2 pp., in French.
4219 344-347 from Elie Faure, Paris, France, August 26, [19??]
Is on leave due to illness, but expects to return to the front in a month; discusses his theories concerning war as a prerequisite to great periods of artistic creation; volume 4 will not be published until the war ends; Lafitte's success at painting makes him happy, but the timing is ironic because he was just killed. 8 pp., in French.
4219 348-349 from Elie Faure, Marseilles, France, [undated]
Has written a book of war stories; discusses the war and Wilson's decision to become involved; thinks the French are still Celts and they consider war a game. 4 pp., in French.
4219 350-351 from Elie Faure, Paris, France, [undated]
Sends Pach a drawing of Paris as a souvenir; will send photographs, too. Note on business card, in French.
4219 352 to H. Floury from Elie Faure, Amiens, France, November 11, [19??]
Introduces Pach and recommends him as a translator; tells Floury to read the letter to Pach containing specifications for the translation; Faure is still at the front working as a medic; thinks the war will continue for some time and publication of his last volume should wait. 1 p., in French.
4219 353-354 from R.A. de la Fresnaye, [place unknown], January 4, [19??]
Is sending 2 landscapes instead of a large painting; a corrected label is affixed to one of the landscapes; discusses prices. 2 pp., in French.
4219 355-356 from Gabrielle, Cagnes, France, April 8, [19??]
Renoir wants Pach to decide what to do; she will answer any questions Pach may have, as Renoir can no longer write well. 1 p., in French.
4219 357 from Ida E. Guggenheimer, New York, N.Y., [undated] Saturday
Congratulations on his translation of Delacroix's "diary"; the dedication made her "proud and happy." 1 p.
4219 358-359 from Everett D. and Hallie Heymann, New York, N.Y., July 3, [19??]
Are enjoying a restful trip. Note card.
4219 360-362 from Morris Kantor, New City, N.Y., December 14, 19[??]
"My opinion about prizes is the same as yours even if I did get one with so much money"; is grateful to Bing; thanks Pach for his support and his service to art. 3 pp.
4219 363-366 from Suzanne La Follette, Vienna, Austria, September 10, [19??]
Visited Reinhardt in Salzburg; discusses the "Japanese catastrophe"; demoralization and poverty in Europe. 8 pp.
4219 367-368 from Piet van der Laan, [place unknown], [undated]
Plans to invite Miss Sell to join their party on Friday. 1 p.
4219 369-370 from Marie Laurencin, [place unknown], Mexico, [undated]
Sends a priced list of drawings and paintings that are at Pach's disposal. 1 p., in French.
4219 371-374 from Jean Le Roy, [place unknown], [postmarked] July 9, 19[??]
Was touched that Pach translated the article; is sending a copy to Redon; Mlle. Argent committed suicide. 6 pp., in French.
4219 375-380 from Everett Lewis, U.S. Base Hospital No. 8, [France?], [undated]
Exchange of Luxembourg Gardens and drawing of a lamp for the Metzinger will be "more than satisfactory"; reminisces about visiting Pach. 9 pp.
4219 381-382 from Jacques Lipchitz, Toulouse, France, July 22, [19??]
The terra-cottas make him think of the Pachs. Picture postcard ("Personnage inconnu."), in French.
4219 383-384 from Elie Faure, Paris, France, [undated] Monday
Asks Pach's opinion of a quotation. 2 pp., in French.
4219 385-386 from Elie Faure, [place unknown], [undated]
Read Pach's article on modern art with pleasure; observes that Pach is from the generation of Picasso, Derain, and cubism, while he is from that of Bonnard and Vuillard; compares Leonard and Redon; a new edition of History of Art has been published. 2 pp., in French.
4219 387-388 from Elie Faure, Dordogne, France, [undated]
Agrees with Pach's article, including the point about Redon; Faure thinks Redon is decadent but intelligent and finds him an admirable painter; expects Pach to arrive around the 22nd. 2 pp., in French.
4219 389-390 from Elie Faure, [place unknown], [undated]
Briggs will offer good conditions to obtain Pach's collaboration; hopes Pach will undertake the translation. 2 pp., in French.
4219 391-392 from [unsigned], [place unknown], [undated]
Christmas greetings. Picture postcard ("Frohe Weihnacht"), in German.
4219 394-395 from Alexandre Mercereau, Verdun, France, [undated]
Most painters are involved in the war; thanks Pach for conferences that may develop. 2 pp., in French.
4219 396-397 from Moriye Ogihara, Florence, Italy, [undated]
Could not meet Pach due to scheduling problems; thanks for going to the station. Picture postcard ("Firenze--Battistero--Porta in bronzo all'est").
4219 396-397 from Moriye Ogihara, Florence, Italy, [undated]
Went with Miss Frohberg to see Michelangelo's work. Picture postcard ("Padova--Basilica di S. Antonio").
4219 396-397 from Moriye Ogihara, [place unknown], Japan, [undated]
Has been very busy; has a "new life in Japan." Picture postcard (painting of a hawk).
4219 396-397 from Moriye Ogihara, Colombo, Ceylon, [undated]
In Ceylon for one night. Picture postcard ("Mount Lavinia Hotel and Sea-Shore, Ceylon).
4219 396-397 from Moriye Ogihara, Naples, Italy, [undated]
Received his letter just before leaving Rome. Picture postcard ("Napoli--Villa Municipale").
4219 396-397 from Moriye Ogihara, Kyoto, Japan, [undated]
Is "miserable"; will write again; arrived in Kyoto yesterday. Picture postcard ("Pagoda of Toji, Kyoto").
4219 398 from Moriye Ogihara, [place unknown], [undated]
Invitation to attend a farewell dinner for Ogihara. 1 p.
4219 399-400 from Moriye Ogihara, [place unknown] [undated]
Invitation to attend a farewell dinner for Ogihara.
4219 from José Clemente Orozco, [place unknown], Mexico, [undated]
Sends best wishes. Picture postcard ("Popocatepetl desde Tlamacas"), in Spanish.
4219 403 from Camille Redon, [place unknown], [undated]
They no longer have La Peur, but will send a copy to Mrs. Pach; sends 2 engravings. 1 p., in French.
4219 404 from Julio Jimenez Rueda, Director of the Faculty of Philosophy and Letters, [place unknown], Mexico, [undated]
Invites Pach to meet with him. 1 p., in Spanish.
4219 405-406 from Georges Rouault, [place unknown], France, [undated]
Has been delayed; mentions arrangements for framing pictures and difficulties in packing and sending works. 1 p., in French.
4219 407-408 from Georges Rouault, [place unknown], [undated]
Has marked several things; sends a small book which just appeared, with reproductions, in Nouvelle Revue Française. 2 pp., in French.
4219 416-419 from Georges Rouault, [place unknown], [undated]
Thanks Pach for telling him that paintings and ceramics were sold; advises young artists to seek answers through painting; does not want to explain his art; art requires equilibrium, a hierarchy, and discipline but art cannot be taught; agrees to speak to students but not as a teacher; has not exhibited for 3 years and earns little but is thus free to do as he pleases. 6 pp., in French.
4219 420-421 from Y. Saito, Toledo, Spain, [undated]
Is happy to see paintings by El Greco. Picture postcard ("Toledo, Vista general"), in French.
4219 420-421 from Y. Saito, [place unknown], Japan, [undated]
New Year greetings; sends new address. Postal card, in French.
4219 422 from Paul Signac, Paris, France, [undated]
Regrets that he cannot be separated from his Seurat painting. Note card, in French.
4219 423 from Mrs. John Sloan, [place unknown], [undated]
Blank note card.
4219 424-425 from Gerda Stein, [place unknown], [undated]
"With affectionate regards and the hope that you may enjoy this book." Note on calling card.
4219 426 from Leo Stein, [place unknown], [undated]
Invites Pach to join him and Misses Klauber and Epstein when they visit Berenson. 1 p.
4219 427-428 from Armand Veyaz, Ministère de l'Instruction Publique et des Beaux Arts, [place unknown], France, [undated]
Announces publication of Pach's article; invites him to write on American artists; a new French journal will dedicate an issue to Rodin and the founding of the Rodin Museum; wants to write an article on Rodin for publication in America; is organizing an international exhibition to be held at the Grand Palais in 1918. 4 pp., in French.
4219 431-432 from G. Villon, Chantilly, France, January 8 [19??]
Best wishes to the Pach family. Picture postcard ("Chantilly--Le Grand Parterre de Le Notre [1665]"), in French.
4219 431-432 to Magda Pach from Gaby, [place unknown], [undated]
Is happy to have met Mrs. Pach; will write later. Picture postcard ("Rouen--The Tower 'de Beurre'. 'Adam et Eve"'), in French.
4219 433-434 from Jacques Villon, [place unknown], [undated]
Thanks Pach for his monograph; there are still problems with Raymond's book; Marcel left for Belgium; is working on engravings of Braque and Renoir. 2 pp., in French.
4219 435-436 from Virginia [?], [place unknown], [undated]
Is enjoying Paris; is learning from Socard; finished The Greek Way; Florence has a job in Paris. 2 pp., in French.
4219 437-440 from Marjorie S. (Mrs. Arnold) Waybur, Sacramento, Calif., July 6, [19??]
Invites Pach to lecture at the Kingsley Art Club; Crocker Art Gallery has offered to mount an exhibition of Pach's work to coincide with the lecture. 4 pp.
4219 441-442 from Ruth A. Wilmot, Paris, France, September 6, [19??]
Is staying at the hotel he recommended. Picture postcard ("Paris--Facade de l'Eglise Notre-Dame").
4219 443-444 from Ruth A. Wilmot, [place unknown], [undated] Saturday
The women enrolled in Pach's lecture series are sending Easter flowers and a small check of appreciation. 3 pp.
4219 445-446 from Henry Marx, [signature illegible], Louis Lombard, Herman Reimers, and M. Lernait, [place unknown], France, [undated]
Picture postcard ("Foret de Montmorench Le Gros Chene"), in French.
4219 445-446 from Conforta V----- [?], [place unknown], [undated]
All our friends send greetings; the portrait is not finished; Vittoria [?] is in Genoa with her husband. Picture postcard ("Arezzo--Logge Vasari e Tribunale"), in Italian.

Series 3: Writings, 1899-ca. 1953, undated

This series includes handwritten and edited versions of published and unpublished manuscripts. Many are written on the backs of pages containing pencil figure studies by Pach, showing his dual concerns as an artist and writer. Lecture notes from classes he taught at the University of California at Berkeley and the University of Mexico, several college notebooks, and the text of a speech delivered in 1941 at the Society of Independent Artists dinner honoring John Sloan are included, along with memorandums, fragments of writings, and a card index noting works of art. Among the writings of other authors are poems, chapters of books, articles, and prose by Apollinaire, Baudelaire, Faure, Le Roy, Mallarmé, Rouault, Villon, and others.

The series is arranged as four subseries.

The microfilm of this series has been scanned in entirety.

3.1: Manuscripts of Writings by Walter Pach, 1912-1948, undated

Reel Frames
4219 451-464 "Sur Pierre-Auguste Renoir" 1912
4219 467-469 "Le Movement Moderne Aux Etats-Unis" 1913
4219 472-479 "The Collection of John Quinn" 1915
4219 482-486 "Some Paintings by Toulouse-Lautrec" 1917
4219 489-546 "Catalogue of the Speyer Collection" 1925
4219 549-562 "Ananias, Two Years Later" 1930
4219 565-568 "Bryson Burroughs (1869-1934)" 1934
4219 571-628 "The Century of Grace;" "New Found Values in Ancient America;" "Prometheus, or The True Artist" 1935
4219 631-762 "Géricault;" "The Outlook for Modern Art;" "Introduction for Van Gogh's Letters to A. Van Rappard;" "Vincent Van Gogh" (2 versions)
4219 765-815 "The Art Museum in America" 1948
4219 819-827 "American Art Today," undated
Reel Frames
4220 14-193 8 Articles, undated
"Ancient Art through Modern Eyes;" Article sent to A. Ozenfant for L'Elan; "Dancing and Painting;" "French Art in the XIXth Century;" "French Artists in the War;" "The Makers of Modern Art;" "The Oldest American University;" "Profiles: Live Things Stay Alive;" "Reproductions & Originals at the Museum of Modern Art."
4220 196-204 Reviews: "Dear Theo by Irving Stone;" "Recollections of a Picture Dealer by A. Vollard," undated
4220 207-252 Short stories: "Anthony Duval;" "Pedro of the Passaje;" "Reval;" "Willi Schumuntz"
4220 255-262 Society of Independent Artists
4220 265-270 Whitney Museum Symposium

3.2: Lectures and Notes, 1899-1941

Reel Frames
4220 348-363 School essays, 1899-1902
4220 366-384 Biology notes, 1903
4220 274-275 Lecture catalog (Pach's first art history lecture), 1906
4220 387-431 School notebooks, 1911-1912
(2 volumes)
4220 278-327 Art history lecture notes, Berkeley
4220 330-345 Art history lecture notes, University of Mexico, 1922
4220 434-439 Speech, Society of Independent Artists dinner honoring John Sloan, 1941

3.3: Memorandums, Notes, and Fragments, undated

Includes bibliographic citations, price lists, notes on paintings, lists of people to see, notes for report to Henry Allen Moe, expenses, notes from readings, recipes for gesso and glue, lists of plates for Faure's History of Art; and research notes on Delacroix, Renoir, and Courbet.

Reel Frames
4220 521-647 Memoranda, notes and fragments, undated
4220 650-698 Card index of works of art

3.4: Manuscripts of Writings by Other Authors, A-Z (by author), 1911-ca. 1953, undated

Reel Frames
4220 442-446 Apollinaire, Guillaume, "The Book of Beasts," 1911
4220 449 Baudelaire, Charles, "Les Fleurs du Mal"
4220 451-455 Collier, John, "The Role of Evaluation in Social Research," ca. 1953
4220 458-459 Cuesta, J., "Song to a Funeral God"
4220 461-473 Faure, Elie, "History of Art: Modern Art, chapter 3"
4220 476-483 Faure, Elie, "La Sainte Face"
4220 486-487 Le Roy, Jean, "Printemps," 1915
4220 490 Mallarmé, Stephane, "Vers et Prose"
4220 493-495 Rouault, Georges, "A Little Poem in Popular Style Addressed to an American Who Loves France"
4220 497-501 Villon, Jacques, "Exposé Preliminaire Sur la Peinture, Le Peinture Dans la Societe Moderne," UNESCO International Conference of Artists, 1952
4220 503-510 Villon, Jacques, "Les Poilus" ("The Shaggy Men"), 1912
4220 513-518 Unknown authors

Series 4: Artwork, 1947, undated

This series consists of a small group of loose drawings and three early sketchbooks by Pach, plus several drawings by unidentified artists. Also included are two print portfolios published in 1947 by the Laurel Gallery, New York City; one includes an essay by Pach and the other an etching. These portfolios include hand-pulled prints by artists such as Milton Avery, Reginald Marsh, and Joan Miro.

The microfilm of this series has been scanned in entirety.

Reel Frames
4220 703-718 Drawings by Walter Pach, undated
4220 721-829 Sketchbooks of Walter Pach, undated
(3 volumes)
4220 838-865 Laurel Gallery print portfolios, Laurels Number One and Laurels Number Two, containing an essay and etching by Walter Pach, May 1947, October 1947
(2 volumes; sol)
4220 832-835 Drawings by unidentified artists, undated

Series 5: Printed Material, 1905-1977, undated

This series includes rare exhibition catalogs, among them a copy of the 1913 Boston Armory Show catalog annotated with prices, and catalogs of shows in which Pach participated. There are also clippings and miscellany. A portion of Walter Pach's library was acquired along with his papers and selected items from this library-mainly publications by or translated by Pach, about him, or closely connected to his career-can also be found in this series. See also Series 8: Selections from Walter Pach's Library.

The microfilm of this series has been scanned in entirety.

Reel Frames
4220 869-913 Armory Show (Boston venue) Exhibition Catalogs, 1913
Reel Frames
4221 14-55 Walter Pach Exhibitions Catalogs, 1905-1940, undated
4221 58-98 Walter Pach exhibition records, undated
4221 101-221 Clippings, exhibition listings and reviews, reports of sales, and reproductions (sol), 1908-1977, undated
4221 224-321 Miscellaneous - concert programs and tickets, picture postcards (unused) saved for the reproductions, invitations, etc., undated
Reel Frames
unfilmed unfilmed Library

Series 6: Photographs, 1917, undated

This series includes photographs of Pach, his family, and artist-friends as well as group pictures of William Merritt Chase's class and one of Robert Henri's class at the New York School of Art, circa 1904. There are also photographs of works of art by Antoine-Louis Barye, George Of, and others. Of special interest is a group of photographs of mural projects in Mexico by José Clemente Orozco and Diego Rivera.

The microfilm of this series has been scanned in entirety.

Reel Frames
unfilmed unfilmed Family
Reel Frames
4221 326-354 Walter Pach and family (sol)
4221 357-377 Friends (many are artists)
4221 380-388 Group pictures (sol)
4221 634-642 Unidentified people (microfilm target reads "Proof sheets")
4221 645-651 Unidentified people also includes studio, works of art, events, and travel pictures (microfilm target reads "Unidentified subjects")
4221 391-526 Barye, Antoine-Louis, Artwork (hol)
4221 529-530 Frost, Arthur B., Jr., Artwork (hol)
4221 533 Of, George, Artwork (hol)
4221 561-565 Orozco, José Clemente, Artwork (hol)
4221 568-631 Rivera, Diego, Artwork (hol)
4221 536-544 Trica, M.A., Artwork (hol)
4221 547-552 Unidentified Artwork (see also frames 645-651; hol)
4221 555-558 Installation Views, Society of Independent Artists (hol), 1917
Reel Frames
unfilmed unfilmed Negatives

Series 7: Miscellaneous, ca. 1890-1927, undated

This series includes a scrapbook of theatrical programs including one from a 1917 Neighborhood Playhouse production of a Wallace Stevens play, Bowl, Cat and Broomstick, for which Pach designed the sets. In addition, there is a guestbook from an unidentified event.

The microfilm of this series has been scanned in entirety.

Reel Frames
4221 656-705 Scrapbook (1 volume, hol), circa 1890-1927
4221 708-725 Guestbook of unidentified event (1 volume, sol)

Series 8: Selections from Walter Pach's Library, 1880-1963
(Boxes 1-12; 12.0 linear ft.)

When the Archives of American Art acquired the Walter Pach Papers, some portion of his library was also received. As the Archives of American Art contains primarily manuscript collections and is not a library, it was determined that, for the most part, the books should reside in a library where they could be properly cataloged, cared for, and used.

However, selected publications were retained with the Pach manuscript collection because they had an identifiable relevance to Pach and his career. Pach also had a habit of writing in his books, and any book or publication annotated by him was considered to have significant research value and was retained with the Pach Papers. The books and other publications remaining with the Pach Papers are of three types: (1) those written by Pach, (2) those translated by Pach, and (3) those central to Pach's interests and work. Catalogs that appear in this series appear under museum, gallery, or auction house name, unless an individual is cited as author.

The remainder of the library received by the Archives was made available to the American Art/Portrait Gallery Library in the National Museum of American Art and the National Portrait Gallery for research use.

The series is arranged as 3 subseries:

This series has not been scanned.

8.1: Works Written by Walter Pach, 1901-1956

Box
1 (not scanned) American Artist (New York) 12, no. 8, 1948 October
(Two copies).
Includes "The Past Lives On," by Walter Pach, pp. 28-31, 64-66.
1 (not scanned) American Artist (New York) 12, no. 9, 1948 November
(Two copies).
Includes second installment of "The Past Lives On," by Walter Pach, pp. 40-43, 64.
1 (not scanned) L'Amour de l'Art (Paris), no. 6, 1930 June.
Includes "Notes sur le classicisme de Delacroix," by Walter Pach, pp. 241-253.
1 (not scanned) L'Amour de l'Art (Paris) 13, no. 9, 1932 November
(Two copies).
Includes "Le classicisme de Barye," by Walter Pach, pp. 319-320.
1 (not scanned) Anderson Galleries. Two Masterpieces of Renaissance Painting from the Collection of Carl W. Hamilton. New York, 1929.
Includes "Extract from an Article on the Half-Century Celebration at the Metropolitan Museum of Art, by Walter Pach in The Freeman," p. 10.
1 (not scanned) Art in America (Springfield, Mass.) 31, no. 1, 1943 January.
Includes "A Newly Found American Painter," by Walter Pach, pp. 32-43.
1 (not scanned) Art from Life to Life by Abraham Walkowitz. Girard, Kans.: Haldeman-Julius Publications, 1951.
Includes "Walkowitz and Tradition," an appreciation by Walter Pach.
1 (not scanned) Art News (New York) 45, no. 5, 1946 July
(Two copies).
Includes "La Barricade in America," by Walter Pach, pp. 42-43, 60.
1 (not scanned) Art News (New York) 48, no. 3, 1949 May.
Includes "Thus Is Cubism Cultivated," by Walter Pach and Jacques Villon, pp. 23-25, 52-53.
1 (not scanned) Art News (New York) 55, no. 6, 1956 October.
Includes "Introducing the Paintings of George Of, 1876-1954," by Walter Pach, pp. 36-38, 62-63. Two copies.
1 (not scanned) Arts (New York) 3, no. 3, 1923 March.
Includes "Georges Seurat," by Walter Pach, pp. 160-174.
1 (not scanned) Brummer Gallery. Brancusi. Introduction by Paul Morand. New York, 1926 November 17-December 15.
Includes article by Walter Pach.
1 (not scanned) Bryson, Lyman, and Louis Finkelstein, eds. Science, Philosophy and Religion, Second Symposium. New York: Conference of Science, Philosophy and Religion in Their Relation to the Democratic Way of Life, Inc., 1942.
Includes "The Artist and the Democratic Way of Life," by Walter Pach, pp. 493-505.
1 (not scanned) Bryson, Lyman, Louis Finkelstein, and R. M. MacIver, eds. Perspectives on a Troubled Decade: Science, Philosophy, and Religion, 1939-1949. Symposium. New York and London: Harper & Brothers, 1950.
Includes "The Stake of the Arts in the Democratic Way of Life: A Postscript," by Walter Pach, pp. 743-755.
1 (not scanned) Bulletin of the Springfield Museum of Fine Arts (Springfield, Mass.) 21, no. 4, 1955 April-May
(Four copies).
Includes "The Portrait of a Painter," by Walter Pach, pp. 2-3.
1 (not scanned) Campbell, Vivian, ed. A Christmas Anthology of Poetry and Painting. Foreword by Walter Pach. New York: Woman's Press, 1947
1 (not scanned) Century 87, no. 6, 1914 April.
Includes "The Point of View of the Moderns," by Walter Pach, pp. 851-864.
1 (not scanned) Creative Art: A Magazine of Fine and Applied Art (New York) 11, no. 3., 1932 November.
Includes "Marinot, Artist and Artisan," by Walter Pach, and a caricature of him by Aline Fruhauf, p. 203.
1 (not scanned) Dial (New York) 68, no. 1, 1920 January.
Includes "The Art of the American Indian," by Walter Pach, pp. 57-65.
1 (not scanned) Ehrich Print Gallery. Odilon Redon, 1840-1916: Exhibition of Etchings and Lithographs. Introduction by Walter Pach. New York, 1919 February 18-March 12
(Two copies)
1 (not scanned) Flannagan, John B. Letters of John B. Flannagan. Introduction by W. R. Valentiner. New York: Curt Valentin, 1942.
Walter Pach is a correspondent.
1 (not scanned) Formes (Paris, English Edition 1, Edition des Quatre Chemins), 1930 January.
Includes review by Walter Pach of Idols behind Altars, by Anita Brenner, p. 30.
1 (not scanned) Formes (Paris, Edition Française 15), 1931 May.
Includes "Raymond Duchamp-Villon," by Walter Pach, pp. 84-85.
1 (not scanned) Galerie Dru Bourgeat et Van Gelder. Peintures, Gouaches et Pastels de Charles Dufresne, Sculptures de Duchamp-Villon Paris, June 26 (30), 1931
(Two copies).
Includes "Raymond Duchamp-Villon (1876-1918)," by Walter Pach.
1 (not scanned) Harper's Magazine 143, 1924 January.
Includes "The Greatest American Artists," by Walter Pach, pp. 252-262.
1 (not scanned) Harper's Magazine 155, 1927 June.
Includes "What Passes for Art: Some Reflections on Contemporary Painters," by Walter Pach, pp. 89-97.
1 (not scanned) Harper's Monthly Magazine, dated by hand 1933 September
(Tearsheet).
Includes "Rockefeller, Rivera, and Art," by Walter Pach.
1 (not scanned) Kruckman, Herbert L. Of Course You Can Draw. Introduction by Walter Pach. New York: Citadel Press, 1945
Box
2 (not scanned) La Follette, Suzanne. Art in America. Introduction by Walter Pach. New York and London: Harper & Brothers, 1929
2 (not scanned) M Knoedler and Company. Gros, Géricault, Delacroix. Exhibition of paintings and drawings for the benefit of the Sauvegarde de l'Art Français. Foreword by Walter Pach. New York: 1938 November 21-December 10.
Walter Pach was a member of the Honorary Committee.
2 (not scanned) The Masters of Modern Art. New York: B.W. Huebsch, Inc., 1924
(Two copies, one with dust cover).
Includes an original etching by Walter Pach as the frontispiece.
2 (not scanned) Mexico moderno, undated.
Partial publication. Includes "Impresiones sobre el arte actual de Mexico," by Walter Pach, pp. 131-138.
2 (not scanned) Modern School (Stelton, N.J., Modern School Association of N.A., Ferrer Colony) 5, no. 2, 1918 February.
Includes "Universality in Art," by Walter Pach, pp. 46-55.
2 (not scanned) Modern School (Stelton, N.J., Modern School Association of N.A., Ferrer Colony) 5, no. 10, 1918 October
(Two copies).
Includes "Jean Le Roy," by Walter Pach, p. 296.
2 (not scanned) Moriye Ogihara Memorial Book (in Japanese). Paris, 1910
Includes letter in English from Walter Pach to Mr. Tohary.
2 (not scanned) New Republic (New York) 7, no. 84, 1916 June 10.
Includes "La chair et l'acier," by Walter Pach, p. 149.
2 (not scanned) Origenes (La Habana, Cuba), 1944 December.
Includes "Problemas del arte americano," by Walter Pach, pp. 17-20.
2 (not scanned) Pach, Walter. Ananias, or The False Artist. New York and London: Harper & Brothers Publishers, 1928
(Two copies, one with dust cover).
2 (not scanned) Pach, Walter. "Apropos of a Recent Publication," in "Notes on Museums." Gazette des Beaux-Arts, Reprint, undated
2 (not scanned) Pach, Walter. Georges Seurat. New York: Arts Monographs, Duffield and Company, 1923
2 (not scanned) Pach, Walter. Géricault: First Exhibition in America, Paintings and Drawings. New York: Marie Sterner Galleries, 1936 November 16-December 5
2 (not scanned) Pach, Walter. An Hour of Art. Philadelphia and London, J.B. Lippincott Company, 1930
2 (not scanned) Pach, Walter. Masterpieces of Art: Catalogue of European and American Paintings, 1500-1900. New York World's Fair, May-October 1940. New York: Art Aid Corporation, 1940
Box
3 (not scanned) Pach, Walter. "A Modernist Visits Greece." Archaeology 6, no. 3, : 137-141. Reprint Autumn 1953
3 (not scanned) Pach, Walter. Odilon Redon. New York: Association of American Painters and Sculptors, Inc., 1913
3 (not scanned) Pach, Walter. A Sculptor's Architecture. New York: Association of American Painters and Sculptors, Inc., 1913
(Two copies)
3 (not scanned) Pach, Walter. "Unknown Aspects of Mexican Painting." Gazette des Beaux-Arts, Reprint, undated
(Three copies)
3 (not scanned) Pach, Walter. Vincent Van Gogh, 1853-1890: A Study of the Artist and His Work in Relation to His Times New York: Artbook Museum, 1936
(Two copies)
3 (not scanned) Parnassus (New York) 8, no. 4, 1936 April.
Includes "The Outlook for Modern Art," by Walter Pach, pp. 4-8, 43.
3 (not scanned) Parnassus (New York) 8, no. 6, 1936 November
Includes "Géricault," by Walter Pach, pp. 12-15.
3 (not scanned) Quips and Cranks (New York, City College of New York), 1901 November.
Includes "The Story of Perkins," by Walter Pach, p. 6. Pach was also the editor in chief.
3 (not scanned) Quips and Cranks (New York, City College of New York), 1902 October.
Walter Pach was editor in chief.
3 (not scanned) La Revue des Arts (Paris), no. 2, 1952 June.
Includes "Le classicisme de Delacroix," by Walter Pach, pp. 109-112.
3 (not scanned) Scribner's Magazine 51, no. 5, 1912 May.
Includes "Pierre-Auguste Renoir," by Walter Pach, pp. 606-615.
3 (not scanned) Simmonds, Harvey. John Quinn: An Exhibition to Mark the Gift of the John Quinn Memorial Collection. New York: New York Public Library, 1968.
Includes "Appendix II, Mr. Quinn as a Collector," by Walter Pach, reprinted from Catalogue of the Memorial Exhibition of Representative Works Selected from the John Quinn Collection (New York: Art Center, 1926).
3 (not scanned) Stearns, Harold E., ed. Civilization in the United States: An Inquiry by Thirty Americans . New York: Harcourt, Brace and Company, 1922.
Includes "Art," by Walter Pach.
3 (not scanned) Van Gogh, Vincent. Letters to an Artist: From Vincent Van Gogh to Anton Ridder van Rappard, 1881-1885. Translated from the Dutch by Real van Messel. Introduction by Walter Pach. New York: Viking Press, 1936
3 (not scanned) La Vie (Paris) 2, no. 36, 1913 September 6
(Two copies).
Includes "L'art aux Etats-Unis," by Walter Pach, pp. 271-276.
3 (not scanned) Virginia Quarterly Review 12, no. 1, 1936 January.
Includes "The Raphael from Russia," by Walter Pach, pp. 43-55.

8.2: Works Translated by Walter Pach, 1918-1950
(Box 4, 1 linear ft.)

Box
4 (not scanned) Delacroix, Eugène. On Art Criticism 1829. Translated by Walter Pach, for Curt Valentin. New York: Marchbanks Press, 1946
4 (not scanned) Delacroix, Eugène. The Journal of Eugène Delacroix. Translated by Walter Pach. New York: Covici Friede Publishers, 1937
4 (not scanned) Delacroix, Eugène. The Journal of Eugène Delacroix. Translated by Walter Pach. New York: Crown Publishers, 1948
(Two copies, one clothbound with dust cover and one leather bound)
4 (not scanned) Faure, Elie. The Art of Cineplastics. Translated by Walter Pach. Boston: Four Seas Company, 1923
4 (not scanned) Faure, Elie. History of Art--The Development of Man as Revealed by Art: Ancient Art. Translated by Walter Pach. New York and London: Harper & Brothers Publishers, 1921
4 (not scanned) Faure, Elie. History of Art--The Development of Man as Revealed by Art: Renaissance Art. Translated by Walter Pach. New York and London: Harper & Brothers Publishers, 1923
4 (not scanned) Masson, André. Eulogy of Paul Klee. Paris, 1946. Translated by Walter Pach. New York: Curt Valentin, 1950
4 (not scanned) Twice a Year: A Book of Literature, the Arts, and Civil Liberties (New York) 5-6, Winter 1940/Spring-Summer 1941.
Includes "Contemporary French Art," by Elie Faure, translated by Walter Pach, with a letter and note.

8.3: Selected Publications, 1880-1963
((Boxes 5-12; 8 linear ft.).

Box
5 (not scanned) American Art Association, Inc. The John Quinn Collection, Paintings and Sculptures of the Moderns. New York, 1927
5 (not scanned) American Art Association, Anderson Galleries, Inc. Fine Paintings from the Estates of the Late William D. N. Perine, Charles A. Schieren, Levi Z. Leiter, Dr. H.N. Fraser.... . Sale 4080. New York, 1934 January 18
5 (not scanned) L'Amour de l'Art (Paris) 13, no. 7, 1932 July-August
5 (not scanned) Anderson Galleries. The Collection of Marius de Zayas of New York City: Paintings, Etchings, Drawings, Sculptures. New York, 1923 March 23-24
5 (not scanned) Anderson Galleries. Rare & Important Gobelin & Flemish Tapestries, Furniture, Rugs, Needlework, Arms & Barye Bronzes (Collections of Mr. J. J. Albright). New York, . Annotated by Walter Pach: "Sale in which we bought Barye Jaguar No. 73 of Sale." 1926 April 16-17
5 (not scanned) Angoulvent, P.-J. La chalocographie du Louvre. Paris: Musées Nationaux, Palais du Louvre, 1926
5 (not scanned) Arensberg, Walter Conrad. Poems. Boston and New York: Houghton Mifflin Company, 1914
5 (not scanned) Art News: An International Pictorial Newspaper of Art (New York). Record of the sale of the Quinn Collection, February 19, 1927
5 (not scanned) Arts and Decoration (New York) 3, no. 5 (Special Armory Show exhibition number), 1913 March
5 (not scanned) Barr, Alfred H., Jr. The Museum of Modern Art First Loan Exhibition, Cézanne, Gauguin, Seurat, Van Gogh. New York: Museum of Modern Art, 1929 November
5 (not scanned) Basler, Adolphe. Le cafard après la fete: Ou l'esthétisme d'aujourd'hui. Paris: Editions Jean Budry & Cie, 1929
5 (not scanned) Basler, Adolphe, and Charles Kunstler. Le dessin et la gravure modernes en France. Paris: Les Editions G. Crès & Cie, 1930
5 (not scanned) Baudelaire, Charles. Variétés critiques. Vol.II, Modernité & surnaturalisme esthétique spiritualiste. Paris: Bibliothèque Dionysienne, Les Editions G. Crès & Cie, 1924
5 (not scanned) Bell, Clive. Art. New York: Frederick A. Stokes Company, 1913
5 (not scanned) Berenson, Bernard. Seeing and Knowing. New York: MacMillan Company, 1953
5 (not scanned) Berenson, Bernard. Sketch for a Self-Portrait. New York: Pantheon Books, Inc., 1949
5 (not scanned) Bernard, Charles. Esthétique et critique: Notes en marge. Paris: Editions Formes, 1946
Box
6 (not scanned) Brooklyn Museum. One Hundred Artists and Walkowitz. New York, 1944 February 9-March 12
6 (not scanned) Brooks, Van Wyck. Days of the Phoenix: The Nineteen Twenties I Remember. New York: E.P. Dutton & Co., Inc., 1957
6 (not scanned) Brooks, Van Wyck. Makers and Finders. New York: E.P. Dutton & Co., Inc., 1952
6 (not scanned) Brooks, Van Wyck. Neland: Indian Summer, 1865-1915. New York: E.P. Dutton & Co., Inc., 1940
6 (not scanned) Brooks, Van Wyck. Opinions of Oliver Allston. New York: E.P. Dutton & Co., Inc., 1941
6 (not scanned) Brooks, Van Wyck. From a Writer's Notebook. New York: E.P. Dutton & Co., Inc., 1958
6 (not scanned) Bulletin of the Metropolitan Museum of Art (New York) 22, no. 8, 1927 August
6 (not scanned) Bulletin of the Metropolitan Museum of Art (New York) 33, no. 6, 1938 June
6 (not scanned) Bulletin of the Smith College Museum of Art (Northampton, Mass.), no. 13, 1932 May
(Two copies, one is annotated)
6 (not scanned) "Byblis": Miroir des arts du livre et de l'estampe (Paris, Editions Albert Morancé), Summer 1928
Includes "Walter Pach, graveur américain," by Léon Rosenthal, pp. 37-38, as well as an original etching by Walter Pach.
6 (not scanned) Cahiers d'Art 12, nos. 4-5, 1937
6 (not scanned) Les Cahiers d'Aujourd'hui (Paris), no. 4, 1913 April
6 (not scanned) Calder, Alexander, René Huyghe, Jacques Lassaigne, and François Tabard. 10 tapisseries Michel Cadoret. Paris: Galerie Furstenberg; and New York, André Emmerich Works of Art, undated
6 (not scanned) Camera Work (New York, Alfred Stieglitz), no. 32, 1910 October
6 (not scanned) Cassou, Jean. Jacques Villon. Paris: Musée National d'Art Moderne, 1951 February 5-March 25
6 (not scanned) Catalogue de photographies, d'art moderne, d'art ancien. Druet Photograph Collection. Paris: Librairie de France, undated
6 (not scanned) Chap-Book: Semi-Monthly (Chicago), 1895 August 15
Includes a portrait of Stéphane Mallarmé by F. Vallotton.
6 (not scanned) Chassé, Charles. Gauguin et le groupe de Pont-Aven. Documents inédits. Paris: H. Floury, 1921
6 (not scanned) Les chefs-d'oeuvre des peintres florentins. Vol. 4, Paolo Uccello, Domenico Veneziano, Masaccio et A. Del Castagno. Paris: A. Perche, Petite Collection d'Art, Gowans 41, 1910
6 (not scanned) City College Alumnus (Associate Alumni of the College of the City of New York, Inc.) 32, no. 2, 1936 February.
Includes article on the Walter Pach mural given to CCNY.
6 (not scanned) Clark, Eliot. History of the National Academy of Design, 1825-1953. New York: Columbia University Press, 1954
6 (not scanned) Clarke, John Lee, Jr. David and Ingres, Paintings and Drawings. Springfield, Mass.: Springfield Museum of Fine Arts, 1939 November 20-December 17
6 (not scanned) Coffin, Robert P. Tristram. Strange Holiness. New York: MacMillan Company, 1935
Box
7 (not scanned) Corrard, Pierre (? la mémoire de). Poésies. 16 original etchings by Jacques Villon. Paris: La Librairie J. Meynial, 1937
7 (not scanned) Courthion, Pierre. Gino Severini. Arte Moderna Italiana 17, Series A, Pittori 13. Milan: Si Vende Presso La Libreria Ulrico Hoepli, 1930
7 (not scanned) Cruikshank, George, illus. The Loving Ballad of Lord Bateman. Boston: Roberts Brothers, 1884
7 (not scanned) Delacroix, Eugène. ?tudes Esthétiques. Les Editions, G. Cres & Co., 1923
7 (not scanned) Delacroix, Eugène. Journal de Eugène Delacroix. Vol. 2, 1853-1856. Edited by André Joubin. Paris: Librairie Plon, 1932
(see Box 1 for Volume 1)
7 (not scanned) Delacroix, Eugène. Journal de Eugène Delacroix. Vol. 3, 1857-1863. Edited by André Joubin. Paris: Librairie Plon, 1932
7 (not scanned) Delacroix, Eugène. Lettres de Eugène Delacroix, First Book (1804-1847). Edited by Philippe Burty. Paris: G. Charpentier, 1880
7 (not scanned) Delacroix, Eugène. Lettres de Eugène Delacroix, Second Book (1848-1863). Edited by Philippe Burty. Paris: G. Charpentier, 1880
(Two copies)
7 (not scanned) Delacroix, Eugène. Oeuvres littéraires Vol. 1, Etudes esthétiques. Paris: Bibliothèque Dionysienne, Les Editions G. Crès & Cie, 1923
7 (not scanned) Detroit Institute of Arts. Origins of Modern Sculpture. Detroit, 1946 January 22-March 3
7 (not scanned) De Zayas, Marius, and Paul B. Haviland. A Study of the Modern Evolution of Plastic Expression. New York: "291," 1913
Box
8 (not scanned) Diehl, Charles. Manuel d'art byzantin. Paris: Librairie Alphonse Picard et Fils, 1910
8 (not scanned) Dufy, Raoul. Les Alliés, Petit panorama des uniformes Vol. 1. [Paris], circa 1915
(Woodcut enclosed with booklet)
8 (not scanned) L'Elan (Paris), no. 1, 1915 April 15
8 (not scanned) L'Elan (Paris), no. 2, 1915 May 1
8 (not scanned) L'Elan (Paris), no. 3, 1915 May 15
8 (not scanned) L'Elan (Paris), no. 4, 1915 June 1
8 (not scanned) L'Elan (Paris), no. 5, 1915 June 15
8 (not scanned) L'Elan (Paris), no. 6, 1915 July 15
8 (not scanned) L'Elan (Paris), no. 7, 1915 December 15
8 (not scanned) L'Elan (Paris), no. 8, 1916 January
8 (not scanned) L'Elan (Paris), no. 9, undated
8 (not scanned) Elia, Olga. Pitture murali e mosaici nel Museo Nazionale di Napoli. Rome: La Libreria Dello Stato, 1932
8 (not scanned) Escholier, Raymond. Gros: Ses amis et ses Elèves. Illustrated. Paris: Librairie Floury, 1936
(Two copies)
8 (not scanned) Farwell, Beatrice. The Metropolitan Museum of Art Miniatures, Eugène Delacroix, 1798-1863. New York: Distributed by Book-of-the-Month Club, 1955
8 (not scanned) Faure, Elie. Histoire de l'art: L'art antique. Paris: H. Floury, 1909
8 (not scanned) Faure, Elie. Histoire de l'art: L'art antique. Paris: Les Editions G. Crès & Cie, 1924
8 (not scanned) Faure, Elie. Histoire de l'art: L'art médiéval. Paris: H. Floury, 1911
8 (not scanned) Faure, Elie. Histoire de l'art: L'art médiéval. Paris: Les Editions G. Crès & Cie, 1921
8 (not scanned) Faure, Elie. Histoire de l'art: L'art moderne. Paris: Les Editions G. Crès & Cie, 1921
(Two copies)
8 (not scanned) Faure, Elie. Histoire de l'art: L'art renaissant. Paris: H. Floury, 1914
8 (not scanned) Faure, Elie. Histoire de l'art: L'esprit des formes. Paris: Les Editions G. Crès & Cie, 1927
8 (not scanned) Faure, Elie. Méditations catastrophiques. Paris: Jean Flory, 1937
8 (not scanned) Faure, Elie. Paul Gauguin. New York: Association of American Painters and Sculptors, Inc., 1913.
Faure's name is crossed out, and Walter Pach has changed it to Bela Lasar.
8 (not scanned) Faure, Elie. Soutine. Paris: Les Editions G. Crès et Cie, 1929
8 (not scanned) Faure, Jean-Pierre. Alger capitale. Paris: Bibliothèque du Hérisson, Société Française d'Editions Littéraires et Techniques, undated
Box
9 (not scanned) Flaubert, Gustave. Trois contes. Paris: Bibliothèque-Charpentier, 1913
9 (not scanned) Flexner, James Thomas. The Pocket History of American Painting. New York: Pocket Books, Inc., by arrangement with Houghton Mifflin Company, 1950
9 (not scanned) Focillon, Henri. The Life of Forms in Art. New Haven, Conn.: Yale University Press, 1942
9 (not scanned) Frénaud, André. Les mystères de Paris. Preface by Paul Eluard and signed etching by Jacques Villon. Paris: Editions du Seuil, undated
9 (not scanned) Galerie Craven. Octobre, Hommage à Picabia. Paris, 1953 October 1-29
9 (not scanned) Galerie La Boëtie. Salon de "La Section d'Or". Preface by René Blum. Paris, 1912 October 10-30
9 (not scanned) Galeries Georges Petit. Exposition Ingres Paris, 1911 April 26-May 14
9 (not scanned) Galleries M. Knoedler and Company, Inc. El Greco: Loan Exhibition for the Benefit of the Greek War Relief Association. New York, 1941 January 17-February 15
(Two copies).
Pach was a lender to the exhibition.
9 (not scanned) Gallery Der Sturm. Die Futuristen Berlin, undated
9 (not scanned) Gauguin, Paul. Noa-Noa. Translated by Walt Kuhn. New York: Association of American Painters and Sculptors, Inc., 1913
(Two copies)
9 (not scanned) Gertrude, Gertrude S. Lemons and Poppies. New York: Thomas Seltzer, 1923
9 (not scanned) Gleizes, Albert. Du cubisme et des moyens de le comprendre. Paris: Editions "La Cible," 1920
9 (not scanned) Gleizes, Albert. Peinture et perspective descriptive. Sablons, France: Editions Moly-Sabata, 1927
9 (not scanned) Gowans, Adam L., comp. Lyric Masterpieces by Living Authors. London and Glasgow: Gowans and Gray, Ltd., 1908
9 (not scanned) La Grande Revue (Paris) 12, no. 24, 1908 December 25
Includes "Notes d'un peintre, by Henri Matisse.
9 (not scanned) Grappe, Georges. Edgar Degas. Berlin: Erschienen bei der Verlagsanstalt fur Litteratur und Kunst, undated
9 (not scanned) Gsell, Paul. Millet. Paris: Les Editions Rieder, 1928
9 (not scanned) Henry, Daniel. Der Weg zum Kubismus. Munich: Delphin-Verlag, 1920
9 (not scanned) Hokusai, Manga, undated.
Two books of studies, text in Japanese.
9 (not scanned) Hôtel Drouot. Art océanien, Art africain, Art américain, Asie et Malaisie. Paris, Sale 11, 1929 November 7-9
9 (not scanned) Hôtel Drouot. Collection Maurice Gangnat. Catalog of works by Renoir, Cézanne, and Vuillard. Paris, Sales 9, 10, and 11, 1925 June 24-25
9 (not scanned) Hôtel Drouot. Estampes, dessins, aquarelles: Anciens et modernes. Paris, Sale 9, 1931 April 22
9 (not scanned) Hôtel Drouot. Estampes et dessins: Livres sur les arts. Paris, Sale 12, 1929 November 23
9 (not scanned) Hôtel Drouot. Tableaux, aquarelles, dessins. Paris, Sale 1, 1921 May 30
9 (not scanned) Hôtel Drouot. Tableaux et dessins par J.-A.-D. Ingres: Collection de Monsieur Henry Lapauze. Paris, Sales 7 and 8, 1929 June 21
9 (not scanned) Hôtel Drouot. Tableaux, pastels, aquarelles, dessins, eaux-fortes & lithographies. Paris, Sale 8, 1929 December 21
9 (not scanned) Institute of Contemporary Art. Jacques Villon, Lyonel Feininger. Contributions by Jacques Villon, George Heard Hamilton, Thomas B. Hess, and Frederick S. Wight. Boston, undated
9 (not scanned) Jacques Seligmann & Co, Inc. Twenty Years in the Evolution of Picasso, 1903-1923. New York, 1937 November 1-20
9 (not scanned) Janis, Harriet, and Sidney Janis. Picasso, The Recent Years, 1939-1946. New York: Doubleday & Company, Inc., 1946
9 (not scanned) John Quinn, 1870-1925: Collection of Paintings, Water Colors, Drawings & Sculpture. Huntington, N.Y.: Pidgeon Hill Press, 1926
9 (not scanned) Joubin, André. Journal de Eugène Delacroix. Vol. 1, 1822-1852. Paris: Librairie Plon, 1932
9 (not scanned) Keller, Jean, and Raymond Duchamp-Villon. Les sémaphores: Bouffonnerie sensorielle en un acte. Châlons-sur-Marne, France: Imprimerie-Librairie de L'Union Républicaine, 1918
9 (not scanned) Klossowski, Erich. Katalog einer Auswahl Französischer Meister. Munich: Kunstsalon W. Zimmermann, undated
Box
10 (not scanned) Kruse, Alexander, and Alfred Kreymborg. Two New Yorkers. Edited by Stanley Burnshaw. New York and Boston: Bruce Humphries, Inc., 1958
10 (not scanned) Lassaigne, Jacques, and Jacques Villon. Jacques Villon: Peintres et sculpteurs d'aujourd'hui. Paris: Collection "Signe," Editions de Beaune, 1950
10 (not scanned) Lebel, Robert. Léonard de Vinci: Ou la fin de l'humilité. Paris: Presses du Livre Français, 1952
10 (not scanned) Le Roy, Jean. Le Cavalier de Frise: Poèmes inédits de Jean Le Roy. Preface by Jean Cocteau. Paris: François Bernouard, 1928
10 (not scanned) Le Roy, Jean. Le prisonnier des mondes: Poèmes. Paris and Rome: Société d'Editions Mansi & Cie, dated by Pach as 1913
10 (not scanned) Lichtenstein, Isaac, and Abraham Walkowitz. Jewish Artists. New York: Machmadim Art Editions, Inc., 1946
10 (not scanned) Low, Theodore L. The Museum as a Social Instrument. New York: Metropolitan Museum of Art, for the American Association of Museums, 1942
10 (not scanned) Marin, John. Letters of John Marin. Edited by Herbert J. Seligmann. New York: Privately Printed for An American Place, 1931
10 (not scanned) Maugard, Adolfo Best. Manuales y tratados metodo de dibujo, Tradicion, resurgimiento y evolucion del arte mexicano. Mexico City: Departamento Editorial de la Secretariad Educacion, 1923
10 (not scanned) Meier-Graefe, Julius. Courbet. Munich: R. Piper & Co. Verlag, 1921
10 (not scanned) Meier-Graefe, Julius. Eugène Delacroix: Beiträge zu einer Analyse. Munich: R. Piper & Co. Verlag, undated
10 (not scanned) Meier-Graefe, Julius. Impressionisten: Guys, Manet, Van Gogh, Pissarro, Cézanne. Munich and Leipzig: R. Piper & Co. Verlag, 1907
10 (not scanned) Meier-Graefe, Julius. Pyramide und Tempel. Berlin: Ernst Rowohlt Verlag, 1927
10 (not scanned) Meier-Graefe, Julius. Renoir Leipzig: Klinkhardt & Biermann Verlag, 1929
10 (not scanned) Meier-Graefe, Julius. Der Vater. Berlin: S. Fischer Verlag, 1932
10 (not scanned) Mercure de France (Paris) 18, vol. 69, no. 247, 1907 October 1
(Two copies, one partial)
10 (not scanned) Mercure de France(Paris) 18, vol. 70, no. 248, 1907 October 16
Box
11 (not scanned) Montross Gallery. Henri Matisse Exhibition. New York, 1915 January 20-February 27
11 (not scanned) Mumford, Lewis. Man as Interpreter. New York: Harcourt, Brace and Company, 1950
11 (not scanned) Mumford, Lewis. Technics and Civilization. New York: Harcourt, Brace and Company, 1934
11 (not scanned) Museum of Modern Art. Art in Our Time. Exhibition to celebrate the tenth anniversary of the Museum and the opening of its new building. New York, . Pach lent a Duchamp painting. 1939
11 (not scanned) Palais des Beaux-Arts. Collection de Monsieur L.L.: Tableaux modernes, Faïences de Delft et de Rhodes, Objets d'art. Brussels, 1931 December 22-23
11 (not scanned) Parke-Bernet Galleries, Inc. Auction/Sales Catalogue. New York, October 17. Dates written in: 1940-1941
11 (not scanned) Parke-Bernet Galleries, Inc. Auction/Sales Catalogue. New York: 1942 January 8
11 (not scanned) Parke-Bernet Galleries, Inc. Classical and Medieval Stone Sculptures, Joseph Brummer Collection, Part III (Final). New York, 1949 June 8-9
11 (not scanned) Parke-Bernet Galleries, Inc. Modern French and American Paintings from the Walter Pach, Mrs. Jacob H. Rand, and Other Collections. New York, 1949 January 6
11 (not scanned) Parke-Bernet Galleries, Inc. Part Two of the Notable Art Collection... Joseph Brummer. New York, 1949 May 11-14
11 (not scanned) Perkins, Christopher. On Museums: An Essay. Saint-Tropez, France: Au Paysage du Midi, 1925
11 (not scanned) Popular Stories Collected by the Brothers Grimm. London: Oxford University Press, 1915
11 (not scanned) Portraits d'hier, Studies of the Life, Works, and Influence of the Late Great Figures (Grands Morts) of Our Time 2, no. 28 1910, May
(Two copies, one partial).
Includes "Paul Cézanne," by Elie Faure.
11 (not scanned) Raynal, Maurice. Jacques Lipchitz. Paris: Editions Jeanne Bucher, undated
11 (not scanned) Reality: A Journal of Artists' Opinions (New York) 1, no. 1, 1953 Spring
11 (not scanned) Rewald, John. Georges Seurat. New York: Wittenborn and Company, 1943
11 (not scanned) Rewald, John, Dore Ashton, Harold Joachim, and Odilon Redon. Odilon Redon/Gustave Moreau/Rodolphe Bresdin. New York: Museum of Modern Art in collaboration with the Art Institute of Chicago, distributed by Doubleday & Co., Inc., 1961
11 (not scanned) Rich, Daniel Catton. The Challenge of Art in the Americas: An Address Given to the Graduating Classes School of the Art Institute. Chicago, 1944 June 9
11 (not scanned) Richter, J.P. Lectures on the National Gallery. London, New York, and Bombay: Longmans, Green, and Co., 1898
11 (not scanned) Ritchie, Andrew Carnduff. Abstract Painting and Sculpture in America. New York: Museum of Modern Art, 1951.
Walter Pach's painting was included in exhibition.
11 (not scanned) Ritchie, Andrew Carnduff. "The Evolution of Ingres' Portrait of the Comtesse d'Haussonville." Art Bulletin (College Art Association of America) 22, no. 3, Reprint, 1940 September
11 (not scanned) Robin, Maurice. "Eugène Delacroix," Portraits d'Hier, undated
(Tearsheets)
11 (not scanned) Sérusier, Paul. ABC de la peinture. Paris: Henri Floury, La Douce France, 1921
(Two copies)
11 (not scanned) Sérusier, Paul. ABC de la peinture: Correspondance. Paris: Librairie Floury, 1950
11 (not scanned) Seven Famous Greek Plays. Introduction by Whitney J. Oates and Eugene O'Neill, Jr. New York: Random House, Inc., Modern Library College Editions, 1950
Box
12 (not scanned) Severini, Gino. Ragionamenti sulle arti figurative. Milan: Editore Ulrico Hoepli, 1936
12 (not scanned) S.F. Bay Exposition Co. Art. Official Catalog, Golden Gate International Exposition, Palace of Fine Arts. San Francisco, 1940.
Pach was a lender to the exhibition.
12 (not scanned) Sloan, John, and Oliver LaFarge. Introduction to American Indian Art. New York: Exposition of Indian Tribal Arts, Inc., 1931
12 (not scanned) Smith College Museum of Art, Tryon Art Gallery. Géricault. Northampton, Mass., 1929 April 4-25
12 (not scanned) Société des artistes indépendants. Catalog of the 24th Exposition. Paris, 1908 March 20-May 2
12 (not scanned) Society of Independent Artists, Inc. The Bylaws
12 (not scanned) Society of Independent Artists, Inc. The 20th Annual Anniversary Exhibition. New York, 1936 April 24-May 17.
Walter and Magda Pach were directors and lenders.
12 (not scanned) Stein, Leo. The A-B-C of Aesthetics. New York: Boni & Liveright, 1927
12 (not scanned) Stein, Leo. Journey into the Self: Being the Letters, Papers & Journals of Leo Stein. Edited by Edmund Fuller. Introduction by Van Wyck Brooks. New York: Crown Publishers, 1950
12 (not scanned) Taylor, Francis Henry. Babel's Tower: The Dilemma of the Modern Museum. New York: Columbia University Press, 1945
12 (not scanned) Transition: A Quarterly Review (New York), no. 26, 1937
12 (not scanned) Tzara, Tristan. La Première aventure céleste de Mr. Antipyrine. With color woodcuts by Marcel Janco. Zurich: Collection Dada, 1916
12 (not scanned) Universidad Nacional Autonoma de Mexico. Anales del Instituto de Investigaciones Esteticas. Indices to Vol. 2, nos. 5,6,7, and 8. Mexico City, 1942.
Lists Walter Pach's article "Arte mexicano en Nueva York," no. 6, p. 5.
12 (not scanned) University Museum Bulletin (University Museum, University of Pennsylvania, Philadelphia) 16, no. 3, 1952 February.
Includes "Fourteen Eyes in a Museum Storeroom.".
12 (not scanned) Valentiner, William R. "The Museum of Tomorrow." In New Architecture and City Planning, edited by Paul Zucker. New York: Philosophical Library, Reprint, undated
12 (not scanned) Van Loon, Hendrik Willem. The Songs We Sing. New York: Simon and Schuster, Inc., 1936
12 (not scanned) Variétés critiques. Paris: Les Editions G. Crès & Cie, undated
12 (not scanned) Venturi, Adolfo. Luca Signorelli. Firenze: Presso Giorgio & Piero Alinari, 1921-1922
12 (not scanned) La Vie (Paris) no. 41, 1912 November 30
12 (not scanned) La Vie (Paris) no. 42, 1912 December 7
12 (not scanned) La Vie (Paris) no. 43, 1912 December 14
(Two copies)
12 (not scanned) La Vie des Lettres et des Arts (Paris), 1924
(Two copies).
Includes "La peinture et ses lois: Ce qui devait sortir du cubisme," by Albert Gleizes.
12 (not scanned) View: Max Ernst Number (New York), 1942
12 (not scanned) View, The Modern Magazine: Marcel Duchamp Number (New York) 5, no. 1, 1945
12 (not scanned) Vollard, Ambroise. Le père Ubu à l'aviation. Paris: Editions Georges Crès et Cie, 1918
12 (not scanned) Vollard, Ambroise. Le père Ubu à l'hôpital. Paris: Editions Georges Crès et Cie, 1918
12 (not scanned) Vollard, Ambroise. Le père Ubu au pays des Soviets. Paris: Librairie Stock, Delamain, Boutelleau et Cie, 1930
12 (not scanned) Vollard, Ambroise. Les réincarnations du père Ubu. Paris: Le Divan, 1925
12 (not scanned) Walkowitz, Abraham. A Demonstration of Objective, Abstract, and Non-Objective Art. Girard, Kans.: Haldeman-Julius Publications, 1945
12 (not scanned) Walkowitz, Abraham. Isadora Duncan in Her Dances. Girard, Kans.: Haldeman-Julius Publications, 1945
12 (not scanned) Wechsler, Herman J., ed. The Pocket Book of Old Masters. New York: Pocket Books, Inc., 1949
12 (not scanned) Wexley, John. The Last Mile. A play in three acts, with Preface by Lewis E. Lawes, Warden of Sing Sing Prison. New York and Los Angeles: Samuel French, 1930
12 (not scanned) Whitney Museum of American Art. Abstract Painting in America. Introduction by Stuart Davis. New York, 1935 February 12-March 22
12 (not scanned) Whitney Museum of American Art. Between Two Wars: Prints by American Artists, 1914-1941. New York, 1942 March 3-31.
Walter Pach's work was in the exhibition.
12 (not scanned) Whitney Museum of American Art. The Decade of the Armory Show, 1910-1920. New York, 1963