archives and collections

  • Jean Crotti
    Jean Crotti (1878–1958) first studied in Munich, Germany at the School of Decorative Arts, then at age 23 moved to Paris to study art at the Académie Julian. Around 1910 he began to experiment with Orphism, an offshoot of Cubism, and a style that would be enhanced by his association in New York City with Marcel Duchamp and Francis Picabia. Fled for the war, he shared a studio in New York with Marcel Duchamp and met his sister, Suzanne Duchamp. He begun a relationship with Suzanne Duchamp that would culminate in his divorce in 1919 and immediate marriage to Suzanne. He would be part of the 1925 Exposition International in Paris, and the International Exhibition of Modern Art at the Brooklyn Museum in 1926-1927.
    • [archive] Jean Crotti Papers, 1910-1973. Biographical material and autobiographical notes; letters to Suzanne Duchamp, Marie and Lysbeth Crotti, and others; letters from Jean Cocteau, Marcel Duchamp, Raoul Dufy, and others; photographs of Crotti, Suzanne Duchamp, and others, works of art, and exhibition installations. The collection is online available.
  • Walt Kuhn, Kuhn family papers, and Armory Show records, 1859-1978
    As Secretary for the AAPS, Walt Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show.
  • Walter Pach
    Walter Pach (1883-1958) wrote extensively about modern art. Through his numerous books, articles, and translations of European art texts, Pach was able to bring an emerging modernist viewpoint to the American public. 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.
    • [archive] The Walter Pach Papers, 1883-1980, 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, and a guestbook. The papers of Walter Pach are available as links from the online finding aid. Included are personal and family papers, professional correspondence, manuscripts by Pach, works of art, printed material, and photographs, dating from 1883-1990. The collection is online available.
    • [finding aid] Walter Pach. A Finding Aid to the Walter Pach Papers, 1883-1980, in the Archives of American Art / by Nancy Malloy and Catherine Stover (Archives of American Art, Smithsonian Institution, 1997).
  • Beatrice Wood
    • [archive] Beatrice Wood Papers, 1852-1998. Correspondence; biographical material; photographs; writings; financial material; art work; and printed material.
    • [finding aid] Preliminary inventory, list of correspondents.
    • [NB] See also Beatrice Wood Center for the Arts.
  • Mary Reynolds Collection
    Mary Reynolds (1891-1950) was one of the most important figures of the Surrealist movement. She moved from the USA to Paris in 1919. In 1923 she met Marcel Duchamp and maintained a friendship with him until her death. During the 1920s, she studied with the Parisian bookbinder Pierre Legrain and applied her skills to books given to her by such friends as Max Ernst, Man Ray, Paul Eluard, André Breton, Jean Cocteau, and Salvador Dali. After the war, she returned to Paris where she lived until her death.
    • [archive] The collection (bulk 1941-1964) includes correspondence from Mary Reynolds to her brother Frank Brookes Hubachek and others; ephemera such as clippings, object inventories, block prints of bookplates, and various forms of ID; a published account of her escape from Europe written by her friend Janet Flanner; Frank Hubachek's correspondence detailing his attempts to send money to his sister in occupied Paris; corrspondence between Hubachek and Marcel Duchamp regarding these financial dealings and concern for Reynolds safety; research materials for Hugh Edward's publication, Surrealism & its affinities; portrait photographs of Reynolds, some taken by Man Ray, and other misc. images. More Information? See Mary Louise Reynolds Collection.
    • [finding aid] Finding Aid Mary Reynolds Collection, 1892-1972 (bulk 1941-1964) published in 2002.
  • The Jacques Doucet Literary Library (founded in 1913) received from the very first moments the creative fever struck the insistent traces of Dada. Between 1920 and 1928, Breton and Aragon, then Desnos, took and conserved many contributions and experiments of the movement. The friendship that tied Duchamp and Picabia to Doucet himself, could only help to not leave in the dark the original contributions of this expressive revolution. To this first wave of material, considerable collections were later given to the Library by Dada’s main actors (principally, Picabia and Tzara). Further acquisitions and recent gifts have contributed to further enhance the Library’s place as the mythical center of Dadaist studies, that it has been for a long time.
  • Fonds Marcel Duchamp
    • [archive] The Fonds Marcel Duchamp at the Bibliothèque Littéraire Jacques Doucet, Paris contains correspondence with André Breton, Pierre de Massot, Francis Picabia, Tristan Tzara, and others.
    • [reading] La Bibliothèque Littéraire Jacques Doucet : archive de la modernité. Actes du Colloque Tenu en Sorbonne les 5, 6 et 7 Février 2004 / Textes Réunis et Présentés par Michel Collot, Yves Peyré et Maryse Vassevière (Presses Sorbonne Nouvelle, Les Éditions des Cendres : Paris 2007).
    • [reading] Doucet de fonds en combles. Trésors d’une bibliothèque d’art / Textes de Bernard Comment et François Chapon (Éditions Herscher : Paris 2004).
  • Marcel Duchamp
    • [archive] The Marcel Duchamp Letters housed at the Getty Research Institute, consists of letters to Duchamp's good friend Yvonne Lyon, and Jean Larcade of the Galerie Rive Droite. Included with 10 personal letters to Lyon, dating from 1943-1954, are an annotated invitation to an exhibition of Suzanne Duchamp and Jean Crotti at Galerie Paul Guillaume (Nov. 1923), and a chronology of events in Duchamp's life between the years 1919-1928, inscribed on a printed dance program (August 1961).
      In 7 letters to Larcade, dating from ca. 1958-1963, Duchamp discusses business matters such as methods of payment and raising prices of works nearing the end of their editions ('La mariée mise á nue par ses célibataires même [boíte verte], 1934 and 'Boíte-en-valise', 1941).
  • Gloria de Herrera
    Gloria de Herrera was an American art preparator, restorer and collector active in the art worlds of Los Angeles and France. Born in 1929 in Los Angeles, she moved to Paris in 1951. In 1960 De Herrera became involved in the struggle for Algerian independence and was briefly jailed. In 1973 she left Paris for the Dordogne region, settling near Lascaux. She died in Brive, France in 1985.
    • [archive] The Gloria de Herrera Papers consist of ca. 750 items documenting De Herrera's milieu and activities, including correspondence with Marcel Duchamp (series I).
    • [finding aid] Inventory of the Gloria de Herrera Papers, 1922-1978 / prepared by Paul Arenson (Getty Research Institute 2002, revised 2004): search Getty Institute Special Collections.
  • Man Ray
    • [archive] The Man Ray Letters and Album at the Getty Research Institute, Los Angeles, consists of a significant ensemble of letters and writings by or addressed to Man Ray, collected and safeguarded by his sister Elsie Ray Siegler and her daughter Naomi Savage.
    • [finding aid] Inventory of the Man Ray Letters and Album, 1922-1978 / prepared by Lynda Bunting (Getty Research Institute, 1996; revised 1997): search Getty Institute Special Collections.
  • Henry-Pierre Roché
    • [archive] The Henri-Pierre Roché Papers, ca. 1885-1972, housed at the Harry Ransom Humanities Research Center, consist of holograph manuscripts, typescripts, notebooks, notes, clippings, correspondence, printed material, diaries, and financial and legal documentation. The material is arranged in five series: Works, Correspondence, Personal and Legal Papers, Denise Roché, and Klara Roché.
    • [finding aid] Henri-Pierre Roché Papers Finding Aid / Diane Goldenberg-Hart and Rebecca Altermatt (Ransom Center, 1995). Last modified 5 November 1996.
  • Mary E. Dreier
    • [archive] The Arthur and Elizabeth Schlesinger Library on the History of Women, Radcliffe Institute houses the Mary E. Dreier Papers (1875-1963).
    • [finding aid] Mary E. Dreier Papers, 1797-1963. A Finding Aid (Radcliffe College, October 1980).
  • This is the culmination of twenty years of bibliographic work at the International Dada Archive. The Archive was established in 1979.
  • The Archive has microfilmed the extensive correspondence of Duchamp with Walter and Louise Arensberg housed at the Francis Bacon Foundation in Claremont, California [See below]. The Dada Archive maintains a bibliographic database of Duchamp; this is not available for public use at this time.
  • Vera, Silvia and Arturo Schwarz
    The Museum owes this richness first and foremost to Arturo Schwarz, who in 1972 gifted thirteen replicas of readymades by Marcel Duchamp, followed in 1991 by his gift of the Arturo Schwarz Dada and Surrealist Library, a rare accumulation of documents, periodicals, books, manuscripts, and letters. In 1998, on the occasion of Israel’s 50th anniversary year, he donated his vast collection of Dada, Surrealist, and pre-Surrealist art, comprising more than 700 works.
  • Marcel Duchamp
    France is not richly endowed with the works of Duchamp, most of these being on display in Philadelphia and elsewhere on the other side of the Atlantic, but the Centre Pompidou has been doing its best to make up for previous neglect. Although the larger part of its collection consists of examples from the replica editions of the Readymades and of other multiply issued or graphic works, gifts and purchases over the last years have equipped the museum with a number of original and unique works. These include Les joueurs d'échecs [=Chess Players] (first version) of 1911, Neuf Moules Mâlic [=Nine Malic Moulds] of 1914-15, and Rotorelief n°11 - Eclipse totale/Rotorelief n°12 - Spirale blanche of 1935. Useful introductory and supplementary materials and informed commentaries on the individual works make this a work of interest to specialists and others. [based on: Sheldon Nodelman, 'Disguise an Display', in Art in America (March 2003).
    • [archive] Françoise le Penven, 'Correspondances', in Marcel Duchamp dans les collections du Centre Georges Pompidou, Musée national d'art moderne / [catalogue établi et réalisé sous la direction de Didier Ottinger] (Centre Pompidou : Paris 2001) 140-149. Catalog of Duchamp correspondence in the Centre Pompidou, with summaries of each letter and facs. of selected letters.
    • [collection catalogue] Didier Ottinger et Françoise Le Penven (éd.), Marcel Duchamp dans les collections du Musée national d'art moderne (Centre Georges Pompidou : Paris 2001). Search also the RMN Photo Agency.
    • [documentation] Marcel Duchamp's work. Dossiers pédagogiques - Collections du Musée. Monographies/Grandes figures de l'art moderne (September 2005).
  • Constantin Brancusi
    • [archive] Correspondence concerning the exhibitions at the Brummer Gallery, New York in 1926 and 1933-1934. Important correspondence with Marcel Duchamp related to this exhibition.
  • Man Ray
    • [archive] Correspondence with artists, critics and collectors and others, including Marcel Duchamp, André Breton, Katherine S. Dreier, Raoul Hausmann, Marcel Jean, Hans Richter, Tristan Tzara.
    • [finding aid] Description du fonds Man Ray: search liste des fonds.
  • William and Mary Sisler
    In 1990, Mary Sisler, collector and benefactor, bequeathed many works from her collection of modern masters to The Museum of Modern Art; Francis M. Naumann wrote a catalog of these promised works in 1984.
    • [archive] The Papers (1962-1984) include a scrapbook and 2 guest books concerning her son's gallery, Galleria XXII, photographs, correspondence, and catalog entry notes.
    • [collection catalogue] Francis M. Naumann (ed.), The Mary and William Sisler Collection (Museum of Modern Art : New York 1984).
  • Walter and Louise Arensberg
    Art collectors Walter and Louise Arensberg amassed a seminal collection of Modern and pre-Columbian art between 1913 and 1950. In the 1940's the Arensbergs began to look for a permanent home for their collection. In 1944, the Arensbergs signed a deed of gift with the University of California, Los Angeles, which included the stipulation that the University build an appropriate museum to house the collection in a specified time frame. By the fall of 1947 it was obvious that this condition would not be met and the contract was nullified. The Arensbergs then began negotiations with numerous other institutions, including the Art Institute of Chicago, the Denver Art Museum, Harvard University, the Honolulu Academy of Arts, the Instituto Nacional de Bellas Artes (Mexico, D.F.), the National Gallery, the Philadelphia Museum of Art, the San Francisco Museum of Art, Stanford University, the University of California, Berkeley, and the University of Minnesota. The Arensbergs eventually dropped their demand that the recipient of the collection also provide for the continuance of Walter's Francis Bacon Foundation. After protracted discussions and many visits from Director Fiske Kimball and his wife Marie, the Arensbergs presented their collection of over 1000 objects to the Philadelphia Museum of Art on December 27, 1950. The opening of the collection at the Philadelphia Museum of Art was on October 16, 1954.
    • [archive] Correspondence (1917-1954) with Walter Conrad Arensberg (55 letters from Duchamp to Arensberg and 18 letters from Arensberg to Duchamp in the Arturo and Vera Schwarz, Italy.
    • [finding aid] Guide to the Arensberg Archives, 1905-1957 (n.d.).
    • [collection catalogue] The Louise and Walter Arensberg Collection. Volume 1 20th Century Section (Philadelphia Museum of Art : Philadelphia 1954).
  • John Raphael Covert
    • [[archive] The painter John Raphael Covert (1882-1960) was an active participant in the American avant-garde art movement between 1915 and 1923. He later became a travelling salesman for his family's Vesuvius Crucible Company and pursued his intense interest in cryptography, word games and magic squares. The John Raphael Covert Papers consist of the artist's correspondence, word and number puzzles (such as anagrams, acrostics, and riddles), financial records, photographic portraits, and a few sketches. Approximately half of the papers are in code, and thus are cryptic in both intent and meaning.
    • [finding aid] Guide to the John Raphael Covert Papers 1919-1976 (n.d.).
  • Alexina and Marcel Duchamp
    • [archive] The Alexina and Marcel Duchamp Papers are comprised of a selection of the artist’s personal papers as well as published material documenting his work that were compiled and organized by his widow, Alexina Duchamp.
    • [finding aid] Guide to the Alexina and Marcel Duchamp Papers, ca. 1886-1990 (n.d.).
  • Marcel Duchamp Exhibition Records
    • [archive] The Marcel Duchamp Exhibition Records contain correspondence, planning and installation records, clippings, ephemera, photographs, reference material, and other institutional records generated by the Department of Modern and Contemporary Art, The Philadelphia Museum of Art.
    • [finding aid] Guide to Marcel Duchamp Exhibition Records, 1967-1993 (s.a.).
  • Marcel Duchamp Research Collection
    • [archive] The Marcel Duchamp Research Collection was compiled by the Department of Modern and Contemporary Art, Philadelphia Museum of Art and includes copies and originals of Duchamp's correspondence; photographs of Duchamp, his works of art, and related subjects; writings about Duchamp; and several subject files, including one on artists influenced by Duchamp.
    • [finding aid] Guide to the Marcel Duchamp Research Collection, 1909-2002 (n.d.).
  • Fiske Kimball
    • [archive] Fiske Kimball, Director of the Philadelphia Museum of Art, had a significant impact upon the development of the Museum's collections. The Fiske Kimball Records and Papers Collection is comprised of records relating to Kimball's tenure as Director of the Museum, and of mostly professional correspondence and documentation of Kimball's various research and construction projects.
    • [finding aid] Guide to the Fiske Kimball Records, 1908-1955 (bulk 1925-1954) (n.d.).
    • [finding aid] Guide to the Fiske Kimball Papers, 1874-1957 (n.d.).
  • Beatrice Wood
    • [archive] This collection includes archival material documenting the life and work of Beatrice Wood (1893-1998). The archival material comes from two different sources: the artist herself and Conrad Arensberg. It includes documentation of several exhibitions and events, specifically personal photographs of her 96th birthday.
    • [finding aid] Guide to the Beatrice Wood Collection ca. 1921-2001 (n.d.).
  • Marcel Duchamp Komplex
    • [collection catalogue] Kornelia von Berswordt-Wallrabe (Hrsg.), Marcel Duchamp. Die Schweriner Sammlung / Konzeption und Bearbeitung des Katalogs Gerhard Graulich; Texte Kornelia von Berswordt-Wallrabe ... et al. (Staatliches Museum Schwerin : Schwerin 2003).
  • Marcel Duchamp Kabinett
    The Department of Prints and Drawings of the Staatsgalerie Stuttgart houses since 1985 the Marcel Duchamp Kabinett. The Kabinett comprises about 400 numbers. The collection was created by the merging of two collections. First, the complete prints, and almost all during his lifetime produced editions from the collection of Dieter Keller, and second, other extensive material from the estate of Serge Stauffer, including letters, manuscripts, photographs, publications with original prints, books, brochures, magazines, etc.
  • The Beinecke Rare Book & Manuscript Library houses records and papers by Katherine S. Dreier, Henry McBride, Alfred Stieglitz, and Florine and Ettie Stettheimer.
  • Katherine S. Dreier/Société Anonyme
    The Société Anonyme, Inc., was an organization founded in 1920 by the artists Katherine Dreier, Marcel Duchamp, and Man Ray as America’s first 'experimental museum' for contemporary art. While diverse in their goals, the founders agreed that there was a dire need to counter the lack of appreciation of modern art in America and to nurture opportunities for its presentation through innovative exhibitions and related educational programs. They also believed it was important that the history of art be chronicled not by historians or academics but by artists. The original gallery of the Société Anonyme at 19 East 47th Street in New York City was the site of scholarly programs and lighthearted Dada pranks, as well as the first one-person exhibitions in America of artists such as Wassily Kandinsky, Fernand Léger, and Paul Klee. In the 1920s and 1930s, the Société Anonyme was the generative force for approximately thirty publications, over eighty exhibitions of contemporary art, and at least eighty-five public programs—a tour de force campaign to bring modernism to America and encourage international artistic exchange. The organization featured works by such renowned artists as Constantin Brancusi, Piet Mondrian, Man Ray, and Joseph Stella, along with lesser-known artists, such as Lawren Stewart Harris and Angelika Hoerle, who also made significant contributions to modernism.
    • [archive] The Katherine S. Dreier Papers / Société Anonyme Archive documents the life of Katherine S. Dreier and the activities of the Société Anonyme. The collection consists of correspondence; manuscripts and notes for articles, books, fiction, and lectures; clippings; brochures; programs; press releases; advertisements; tax records; photographs and artwork; meeting minutes; and ephemera and printed material. The papers span the years 1818 to 1952, but the bulk of the material is from 1920 to 1951. Currently, only a portion of the Katherine S. Dreier Papers / Société Anonyme Archive is available online.
    • [finding aid] Katherine S. Dreier Papers/Société Anonyme Archive / by Miriam B. Spectre (New Haven, April 1997). Last Updated: April 2003.
    • [collection catalogue] George Heard Hamilton (ed.), Katherine S. Dreier and Marcel Duchamp. Collection of the Société Anonyme. Museum of Modern Art 1920 (Yale University Art Gallery : New Haven 1950).
    • [collection catalogue] The Société Anonyme and the Dreier bequest at Yale University. A catalogue raisonné / co-editors Robert L. Herbert, Eleanor S. Apter, Elise K. Kenney; contributing editor, Ruth L. Bohan ...; with contributions from Lesley Baier ... [et al.] (Yale University Press : New Haven 1984. In conjunction with the exhibition 'The Société Anonyme. Modernism for America' the Yale University Art Gallery has created a special website. Besides images from the collection and an interview with Katherine Dreier, the site will also make accessible the catalogue raisonné.
    • [digital images] Digital Image Guide.
    • [reading] Jennifer Gross, 'About the Société Anonyme' on the site of the Hammer Museum at UCLA.
    • [reading] Sarah Klein, Putting Katherine Dreier into Perspective. Modern Art Collecting in Early 20th-Century America (2005) Master Thesis Florida State University.
    • [NB] See also the Mary E. Dreier Papers at the Arthur and Elizabeth Schlesinger Library on the History of Women, Radcliffe Institute, Harvard University Library.
  • Henry McBride
    Henry McBride (1867-1962), the dean of American art critics, wrote for The New York Sun (1913-49), The Dial (1920-29), and The Art News (1950-59), and edited Creative Art (1928-32). He was one of the first American critics to recognize and appreciate the modernist movement. In 1922 Marcel Duchamp published a selection of McBride's articles from The Sun in Some French Moderns.
    • [archive] The Henry McBride Papers contain correspondence to Henry McBride from modern artists and collectors, printed newspaper articles and other writings, a few journals, and his collection of printed ephemera about art.
    • [finding aid] Henry McBride Papers / by Karen V. Kukil (New Haven, June 1988; last updated 1999).
  • Alfred Stieglitz/Georgia O'Keeffe
    • [archive] The Alfred Stieglitz/Georgia O'Keeffe Archive contains correspondence files, manuscripts, documentary ephemera, photographs, art and realia related to the lives and careers of photographer/publisher/gallery owner Alfred Stieglitz (1864-1946) and painter Georgia O'Keeffe (1886-1986), his second wife. After Stieglitz's death in 1946, Georgia O'Keeffe sought to collect all of his personal and professional correspondence and papers, clipping files, scrapbooks, exhibition-related material and other documentary evidence.
    • [finding aid] Alfred Stieglitz/Georgia O'Keeffe Archive (Series I-VII) / by Sandra Markham (New Haven, July 1996) Last updated: October 2004.
  • Florine and Ettie Stettheimer
    • [archive] The Florine and Ettie Stettheimer Papers document the lives and careers of the Stettheimer sisters, who presided over an early twentieth-century New York City salon. The papers span the dates 1898-1974 but the bulk of the material covers the period 1906-53.
    • [finding aid] Florine and Ettie Stettheimer Papers / by Ellen Zak Danforth (New Haven, September 1987) Last updated: January 1998.
      [NB] Another 8 letters are in the Collection of Arturo and Vera Schwarz, Italy.
  • top