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More Information | A Finding Aid to the Henry Varnum Poor papers, 1873-2001, bulk 1904-1970 | Digitized Collection

Henry Varnum Poor papers, 1873-2001, bulk 1904-1970

More Information

A Finding Aid to the Henry Varnum Poor Papers, 1873-2001, bulk 1904-1970, in the Archives of American Art
AAA.poorhenr
Finding aid prepared by Catherine S. Gaines; revised by Jayna M. Josefson
Scope and Content Note
The papers of Henry Varnum Poor measure 11.3 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.
Among the writings by Henry Varnum Poor are manuscripts of his two published books,
An Artist Sees Alaska
and
A Book of Pottery: From Mud to Immortality
. as well as the text of "Painting is Being Talked to Death," published in the first issue of
Reality: A Journal of Artists' Opinions
, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.
Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson,
Reality: A Journal of Artists' Opinions
Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.
Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph,
A Book of Pottery: From Mud to Immortality
. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in
The Land Grant Frescoes
and interior views of Crow House by Ernest Watson.
Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.
Miscellaneous records include family memorabilia and two motion picture films,
Painting a True Fresco
, and
The Land Grant Murals
at Pennsylvania State College.
Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled
Poor Mr. Varnum
. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of
The Army at War: A Graphic Record by American Artists
, for which Poor served as an advisor. There are reproductions of illustrations for
An Artist Sees Alaska
and
Ethan Frome
, and two Associated American Artists greeting cards reproducing work by Poor.
Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Language
English
Provenance
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
Related Material
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Funding
Funding for the digitization of this collection was provided by the Terra Foundation for American Art
Processing Information
The collection was fully processed and a finding aid prepared by Catherine S. Gaines in 2008. In 2014, the finding aid was revised and the collection was prepared for digitization by Jayna Josefson with funding provided by the Terra Foundation for American Art. Motion picture film reels were inspected and re-housed in 2016 with funding provided by the Smithsonian Collections Care and Preservation Fund.