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Guide to the Sadakichi Hartmann Papers
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Title: Sadakichi Hartmann papers
Date (inclusive): circa early 20th century, undated
Date (bulk): circa early 20th century
Collection Number: 068
Creator:
Hartmann, Sadakichi
Extent:
84.0 linear feet
(108 document boxes, multiple containers)
Repository:
Rivera Library. Special Collections Department.
Riverside, California 92517-5900
Abstract: Sadakichi Hartmann (1867-1944) was a writer, poet, dramatist, and critic during the early 20th century. Hartmann was an important
figure in early modernism and had a diverse social circle that included Walt Whitman, Ezra Pound, and John Barrymore. This
collection includes Hartmann's published works, unpublished manuscripts, correspondence, photographs, pastels, paintings,
and diaries.
Languages: The collection is in English.
This collection is open for research.
Copyright has not been assigned to the University of California, Riverside Libraries, Special Collections & Archives. All
requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections
& Archives. Permission for publication is given on behalf of the Regents of the University of California as the owner of the
physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by
the researcher.
[Identification of item]. Sadakichi Hartmann papers, Collection 068. University of California, Riverside Libraries, Special
Collections & Archives, University of California, Riverside.
Compiled by John Batchelor, edited by Clifford Wurfel, with an introduction by Harry Lawton. Completed in 1980.
Collection Scope and Content Summary
Sadakichi Hartmann (1867-1944) was a writer, poet, dramatist, and critic during the early 20th century. Hartmann was an important
figure in early modernism and had a diverse social circle that included Walt Whitman, Ezra Pound, and John Barrymore. This
collection includes Hartmann's published works, unpublished manuscripts, correspondence, photographs, pastels, paintings,
and diaries.
A portion of this collection remains unprocessed. Please contact Special Collections & Archives for additional information
regarding this material.
Introduction (Historical Background)
"The clapboard shanty known as "Catclaw Siding" is gone now, torn down many years ago, but in the summer of 1954 it stood
on the desert flats of Morongo Indian Reservation, paint mostly worn away, wind rushing through its broken windowpanes. I
was then a newspaper reporter, pursuing a story, and I badly wanted into the shack to see what secrets it contained. Ten years
before it had been the last home of Sadakichi Hartmann (1867-1944), an almost forgotten American literary figure from the
Mauve Decade. I studied the shack, carefully jotting down descriptive notes for my story. Then I walked away from it and knocked
on the door of a nearby adobe house. The door was opened by a hauntingly beautiful woman with coal-black hair framing an olive-hued
face.
She listened suspiciously as I explained that I was a reporter and wanted to do a story on her late father, Sadakichi Hartmann.
Then she slammed the door in my face.
That was my introduction to Wistaria Hartmann Linton, who was to become a close friend and future collaborator with Professor
George Knox and me in research on her father.
Some weeks before Gene Fowler had published
Minutes of the Last Meeting, a popular memoir detailing the escapades of John Barrymore, W. C. Fields, and other Hollywood celebrities during their last
years. The most memorable character in his book was Sadakichi Hartmann, whom he called "the magnificent charlatan." Fowler
portrayed Hartmann as an ancient relic of the earliest Bohemian days of Greenwich Village--now down on his luck, cadging drinks
off Barrymore and various cronies for whom he performed as a witty and sarcastic court jester. There was much that was accurate
in Fowler's portrayal of the half-Japanese, half-German writer, poet, dramatist, and critic. There was also much that was
hearsay with no basis in fact. Fowler had a gift for telling a good story that would amuse readers, and he enjoyed making
a good story
better whenever possible. He embroidered upon many of the legends that had clung to Sadakichi Hartmann, dismissed the old
man's real achievements as drunken boasts, and conducted only superficial research into his subject's past.
The book was an instant best-seller and
cause-célèbre that summer in the San Gorgonio Pass. Many long-time residents of the two Pass communities of Banning and Beaumont had known
Hartmann--if only as an eccentric and mysterious figure with aristocratic manners who prowled their streets in a heavy overcoat,
rumpled white hair poking from under a felt hat. In 1923, Hartmann had moved his family to Beaumont, and from that base he
had made periodic forays to Hollywood, working on films, writing movie criticism, and joining the John Barrymore crowd as
a drinking companion. In 1938, then in his 70's, Sadakichi had built his old-age shack, "Catclaw Siding" as he called it,
on land owned by a Cahuilla cattlerancher, Walter Linton, who was then married to his daughter, Wistaria. Now ten years after
his death everyone in the San Gorgonio Pass was reading about him in Fowler's book.
I had never heard of Sadakichi Hartmann when the book came out. I found the book entertaining, accepted all of
Fowler's tales at face value, and liked Sadakichi's mocking tongue and indomitable spirit. I was surprised to find those reader's
of the book who had known Sadakichi best angry at Fowler's portrait.
I believe the first criticism I heard about the book came from Mrs. George Lardner, Beaumont Librarian, who enjoyed discussing
literature and often had invited Hartmann to her home for lunch. "I have yet to meet anyone who knew Sadakichi well who isn't
disgusted by Fowler's book," she told me. Dr. Guy Bogart of Beaumont was also indignant. "He was a poseur, yes," admitted
Bogart, "but a charlatan, no! If you read Fowler's book you'll see only a drunken moocher--the seedy old man Fowler met in
his declining years. Yet Sadakichi was a rare personality, who never surrendered his ideals or artistic integrity for a moment."
I was puzzled by the fact that most of those local people who had known Sadakichi agreed Fowler had captured much of the man's
personality--yet they still considered the book an injustice. No one denied that Hartmann drank a lot, no one denied that
he lived off a string of patrons, no one denied that much of his behavior was outrageous. Yet most of those who had any personal
relationship with Sadakichi professed admiration and respect for him. For that matter, it was clear that Fowler had also admired
Hartmann, perhaps even envied his strange charisma. As newspaper bureau chief for the Riverside Press-Enterprise Co. in the
San Gorgonio Pass, I immediately saw the potential for an interesting feature story.
I had particularly wanted to interview Mrs. Linton about her reactions to the book. But the door had slammed shut on me.
Several days later, Ruth Little, a local newspaper writer and friend of Wistaria, persuaded her to talk with me. During an
afternoon, I learned some of the reasons for Wistaria's reluctance to grant an interview. During the years of WWII, Hartmann's
family had almost been interned because of his German-Japanese heritage. Many townspeople had ostracized the Hartmann family
and circulated rumors that Sadakichi was a spy. Both the FBI and County Sheriff's Department had hounded the family with endless
questions, and sheriff's deputies in patrol cars often followed family members when they left home. Some of Hartmann's children
had been embarassed by his unconventionality and flamboyant Bohemianism. They were the children of his second marriage to
Lillian Bonham, and none of them had known their father at the peak of his career in New York at the turn of the century,
when he had made and spent money freely. Instead, they had grown up in the midst of the Depression in the middle-class atmosphere
of San Gorgonio Pass--with a father who boasted of past triumphs and didn't care what the
neighbors thought of him. Fowler's book with its suggestion that Hartmann was a charlatan evoked mostly bad memories. Even
so, Mrs. Linton admitted that she had laughed at parts of the book: "Some of it seemed so much like Dad!"
"Catclaw Siding" had been closed since Sadakichi's death in 1944. Now Mrs. Linton agreed to let me look inside the shack.
She turned a key in the padlock and we entered. A rain-stained "History of Modern Painting" at which mice had nibbled lay
on the splintered floor. Rotted floorboards exposed bare sand beneath. In a corner of the shack was a battered grey trunk--Sadakichi's
manuscript trunk. I lifted the lid, sifted through the papers, and was stunned by its contents.
Inside were piles of unpublished manuscripts, published articles, short stories, and poetry, and immense bundles of correspondence.
I picked up one of the letters and read the name Ezra Pound. There were letters from George Santayana, Benjamin de Casseres,
Douglas Fairbanks. The trunk was a bookman's dream. And there was more. Not only the contents of the trunk. Other materials
had been stored in cupboards in Mrs. Linton's house. Among these was a scrapbook dating back to the 1890's marked "Revelations."
And there was Hartmann's unpublished autobiography, never completed, but nonetheless several hundred pages offering rich insights
into Sadakichi Hartmann's youth and early career for future researchers. And photographs: photographs by Gertrude Kasebier,
J. C. Strauss, Rudolf Eickemeyer, Frank Eugene--names of long dead photographers whose significance meant nothing to me as
yet.
Most of this material would have been widely dispersed and perhaps lost to research if it had not been for Wistaria Linton.
Throughout his life, whenever Sadakichi needed money desperately, he sold his manuscripts or correspondence to rare book dealers
and collectors. Various auction catalogues from the early 1900's record scarce Hartmann materials that have simply vanished
into private hands and have never been found. Fortunately, Wistaria recognized the importance of the Hartmann materials. As
a young woman, her father had taken her education in hand, directing her reading, encouraging her interest in art, and taking
her along as a companion on trips to museums or to visit literary or artistic friends. She curbed his recklessness whenever
possible by talking him out of manuscripts or other items that seemed significant--or when that failed hiding them from Sadakichi.
She began this habit as a teenager and continued it into Sadakichi's old age.
The summer of 1954 Wistaria and I became conspirators together. I saw the possibility of an unusual literary expose. A series
of newspaper articles recording the angry reactions of Sadakichi's friends to Fowler's book and a
glimpse at some of his real accomplishments. Wistaria was delighted by my defense of her father. There was far too much Hartmann
material for me to become even remotely acquainted with it in a short period--and too much that I didn't know about American
art and literature. Nevertheless, we worked well together, delighted each time we uncovered a new facet of Sadakichi's past.
The series, five articles titled "The Last Bohemian," appeared in the Riverside Daily Enterprise from August 4 through August
16. They were entertaining journalism, not scholarship, and looking them over today I find almost as many errors as we pinpointed
in Fowler's Minutes of the Last Meeting. In February of 1955, they were singled out for an award as the best newspaper series
of the year in California by the California Newspaper Publishers Association. I was transferred to the Riverside office of
the Press-Enterprise Co.
Wistaria. and I remained good friends. We talked occasionally about a scholarly book about her father, but by then I was well
aware of the scope of such a task and my limited background in nineteenth century art and literature. Several years later
Wistaria was offered a position in the Photographic Services at UCR, where she worked until her retirement in 1976. Eventually,
I also joined the staff of the University. Wistaria was concerned about many of the more perishable materials in her father's
papers and sometime in the mid-1960's we arranged with Librarian Edwin Coman to store these in the UCR General Library. As
yet, however, she was uncertain about their final disposition.
Meanwhile, unaware that much of the Hartmann collection was stored at UCR, Professor George Knox of the Department of English
had become interested in Sadakichi Hartmann. Knox's field was nineteenth century and early twentieth century American literature,
and while Hartmann was not a major literary figure, he was nevertheless a writer who had been totally ignored by scholarship
while many of his lesser contemporaries had become fields of inquiry.
It was Jake Zeitlin, the antiquarian bookman, who brought us together as he has done on many occasions with other scholars.
Zeitlin had sold several Hartmann Manuscripts to the UCR Library and learned about the Hartmmann papers stored in the library.
When Knox on a visit to Zeitlin & Ver Brugge mentioned Sadakichi to Jake, the bookman was able to regale him with his own
personal reminiscences of the Bohemian writer, who in the 1920's had often hung out at Jake's shop. He then mentioned the
collection at UCR, right in Knox's own backyard. The result has been more than ten years of friendship and collaboration in
Hartmann research, during which we have edited four books in Hartmann scholarship, published the Sadakichi Hartmann Newsletter,
and encouraged other Hartmann researchers or scholars in peripheral areas.
Shortly before her retirement in 1976 from the University, Wistaria Hartmann Linton made the decision that her father's papers
and other materials belonged in Special Collections & Archives at the UCR Library. While the Wistaria Hartmann Linton Collection
makes up the bulk of the Sadakichi Hartmann Archives, the archives have been steadily growing over the years. Mrs. Dorothea
Atma Gilliland of St. Petersburg, Florida, a daughter of Hartmann by his first marriage, made a substantial gift of Hartmann
papers to the archives in 1972, although much of her material had been acquired earlier by the University of Oregon. Among
the many persons who have donated Hartmann correspondence or other materials to the collection are Christel Gang, Nora Morgan,
Helga Hanson, Raymond Brossard, Peter Krasnow, and C. Verne Klintworth. Recently, the UCR Library acquired a substantial collection
of Hollywood materials from Gene Fowler's son, Will Fowler, including Hartmann manuscripts and taped interviews with Hartmann
friends such as the painter John Decker and the actor Thomas Mitchell that were used in the writing of
Minutes of the Last Meeting.
Those of us who use the Sadakichi Hartmann archives must be indebted to the UCR Library for providing this catalogue of the
collection. It is now possible to easily locate specific items in the collection or to form a partial idea of the contents
of a particular item. At the same time, a definitive annotation of the collection that would have given us reference to all
of the hundreds of artists, writers, photographers, and other notables that crop up in the archives would have been a virtually
impossible task that would have delayed ready access to the archives for many years. With the publication of this catalogue,
the UCR Library has provided a long needed and excellent tool for those carrying out research on Sadakichi Hartmann and many
of his contemporaries.
Our immeasurable indebtedness is to the daughter who as a young woman recognized the value of her father's papers and kept
them from reaching the hands of private collectors. In recognition of her foresight, this catalogue is dedicated to Wistaria
Hartmann Linton."
Harry Lawton, University of California, Riverside, January 15, 1980
"Shortly after the Riverside campus of the University of California opened as a four-year college in 1954 the name of Sadakichi
Hartmann once more flashed into prominence with the publication of
The Minutes of the Last Meeting by Gene Fowler. This book describes Sadakichi and his circle of Hollywood friends, W. C. Fields, John Barrymore, John Decker,
and others, and was based heavily on Sadakichi's own autobiography prepared under Fowler's auspices. Soon afterward the noted
Los Angeles bookdealer, Jake Zeitlin, gave some Hartmann letters and books to the UCR Library as a beginning of the collection,
which he enlarged with further materials as time passed.
In June 1958 an exhibit of Hartmann's manuscripts, books and art work was mounted in the University Library. The items forming
this exhibit were lent chiefly by Wistaria Linton, Sadakichi's daughter, who was employed in the University photographic laboratory.
Wistaria also lent many photographs to a second exhibit held in May 1970, entitled
The Life and Times of Sadakichi Hartmann, and co-sponsored by the UCR Library and the Riverside Press-Enterprise Company. This exhibit tried to capture the "essential"
Hartmann in paintings and photographs by many American artists, in mementos and artifacts of his half-century career, all
listed in the illustrated catalog issued for the show. At about the same time the
Sadakichi Hartmann Newsletter was launched by George Knox and Harry Lawton to facilitate communication between the various critics and historians who were
taking a renewed interest in Sadakichi's publications as a critic of art and of the aesthetics of photography.
When Wistaria retired in 1976 she offered her father's manuscripts and correspondence to the UCR Library. To her collection
was added the donation of the research materials gathered by Harry Lawton and George Knox with the help of Michael Elderman,
supplemented by additional materials from
old friends and acquaintances of Sadakichi as well as manuscripts and scrapbooks held by several of his other children. All
of this material forms the body of the present collection described in this inventory.
The Hartmann Collection has also been consulted by a number of scholars, both American and foreign, among whom we might mention
the late Dr. Saburo Ota. This Japanese scholar visited the collection twice and kindly donated to the Library a microfilm
copy of Anne Throop's correspondence and copies of his articles about Hartmann published in Japanese journals.
Other collections of Sadakichi Hartmann materials in libraries around the United States are listed in Box 33, in the folder
"Manuscript and Library Papers." The holdings of some of these collections are listed at the end of the checklist proper.
Further material referring to Sadakichi Hartmann will be found in the Will Fowler collection of his father's papers (Gene
Fowler). The list of these papers at UCR is forthcoming. Other Gene Fowler manuscripts and papers are deposited at the University
of Colorado.
The UCR Library is also acquiring the printed works of Sadakichi Hartmann to complement the manuscript holdings.
Harry Lawton, who wrote the Introduction to this book, and George Knox, professor of English at UCR, were the prime movers
behind the University's acquisition of the Hartmann archives. Their interest in Hartmann is shown by the several books they
have edited and published based on this material:
White Chrysanthemums, Literary Fragments and Pronouncements (1971);
Buddha, Confucius, Christ: Three Prophetic Plays (1071);
The Whitman-Hartmann Controversy (1976); and most recently
The Valiant Knights of Daguerre: Selected Critical Essays on Photography and Profiles of Photographic Pioneers by Sadakichi Hartmann (1978). Interesting, too, is the fact that several reprint houses have recently re-issued some of Hartmann's
historical surveys of art, and that acknowledgement of Sadakichi's aesthetic criticism is made in some recent books on art
and photographic history.
Special Collections wishes to express great appreciation to the several people who helped in the compilation of this checklist:
Susan Bokanovich, who first arranged and listed the periodical articles by Hartmann; John Batchelor, who listed the collection
and typed the first draft of the checklist; Karen Carver, who typed the final copy for printing and designed the book and
cover; Peter Briscoe, Karen Carver, and Harry Lawton, who proofread; Linda Warren, Administrative Assistant to the University
Librarian, who was responsible for the final layout and printing of this checklist. Special gratitude goes to the University
Librarian, Eleanor Montague, whose backing and patience has brought this project to a close."
Clifford Wurfel, University of California, Riverside, Special Collections Librarian
University of California, Riverside. Department of Special Collections & Archives. Sadakichi Hartmann-Guy Bogart correspondence
(Call Number: PS3515 A787 Z48 1927).
University of Oregon Libraries. Special Collections & University Archives. Sadakichi Hartmann manuscript collection (Collection
Number: Ax 523).
Abbreviation :
Expansion
- AL:
- handwritten letter, not signed
- ALD:
- draft of handwritten letter, not signed
- ALS:
- handwritten letter, signed
- ALSPh:
- handwritten letter, signed, photocopy
- AMs:
- handwritten manuscript
- AMsPh:
- handwritten manuscript, photocopy
- ANS:
- handwritten note, signed
- APS:
- handwritten postcard, signed
- Ph:
- photograph, photocopy
- PrAd:
- printed advertisement
- PrEdPh:
- photocopy of printed edition
- PrP:
- printed postcard
- PrPh:
- photocopy of print
- T/ALS:
- typed letter with handwritten additions, signed
- T/AMs:
- typed manuscript with handwritten additions
- TL:
- typed letter, not signed
- TLI:
- typed letter, initialed
- TLS:
- typed letter, signed
- TLSCC:
- carbon copy of typed letter, signed
- TMs:
- typed manuscript
- TMsCC:
- carbon copy of typed manuscript; a second copy
- TMsCCPh:
- photocopy of carbon copy of typed manuscript
- TMsPh:
- typed manuscript, photocopy
- TP:
- typed postcard
- TPI:
- typed postcard, initialed
- TPS:
- typed postcard, signed
Names of correspondents, persons featured in articles, and titles of particular works by Sadakichi Hartmann with corresponding
box information.
Abhayananda, Swami:
Box 13
Adamic, Louis:
Box 12 (see Transcripts)
Alexander, John White:
Box 20
"Along Timberline":
Box 5
Aman-Jean, Edmond:
Box 21
Amy --:
Box 13
Anton, Harold:
Box 40B
Armstrong, Will:
Box 20
"Art Aphorisms":
Box 5
"Art News":
Box 17
"Aspirations of a Playwright":
Box 5
"At the Training School":
Box 5
Autobiography:
Box 1-4,
Box 5
"Baker Eddy":
Box 5,
Box 18
Ballard, Claude N.:
Box 11,
Box 25,
Box 40B
Ballator, Alice R.:
Box 13
Barrow, Thomas Frank:
Box 33
Barrymore, John:
Box 39
Beach, Howard A.:
Box 21,
Box 38,
Box 40A
Beardsley, A.H.:
Box 13
Beerbohm, Marvin:
Box 39,
Box 40A
Beers, Jan van:
Box 20
Bell, Curtis:
Box 19,
Box 40A
Bender, Albert:
Box 13
Bennett, Jeanne E.:
Box 19,
Box 40A
Benton, Thomas Hart:
Box 13
Ben-Yusuf, Zaida:
Box 40A
Berg, Charles I.:
Box 21
Berlin, Ben:
Box 13,
Box 15 (
see also Sargents Court Correspondence),
Box 38,
Box 39
Betts, Louis:
Box 20
Bjornson, B.:
Box 19
"Black Smoke":
Box 5
Bloiss, Harry A.:
Box 20
Bogardus, Abraham:
Box 40A
Bogart, George:
Box 13
Bogart, Guy:
Box 30,
Box 36,
Box 40A
Bohrod, Aaron:
Box 13
Boldini, Giovanni:
Box 40A
Bonaventura, (Rome, Italy):
Box 20
Bonham, Lillian:
Box 15,
Box 39,
Box 42,
Box 43
Borg, Sidney C.:
Box 13
"Boston Lions":
Box 5
Boyd, Ben:
Box 13
Bradley, A.F.:
Box 20
Breese, James:
Box 13
Brossard, Raymond:
Box 11,
Box 15 (see Sargents Court Correspondence),
Box 17,
Box 33,
Box 34,
Box 37,
Box 38,
Box 39,
Box 40A,
Box 40B
Brown, William:
Box 13
Brownell, William:
Box 13
Bruguiere, Francis:
Box 11,
Box 13
Bruno, Guido:
Box 35
Bruno's Weekly:
Box 35
Buchanan, Ella:
Box 13
Buckley, L.H., (Binghampton, N.Y.):
Box 20
Buckner, Samuel O.:
Box 13
"Buddha":
Box 5,
Box 18
Buehrmann, Bessie (Elizabeth):
Box 19,
Box 38,
Box 40A
Burnell, W.E., (Buffalo):
Box 20
Burroughs, John:
Box 21,
Box 38
"Bus Line Correspondence":
Box 11
Butler, George B.:
Box 20
Cahill, Holger:
Box 13,
Box 20
Calder, Mrs. (Nanette?):
Box 13
"Can Poets Help?":
Box 5
"Career of a Violinist":
Box 5
Carlson, Erik:
Box 19
Carnegie Funds:
Box 11
Carns, Arthur L.:
Box 13
Caro Delvaille:
Box 20
Catclaw Siding Shack (photos):
Box 39
Catlin, John:
Box 13
Cauldwell, Leslie G.:
Box 13,
Box 39
Cecil, Arthur B.:
Box 13
Cecily --:
Box 13
Chamberlain, Edward:
Box 13
Chaplin, Charles S.:
Box 1,
Box 19
Chapman, H.T.:
Box 11
Chase, William M.:
Box 19,
Box 20
"Cherry Blossoms":
Box 18
"Christ":
Box 5
"Cimmerian Darkness":
Box 5
Clark, Alvah (see School of Industrial Arts):
Box 20
Clark, Frank Scott, (Detroit):
Box 19,
Box 20
Clark, Rose:
Box 19,
Box 40A
Clement, E.H.:
Box 13
Clews, Henry:
Box 19
Coburn, Alvin Langdon:
Box 19
"Cock in the Air":
Box 5
Coby:
Box 11
Coles, Captain:
Box 39
Colette --:
Box 13
"Come Here":
Box 5
"Confessions of an Ex-Journalist":
Box 5
Constant, Sadi:
Box 40A
"Contributions to the Technique of Draughtsmanship":
Box 5
"Conversations with Walt Whitman":
Box 5
Converse, Frederick:
Box 13
Conyers, H.B.:
Box 21
Cooper, James:
Box 20
Cooper, Marcelle:
Box 13
Coppe, Francois:
Box 19
Coppin, John S.:
Box 30,
Box 39
Coquelin:
Box 40A
Corcoran Gallery of Art:
Box 11
Corke, H. Essenhigh:
Box 20
Coubillier:
Box 19
Coutant, Nellie:
Box 40A
Craig, Edward Gordon:
Box 13
Crawley, Ida Jolly:
Box 13
Cresmer, William T.:
Box 13
Crinkle, Nym (A.C. Wheeler):
Box 20
Crocker, Harry:
Box 13
Dallin, Cyrus Edwin:
Box 13
"The Dance Pavilion":
Box 5
Davidson, Jo.:
Box 13
Davies, Arthur B.:
Box 13
Davis, Charles:
Box 13,
Box 19
Davis, Robert H.:
Box 13,
Box 38
Day, F(rank) Holland:
Box 40A
De Casseres, Benjamin:
Box 13
Decker, John:
Box 34,
Box 39,
Box 40A
Decker, Phyllis:
Box 12 (see Transcripts)
De Cleyre, Voltairine:
Box 21
De La Tour:
Box 20
Delsarte System:
Box 31
Demachy, Robert:
Box 19
"The Deserted Cottage":
Box 5
Deutsch, Boris:
Box 39
De Verley, Inez:
Box 13
De Witt, Captain:
Box 40A
De Zayas, Marius:
Box 19,
Box 40A
"Diamond Lizard":
Box 18
Dillon, Lou:
Box 40A
Dodsworth, Alice A.:
Box 13
"Dolor":
Box 5
Donoghue, John:
Box 19
D'Ora, (Venice):
Box 20
Dougherty, P.:
Box 21
Dramatic Sketch:
Box 5
"Drifting Flowers of the Sea":
Box 18
Duhrkoop, Rudolph:
Box 19,
Box 30,
Box 40A
Dumont, John E.:
Box 19
Duncan, Isadora:
Box 19
Durant, Will:
Box 13
Durer, Albrecht:
Box 20
Duse, Eleonora:
Box 40A
Dutton, J.W.:
Box 12 (see Transcripts),
Box 13
Duveneck, Frank:
Box 20
Eakins, Susan M. (Mrs. Thomas Eakins):
Box 13
Eakins, Thomas:
Box 20
"Early Poems":
Box 6
Eickemeyer, Rudolf, Jr.:
Box 19,
Box 21,
Box 34,
Box 38,
Box 40A
Eisenstein:
Box 21
Ellis, Havelock:
Box 15 (see Sargents Court Correspondence)
Ellis, William Shewell:
Box 19
Erfurt, Hugo:
Box 19
Ermates, Arthur:
Box 38
"Esthetic Verities":
Box 9
Eugene, Frank:
Box 30,
Box 40A
Ewing Studio, (Washington, D.C.):
Box 38
Fabijanovic, Stephanus:
Box 13
Fabris, Alfred:
Box 38
Fairbanks, Douglas:
Box 12 (see Transcripts),
Box 13
Falk, Benjamin Joseph:
Box 19,
Box 38,
Box 40A
"Famous Lovers":
Box 6
Feldman, Fred J., (El Paso):
Box 19,
Box 20
"A Few Words on Criticism":
Box 6
Field, J.H.:
Box 40A
Fiene, Ernst:
Box 13
"Fighting Japs":
Box 6
Fisher, George:
Box 33
Fisk, Bertha:
Box 13
Flaishman, Leopold:
Box 11
Fleckenstein, Louis:
Box 20,
Box 30,
Box 40A
"Flirtation":
Box 6
Ford, Kay:
Box 11,
Box 38
Ford, Tod:
Box 13
"Four Views of San Jacinto":
Box 6
Fournier, Paul:
Box 19,
Box 38
"Fourteen Points in Favor of Sadakichi Hartmann":
Box 6
Fowler, Gene:
Box 11,
Box 13,
Box 30,
Box 34,
Box 36,
Box 39
Fowler, Will:
Box 34
Frederiksen, Carl:
Box 19
Freer, Charles L.:
Box 13
French, Daniel Chester:
Box 13
French, Elizabeth:
Box 13
French, Mary (Mrs. Daniel C. French):
Box 13
Freystadt, George W.:
Box 13
"From Sagebrush to Columbine":
Box 6
Frost, Leon:
Box 11
Gaiduschek, E.:
Box 19
Gainsborough, Thomas:
Box 20
Gallagher, Minerva Hartmann:
Box (see Hartmann, Minerva)
Gang, Christel L.:
Box 11,
Box 13,
Box 30
Garborg, Arne:
Box 20
Gardner, Isabelle Stewart (Mrs. John Lowell):
Box 13
Garo, John H.:
Box 19,
Box 20,
Box 30,
Box 40A
Gauley, Robert:
Box 13
Gellatly, John:
Box 13
Genthe, Arnold:
Box 30
Gerschel, Charles:
Box 20
Gibbons, Austin Cedric:
Box 13
Gilbert, John:
Box 13
Gilliland, Atma Dorothea:
Box (see Hartmann, Atma Dorothea)
Gledhill, (Santa Barbara):
Box 20
Godwin, Nora and Parke:
Box 12 (see Transcripts),
Box 13
Goldensky, Elias:
Box 19,
Box 40A
Goldsmith, Mr.:
Box 11
Goncourts:
Box 19
Gordigiani, E.:
Box 39
Gottheil, A., (Danzing):
Box 19
Gottschalk:
Box 13
Gottheil, W.G.:
Box 40A
Goya y Lucientes, Francisco Jose de:
Box 20
Grafly, Dorothy:
Box 13
Grainer, Franz:
Box 19
"Graveland in a Flat":
Box 6
Greenwich Village:
Box 35
Greuze, Jean Baptiste:
Box 20
Groll, Albert L.:
Box 13,
Box 19
Gron, Victor:
Box 13
Grosvenor Public Library (Buffalo):
Box 11,
Box 15 (see Van Duzee)
"Ground Fog":
Box 6
Guilbert, Yvette:
Box 40A
"The Hand":
Box 6
"Hanka and Dodoitsu":
Box 6
Hansen, Ejnar and Helga:
Box 11,
Box 26,
Box 31,
Box 39,
Box 40A,
Box 40B
Hansson:
Box O1a,
Box 20
Harris, George:
Box 13
Hartmann, Arthur M.:
Box 26
Hartmann, Astor:
Box 26,
Box 43
Hartmann, Atma Dorothea (Dorothea Gilliland):
Box 16,
Box 40B,
Box 46
Hartmann, Elizabeth Blanche Walsh:
Box 15,
Box 16,
Box 18,
Box 31,
Box 36,
Box 39
Hartmann, Carl Hermann Oscar (Sadakichi Hartmann's father):
Box 39
Hartmann, Edgar:
Box 16
Hartmann, Ernst Ferdinand Caspar:
Box 27
Hartmann, Jonquil:
Box 43
Hartmann, Minerva (Mrs. W.J. Gallagher):
Box 16
Hartmann, Osada:
Box (see Osada)
Hartmann, Oscar:
Box 15 (see Seaman),
Box 16,
Box 26,
Box 39
Hartmann, Paul:
Box 16,
Box 39,
Box 40B
Hartmann, Robert:
Box 26
Hartmann, Sadakichi:
Box 34 (memorabilia)
Hartmann, Tansy:
Box 16,
Box 26,
Box 43
Hartmann, Taru:
Box (see Hartmann, Oscar)
Hartmann, William:
Box 13
Hartmann, Wistaria:
Box 16,
Box 26,
Box 39,
Box 43
"Hartmann-Eickemeyer" (by R. Hull):
Box 35
Hartmannea:
Box 6
Hassam, Childe:
Box 31
"The Haunted Vine":
Box 6
Hawthorne, Charles W.:
Box 20
Hearst, Phoebe A.:
Box 11
Heckman, R.G.:
Box 26
Hemmerdinger, William:
Box 34
Henderson, Daniel:
Box 11
Henner, Jean Jacques:
Box 20
Henri, Robert:
Box 20,
Box 21
Herbert, Henry:
Box 13
Herkomer, Hubert:
Box 20
Heyne, Anna:
Box 39
Hier, Frederick, Jr.:
Box 13
Higgins, Edgar (Eddie) F.:
Box (see Sargents Court Correspondence),
Box 15
Hill, Richard:
Box 29,
Box 34
Hilsdorf, Jacob:
Box 19
Hirsch, Fred S.:
Box 13
Histed, E.W.:
Box 19
Hobart:
Box 40A
Hoffman Studio, (Philadelphia):
Box 19
"Hog Island":
Box 6
Holbein, Hans:
Box 20
Holladay, Paula:
Box 11
Hollinger, W.M.:
Box 38,
Box 40A
Hope, Charles:
Box 13
Horowitz, Leopold:
Box 19
"How Poe Wrote the Raven":
Box 6
Hubbard, Elbert:
Box 11,
Box 13
Hull, Roger P.:
Box 35
Hummer, Helen:
Box 13
Huneker, James Gibbons:
Box 30
Huntington, D.:
Box 13
Hutchinson, Eugene R.:
Box 19
"Ides of March":
Box 6
"In Search of My Likeness":
Box 6
"Instead of a Preface":
Box 6
"Invisible Arms":
Box 6
Jaegers, Albert (sculptor):
Box 13
Janvier, Meredith:
Box 40A
"Japan in the Sixties":
Box 6
"Japanese Rhythms":
Box 6,
Box 10,
Box 18
Jarmig, Carl:
Box 13
Jefferson, Joseph:
Box 40A
Johnson, --:
Box 13
Johnson, Belle:
Box 20
Johnson, Eastman:
Box 19
"Journey to Sadakichi" (by Joe Weinberg):
Box 36
Juhl, Ernst:
Box 19
Kahn, Otto (?):
Box 13
Kairiyama, T.:
Box 13
Kasebier, Gertrude:
Box 40A
Katherine --:
Box 11
Kaulbach, Frederick August von:
Box 20
Keen, E.:
Box 13
Keet, A.E.:
Box 13
Keiley, Joseph T.:
Box 11
Kennedy, Mary:
Box 13
Kernan, Frank J.:
Box 40A
"Kiel":
Box 6
Kielland, Alexander:
Box 19,
Box 20
Kimmel, Stanley:
Box 8,
Box 40B
Kipp, Karl:
Box 40A
Klintworth, C. Verne:
Box 11,
Box 30,
Box 38
Klausner, Oscar:
Box 30
Knaffle Bros., (Knoxville):
Box 20
Knox, George:
Box 26,
Box 28,
Box 44
Koner, Max:
Box 19,
Box 20
Krakow, Louise E.:
Box 13
Krasnow, Peter:
Box 11,
Box 31,
Box 39,
Box 40A,
Box 40B
Krauth, Alfred:
Box 19
Kroll, Leon:
Box 11
Kronberg, Louis:
Box 13
Kryzanowsky, Romana:
Box 13
Kuhn, Heinrich:
Box 11
"Lady of Castle Rock":
Box 6
"Lady of the Yellow Jonquils":
Box 6
Lance, Elizabeth D.:
Box 11
Lardner, Mrs. George:
Box 33
"The Last Thirty Days of Christ":
Box 6
Latoix, Mrs. B.D.:
Box 14
Lawton, Harry:
Box 26,
Box 31,
Box 36,
Box 44
Leachy, --:
Box 19
Le Beque, Renee:
Box 19
Ledoux, Louis:
Box 14
Leibl, Wilhelm:
Box 20
Lenbach, Fritz von:
Box 19,
Box 20
Lersky, Helmar, (Milwaukee):
Box 20
Lesseps, Ferdinand de:
Box 21
Lesoir, George:
Box 31
Library Company of Philadelphia:
Box 14
Lifshey, Sadakichi Hartmann:
Box 19,
Box 20
Linder, Henry:
Box 14,
Box 21
Lindhe, Roy E.:
Box 14
Link, Herman:
Box 19
Linton, Wistaria Hartmann:
Box (see Hartmann, Wistaria)
Linton, Marigold:
Box 39
Linton, Walter:
Box 39
Lipton, George:
Box (see Ezra Pound),
Box 14
Lloyd, J. William:
Box 14
"London Days":
Box 6
Lorey, Gustave:
Box 19
"Lost in the Northwoods":
Box 6
Loy, Mina:
Box 33
Lucas, Albert Pike:
Box 19
Lucille (Aunt):
Box 39
Mabbott, Thomas Ollive:
Box 12,
Box 14
McAllister, John E.:
Box 14
Macaray, Florence:
Box 14
MacCameron, Robert S.:
Box 20
McClure, Samuel Sidney:
Box 14
McCormick, F.:
Box 14
MacDonald, Pirie:
Box 12,
Box 14,
Box 19,
Box 40A
MacDowell, Mrs. Edward:
Box 14
MacFarlane, Ida:
Box 14
McGeorge, Robert R.:
Box 20
McGinnity, Joe:
Box 40A
McIntosh, Burr:
Box 40A
McMahan's Furniture:
Box 14
McNear, Willa:
Box 14
MacNeil, Herman Atkins:
Box 14
"Maid of Shiloh":
Box 6
Makintosh, Mary:
Box 14
Mallarmé:
Box 30,
Box 40A
"Malmaison":
Box 6
Manet, Edouard:
Box 20
Mann, Thomas:
Box 14
Marceau, Theo:
Box 20
Marie --:
Box 14
Marigold Linton:
Box (see Linton, Marigold)
Markham, Edwin:
Box 14
Marks, Robert:
Box 14
Marsh, Frederick Dana:
Box 14,
Box 39
Marshall, A.:
Box 19
Martin, D.B.:
Box 14
Martinot, Sadie:
Box 30
Martiny, Yvonne:
Box 14
Marvin, C.F.:
Box 14
Marx, Ben T.:
Box 12
Box (see also Transcripts),
Box 14,
Box 33,
Box 39
Mason, Redfern:
Box 12
Matthews, Brander:
Box 12,
Box 14
Maurice, Arthur B.:
Box 35
Max, Gabriel:
Box 20
Mayer, Louis:
Box 14
Melchers, Gary:
Box 20
Mencken, H.L.:
Box 12,
Box 14
Mervin Sales Co.:
Box 14
Metropolitan Museum of Art (New York):
Box 12,
Box 14
Metzgar, Judson:
Box 26
Meyer, Eugene:
Box 12
Midway Studios:
Box 14
Miller, Richard E.:
Box 20
Minnigore, C. Powell:
Box (see Corcoran Gallery),
Box 13
Mishkin:
Box 19
"Miss Profile":
Box 6
Mitchell, J.D.:
Box 20
Mock, J. Ernest:
Box 38,
Box 40A
"Modern Decameron Stories":
Box 6
"Mohammed":
Box 6,
Box 18
Moholy-Nagy, L.:
Box 14
Monahan, Michael:
Box 14
Monsen, Frederick I.:
Box 19,
Box 40A
Montlitury:
Box 40A
Moore, Edith K.:
Box 12,
Box 14
Moore, Matt:
Box 14,
Box 26,
Box 38,
Box 40A
Morgan, Nora:
Box 12,
Box 15
Box (see Sargents Court Correspondence)
Morgan, Roy:
Box 12,
Box 14,
Box 15
Box (see Sargents Court Correspondence)
Morgenthau, Henry:
Box 14
Morrissette, Bruce:
Box 33
Morton, James F.:
Box 14
Moschcowitz, Paul:
Box 14
"Moses":
Box 6,
Box 10
Mosley (?):
Box 14
"The Motion Picture":
Box 6
"Munich Days":
Box 6
Munter, Paul:
Box 14
"Music Charts":
Box 6
"My Lady's Lingerie":
Box 6
"My Theory of Soul Atoms":
Box 6
"Naked Ghosts":
Box 7
Needham, Charles Austin:
Box 21
Nelson, R.C., (Hastings, Neb.):
Box 20
"New York's Homeless":
Box 7
Newhall, Beaumont:
Box 33
Newman, Percy:
Box 20
Newman, William W.:
Box 14
Nicholas, A.A.:
Box 38
Niedringhaus, Charles:
Box 14
Nineteenth Century Club:
Box 12
"Nocturne":
Box 7
"Notes for Lectures":
Box 7
Nurva:
Box (see Hartmann, Minerva)
Nussbaumer, J. George:
Box 20
"Obituary":
Box 7
O'Brien, D.H.:
Box 14
O'Connor, Jeremiah:
Box 12,
Box 13
Box (see Corcoran Gallery)
Odenburg, J.:
Box 12
"An Old Storck and His Wife":
Box 7
Olesen, Olaf:
Box 14
"On the Mechanism of Patriotism":
Box 7
"On the Origin of Art":
Box 7
"One-Thousand Happy Moments":
Box 7
"O'Neill Laughed":
Box 7
"Open Letters":
Box 7
Orchardson, W.Q.:
Box 20
Orpen, William:
Box 19
Osada (Sadakichi Hartmann's mother):
Box 39
"Osadda's Revenge":
Box 7
Ota, Saburo:
Box 30,
Box 33
Ottendorfer, Oswald:
Box 14
"Our Last Walk":
Box 7
Ozias, Blake:
Box 14
Paddock, W.D.:
Box 21
Page, Walter H.:
Box 14
Paget-Fredericks, J.:
Box 30
Paintin, Ronald:
Box (see Ron Paintin)
Parkinson, Morris Burke:
Box 19,
Box 20
Parrish, Stephen:
Box 14
Parrish, W. and G.:
Box 40A
Patterson, Tom:
Box 33,
Box 36
Pearson, Norman Holmes:
Box 33
Perry, T. Lockwood:
Box 14
Peters, Isabelle:
Box 14
Petzold, Adolph:
Box 40A
Phillips, Duncan:
Box 14
Pierce, Henry Havelock:
Box 19,
Box 40A
Pierce, Robert Bruce:
Box 40A
"Poems":
Box 8,
Box 10
Pohle, Frederick, (Buffalo):
Box 20
Poillon, William:
Box 14
Pollard, Sara:
Box 14
Polowetzsky, Charles:
Box 12
Possart, Ernst:
Box 19
Post, William B.:
Box 19
Pound, Ezra:
Box 14
Pound, H.L. (see Ezra Pound):
Box 14
Powers, Leroy:
Box 12
Prall, Virginia M.:
Box 19
"Prayer for the Jews":
Box 8
Preface to
Leaves on the Water (by Stanley Kimmel):
Box 8
Pringle, Aileen:
Box 14,
Box 19
Proctor, A.T.:
Box 19
Purcell, Mrs. W.:
Box 26
Purdy, Lawson:
Box 14
Puyo, C.:
Box 19
Quick, Herb:
Box 38
Quirt, W.:
Box 14
Rachel:
Box 40A
"Rain":
Box 8
Raphael, Sandro:
Box 20
Redon, Odilon:
Box 14
Reece, Jane, (Dayton):
Box 20
Reed, Frederick:
Box 14
Reeves, Alfred:
Box 14
Reid, Roland:
Box 14
Reineke, Miss:
Box 20
Reiter, Josef (composer of "Sadakichi March"):
Box 34
Reith, Julia:
Box 14
"Religious Degenerations":
Box 8
Rembrandt van Rijn:
Box 20
Renoir, Auguste:
Box 20
Rey, Guido:
Box 19,
Box 40A
Reynolds, Sir Joshua:
Box 20
Ridder, Herman:
Box 14
"The Rise and Fall of Art":
Box 8
"Rising Mist":
Box 8
"Robert Marks of Detroit":
Box 8
Robinson, Marie:
Box 14
Rocker, R.:
Box 14
Rohlfs, Charles:
Box 19
Romm:
Box 12
Ron (Ronald Paintin):
Box 15 (
see also Sargents Court Correspondence)
Rood, Roland:
Box 12,
Box 14
Roos:
Box 12
Rosen, Ray:
Box 40B
Rosenthal, Herbert:
Box 19,
Box 40A
Rosenthal, Moritz:
Box 12
Rosetti, Dante Gabriel:
Box 20
Rota, Herb:
Box 40A
Roycrofters:
Box 30
Rubens, Peter Paul:
Box 20
Ryder, Albert Pinkham (American painter):
Box 8,
Box 19 (see also "Story of Albert Pinkham Ryder")
"Sadakichi March" (by Josef Reiter):
Box 34
Sage, Cornelia B.:
Box 12 (see Transcripts),
Box 14
St. John, Adela Rogers:
Box 30
"St. Louis Art Situation":
Box 8
Salter, Leon:
Box 40B
Saltman, D.J.:
Box 12
Saltus, Edgar:
Box 19,
Box 30
"Salut au Monde":
Box 8
Sandburg, Carl:
Box 34
Sanders, Henry S.:
Box 14
Santayana, George:
Box 14
Sargent, John Singer:
Box 20
Sargent, Franklin H.:
Box 14
Sargents Court Correspondence:
Box 15,
Box 38
Sarony, Napoleon:
Box 19
Scharf, Otto:
Box 19
"Schemes":
Box 8
Schlageter, Alberta:
Box 15
Schliepmann, Elizabeth, (St. Louis):
Box 20
Schneidau, Emil:
Box 15
Schneider, Isidor:
Box 12
Schoenheit, Edward D.:
Box 15
"Schopenhauer in the Air":
Box 18
Schrader, Fred:
Box 15
Schroeder:
Box 38
Schuler, J.W.:
Box 40A
Schull, Sherrill:
Box 21
Schwab, Arnold T.:
Box 33
Seaman, A.C.:
Box 15
Selznick, David O.:
Box 15
"Seven Weeks in a German Prison":
Box 8
Sexauer, H.F. (see Sargents Court Correspondence):
Box 15
Sexauer, Maya:
Box 12 (
see passim in Sargents Court Correspondence)
Shannon, Sir James Jebusa:
Box 20
Sharman, Grant:
Box 26
Short Stories:
Box 8
Sigel, Tobias:
Box 12,
Box 15
Simon, Lucien:
Box 20
Sinclair:
Box 40A
Sipperell, G.J., (Buffalo):
Box 20
"Slaughter of the Innocents":
Box 8
Sloan, John:
Box 30
Smith, Edison:
Box 12
Smith, May L., (Binghamton, N.Y.):
Box 20
Soissons, Comte de:
Box 31
Spreckels, Alma:
Box 15
Springer, H.J.:
Box 19
Stedman, E.C.:
Box 12
Steffens, M.J.:
Box 21
Steichen, Edward J.:
Box 19,
Box 38,
Box 40A
Stein, S.L.:
Box 20
Stieglitz, Alfred:
Box 12,
Box 15,
Box 30,
Box 40A
Stimson, John Ward:
Box 15
"Story of Albert P. Ryder":
Box 8
"The Story of An American Painter":
Box 8
"Story of the Buddha":
Box 8
"The Story of the Engineer":
Box 8
Strauss, Alex:
Box 15
Strauss, J.C., (St. Louis):
Box 19,
Box 20,
Box 21,
Box 38,
Box 40A
Strindberg, August:
Box 20
Stromberg, Gustaf:
Box 15
Sturgis, George:
Box 15
"The Stylus":
Box 17
Sussman, Jeffrey:
Box 35
Sutro, Florence C.:
Box 15
Swift, Ivan:
Box 15
T.M. ("Tramp Madonna"):
Box see Lillian Bonham
"Tanka":
Box 8
"Tanka and Haikai":
Box 10,
Box 18
Tarkington, Booth:
Box 15
Taubes, Frederic:
Box 15
Tennant, T.D.:
Box 15
"Three Years in Philadelphia":
Box 8
Throop, Anne:
Box 16,
Box 31,
Box 39
Titian:
Box 20
Titus, A.D., (Buffalo):
Box 20
"To A.T.":
Box 8
"To My Mother":
Box 8
Toloff, J.T., (Evanston, Ill.):
Box 20
Tompkins, F.H.:
Box 19,
Box 39
Towles Studio:
Box 21
"Tragedy in a New York Flat":
Box 8
"Tramp Madonna":
Box (see Lillian Bonham)
"Tramp Madonna" (story):
Box 18
Troubetzkoy, Amelie ("The Princess"):
Box 15
Tryon, W.D.:
Box 8
"Vacant Bungalow":
Box 8
Valentine, E.E.:
Box 12 (see Transcripts)
"Valiant Flyer of the Air":
Box 8
"The Valley of Silence":
Box 8
Vander Weyde, W.:
Box 19,
Box 40A
Van Duzee, Edward P.:
Box 12 (see Transcripts)
Van Dyck, Anton:
Box 20,
Box 38
Van Haagen, Henry J.:
Box 15
Van Noppen, Leonard:
Box 15
Vaterlandischer Hilfsverein:
Box 15
Velazquez, Diego:
Box 20
Verbeck, Gustav:
Box 15
"A Visit to John Burroughs":
Box 8
Vonnoh, Robert:
Box 15
Wade, Elizabeth Flint:
Box 19,
Box 40A
Waide, Milton:
Box 20
Wallace, --:
Box 20
Walsh, Elizabeth Blanche:
Box (see Hartmann, Elizabeth Blanche Walsh)
Walt Whitman Society:
Box 37
Warburg, Mrs. Felix:
Box 15
Warrington, C.:
Box 38
Warshaw, --:
Box 15
Watson, Dawson:
Box 19
Watts, George Frederick:
Box 20
Weber, Harry (see Sargents Court Correspondence):
Box 15,
Box 40B
Weinberg, Joe:
Box 36
Weinberger, Harry:
Box 15
Weir, Alden:
Box 20
Wendt, --:
Box 15
Wesselman, Cliff:
Box 38,
Box 39
Weston, Edward:
Box 12,
Box 20,
Box 38,
Box 39
Wheeler, A.C. (see Nym Crinkle):
"When I Was King of Bohemia":
Box 8
Whistler, James Abbott McNeil:
Box 20
"White Chrysanthemums":
Box 41
White, Clarence H.:
Box 19,
Box 40A
Whitman, Walt:
Box 40A
Wiboldt:
Box 34
Wiksel, G.P.:
Box 12,
Box 15
Wiles, Irving:
Box 15
Williams, Margaret:
Box 15
Williams, Wheeler:
Box 15
Wilson, James:
Box 12
Wilson, Maude:
Box 20,
Box 40A
Winter, Margery:
Box 15,
Box 38 (
see also Sargents Court Correspondence),
Box 15
Wistaria (the flower):
Box 8
"With Knapsack and Staff":
Box 8
"Women as Delineated in Modern Literature":
Box 8
"Women's Dress and the Artist":
Box 8
Wood, Grant:
Box 15
"Workers on Art Relief, Come Forth":
Box 8
Wright, Dunbar:
Box 38
Yens, Karl:
Box 15
"A Youngster Dons Mikado Garb":
Box 8
Zeitlin, Jake:
Box 12
Zimmerman, Walter:
Box 21,
Box 40A
Zimmermann, Frank M.:
Box 15
Zola, Emile:
Box 19