Skip to main content

James Stillman letters relating to Homer Dodge Martin, 1882-1898

More Information

Stephanie Ashley
Scope and Contents
The James Stillman letters relating to Homer Dodge Martin measures 0.2 linear feet and consists of 28 letters from Martin and his wife Elizabeth to banker and art patron James Stillman documenting Stillman's financial and practical assistance to the Martin's through consignment, exhibition and sale of Martin's artwork. The letters provide insight into Martin's experiences painting while living in Honfleur and Villerville, France, his financial struggles, and his physical and mental condition. They also reveal Elizabeth Martin's efforts as advocate for her husband's work and reputation, and her dismay at his physical and mental decline due in part to lack of financial success.
Also found are 2 1884 pencil sketches by Martin, of a view in Honfleur; 2 letters from Martin to Mr. Van Loon discussing payment for paintings; and 2 letters to Stillman from Bancel La Farge concerning Stillman's purchase of a La Farge watercolor.
The collection contains no letters from Stillman.
Six letters from Homer Dodge Martin were donated to AAA by Chauncey Stillman, grandson of James Stillman, in 1955 and 1959. Additional letters to Stillman from Martin, Elizabeth Martin, and Bancel La Farge, and from Martin to Mr. Van Loon, were donated by Mrs. P. S. Paine, grandaughter of James Stillman, in 1978.
Related Material
The Archives of American Art also holds the Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897. Additional material relating to Homer Dodge Martin, including correspondence with Thomas B. Clarke and Elizabeth Martin, can be found in the Macbeth Gallery records.
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Processing Information
The letters were donated in 3 installments and microfilmed at some point after receipt on reels D9, D22 and 3742. All items were merged and fully processed by Stephanie Ashley in 2008, and digitized in entirety in 2009, with funding provided by the Terra Foundation for American Art.