Finding aid for the James Thrall Soby papers, 1928-1975 (bulk 1935-1955)
Finding aid prepared by Lynda Bunting.
Descriptive Summary
Title: James Thrall Soby papers
Date (inclusive): 1928-1975 (bulk 1935-1955)
Number: 910128
Creator/Collector:
Soby, James Thrall, 1906-1979
Physical Description:
5.0 linear feet
(10 boxes, 1 flat file folder)
Repository:
The Getty Research Institute
Special Collections
1200 Getty Center Drive, Suite 1100
Los Angeles, California, 90049-1688
(310) 440-7390
Abstract: American art critic, curator, and collector. Papers document Soby's nearly 45-year career in 20th-century art scholarship
and criticism. Materials date from about 1929, when Soby became a partner in Edwin Valentine Mitchell, Inc., booksellers and
publishers, to his retirement from the board of trustees at the Museum of Modern Art, New York in 1975. The bulk of the collection
comprises correspondence from 20th-century artists and photographers, MoMA personnel, curators, critics, friends and family
members.
Request Materials: Request access to the physical materials described in this inventory through the
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Language: Collection material is in
English
Biographical/Historical Note
| 1906 |
Born December 14 in Hartford, Conn. Son of Charles (in tobacco business) and Anna (Hazlewood) Soby |
| 1923 |
Educated at Kingswood School |
| 1924 |
Taft School |
| 1924-26 |
Attended Williams College |
| 1925 |
Buys a reproduction of a Maxfield Parrish print |
| 1929 |
Bought a third interest in Edwin Valentine Mitchell's bookshop in Hartford, Conn. |
| 1931 |
Worked at Wadsworth Athenaeum |
| 1942 |
Director of painting and sculpture and member of board of trustees, Museum of Modern Art, New York |
| 1943-45 |
Assistant director, MoMA |
| 1946-68 |
Chairman of department of painting, MoMA |
| 1946-57 |
Author of monthly column of art criticism in
Saturday Review of Literature
|
| 1950-51 |
Editor of
Magazine of Art; chairman of editorial board, 1951-52
|
| 1952 |
Married third wife Melissa Wadley (Soby had two previous wives, Mimi and Mary Eleanor [aka Nelly]); children: Peter Allyn |
| 1962 |
Awarded honorary L.H.D. from Williams College |
| 1968 |
Vice-president of MoMA |
| 1979 |
Died January 29 in Norwalk, Conn. |
Administrative Information
Access
Open for use by qualified researchers.
Publication Rights
Preferred Citation
James Thrall Soby papers, 1928-1975, Getty Research Institute, Research Library, Accession no. 910128.
http://hdl.handle.net/10020/cifa910128
Acquisition Information
Acquired in 1991.
Processing History
Lynda Bunting began processing the collection October 1993, and finished writing the finding aid March 1994.
Separation List
Galleria Schwarz, Milan.
Man Ray: dal 14 marzo al 3 aprile 1964 alla Galleria Schwarz, Milano.〹
Museum of Contemporary Art, Chicago.
Peter Blume: a retrospective exhibition, Museum of Contemporary Art, Chicago, Illinois, January 10 to February 29, 1976.
Pierre Berés.
Cubism, futurism, dadaism, expressionism and the surrealist movement in literature and art. Preface by Paul Eluard. New York: Pierre Berés, 1948.
Sage, Kay.
Demain, Monsieur Silber. Paris: Pierre Seghers, 1957.
Wadsworth Athenaeum, Hartford, Conn.
Tonny, Tchelitchew, Berard, Berman, Leonide. Hartford, Conn.: The Athenaeum, 1931.
Art & Industry 35, no. 208 (Oct. 1943).
Bibliography
After Picasso. Hartford, Conn.: E.V. Mitchell; New York: Dodd, Mead & Company, 1935.
Eugene Berman: Catalogue of the Retrospective Exhibition of His Paintings, Illustrations, and Designs. Boston, Mass.: Institute of Modern Art, 1941.
The Early Chirico. New York: Dodd, Mead & Company, 1941.
Paintings, Drawings, Prints: Salvador Dali. New York: Museum of Modern Art, 1941.
Pavel Tchelitchew: Paintings, Drawings. New York: Museum of Modern Art, 1942.
Romantic Painting in America. New York: Museum of Modern Art, 1943.
Georges Rouault: Paintings and Prints. New York: Museum of Modern Art, 1945.
Ben Shahn. Middlesex, England: Penguin Books, 1947.
Museum of Modern Art. New York: Museum of Modern Art, 1947.
The Prints of Paul Klee. New York: Museum of Modern Art, 1947.
Contemporary Painters. New York: Museum of Modern Art, 1948.
Twentieth-Century Italian Art. New York: Museum of Modern Art, 1949.
Paintings, Drawings, and Prints by Paul Klee: From the Klee Foundation, Berne, Switzerland, with Additions From American Collections. New York: Museum of Modern Art,
1949.
Modigliani: Paintings, Drawings, Sculpture. New York: Museum of Modern Art, 1951.
Giorgio de Chirico. New York: Museum of Modern Art, 1955.
Yves Tanguy. New York: Museum of Modern Art, 1955.
Balthus. New York: Museum of Modern Art, 1956.
Modern Art and the New Past. Norman: University of Oklahoma Press, 1957.
Ben Shahn: His Graphic Art. New York: G. Braziller, 1957.
Arp. New York: Museum of Modern Art, 1958.
Juan Gris. New York: Museum of Modern Art, 1958.
Joan Miró. New York: Museum of Modern Art, 1959.
Recent Sculpture U.S.A. New York: Museum of Modern Art, 1959.
The James Thrall Soby Collection of Works of Art Pledged or Given to the Museum of Modern Art. New York: Museum of Modern Art, 1961.
Rico Lebrun Drawings. Berkeley: University of California Press, 1961.
Paintings of Ben Shahn. New York: G. Braziller, 1963.
Bonnard and His Environment. New York: Museum of Modern Art, 1964.
The School of Paris: Paintings From the Florene May Schoenbrorn and Samuel A. Marx Collection. New York: Museum of Modern Art, 1965.
Rene Magritte. New York: Museum of Modern Art, 1965.
Scope and Content of Collection
The James Thrall Soby collection documents Soby's career as author, art critic, curator, editor, collector and Museum of Modern
Art, New York, director and trustee. The papers date from about the time he became a third partner in Edwin Valentine Mitchell,
Inc., Booksellers and Publishers, in 1929, to his retirement from the board of trustees at MoMA in 1975. The bulk of the material
dates from 1935-1955 when Soby was most active. Most of Soby's papers can be found in MoMA's Library, which has a large collection
of complimentary material.
The archive consists primarily of letters sent to Soby from 20th century avant-garde artists and photographers, MoMA personnel,
curators, critics, friends and family members. These letters received by Soby record his substantial involvement with the
then contemporary art scene. The collection has very few copies of Soby's own letters, but it does contain some manuscripts
and notes for his writings. The correspondence files also include many original drawings and photographs and handmade Christmas
and postcards from artists. Filed in separate series are a substantial quantity of letters and drawings from the Russian-born
American painter and set designer Eugene Berman; letters, manuscripts and other material from and about American painter Peter
Blume; and miscellaneous papers, clippings and photographs.
Arrangement note
The collection is organized in four series:
Series I. Correspondence, 1928-1975;
Series II. Eugene Berman, 1932-1969;
Series III. Peter Blume, 1940-1956;
Series IV. Miscellaneous, ca. 1928-1968
Indexing Terms
Subjects - Names
Berman, Eugene, 1899-1972
Blume, Peter, 1906-1992
Levy, Julien
Soby, James Thrall, 1906-1979
Subjects - Topics
Art critics--United States
Art historians as collectors--United States
Art museum directors--United States
Art patrons--United States
Art--Collectors and collecting--United States
Neoromanticism (Art movement)
Genres and Forms of Material
Drawings--20th century
Greeting cards--20th century
Photographic prints
Photographs, Original
Contributors
Barr, Alfred Hamilton, 1902-1981
Berman, Leonid, 1896-1976
Blume, Peter, 1906-1992
Calder, Alexander, 1898-1976
Hartigan, Grace
Magritte, René, 1898-1967
Man Ray, 1890-1976
Miró, Joan, 1893-1983
Mitchell, Edwin Valentine, 1890-1960
Museum of Modern Art (New York, N.Y.).
Rivers, Larry, 1925-2002
Rouault, Georges, 1871-1958
Sage, Kay
Shahn, Ben, 1898-1969
Tanguy, Yves, 1900-1955
Tchelitchew, Pavel, 1898-1957
Series I.
Correspondence,
1928-1975
Physical Description:
3.0 linear feet
Scope and Content Note
Series comprises letters from artists, museum and gallery officials - especially Museum of Modern Art, New York (MoMA) staff,
critics, and friends. Arranged alphabetically by correspondent. Detailed letters from artists describe works, art theories,
and personal matters. Other letters include discussions of MoMA business, exhibitions at MoMA and elsewhere, Soby's monographs,
sale of works to Soby, and financial support for artists. The files also contain drawings, small art works and collages, photographs,
manuscripts and ephemera.
Box 1, Folder 1
Antonioni, Michelangelo,
1975
Scope and Content Note
letter, transparency and 4 details of a De Chirico painting, 1975.
Box 1, Folder 2
Arp, Jean,
1958-1959
Scope and Content Note
2 Christmas cards, one with "découpages" (ca. 1959); postcard (1958); 2 letters and a postcard signed by Marguerite Hagenbach
(Arp).
Box 1, Folder 3
Balthus,
1958, n.d.
Scope and Content Note
includes a letter about Pierre [Matisse] not returning "La Chambre" after the artist lent it to MoMA; 2 letters.
Box 1, Folder 4
Barr, Alfred,
1936-1965, n.d.
Scope and Content Note
letters regarding Barr's "retirement" from MoMA's Office of Director (1943, also correspondence with Stephen Clark), an interesting
letter discussing the Dreier bequest (Duchamp's "Big Glass" is mentioned) and the Peggy Guggenheim collection courtship (1952),
comments on Soby's foreword to the "Orangerie" exhibition (1955 Mar 9) and on Soby's Tchelitchew monograph (ca. 1942), and
other MoMA business, ca. 35 items.
Box 1, Folder 5
Barry, Iris,
1969
Scope and Content Note
5 letters from Barry describing her 1969 illness and from others about her hospital expenses, 19 items.
Box 1, Folder 6
Breton, André,
1965
Scope and Content Note
1 letter regarding a "poème-objet" by Breton.
Box 1, Folder 7
Britton, James,
1929, 1931
Scope and Content Note
1 letter about Britton painting "Card Players," with a sketch revealing the identities of those depicted (1929); and another
about the sale of "Fisherman" and lighting for "Card Players" (1931).
Box 1, Folder 8
Brown, John Mason,
1943, 1957
Scope and Content Note
2 letters from Brown and 1 from Cassie (Brown's wife).
Box 1, Folder 9
Butler, Reginald,
1959
Scope and Content Note
1 letter, 1959.
Box 1, Folder 10
Cahill, Holger,
n.d.
Scope and Content Note
1 letter in praise of Alfred Barr's article "Matisse, Picasso and the Crisis of 1907."
Box 1, Folder 11
Calas, Nicolas,
1941, n.d.
Scope and Content Note
letter regarding Soby's De Chirico book, and 2 others.
Box 1, Folder 12-13
Calder, Alexander (Sandy),
1935-1966, bulk 1935-1940
Scope and Content Note
contains extensive correspondence about personal matters, and production and sale of Calder's works including "Water-Spout"
(1935 Nov 27), various letters concerning "Well-head" (1937-1943), a project of designing theater costumes (1936 Jan 16),
and a letter with drawings of lamps (Mar 1937), 33 letters total. Also contains 31 postcards - 3 with drawings, 17 photographs
and negatives, 8 of which are of Calder and his work, and an exhibition poster.
Box 1, Folder 14
Campigli,
1956, 1961, n.d.
Scope and Content Note
5 letters regarding a monograph of the artist's work (1956), and 3 cards with graphics by Campigli.
Box 1, Folder 15
Carreña, Mario,
n.d.
Scope and Content Note
handmade Christmas card using watercolor and cutouts.
Box 1, Folder 16
Cooper, Douglas,
1955
Scope and Content Note
1 letter=.
Box 1, Folder 17
Cornell, Joseph,
1939, 1943, 1947
Scope and Content Note
3 letters, one regarding Cornell's film collection (1939).
Box 1, Folder 18
Corso, Gaspero del,
1957-1958
Scope and Content Note
2 letters.
Box 1, Folder 19
Dali, Salvador and Gala,
1939, 1941-1942, n.d.
Scope and Content Note
includes a letter from Dali in which he states his belief that Picasso was influenced by the Surrealists (1939 Apr); 13 items.
Box 1, Folder 20
Davis, Stuart,
1940, 1954
Scope and Content Note
letter regarding his art and the resistance to abstract art in America (1940 Mar 18), and another enclosed with a brief artistic
statement (1954 Apr 18).
Box 1, Folder 21
Dubuffet, Jean,
1962
Scope and Content Note
letter concerning the tragic death of Kay Sage, and another discussing how artists are influenced by their female companions.
Box 1, Folder 22
Duchamp, Marcel,
1961
Scope and Content Note
2 letters, one of which is about fund raising for the American Chess Foundation.
Box 1, Folder 23
Duhamel, Marcel,
1962
Scope and Content Note
large collage postcard, signed by Duhamel and Jacques Prévert.
Box 2, Folder 1-4
Edwin Valentine Mitchell, Inc. (bookseller and publisher)
1928-1943, n.d.
Scope and Content Note
includes extensive personal correspondence from partners Mitchell and Cedric Smith, but also some about their business operations,
and Soby's manuscript "27 Lewis Street," being a 5 page account of his experiences as a partner in the business (n.d.), ca.
60 items.
Box 2, Folder 5
Eliasberg, Paul,
1935-1936, 1938
Scope and Content Note
correspondence regarding his work, the difficulties of life for artists in Paris at this period, and Eugene Berman, 8 letters.
Box 2, Folder 6
Ernst, Max,
1947
Scope and Content Note
letter about his naturalization.
Box 2, Folder 7
Evans, Walker,
1933-1934, 1956, 1962, n.d.
Scope and Content Note
includes a letter which corrects Soby's written chronology of Evans's Leica camera work to 1929 (1956 Feb 16), and letters
giving photography advice to Soby and other letters about a job at the museum, 5 letters.
Box 2, Folder 8
Fett, William,
1943
Scope and Content Note
mostly about his current artistic production and development, and a letter with 2 photographs of Mexico by Fett (ca. 1943),
12 items.
Box 2, Folder 9
Ford, Charles Henri,
1938-1957, n.d., bulk 1941
Scope and Content Note
correspondence regarding Tchelitchew and personal matters, 11 letters and 4 postcards.
Box 2, Folder 10
Ford, Gordon Onslow,
1942
Scope and Content Note
3 letters about De Chirico.
Box 2, Folder 11
Frankenberg, Lloyd and Loren,
1947-1966
Scope and Content Note
includes personal correspondence and poems by Lloyd (1965), 15 items.
Box 2, Folder 12
Gaffé, René,
1955, 1959-1960, n.d.
General note
3 letters and a handmade Christmas card with a mobile (1960).
Box 2, Folder 13
Giacometti, Alberto,
1964
Scope and Content Note
1 letter regarding a New York exhibition of his work.
Box 2, Folder 14
Goodwin, Philip,
1943, 1955, 1958
Scope and Content Note
3 letters.
Box 2, Folder 15
Gross, Chaim,
1960
Scope and Content Note
Christmas card.
Box 2, Folder 16
Guggenheim, Peggy,
1955
Scope and Content Note
1 postcard.
Box 2, Folder 17
Guttuso, Renato,
1957, 1958, 1960
Scope and Content Note
2 letters, New Years greeting, postcard, and two telegrams.
Box 3, Folder 1
Harris, Louis,
1955
Scope and Content Note
1 letter.
Box 3, Folder 2
Hartigan, Grace, n.d.
1957-1964,
Scope and Content Note
correspondence regarding her work and exhibitions, including a 4 page letter describing a change in her painting methods,
which deviates from expressionism for the first time. 7 letters and 3 postcards (see also Frank O'Hara file).
Box 3, Folder 3
Hitchcock, Henry-Russell,
1931-1942, n.d., bulk 1942
Scope and Content Note
correspondence about acquiring works in Europe for Soby (especially Berman) and a possible Le Corbusier project (ca. 1931),
the return of Frank Lloyd Wright drawings (1942 Dec 30), and others letters about travels, naval service, and artistic personalities,
9 letters and 6 postcards.
Box 3, Folder 4
Hopper, Edward,
1948
Scope and Content Note
1 letter.
Box 3, Folder 5
Hunter, Sam
Scope and Content Note
includes letters about a de Kooning-Rothko switch and an Arp exhibition (1958), and Hunter asking for Soby's advise on writing
a Caravaggio monograph (n.d.), 5 letters, 1956, 58, n.d.
Box 3, Folder 6
Jean, Marcel,
1955
Scope and Content Note
1 letter about De Chirico book and the artist copying his own paintings.
Box 3, Folder 7
Johnson, Philip,
1964
Scope and Content Note
1 letter.
Box 3, Folder 8
Jones, Robert Edmond,
1944
Scope and Content Note
1 letter.
Box 3, Folder 9
Kahnweiler, Henri,
1933, 1935
Scope and Content Note
2 letters regarding Picasso paintings.
Box 3, Folder 10
Kaufmann, Edgar,
n.d.
Scope and Content Note
1 letter.
Box 3, Folder 11
Kirstein, Lincoln,
1943-1944
Scope and Content Note
includes a copy of Barr's response to Kirstein's criticism of MoMA's "Romantic Painting in America" exhibition (1943), copy
of a long letter from Kirstein to Clement Greenberg disagreeing with Greenberg's statement "There is nothing left in nature
for plastic art to explore" (1944), and a letter describing MoMA as "reactionary" (1944), 4 items.
Box 3, Folder 12
Kooning, Willem de,
1963
Scope and Content Note
1 letter.
Box 3, Folder 13
Laughlin, Clarence John,
1940-1942
Scope and Content Note
includes a letter that describes the "direct" vs. "symbolic" in his photography, 4 letters.
Box 3, Folder 14
Lebrun, Rico,
1940-1959, n.d., bulk 1940-1941
Scope and Content Note
correspondence regarding Lebrun's recent work (1940), humorous letter with references to Dali and Eugene Berman (1941), his
crucifixion paintings (1954), and others about an introduction to a drawings catalogue, 12 letters total.
Box 3, Folder 15
Le Corbusier,
1935-1936
Scope and Content Note
includes 2 letters about Henri Laurens, sculptor friend of Le Corbusier, and 1 letter from Laurens; 4 letters total.
Box 3, Folder 16
Leonid (Berman),
1931-1960, n.d., bulk 1937-1939
Scope and Content Note
extensive correspondence regarding the artist's work, personal matters and travels, including a letter about the painting
"Pêcheurs de Césenatico" (1937 Aug 25); 2 letters describing current work, especially with fishermen (1937 Sep 15 and 1937
Sep 22); expressing admiration for his brother Eugene's work (1938 Oct 13); about painting in Lille (1939 Jan 14); asking
for financial assistance for the French army in Lille (1940 Oct 4); describing his life as a soldier and mentions how his
contract with Julien Levy was provisionally suspended (1940 Apr 20); about not participating in the organization of a Neo-Romantic
show with Levy (1961); and a letter to Eugene about awaiting demobilization, his observations on France's recent defeat and
his participation as an eyewitness (n.d., ca. early 1940s). Also contains a contract and import documents for Soby's purchase
of 6 Eugene Berman drawings (1931) and photograph taken in Venice (1937). ca. 36 items.
Box 3, Folder 17
Levy, Julien (Gallery),
1940-1941, n.d.
Scope and Content Note
includes a letter describing Dali's arrival from Europe and the present situations of Man Ray, Duchamp, Picasso, Léger, etc.
(n.d.), and two others about the problems of getting Leonid Berman out of France (n.d.), 7 letters. Also contains a brochure
of a Frida Kahlo exhibition with preface by André Breton (n.d.).
Box 3, Folder 18
Lipchitz, Jacques,
1942, 1958
Scope and Content Note
2 letters, one regarding his portrait of Charles V (1942) and the other stating that Henry Kahnweiler misquoted him about
Juan Gris (1958).
Box 3, Folder 19
Lipton, Seymour,
1947
Scope and Content Note
2 letters, one about his lead sculptures.
Box 3, Folder 20
Magritte, René,
1965-1966
Scope and Content Note
contains a letter which describes Magritte's first encounter with De Chirico's work in 1922, a long letter documenting in
detail his theory of painting, and another about Soby's text in the MoMA exhibition catalog on Magritte.
Box 3, Folder 21-22
Man Ray,
1933-1938, 1940-1941, 1958, n.d.
Scope and Content Note
correspondence includes an indignant rebuttal by Man Ray of a recent article by Lewis Mumford in The New Yorker, critical
of a book of Man Ray's photographs; Mumford's reply addressed to Soby; and many letters about production and sales of Man
Ray's books. Also contains a photograph of a woman with an inscription on the verso "Dedié à la Marquise Casatti/Soby 39.162"
(n.d.), 3 photographs of Soby, one of which is mounted (n.d.), and one other made for New Years 1958, 17 items. (See also
Box 6, Miscellaneous P-Z, for letter from Albert Skira about the sale of a Man Ray album).
Box 3, Folder 23
Marini, Marino and Marina
Scope and Content Note
includes an announcement of a De Chirico exhibition with pencil drawings (1952) and personal correspondence, 25 items, 1952,
54, 60-62, 64, n.d.
Box 3, Folder 24
Matisse, Pierre (Gallery),
1933, 1963
Scope and Content Note
letters about Rouault paintings for MoMA (1933), Miro's painting "Farm" (1963) and the distribution of the Yves and Kay Tanguy
library (1963), 3 letters.
Box 3, Folder 25
Matta, Roberto,
n.d.
Scope and Content Note
a small pencil and crayon drawing, titled "Le Forçat de la Lumiere," and a postcard, n.d. (see also Berman correspondence
for letters about Matta).
Box 3, Folder 26
Melville, Robert,
1955, 1958
Scope and Content Note
2 letters.
Box 3, Folder 27
Miró, Joan,
1947-1968, n.d.
Scope and Content Note
contains personal correspondence and letters regarding MoMA including loans and offering a work, and five sheets with drawings
in crayon on recto and verso (1959), 13 items.
Box 3, Folder 28
Morandi, Giorgio,
1957-1960, 1962-1963
Scope and Content Note
1 Christmas card, 4 calling cards and 1 letter.
Box 3, Folder 29
Morse, Reynolds,
1948, 1956, n.d.
Scope and Content Note
includes letter about MoMA's Dali monograph and another about a monetary dispute between Morse and Dali, 3 items.
Box 4, Folder 1
Newhall, Beaumont,
1944, 1957
Scope and Content Note
3 letters about various art related topics.
Box 4, Folder 2
O'Hara, Frank,
1955
Scope and Content Note
1 letter regarding a Soby article on Grace Hartigan.
Box 4, Folder 3
O'Keeffe, Georgia,
1946, n.d.
Scope and Content Note
letter about Soby's article on O'Keeffe, 1946, and photograph of O'Keeffe late in life being drawn by an unidentified artist,
n.d.
Box 4, Folder 4
Osborn, Robert (cartoonist)
1957-1964, n.d.
Scope and Content Note
mostly personal correspondence with many drawings, but also one long letter regarding the difference between cartooning and
"art" and descriptions of Osborn's recent acquisitions of Miro and Calder, and 1 clipping, 13 items total.
Box 4, Folder 5
Paley, William S.,
1970, 1975
Scope and Content Note
4 letters about MoMA trustee business.
Box 4, Folder 6
Palmer, Philip,
1942
Scope and Content Note
1 letter commenting on Soby's
US Camera article on documentary photography.
Box 4, Folder 7
Panofsky, Erwin,
1943-1944
Scope and Content Note
a letter about the representation of Copley's "Shark" in Gericault's "sick-room" and another about the "Blue Doll," 2 letters.
Box 4, Folder 8
Penrose, Roland,
1947, 1955-1956, 1963
Scope and Content Note
correspondence about reproductions of Penrose owned De Chirico works for Soby's monograph, and title changes of one of the
works.
Box 4, Folder 9
Picasso, Pablo,
1962
Scope and Content Note
1 postcard with Picasso's signature and a small folder of material relating to a fake (copy) of the Soby-owned drawing "The
Sigh."
Box 4, Folder 11
Porter, Fairfield,
1965
Scope and Content Note
letter about one of Porter's paintings.
Box 4, Folder 12
Rivers, Larry,
1947, 1955, 1962, n.d.
Scope and Content Note
includes 4 pg ms "Interview with Larry Rivers" about Rivers's transition from abstract to figure painting in his "Washington
Crossing the Delaware" with Rivers' corrections (1955); letters about investigations into his background by the naturalization
office (1947), his recent painting (1962), Rivers's reflection that recent painting seems to bear a resemblance to his own
work and comments on his painting "Last Civil War Vet" (1962), and his Louvre show (n.d.), 6 items.
Box 4, Folder 13
Rockefeller, Nelson A.,
1939-1969
Scope and Content Note
contains letters about museum business and Rockefeller'sattempt to commission Georges Rouault to create a stained glass window,
5 items.
Box 4, Folder 14-18
Rouault, Georges,
1945-1949
Scope and Content Note
includes material for MoMA's 1945 Rouault exhibition, such as Rouault manuscripts printed in the catalog as "Notes Received
from the Artist February, 1945," correspondence from Rouault, his daughter Isabel and others, and exhibition checklists. Also
contains other correspondence and manuscript page for the 1947 catalog reprint, correspondence with Robert Dahl about controversy
over "Miserere et Guerre" prints and a summary of the Rouault-Vollard trial (1947), miscellaneous correspondence about work
authenticity and publishing a small book of "Miserere" prints. Also catalogs, announcements and 3 photographs of Rouault's
work, ca. 70 items.
Box 4, Folder 19
Sachs, Paul J.,
1955-1957
Scope and Content Note
4 letters.
Box 4, Folder 20
Salemme, Attilio,
1954
Scope and Content Note
1 letter.
Box 4, Folder 21
Santomaso, Giuseppe,
1960
Scope and Content Note
1 small etching.
Box 43, Folder 22
Seligmann, Kurt,
1940
Scope and Content Note
1 letter.
Box 4, Folder 23
Severini, Gino,
1953-1954
Scope and Content Note
1 letter from Severini about the 1954 Venice Biennale and Soby's response with his thoughts on Surrealism in America.
Box 4, Folder 24
Shahn, Ben, n.d.
1945-1962,
Scope and Content Note
includes Soby's notes from a discussion with Shahn (1945 Apr 23); typescripted poem "A Small Painting in Tempera: For Ben
Shahn" by A.M. Krich; letter from Shahn to Chrysler Corporation declining a painting commission because the firm wished to
specify the subject of a war scene subtly containing Chrysler products (1946 Sep 26); and other correspondence about damage
incurred to "Father and Child" while on tour (1949 Jan 5), "illustration" in painting and how some of Shahn's paintings evolved
from stories he wrote and which appeared in
Harpers (1962 Apr 20). Also contains pencil drawing of a seated man (n.d.), chapbook "I Sing of a Maiden" (n.d.), and printed Christmas
card (see oversize).
Box 5, Folder 1
Storrs, Robert (Soby's godchild)
1932-1943, n.d.
Scope and Content Note
contains personal correspondence, postcards and poem, 32 items.
Box 5, Folder 2
Strand, Paul,
1955
Scope and Content Note
2 letters.
Box 5, Folder 3
Sutherland, Graham,
1949
Scope and Content Note
1 letter and a photograph of "Thorn Heads."
Box 5, Folder 4
Tanguy, Yves and Kay (Sage)
1941-1964, n.d.
Scope and Content Note
includes mostly personal correspondence from Sage, but also contains a long letter from Arpad Mezei to Soby about Tanguy's
painting and a response from Sage to Soby in disagreement with Mezei's comments and explains Tanguy's inspirations and methods;
4 handmade Christmas cards; and 1954 Wadsworth Athenaeum exhibition catalogue Yves Tanguy, Kay Sage, ca. 24 items.
Box 5, Folder 5-8
Tchelitchew, Pavel,
1937-1955, n.d., bulk 1940-1942
Scope and Content Note
extensive personal correspondence, often documenting Tchelitchew's delicate constitution, and many letters related to his
and others' art, including his inability to paint portraits because of his work on "Orpheus" (1936 Sep 21), his work "Phenomena"
(1938 Apr 19), the play "Ondine" and his recent work (1939 Mar 5), urging Soby to protest for American artists' (1940 Sep
15), asking Soby to assist Matta who is penniless (1940 Oct 2 and 1940 Nov, see also Berman), the proposed exhibition and
his feelings about a reproduction of one of his portraits in
Fortune (1941 Dec 5), a large sculpture given as a thank you to Soby (1943 Dec 24), "Hide and Seek," comments for the 2nd edition
text revision and advising Soby to give Ernst a one-man show (1947 Aug 5), Soby's intended plate revisions for 2nd edition
(1948 Jan 24), Tchelitchew's response with references to early works and his statement that he is a poet who thinks in symbols
and not an abstract painter (1948 Feb 2), Soby's decision to hand over the responsibility of writing the 2nd edition to Edgar
Wind, due to Tchelitchew's dissatisfaction with Soby's revisions (1948 Mar 5), his drawing exhibition in France (1954 Jul
20), and praise for Bonnard as a painter, while disparaging Picasso (1955 Jul 4). Correspondence also contains two drawings
in pen (1937), clippings and announcements. Other papers consist of material for MoMA's 1942 Tchelitchew exhibition and catalog
including 2 manuscript copies, one with annotations (see also Barr file for letter ca. 1942 with comments on Soby manuscript),
some correspondence from Tchelitchew about works in the show, postcard with fish drawing, exhibition pamphlets, clippings,
MoMA news release and photograph possibly used for "Toreador," ca. 75 items.
Box 5, Folder 9
Thomson, Virgil, 1940
Scope and Content Note
includes a letter about Leonid's situation, 2 letters.
Box 5, Folder 10
Thurber, Helen (Soby's assistant at
Magazine of Art)
1940-1965, n.d., bulk 1951-1952
Scope and Content Note
correspondence about personal matters and
Magazine of Art including a letter chronicling problems at the magazine (1952 Aug 11), and another about the Biennale issue (1952 May 19).
12 items.
Box 5, Folder 11
Toklas, Alice,
1934, 1958
Scope and Content Note
includes a letter regarding a Juan Gris attribution, 3 letters.
Box 5, Folder 12
Ungaretti, Giuseppe,
1956
Scope and Content Note
1 letter and 1 card.
Box 5, Folder 13
Vitali, Lambert,
1951-1961
Scope and Content Note
includes a letter about De Chirico's inspirations (1955 Oct 8), 5 letters.
Box 6, Folder 1
Weber, Max,
1957
Scope and Content Note
1 letter about the loan of "Giranium."
Box 6, Folder 2
Weinberg, Elbert,
bulk 1955-1956
Scope and Content Note
includes letter correcting an
Art in America article about one of Weinberg's sculptures which he designed but was executed with the help of others (1955 Mar), another
stating how his recent work stems from the "Ritual Figure," (1956 Jan 19), and an exhibition announcement, 8 items.
Box 6, Folder 3
Westcott, Glenway,
1963-1964, n.d.
Scope and Content Note
letter about a proposed small book on Tchelitchew and 2 others.
Box 6, Folder 4
White, Nelson C.,
1943
Scope and Content Note
2 letters, one which gives biographical information on artist Thomas W. Dewing.
Box 6, Folder 5
Wines, James,
1958
Scope and Content Note
1 postcard.
Box 6, Folder 6
Yourcenar, Marguerite,
1942, n.d.
Scope and Content Note
2 letters and 1 clipping.
Box 6, Folder 7
Miscellaneous A-G
Scope and Content Note
contains assorted letters from artists, friends and colleagues including Merle Armitage, Kirk Askew of Durlacher Bros., Virgil
Barker, William Burden, Lynn Chadwick, John Coffey to Wyndham Lewis about his incarcerations, Ralph Colin, Pierre Courthion,
Norman Cousins, Frank Crowninshield, Herbert Ferber, Lee Friedlander, ca. 38 items.
Box 6, Folder 8
Miscellaneous H-O
Scope and Content Note
George Heard Hamilton, Ian Hugo, Ernest Knee, Arnold Leondar, Naomi Lorne, John Melvin, John McGuinn, John de Menil, Henry
Allen Moe, Walter Nathan, ca. 27 items.
Box 6, Folder 9
Miscellaneous P-Z
Scope and Content Note
Allen Porter, Nathan Pusey, Romain Rolland, Rosalind Russell, Germain Seligman, Albert Skira, Bill Snow, Peter Watson, George
Wittenborn, ca. 33 items.
Box 6, Folder 10
Miscellaneous museums and galleries
Scope and Content Note
correspondence with, among others, John Baur, Brooklyn Museum; Gordon Washburn, Carnegie Institute; Lino Montagna, Comune
di Milano Ente Manifestazioni Milanesi; Charles Buckley, Currier Gallery of Art, about Blume exhibition there; Jacues Dupin,
Fondation Maeght; Jeanne Bucher, Galerie Jeanne Bucher; Henry Hope, Indiana University, about Dali; Henri Marceau, John G.
Johnson Collection; W. Walter, Quatre Chemins, about purchasing Grandville; Robert Parks and Elizabeth Payne, Smith College
Museum of Art; James Sweeney, Solomon R. Guggenheim Museum; Blake-More Godwin, Toledo Museum of Art; Romeo Toninelli, Toninelli;
Reuben Holden, Yale University; ca. 41 items.
Box 6, Folder 11
Miscellaneous MoMA
Scope and Content Note
correspondence and memos from Dorothy Miller, Monroe Wheeler, Blanchette Rockefeller, William Burden, Grace Mayer and others;
and 4 press releases, ca. 30 items.
Box 6, Folder 12
Unidentified
Scope and Content Note
ca. 15 letters and 14 postcards (see also oversize).
Oversize **1
Unidentified drawing,
n.d.
Scope and Content Note
sent as a Christmas gift, unidentified watercolor, and printed Christmas card from Ben Shahn.
Series II.
Eugene Berman,
1932-1969, bulk 1935-1945
Physical Description:
1.0 linear feet
Scope and Content Note
Letters from the artist, arranged chronologically, with a separate drawings file at the end. Includes letters about the design
and execution of decorations for Soby's Connecticut dining-room, Berman's work in general, anger over MoMA's treatment of
him and the expatriates involved in the Neo-Romantic movement (which would cause a rift in Soby's and Berman's friendship),
his relationship with Julien Levy, and Berman's promotion of other artists' work. The series also contains a substantial quantity
of drawings, drawn on separate sheets and on his letters in his "trompe l'oeil" manner.
Box 7, Folder 1
1932-1934
Scope and Content Note
letters about Soby's purchase of a painting (1932 Sep 18); his new paintings on Italian themes (1932 Dec 8), opinion of Balanchine
and Diaghilev (1933 Oct 14); primacy of politics over art as a topic of conversation in contemporary Parisian society and
his plans to emigrate to the United States (1934 Jul 2); and a long letter regarding his painting (1934 Sep 21). 11 letters,
1 telegram.
Box 7, Folder 2
Apr-Aug 1935
Scope and Content Note
Berman asking Soby not to mention to Julien Levy that Berman initiated personal contact between Soby and Christian Bérard
(Apr 12); Berman critique of Soby's
After Picasso, which corrects and edifies the early careers and influences of Bérard and Tchelitchew in Paris (ca. May 6); offering to
help with French edition of Soby monograph, Dupont's potential as an artist and Berman's fashion drawings for
Harper's Bazaar (ca. Jun 6); Leonid's and Berman's dislike for Soby's statement that Dali influenced their landscape paintings, and instead
notes the importance of De Chirico, but does express appreciation of Dali's technique, and opinions about the work of artists
Filippo De Pisis, Leonor Fini, Paul Eliasberg, and Dupont (ca. Jul 1); lengthy discussion of Bérard as an artist, expressing
disappointment with his recent work and recommending that Soby buy a painting from his early period (ca. Jul 18). 11 letters.
Box 7, Folder 3
Sept 1935
Scope and Content Note
9 letters with long and detailed discussions about plans for Soby's dining-room in his Connecticut home, including elevations
(see Box 8 drawings folder for plan of room and South elevation), panel and ceiling designs, doors, windows, frames (see drawings
file), drapes, lighting, color scheme, etc., with mention of the Julien Levy panels designed at the same time (see especially
ca. Sep 9) and documenting tension between Berman and the architect Henry-Russell Hitchcock (see especially ca. Sep 26, which
also discusses Bérard's dislike for varnishing his pictures and how he asked Berman or restorers to do it).
Box 7, Folder 4
Oct-Dec 1935
Scope and Content Note
10 letters mostly regarding Soby's dining-room, one with a drawing of a shell as a design for the light fixtures (ca. Dec
4), and about his financial situation and ill health.
Box 7, Folder 5
Feb-Jun 1936
Scope and Content Note
9 letters with references to the dining-room, one with a description of the two thus far completed panels (Mar 21), and another
with a drawing of a shell (ca. Ju 16).
Box 7, Folder 6
July-Dec., 1936
Scope and Content Note
more about his progress on the dining-room, with letters about his difficulties finishing the panels (ca. Jul 16), sample
of the panel's color border (ca. Jun 24), and many regarding the light fixtures; and other personal letters about his intended
travels, visas, the state of friends in Paris upon his arrival (Sep 8) and various other topics, 13 letters.
Box 7, Folder 7
1937-1939
Scope and Content Note
two letters about a picture Soby purchased (ca. 1937 Feb 15 and 1937 Feb 27); how bad he thought "The Beggars' Opera" was,
although he had many compliments for his set designs (1937 Sep 27); his tempestuous life in London and his daily ballet battles,
his beginning "Twelfth Night" and doing the delayed Paginini for Massine with Freddie [Frederick] Ashton (1938 Sep 7); Berman
admitting that he admires Dali as an artist, but disagrees strongly with Soby's statement in the Dali catalog that he is "the
one and only to have brought something new to art since Picasso" (1939 Mar 27); about the drawings for a possible Schubert
ballet, and Roberto Matta, whose work Berman thinks Soby would like to (ca. 1939 Dec 15); Berman trying to solicit funds from
Soby in support of Matta (1939 Dec 29); 16 letters, 1 note, 2 postcards.
Box 8, Folder 1
1940
Scope and Content Note
regarding Matta's finances (Jan 1930); many letters about Leonid including his mobilization, raising money for him, helping
him emigrate to America and the problems associated with it, and the committee created to help artists leave Europe; two other
letters about Berman's feelings on the current state of ballet in New York and mention of giving "Mirages" to Matta because
Lichine changed it so much (Dec 13 and Dec 20). 15 letters, 1 postcard.
Box 8, Folder 2
1941
Scope and Content Note
discussion of works to be in Berman's retrospective exhibition at the Institute of Modern Art, Boston (Mar 2, also Apr 10);
the Spanish-Mexican architectural influences in the panel for John Yeon and Berman's belief that they are his finest work,
and his disappointment with MoMA for not organizing a long promised Neo-Romantic show (Jul 18); long letter protesting Soby's
contention that Berman is now in a category of artists who do not need any support, his dislike of the monopoly Surrealism
and Dali have exerted on publicity, and his feeling that the Neo-Romantic movement has been seen as an offshoot of Surrealism
instead of a parallel movement with similar sources (Oct 18); the success of Julien Levy's Los Angeles gallery (Nov 7); extensive
discussion of Soby's text on De Chirico that shows Berman's thorough knowledge of the older master's mentality and work (Nov
25, see also Dec 2); Soby's monograph on Dali (Dec 14). 11 letters, 1 postcard, 1 Christmas card.
Box 8, Folder 3
Mar-July 1942
Scope and Content Note
recent work and its closeness to "Night Music" (Mar 3 and May 27); many letters about financial help for Leonid; Berman's
critical reaction to the news that MoMA will organize a Tchelitchew exhibition, instead of one on the Neo-Romantic movement
as a whole, and also about recent works "Les Filles du Feu," "Monument to a Muse," "Soledad," "Anatomy of Melancholy," and
"Portrait Fantasy of Ona Munson" (Jul 3); unwillingness to give any information on the early days of the Neo-Romantics for
the Tchelitchew text (Jul 6, see also Jul 8); long letter documenting tensions between Berman and Soby over the Tchelitchew
exhibition (Jul 17); Stravinsky portrait (Jul 30); Berman's recommendations for the selection of one of his paintints for
the portrait show (Jul 31). 14 letters.
Box 8, Folder 4
Aug-Dec 1942
Scope and Content Note
more detailed recommendations for selecting portraits from Berman's oeuvre for the show, and which artists should be represented
(ca. Aug 7); Berman asking Soby's assistance for Corrado Cagli (Aug 8), with a letter from Cagli to Berman explaining his
current plight (Aug 6); Berman's preference to exhibit his newly painted portrait of Ona Munson rather than "Night Music"
(Aug 20); 8 letters.
Box 8, Folder 5
1943-1947
Scope and Content Note
reaction to Soby's critical remarks on his recent work, which begins Berman's estrangement from MoMA and Soby (1943 Jan 26);
letter to Berman about restoration of "Souvenir d'Ischia" and "Adriatique" (1943 Jan 29); criticism of MoMA sharply intensified
in response to his poor representation in a drawings show (1944 Mar 3); carefully documented account of Berman's life and
friendship with Soby since 1932, written so Soby could corroborate Berman's history to attain citizenship (1944 Apr 12); recent
work based on his Guggenheim fellowship in Mexico and his intention to find another dealer (1947 Sep 12). 10 letters, 1 postcard.
Box 8, Folder 6
1954-1969
Scope and Content Note
about the possibility of his inclusion into the American section of the Biennale (1954 Mar 3); Berman's thoughts on his career
and friendships from ca. 1935 to the 1960, expressing much dismay at the rejection his friends showed him during his middle
period (1960 Apr 10); a Neo-Romantic show to be exhibited in Europe, a fight with Levy regarding this matter and some thoughts
on Leonid (1961 Aug 14); Berman manuscript on Neo-Romanticism (ca. 1969); Soby's comments on the ms (1969 Nov 25). 8 letters,
1 postcard.
Box 8, Folder 7
n.d.
Scope and Content Note
1 letter, 2 notes.
Box 8, Folder 8
Drawings,
1935-1939, n.d.
Scope and Content Note
letter discussing in detail a new idea to extend the walls of Soby's dining-room 12" in order to create niches, with two drawings
of floor plan and south elevation, and also discussing still-life motif of panels (ca. 1935 Oct 7); letter about frames and
trim with an example of each on one sheet with text (ca. 1935 Dec 12); 4 sheets of drawings with similar image of a head atop
a pedestal, 2 in ink and 2 in pencil (1 signed EB 1936); letter about the trim for the dining-room with drawing of figures
and buildings inscribed "Mr. E. Berman's design for living for Mr. and Mrs. James Thrall Soby. . ." and small portrait head
on the verso (ca. 1937 Jan 4); "trompe l'oeil" letter with margins of envelope in black ink (ca. 1937 Mar); "trompe l'oeil"
letter with red watercolor (1937 Apr 12), which also contains another drawing on a separate sheet of three figures in purple
(1936); personal letter with information on furniture Berman recently saw, with a drawing of a chair on the same sheet as
the text and a drawing of a dog on a separate sheet (1937 Jun 16); 3 page letter regarding, among other things, Berman's dislike
for Tchelitchew's recent work, with light grey watercolor drawings on verso and recto of each page and a "trompe l'oeil" envelope
(1937 Nov 9); Christmas letter stating Berman is "gloomy and lonely" with drawing of artist's head on a table and a bottle
of sherry overhead (ca. 1937 Dec 23); printed Julien Levy exhibition announcement with invitation (ca. 1937); personal letter
and a drawing on a separate sheet of a seated man with a severed head between his feet on red ground (1938 Apr 7); Christmas
and New Year's wish with a drawing of a man standing under an arch on the same sheet (1938 Dec); letter with small drawing
of a woman standing under an arch of the nightclub "Famous Door" (ca. 1939 Dec 5); drawing with figures and buildings (ca.
1937 or 1939); and New Year's greeting with self-portrait.
Series III.
Peter Blume,
1940-1956
Physical Description:
0.5 linear feet
Scope and Content Note
Series comprises letters from Blume about many of his important paintings, the history of his early life and career, personal
matters, and also contains a few letters from Blume's wife Ebie. The letters are arranged chronologically (bulk 1940-1945).
The archive also has clippings, a pencil drawing, a small landscape painting, five different versions of a Soby manuscript
on Blume with Blume and Barr annotations (1945), and two other manuscripts by Soby on Blume. Also includes Soby notes for
text and bibliography, and correspondence with others pertaining to production of a Blume monograph.
Box 9, Folder 1
Correspondence
1940-1944
Scope and Content Note
letters about his move from Julien Levy Gallery to Downtown Gallery (1941 Feb 9); his works at Downtown Gallery which the
MoMA acquisition committee might find suitable, including "South of Scranton," "The Eternal City," "Lilies," and "Buoy" (1941
Apr 9); the committee rejecting "Buoy" (1941 May 6); and 2 MoMA press releases about the museum's purchase of "The Eternal
City" (1943).
Box 9, Folder 2
Correspondence
bulk 1945
Scope and Content Note
copy of a letter from Blume to James Sweeney describing in detail his work "Parade" (Mar 9); letters about Blume monograph
from Penguin series and Blume's explanation of why photographs and provenance of his early career are difficult to obtain
(May 16 & May 21); copy of a letter from Blume to Dorothy Miller about "Penicillin Ward, Army Hospital" (Jun 13); detailed
account of Blume's adolescent period as an art student, his printing "career," and "life class" training at the Educational
Alliance, where he met Soyers and Chaim Gross (Jul 22); continuation of previous letter which describes his family's view
of an artistic career, art classes at the Education Alliance and his modelling, his short stay at the Art Students League,
and rental of a studio on 13th Street, in which he began painting "in a manner unlike anything I had ever done" (Jul 24, both
of the previous letters were meant to flesh out details for Soby's monograph on Blume); sources of his painting "The Light
of the World" (Aug 1); the final progress of "Excavation," which Barr wants to send to an engraver (Aug 9); chronology of
his painting "South of Scranton" (Aug 24); the influence of Kingston and its environs on his paintings "The Boat," "White
Factory," and "The Bridge" (Aug 28); his painting "Barnyard" (Oct 16).
Box 9, Folder 3
Correspondence
1946-1956
Scope and Content Note
includes letter about his use of preliminary sketches in the process of painting (1947 May 7).
Box 9, Folder 4
Drawing and letter,
1961, n.d.
Scope and Content Note
clippings, pencil drawing (n.d.), landscape painting (5x7, n.d.), and letter requesting information on Blume (1961).
Box 9, Folder 5
Soby manuscripts and notes,
ca. 1945-1950, n.d.
Scope and Content Note
contains extensive notes on "South of Scranton," "The Eternal City," other works and general information extracted from articles
(n.b.: Soby makes many references to Peter A. Juley negatives of which the Getty Research Library houses duplicate prints
in the Photo Study Collection); 5 manuscripts by Soby on Blume (ca. 1945), two of which have annotations and comments by Blume,
and a letter with comments by Barr; Soby manuscript with Blume comments (ca. 1950); and another manuscript "History of a Picture"
(n.d.); and index cards with bibliographic notes.
Box 9, Folder 6
Correspondence with others about Soby monograph,
1945
Scope and Content Note
includes many reproduction permission requests, discussions of which works to reproduce, provenance queries, guidelines and
comments from Barr about reproductions and text, etc.
Box 9, Folder 7
Miscellaneous material for Soby text
Scope and Content Note
includes large color reproduction of "Penicillin Ward, Army Hospital," photograph request lists, notes, clippings and announcements.
Series IV.
Miscellaneous,
ca. 1928-1968
Physical Description:
0.5 linear feet
Scope and Content Note
Series contains assorted materials including Soby's manuscript about Everett (Chick) Austin; review clippings of Soby monographs
and exhibitions; a few pages of Soby notes; photographs and postcards, including 2 photographs by George Platt Lynes; correspondence
about Soby's personal finances; Soby's Last Will and Testament (1942); and miscellaneous Wadley family items such as correspondence,
papers, poems, clippings and photographs accumulated by Soby's third wife Melissa.
Box 10, Folder 1
Austin, Everett A. (Chick)
n.d.
Scope and Content Note
contains manuscrips about Austin (n.d., see also Berman correspondence ca. 1935 for Austin's involvement with the decoration
of Soby's dining-room).
Box 10, Folder 2-4
Clippings
Scope and Content Note
mostly reviews of Soby's books and exhibitions, especially De Chirico and Tanguy; reviews of various exhibitions; and miscellaneous
clippings and ephemera.
Box 10, Folder 5
Notes
Scope and Content Note
2 pages of Soby notes about Frank Lloyd Wright's "Falling Water" and 2 other pages.
Box 10, Folder 6
Photographs and postcards
Scope and Content Note
12 photographs of family, friends and artistic personalities, 8 postcards and 2 negatives.
Box 10, Folder 7
Photographs by George Platt Lynes,
n.d.
Scope and Content Note
2 photographs, one inscribed on verso "288/As a Wife Has a Cow" and the other "345/Boat Series #9."
Box 10, Folder 8
Personal Finances,
1928-1968
Scope and Content Note
correspondence with Hartford National Bank and Trust Company and Loomis, Sayles & Company (1933-1934, 1951, 1968); regarding
Package Machinery Company (1928, 1931); about purchasing New Canaan, Conn., property (1953); and Last Will and Testament (1942).
Box 10, Folder 9
Soby Collection List
Scope and Content Note
1 sheet.
Box 10, Folder 10
Wadley family
Scope and Content Note
correspondence, papers, poems, clippings and photographs accumulated by Melissa from family members, ca. 16 items.
