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Wanda Gág papers

Ms. Coll. 310

Wanda Gág papers

Ms. Coll. 310

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Gág, Wanda , 1893-1946
Title:
Wanda Gág papers
Date [inclusive]:
1892-1968
Call Number:
Ms. Coll. 310
Extent:
40 boxes
Language:
English
Abstract:
Personal papers of Wanda Gág, including correspondence to and from Wanda, as well as letters to and from Alma Schmidt Scott, a biographer of Gág, and letters among Gág family members; writings, such as diaries, children’s books, autobiographical works, and juvenilia; notes for talks and for writings; artwork; exhibition catalogs and related publicity material; writings about Gág, including obituaries, biographical pieces, and book reviews; financial records; materials regarding the Estate of Wanda Gág; newspaper clippings; memorabilia; photographs; and examples of Happiwork, a product for children created by Gág.
Cite as:
Wanda Gág papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Zigrosser, Carl, 1891-1975
Title:
Carl Zigrosser papers
Date:
circa 1891-1971
Call Number:
Ms. Coll. 6
Extent:
116 boxes
Language:
English
Abstract:
The Carl Zigrosser Papers comprise personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on print s and printmaking and his personal relationships with artists. The Papers are particularly rich in correspondence with the major artistic and cultural figures in America during the first half of the twentieth century.
Cite as:
Carl Zigrosser papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
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Biography/History

Artist, illustrator, and writer Wanda Gág was born Wanda Hazel Gag on 11 March 1893 in the town of New Ulm, Minnesota, a German-speaking community of freethinking artisans and farmers. She was the oldest of seven children born to Anton Gag, a painter, photographer, and decorator, and his wife Elisabeth Biebl, also from an artistic family who made their living through cabinet making, photography, and farming. Gág described her parents, Anton and Lissi, as "iconoclasts" who did not practice the Catholicism of their Bohemian ancestors and raised their children in a home where drawing, painting, music, gardening, and sewing were the chief occupations of parents and children. Lissi designed and made her children's stylish clothes, a skill her daughters learned. As an older child Wanda Gág was amazed to discover that there were people who did not know how to draw--she and her brother and sisters were drawing before they entered school.

Wanda Gág's earliest teacher was her father Anton. He painted church interiors and decorated houses as partner in the firm Heller & Gag. On Sundays he painted in his attic studio in their home. One of his paintings of the 1862 Indian Massacre in New Ulm (now referred to as the Dakota conflict of 1862) was exhibited at the World's Columbian Exposition in Chicago in 1893; others are in private collections, museums, and historical societies in Minnesota and elsewhere. Anton Gag was an immigrant, born near Neustadtbei Heide, Bohemia. Lissi Biebl was born in Pennsylvania of Bohemian parents, both families moved to New Ulm around the same time. After moving to New York, Wanda Gág altered the family name by adding an accent to it, because people so often mispronounced her name. Some of Wanda's siblings adopted this change in their name after Gág became well known. (See Gág's note in Growing Pains, hereafter  GP, 471.)

When her father was on his deathbed in May 1908 at the age of 48, he called Wanda to his side and told her "Was der Papa nicht thun konnt' muss die Wanda halt fertig machen" (What Papa couldn't do, Wanda will have to finish). Wanda was fifteen years old, her youngest sister Flavia was one year old, her mother was ill and often unable to do housework and they were left very little beyond their home at 226 Washington Street, New Ulm, and life insurance of $1200 which was made to last over the next six years.

In October of that year, 1908, Wanda began keeping a record of her earnings, expenses, and events of her life in a ledger book that had belonged to her father. This was the start of her habit of keeping diaries, which she continued until her death. With her mother's approval, Wanda decided not to take work as a clerk or housekeeper. Instead she was determined to earn as much as she could by her art work--drawing bookmarks, place cards, and postcards (at 5 cents each) which she sold locally. She illustrated her own stories and poems for submission to the Minneapolis Junior Journal, which paid a dollar for each published work. A year later, she was holding drawing classes in her home to earn money for the family. Wanda also decided that she and her sisters and brother would each finish high school. Her attendance at school was often interrupted by having to tend the baby at home when her mother was sick, and by doing the washing, cleaning, cooking, chopping firewood, and other chores. The story of these years and her earliest studies at art schools in St. Paul and Minneapolis is told in Wanda Gág's book  Growing Pains, comprising excerpts from her diaries and letters from 1908 to 1917 and published in 1940.

Wanda balanced her sense of obligation to her siblings, who remained close to her throughout her life, and her desire to pursue art. The Wanda Gág Papers at the University of Pennsylvania include a significant amount of family correspondence plus Gág's writings about her family. Her siblings were her sisters Stella Gag Harm (1894-1962); Thusnelda Gag Stewart ( "Tussy,"  "Nelda" ) (1897-1973); Asta Gag Treat (  "Drift" ) (1899-1987); Dehli Gag Janssen (  "Dale,"  "Deli" ) (1900-1958); her brother, Howard Gag (1902-1961); and baby sister Flavia Gág (  "Flops" ) (1907-1978) who also became an author and illustrator of children's books (see Winnan, 78). Her mother's family, the Biebls, whom Wanda called  "Grandma folks," were especially close to her. They included her grandmother; her uncle Joe (  "Josie" ) Biebl; her Aunts Mary and Magdalena (  "Lena" ) Biebl; and her uncle Frank Biebl, a woodcarver, cabinet maker, photographer, and musician.

Wanda had a keen appreciation for music, learned from her family. She played the piano, sang in the Glee Club, arranged the school song in four parts, and was happy when her uncle Frank, who also made musical instruments, came to their house and played his guitar. She played duets at the piano with her friend Alma Schmidt ( "Schmidty," later Alma Schmidt Scott), who maintained a lifelong friendship with the Gág family and wrote a biography of Wanda, published in 1949. They graduated together from high school in New Ulm in 1912.

During the summer she returned to New Ulm and was visited by Charles Weschcke of St. Paul, who had known her father and was interested in Gág's talent. He offered to send her to the St. Paul Institute of Arts and Sciences and to pay her board at t he Y.W.C.A. Her sister Stella was able to teach school that year to support the family and in the fall of 1913 Wanda began classes, preparing for a career in illustration and commercial art.

Wanda received early support from a number of individuals in St. Paul and Minneapolis. Among them was Arthur J. Russell, journalist and editor at the Minneapolis Journal and  Minneapolis Junior Journal, where Wanda had submitted her stories and drawings since she was in her early teens. She wrote to him about her compulsion to draw, which she referred to as  "fierce drawing moods" or  "drawing fits" and her  "myself and many me's" which occupied her thoughts in her diaries:

Myself is the part of me that sees its way out of my "self-to-me" arguments, as for instance the one above about cleverness; and Me is that part that writes things in diaries in angular words, angular phrases and angular thoughts. Like this :-Myself is inside, and  Me is trying to sort of fit around the outside only it can't very well because it's so angular, you see, and can do no more than touch  myself and feel that myself is there.

-- GP, 212-213

Russell gave her books to read and wrote to her for over thirty years encouraging her to pay attention to her unique view of her world and her work:

I am sure your me's will not worry you for you know now they are deciduous, if that is the word, or in other words they are crops of leaves that you are shedding as the seasons go. The real tree of you stands and will stand.

--Russell to Gág, 24 November 1914

Wanda first met Arthur Russell on 28 November 1914. He introduced her to his editor, Herschel V. Jones, who was so excited by her work that Jones offered to pay Wanda's tuition, room, and board at the Minneapolis School of Art on the spot. Wanda considered this and then accepted and moved to Minneapolis in December 1914. She returned home to New Ulm for the Christmas holidays, where Dehli was recovering from a serious illness. Christmas was an important part of Gág's life. In New Ulm the holiday began with St. Nicholas's Day, December 6, but the tree trimming did not take place until December 24, and in the intervening weeks much effort went into making presents for every member of the family. The family practice of writing verses and riddles attached to Christmas gifts persisted throughout their lives and a large number of these have been preserved in Gág's Papers.

After Wanda's return to Minneapolis in January 1915, she frequently mentions one of her classmates, artist Adolf Dehn (spelled Adolphe or Adolph in his letters to Gág). They became close friends, discussing immortality, art, books, and religion, and after a few years, the pros and cons of marriage. Although she greatly enjoyed the company of men, Wanda had always said that art came first in her life, and from her teenage years she thought seriously about remaining single. Dehn's declaration of his love for her in 1916 drove her to think about the question almost constantly.

In January 1917, after she had returned to Minneapolis following the Christmas holidays in New Ulm, she received a message from Stella that she should return home immediately. Her mother had been ill over the holidays. The weather was bitterly cold and Wanda kept the fires and furnace going and tried to keep a normal routine for the youngest children. Two neighbors and the doctor were with Gág at her mother's bedside when she died early in the morning of January 31. Her mother was 48, the same age her father had been when he died almost ten years earlier. After a few months Wanda decided that the best chance of keeping the family together (some local families wanted to adopt the youngest children) and of giving them opportunities for education would be to sell their home in New Ulm and move to Minneapolis. In April of the same year Wanda Gág and Adolf Dehn both received notice that they were among twelve students nationwide who had won scholarships to the Art Students League in New York. Agai n, Herschel V. Jones offered to pay Gág's room and board, this time in New York.

During the summer of 1917, Wanda, her sisters, and Adolf Dehn painted the house in New Ulm to ready it for sale and they sold most of their household goods. By the end of September the house had not sold and through that winter Asta stayed with the youngest children in New Ulm, while Stella and Nelda worked to support them in Minneapolis. Wanda borrowed $150 for the children from Jean Sherwood Rankin for whom she illustrated A Child's Book of Folk-lore: Mechanics of Written English (1917) a guide to assist immigrants in learning the English language. Wanda Gág, Adolf Dehn, and their classmate Arnold Blanch went to New York together at the end of September 1917.

At the Art Students League Gág studied with Frank Vincent DuMond, Kenneth Hayes Miller, and Robert Henri. She took a class in etching from Mahonri Young, while attending lectures and classes with a number of other instructors including John Sloan. She roomed at the Studio Club of the Y.W.C.A. but moved to a room at 859 Lexington Avenue to save money to send home to New Ulm where the children were having a difficult winter. Gág began looking for commercial art jobs to earn extra money.

Gág returned to New Ulm for the summer of 1918, sold their house and moved her family to Minneapolis. Wanda returned to New York with an art school classmate, Lucile Lundquist, who had roomed with Stella in Minneapolis. Although her scholarship had been renewed, Gág was not able to study full time, and spent much effort trying to interest publishers in her work; trying to obtain work making covers for sheet music; and becoming involved in fashion advertising, which she hated. In her diary she describes the celebration at the end of World War I in New York City when the news came of Germany's surrender, with bits of paper falling everywhere from the sky. That November she took a job decorating lampshades for 25 cents an hour for a Danish woman named Mrs. Lund.

Adolf Dehn had been drafted into the Army in June 1918, and served as a conscientious objector in a guard house in Spartanburg, South Carolina. While still in the Army, Adolf was able to visit Wanda in New York in January 1919. She described their meet ing in detail and wrote in her diary, "Adolphe, of course, is not greatly in favor of marriage, neither am I, but being a woman, & being also very fond of children, free love has as many disadvantages as marriage for me" [Diary 35, 1 February 1919]. She often wrote of the disadvantages of being a woman. When Dehn and sculptor and fellow Minnesotan John B. Flannagan wanted to hire on as deck hands on a merchant ship to China, Gág was very upset that Dehn didn't ever consider that it would be impossible for her to take the trip with him because she was a woman [Diary 36, 16 December 1919]. They did plan to travel to Europe together and began saving money for this.

During the period 1920 to 1922 Gág was becoming more successful earning money through commercial art. In her diaries she was preoccupied with her relationship with Adolf, worried about the effects of her unsatisfied desires on her health and about his self-described "promiscuity." She investigated methods of birth control and exchanged information about sex with her roommate Lucile Lundquist, who was involved in a relationship with Arnold Blanch. Dehn and Gág became lovers but con tinued to “torture” (her word) each other and when he persisted with his wish to travel to Europe in October 1921 she did not go with him. At this time Gág was undertaking a business venture called  "Happiwork," a series of activity kits for children. Gág designed and wrote stories for these; her partners were Janet and Ralph Aiken who lived in Connecticut.

Gág still thought about joining Dehn in Europe once Happiwork was established. She wanted to travel to her ancestors' homelands in Austria and Czechoslovakia, in addition to spending time in Paris. But she became involved with Earle Marshall Humphreys, a friend of Adolf Dehn, who had been interred with him as a conscientious objector in South Carolina during the war. Earle Humphreys, a bookseller and writer, was born in Philadelphia and had graduated magna cum laude from the University of Pennsylvania. Meanwhile Dehn wrote to Gág on 24 February 1922 that he had fallen in love with Mura Ziperovitch, a young dancer, but that he wanted Gág to join him soon in Vienna. Gág obtained her passport on 11 March 1922, but never departed for Europe.

Wanda Gág had her first art exhibition at the New York Public Library's East 96th Street Branch from 15 February to 1 April 1923. Her work was well received by fellow artists and she received notices in the press. Among her admirers was Carl Zigrosser, a founder of the Weyhe Gallery in New York, which specialized in prints. Throughout the 1920s Zigrosser encouraged her, wrote to her, sent books to her, and bought all her completed prints for Weyhe so that she would have some money to live on. Zigrosser organized her first exhibition at Weyhe, 1-20 November 1926, which was a critical success.

In 1923 the Happiwork venture failed. Gág did not like the pace of living in New York City year round and prized the times she had been able to spend in the country--at Mohegan Lake, New York in the summer of 1919 and in Connecticut with the Aiken family. Although she had a steady income from commercial art, her real desire was to make art for herself. She made the decision in 1923 to "go native" as she called it, to give up fashion drawing and go to the country to pursue art. She spent the summer and autumn of 1923 and 1924 in the country near Ridgefield, Connecticut and long summers from 1925 through 1930 at a rented farmhouse near Glen Gardner, New Jersey which she called  "Tumble Timbers." Here she was able to plant a garden, to study the growth of nature and forms of the landscape, and to draw and paint every day. Gág sometimes expressed her experiences of the fundamental forces of nature by using musical analogies. In one diary entry she describes the forms of trees and masses of foliage as a symphony, the sound comprised not just of wavelengths, but volume [6 July 1923, Diary 40]. She wrote to Carl Zigrosser about her work and her determination.

...once and for all to get at the bottom of the principle which governs all this [the forms of hills, planes, conflicting fragments, big forms].... My aesthetic existence teems with forms which project themselves tauntingly toward me, recede elu sively from me, bulge, flow - and, worst of all, turn triumphantly over the edge of things, leaving me to wonder what's going on beyond. But of course that's exactly the place where I can't afford to give up...

--Gág to Zigrosser, 10 May 1926

Her companions in the country and during the winter at their apartments in New York City were Earle Humphreys and her sisters and brother. Thusnelda moved to New York in 1922, Asta in 1924, Dehli and Flavia (who had been living with Stella, now married in Minneapolis) in 1926, and Howard in 1927. Nelda, Asta, and Dehli married, but Flavia remained unmarried and spent a number of years living with Gág, as did her brother Howard, who supported himself as a musician at clubs in New York.

Gág was involved in a number of collaborative efforts with artists in New York, including William Gropper, with whom she founded a magazine without an editor entitled Folio in 1924. Carl Zigrosser invited her to parties and exhibition openings, some of which she accepted, but many she turned down, preferring to spend her time working uninterrupted. She did accompany Zigrosser to Lake George, New York for a weekend in August 1928--an invitation from Alfred Stieglitz and Georgia O'Keeffe. Stieglitz admired her work and an autobiographical article she had written for  The Nation titled  "These Modern Women: A Hotbed of Feminists" (22 June, 1927) and Gág enjoyed Georgia O'Keeffe's company.

In 1928 Gág became nationally known with the publication of her first illustrated children's book, Millions of Cats. She followed this the next year with another book,  The Funny Thing. Gág had been writing stories for children since her teens and had attempted to publish some of them during the early 1920s in New York. Her meeting with Coward-McCann editor Ernestine Evans at the time of Gág's exhibition at Weyhe Gallery in 1926 led to the publication of  Millions of Cats. The period from 1924 to 1928 had been especially productive for her as an artist. Her innovative lithographs from sandpaper plates and her ink drawings and watercolors on sandpaper were widely acclaimed. Her drawings appeared in  New Masses; her lithograph  Elevated Station was selected as one of the Fifty Prints of the Year (1926) by the American Institute of Graphic Arts, an honor she received during each of the next five years. She exhibited in a number of group exhibitions around the country, and had a second exhibition at the Weyhe Gallery, 19-31 March 1928. The royalties from her children's books gave her a substantial income for the first time in her life and when  "Tumble Timbers," became unavailable for rent in 1931, Gág and Humphreys began looking for a rural property to buy. She wrote to Jean Sherwood Rankin, who was trying to get Gág to collaborate on another book:

I am planning to get myself a little country place somewhere-one where I can stay all the year round. I have quite “gone native” and I like to go in hiding for the purpose of greater freedom and concentration in my work.

--Gág to Rankin, 16 November 1930

They bought a farm of 193 acres in the Musconetcong mountains near Milford, New Jersey in June 1931, and set to work renovating the old farmhouse and planting the garden. The following year, they built a studio on the property for Gág which she named "All Creation," the name later applied to the whole property. This work occupied nearly all of Gág's time (and Humphreys' and Howard Gag's) for the second half of 1931. Gág highly prized her personal freedom and privacy for her own work. She had once written to Zigrosser that:

These are the times-this winter being one of them-when I am so intensely absorbed in my work that a love-affair just cannot hold out against it. Maybe that's cruel, but that's me! Way back in my art school days I used to say, "Art comes first-and men, much as I like them and need them, must come second." I think no one believed me then, but I meant it, and I have practiced it, I think, pretty consistently throughout my life.

--Gág to Zigrosser, 28 January 1929

Humphreys moved to Virginia in 1932 to make time for himself to work on a manuscript for a book, an endeavor in which Gág supported him. He returned in the summer and traveled with Gág to Walden and Concord, Massachusetts. Gág worked on her wood engravings and lithographs during the 1930s, but the number of prints she produced was fewer than in the 1920s. In March of 1932 her friends the artists Howard Norton Cook and his wife Barbara Latham stayed with her at "All Creation" while Howard Cook taught her the techniques of aquatint. Barbara was reading Gág's diaries (and evidently upset by Gág's views on sex and creativity) and Gág wrote of this to Earle:

I think it is this part of it that Barbara [Latham Cook] failed to see. I tried to explain to her that sex to me was not a neurotic desire for many experiences, but that it was like the earth to me-growth, breadth, creation.... I am inclined to think t hat a great personal pleasure is more potent for the purposes of aesthetic re-birth than a trip to another country.

--Gág to Humphreys, 4 April 1932

Gág's circle of friends in the 1930s and 1940s included Hugh Darby and his wife Eleanor Muriel Kapp, Louis and Stella Adamic, Carl Van Doren, Mark and Dorothy Van Doren, Joe Freeman, Mike Gold, and Max Jacobs. Gág also had a close friendship with the writer Lewis Gannett and his wife Ruth Chrisman Gannett. In July 1934 she was invited by the Gannetts to a party for a Russian consul.

As soon as we got there, Ruth introduced me to a man who talked with me off & on for a great part of the evening. When I was about to go home I found out that it had been Morris Ernst. He was very different from what I expected him to be like. Theodore Dreiser was there too. I was introduced to him in passing. If I had known what to say I could easily have gotten into a conversation with him, I think, for he's not aloof.

--Gág to Humphreys, 16 April 1934

Gág was in demand as a lecturer. Her publisher, Coward-McCann, wanted her to produce more children's books and to give some time to promoting them. She was also asked to illustrate books for other authors. She refused most of these requests, but during the Depression, there was little demand for fine art; many of her artist friends were struggling (see, for example, letters from her friend J. J. Lankes) and her ability to earn a living and help support her siblings through the market for children' s literature was important. Between 1930 and 1940 she published seven more books, six for children plus her early diaries, Growing Pains, all for Coward-McCann. These included original stories by Gág and her illustrations and translations of the  Kinder- und Hausmärchen of the Brothers Grimm. Gág had grown up hearing traditional stories and spoke only German until she entered school. She continued to work on her German langauge skills while she was in Minneapolis-St. Paul. She enjoyed the project of working on the Grimms' Fairy Tales, and not coincidently, published her illustrated  Snow White and the Seven Dwarfs during the same year, 1938, that the Walt Disney movie was released.

Gág served on art juries for the New York World's Fair in 1939 and she applied for a Guggenheim Fellowship that year, obtaining letters of reference from Lewis Gannett, Rockwell Kent, Lewis Mumford, and Carl Zigrosser. Zigrosser applied for and received a fellowship in the same year, but in a different category from Gág's application, which was not funded.

In 1940 the Weyhe Gallery mounted a major retrospective of Gág's work, "Wanda Gág: 35 Years of Picture-Making," 21-31 October 1940. On this occasion the gallery published a special  "Gág Number" of  The Checkerboard, which includes a catalog of her works to date. She was also working in oils at this time. In her early career she had little experience with oils because she could afford neither paints nor canvas. The success of the autobiographical  Growing Pains(1940) prompted her to start work on a sequel.

Since 1939 Gág had been suffering from severe dizziness, poor eyesight, ringing in her ears, weight loss, and low energy which kept her from drawing and painting much of the time. She was still able to write, however, and continued her work on various writing projects. She was not able to get a clear diagnosis of her medical problems from the doctors she visited; they blamed her symptoms on menopause, dysentery, thyroid problems, and eventually on allergies. She had expressed concern about her hea lth as early as 1928 in a letter she wrote to Carl Zigrosser:

I'm not feeling at all well, and a certain trouble which I had hoped would decrease, has apparently increased instead. I did not tell you about this, because I do not like to talk about my ailments, and the worse they are, the harder it is to get me to tell about them. It was chiefly about this that I went to the naturopath. He told me it was an enlarged gland in my left breast-resulting probably from a strain. But I was not at all reassured, and now-after having been careful to use my left arm very li ttle-it seems to bother me more than formerly.

--Gág to Zigrosser, 28 May 1928

Zigrosser was alarmed and recommended a doctor, Dr. Burton J. Lee, whom Gág continued to see over the next several years. Stieglitz and Georgia O'Keeffe also recommended O'Keeffe's doctor. Evidently nothing substantive was done for Gág, and she continued to complain of pain in her side in her letters to Zigrosser in 1931 and 1934.

Gág was depressed by her health and by the state of the world at the approach of the second World War. She contributed a drawing to the American League for Peace and Democracy for its 1939 calendar. She was committed to anti-Fascism and to the liberal causes that many of her artist friends espoused. Her contributions consisted of donating her prints for auctions and other fundraisers plus some small cash contributions. She held memberships in the American Artists Congress, the League of American Writers, and the Authors' Guild of the Authors' League of America through which she contributed to the National War Fund during World War II.

Wanda Gág and Earle Humphreys were married at the end of August 1943, affirming their bond of more than twenty years. The church ceremony took place at the Central Baptist Church in New York City, on a rainy August 27, with Gág's brother-in-law Bob Janssen as witness. Robert Janssen, married to Wanda's sister Dehli, was very close to both Earle and Wanda. They married to quell criticism received by Earle at his defense job that he was living with an unmarried woman--criticism motivated by hos tility and distrust of Earle's union organizing activities in the plant. Although she felt all along that theirs had been a true and moral relationship, Wanda was positive about the marriage; she was glad to be able to be open about their relationship, particularly with Earle's family.

Gág's work continued to be exhibited in group shows and traveling exhibitions. In 1944 she was represented in the First Annual Exhibition of Contemporary American Drawings at the National Academy of Design and was awarded the Joseph and Elizabeth R. Pennell Purchase Prize by the Library of Congress for her lithograph Barns at Glen Gardner.

By 1945 Wanda Gág was seriously ill, she wrote that she could not walk a block without panting and she frequently ran a fever. When she was hospitalized in February, several pints of fluid were removed from her left lung. X-rays and exploratory su rgery revealed that she was suffering from terminal lung cancer. Her doctors and husband, Earle Humphreys, decided not to inform her of this, the only people who were told were her brother Howard, Robert Janssen, and Carl Zigrosser. Wanda probably suspected the malignancy, she received radiation treatments and Earle determined that he would take care of her and make her as comfortable as possible, taking over all the maintenance of the household and garden so that she could continue to work.

Late in December of 1945, Earle and Wanda left New York City and drove to Florida where they hoped the warmer climate would make Wanda more comfortable. She continued to work on this trip, producing drawings and working on translations for her next col lection of Grimms' tales. Returning to "All Creation," on May 17, Earle and Howard Gag planted the garden. Wanda became critically ill in June and died at Doctor's Hospital in New York City, 27 June 1946 after a few days hospitalization. She was cremated and her ashes scattered at  "All Creation."

Gág's will was dated 13 December 1945. In it she named Humphreys and Zigrosser as co-executors. Earle Humphreys died 16 May 1950 of a heart attack before final settlement of the estate. His co-executor, Robert Janssen then represented the family in the final settlement. In accordance with Earle's instructions, Robert Janssen burned Humphreys' papers, including the manuscripts for his unpublished books. Her family's wish was that Wanda Gág's work be distributed widely and a number of memorial exhibitions of her work were held in New York, Philadelphia, and Minnesota. Few of Wanda's friends or colleagues had known how ill she was and her death at the age of 53 was a shock to the art world.

Biography/History

Carl Zigrosser (1891-1975) was one of the few influential museum curators in the United States: he actively promoted the art of print-making. From 1941 through 1963 the Print Department of the Philadelphia Museum of Art increased under his direction from approximately 15,000 objects to more than 100,000 works of art. Notable acquisitions during his tenure include Watteau engravings from the Rosenwald collection; the Osborn collection of folk prints; the Scholz collection of seventeenth-century etchings; the Stieglitz collection of photographs; and Japanese prints from the Rockefeller and the Archibold and Vera White collections. At the time of his death in 1975, Evan Turner, Director of the Museum, described Zigrosser as "a driving force" in the development of the Philadelphia Museum of Art.

In Zigrosser's personal memoir, My Own Shall Come To Me, he described himself simply as  "an appraiser or appreciator of the arts and of life." Although he dedicated twenty-three years of his curatorship to building the museum's art collection until it reached internationally-recognized stature, Zigrosser was also a noted scholar and art historian. He did not view his contributions as exceptional:  "my career has meaning only as an example of what has been achieved or extracted from existence on this planet—the notion of a life span conceived as a construction or work of art."

Zigrosser was born in 1891 in Indianapolis; he was the son of Hugo and Emma Zigrosser. His father had emigrated from Austria and became a naturalized citizen in 1890. Hugo Zigrosser married Emma Haller of Newark, New Jersey and established a partnership with Leopold von Bohlen in an architectural firm in Indianapolis. After an early retirement for serious health reasons, Hugo moved his family to Newark but did not resume his profession. Soon after the family's arrival in Newark, Carl was enrolled in Newark Academy, from which he graduated in 1908. On the basis of his scores on the College Entrance Examination, he was awarded a scholarship at Columbia College, as well as a prize given by the Columbia College Alumni of New Jersey to the student with the highest examination marks.

In 1908 Zigrosser entered Columbia and majored in chemistry and mathematics. His interests, however, turned to literature, and he completed his course-work in this field in three years. He was then elected to Phi Beta Kappa and received his B.A. in 1911. During his undergraduate studies he contributed to the campus literary magazine, The Columbia Monthly. Through his readings of John Dewey, Francisco Ferrer, Bertrand Russell, and Jean-Jacques Rousseau, Zigrosser becam e interested in the theory of modern or progressive education. In 1915 he began writing book reviews for  The Modern School Magazine, which at the time was published at the Ferrer Colony in Stelton, New Jersey. His first influential essay on his conception of the ideal of the Modern School was reprinted as a pamphlet with a title page designed by Rockwell Kent. In 1917 Zigrosser took over the editorship of  The Modern School Magazine, a publication which continued to discuss key issues in libertarian education.

During this early period Zigrosser met and married Florence King, whom Zigrosser described as "a modern emancipated woman-athletic, efficient, priding herself on economic independence" and to whom he referred in his extensive personal correspondence as  "Kinglet." On 10 September 1917 their only child, Carola (nickname,  "Dux" ), was born in New York City, where the couple resided.

Zigrosser's professional career and his study of art began with the New York print dealer, Frederick Keppel & Co., for whom he worked until 1917. Two years later he founded and directed the Weyhe Gallery, an outgrowth of the Weyhe bookstore in Manhatt an. In 1939 and 1940 he was awarded a Fellowship from the John Simon Guggenheim Foundation for research in art; in 1962 he was elected a trustee of the Simon R. Guggenheim Museum.

In 1940 Fiske Kimball approached Zigrosser with the prospect of becoming the curator of prints at the Philadelphia Museum of Art. In the same year Zigrosser was awarded a Testimonial Gold Medal by the Philadelphia Watercolor Club. After accepting the curatorial position at the Philadelphia Museum of Art, Zigrosser moved to Philadelphia, a city that he described as possessing an "individuality rare among American cities." Comparing New York City, his former residence for many years, with Philadelphia was, for Zigrosser, like comparing Berlin with Vienna: the former was the  "dominant, gogetter" city whereas the latter, with its old traditions, had  "mellowness and charm." Zigrosser attributed the difference between the two cities to a change in climate: Philadelphia's tempo was  "easygoing and gemütlich " because it had a southerly atmosphere.

The move to Philadelphia signaled a major shift in the development of Zigrosser's career, for he now concentrated on scholarly aspects of the graphic arts rather than commercial ventures. On the eve of his departure from New York, fifty artists— all of whom felt indebted to Zigrosser for either the publication or sale of their prints—gave a party during which they presented him with a medal designed by Rockwell Kent "in behalf of the many artists who appreciate his sympathetic, unselfish se rvice to them and to art in America."

After the death of his first wife, Zigrosser married Laura Canadè in 1946, whom he credited as having an important influence on his art career. Laura was the daughter of the artist Vincent Canadè and an artist in her own right. Zigrosser and his second wife resided in Philadelphia for the duration of his twenty-three-year curatorship at the Philadelphia Museum of Art. During this period he also served as consultant for the Graphic Art Carnegie Study in the United States, which was an exhibition held in 1964. In 1961 Zigrosser was awarded an honorary doctorate from Temple University; he also served as Vice-Director of the Print Council of America and Vice-President of the Print Club of Philadelphia. He first appeared in Who's Who in America in 1966-1967.

Zigrosser's contributions to the world of art were not solely defined by his position as Curator of Prints and Drawings. As early as 1919 he edited and provided the introduction for Twelve Prints by Contemporary Artists. In 1946 he edited the publication,  Lithographs by Lautrec, as well as  Prints: Thirteen Essays (1962), to which he also contributed an essay. In addition, he authored sixteen scholarly books , including  Fine Prints, Old and New (1937);  The Artist in America (1942);  Käthe Kollwitz (1946);  Book of Fine Prints (1948);  Caroline Durieux (1940);  The Masterpieces of Drawing (1950);  Ars Medica (1955);  The Expressionists: A Survey of Their Graphic Art (1955 );  Maurico Lasansky (1960);  Misch Kohn (1961);  Guide to the Collecting and Care of Original Prints (1965);  Multum in Paryo (1965);  The Complete Etchings of John Martin (1969);  Prints and Drawings of Käthe Kollwitz (1969); and  Medicine and the Artist (1969).

After his retirement as curator in 1963, Zigrosser continued as Curator Emeritus at the Philadelphia Museum of Art. On 4 September 1964, the Museum arranged an exhibition in his honor: it was entitled "Carl Zigrosser: Curatorial Retrospective." The display of one hundred twenty outstanding prints and drawings acquired by Zigrosser during his curatorship was a tribute to his enormous influence in the world of art. On exhibit were prints by Old Masters and printmakers from the sixteenth to twentieth centuries in France, Spain, Mexico, the United States, and Japan; drawings included Old Masters and artists from the United States. The earliest work displayed was Augustin's text,  City of God, illuminated by a follower of Jacquement de Hesdin (ca. 1410). Also included were:  "Minotauromachi," the most celebrated and sought-after print by Picasso; Benjamin West's  "He Is Not Here for He Is Risen," considered by authorities to be West's first lithograph of merit;  "Snake-Gourd Vine," from the 1633 Chinese color woodcut book,  The Ten Bamboo Studio;  "Calvary," a fifteenth-century woodcut scene attached inside the lid of a box of which only forty are known to exist;  "Battle of Ten Naked Men," a print by Antonio Pollaiuolo and the first print that can be pictorially regarded as a major work of art. Other prints on exhibit included works by Albrecht Dürer, Rembrandt, Canaletto, Jacques Callot, Jacques Bellange, William Hogarth, Giambattista Piranesi, J.A.D. Ingres, Jean Duvet, Abraham Bosse, Gabriel de St. Aubin, Paul Gauguin, Honoré Daumier, Paul Cézanne, Georges Rouault, Toulouse-Lautrec, Henri Matisse, Francisco Goya, Käthe Kollwitz, Paul Klee, Edvard Munch, Vincent Van Gogh, Wassily Kandinsky, Emil Nolde, E.L. Kirchner, Leonard Baskin, Misch Kohn, Maurico Lasansky, Gabor Peterdi, and Jerome Kaplan. Among the drawings acquired by Zigrosser were works by Pieter Brueghel the Younger, Alessandro Magnasco, G.B. Castiglione, G.B. Tiepolo, Samuel Pal mer, Jean François Millet, Odilon Redon, Alexander Calder, Stuart Davis, William Glackens, and Robert Henri.

Zigrosser was succeeded by Kneeland McNulty as Curator of the Department of Prints and Drawings. At the time of Zigrosser's retirement, McNulty expressed the following sentiments: "Carl Zigrosser's retirement from his position of Curator of Prints an d Drawings culminates only one, but nevertheless a very important, period in his life. The catalogue of the exhibition held in his honor documents the incredible achievement of an internationally respected scholar and curator who dedicated himself for twenty-three years to enriching the art collection of a great metropolis."

Throughout his life Carl Zigrosser did his utmost to aid and advance the careers of artists such as Rockwell Kent, Misch Kohn, J.J. Lankes, and Diego Rivera. He provided support for the professional careers of these and numerous other artists. After his retirement Zigrosser remained active as a critic, historian, and lecturer, serving as associate of the Whitney Museum of Art and exhibition organizer for the Museum of Modern Art. On 26 November 1975, Zigrosser died in Montagnola, Switzerland, where he had lived for the last three years of his life. Four years prior to his death, Zigrosser published his personal memoir, My Own Shall Come To Me, in which he quoted from his own personal diaries and prolific correspondenc e with associates and close friends, many of whom were artists later recognized because of Zigrosser's efforts.

Scope and Contents

The Wanda Gág papers at the University of Pennsylvania are the primary repository for information on her personal and family life including, as they do, the nearly complete set of her diaries from 1908-1946. Gág's diaries were important to her. She had a compulsion to write that was as strong as her compulsion to draw. She read from her diaries to her close friends, she recopied long sections of them to use in later writings. In them she wrote about art, her family, her friendships, her lovers, her emotions, her ideals, women's roles in society, her health, marriage, money, education, and her passion for the natural world.

Gág's diaries are the primary source for understanding her creative process, her views on art and the work of her contemporaries. She had developed the habit of analyzing her thoughts, motives, morals, moods, and creativity early in childhood and her writings provide an unusually rich inner portrait of a talented and driven artist who was a perfectionist in her work.

The diaries incidently contain much of interest in regard to women's health, particularly women's reproductive health and treatment from the 1920s to the 1940s. Gág was frank in writing about her use of birth control, her sexual activity, and her suffering during menstruation (she suffered so severely from dysmenorrhea that she had to reschedule all her activities each month). In April and May of 1921, Gág feared that she was pregnant and went to see Margaret H. Sanger, whom she describes in her diary (she wasn't pregnant, but was given a regime to follow to induce her menstruation). There is also material related to the health of her sisters. Dehli suffered from depression and turned to Christian Science when she was eighteen, in part to gai n control over her thoughts. She saw a number of psychiatrists and other specialists after she moved to New York in 1926, with financial assistance from Wanda. Flavia, who became a successful author and illustrator of children's books by following Wanda's lead, also suffered from a number of health problems. The poor nutrition of the Gág family members in their childhood may have been responsible for at least some of their health problems later in life.

Correspondence in the Wanda Gág Papers is focused predominantly on personal and family relationships. Her extensive correspondence with Adolf Dehn, 1915-1943, documents his life in a guardhouse as a conscientious objector in World War I, but is primarily an extension of their conversations on art, love, and marriage. He continued to write to her from Europe in the 1920s and his letters contain information about artists they both knew. Gág's letters to Dehn are preserved in the Adolf and Virginia Dehn Papers and Dehn Family Papers, Archives of American Art, Smithsonian Institution. Her correspondence with Earle M. Humphreys spans the years 1931-1943 (from about the time he and Wanda purchased their farm in Milford, New Jersey) and does not date from the earliest years of their relationship. Correspondence with Carl Zigrosser is extensive, dating from 1924 until weeks before Gág's death in 1946. Zigrosser's letters in the Wanda Gág Papers and his own papers, also held by the Universit y of Pennsylvania (Ms. Coll. 6) contain a wealth of information about artists and the art world in the United States and Europe for the first half of the century. The Wanda Gág Papers were donated to the University of Pennsylvania by Zigrosser in 197 2 with the donation of his papers, and include items, in addition to their correspondence, which were gifts from Gág to Zigrosser.

There are significant letters from each of Gág's siblings, and ongoing correspondence in particular with Dehli and with Flavia. Some of the earliest letters from her sisters Thusnelda and Stella to Wanda in New York show their struggles to feed the family and keep them warm in the harsh Minnesota winters after their mother died.

Letters from Alfred Stieglitz and Georgia O'Keeffe reflect the high regard they both felt for Gág. Other artists, authors, and activists whose work and/or lives are represented or discussed in the papers include Egmont Arens, George Biddle, Roger N. Baldwin, Arnold Blanch, Lucile Lundquist Blanch, Louise Bogan, Howard Cook, Adolf Dehn, Max Eastman, John B. Flannagan, Lewis Gannett, Ruth Chrisman Gannett, Mike Gold, Harry Gottlieb, Emil Ganso, Horace Gregory, William Gropper, Max Jacobs, Frida Kahl o, Spencer Kellogg, Jr., Rockwell Kent, Julius J. Lankes, Harold Atkins Larrabee, Barbara Latham, Thomas Gaetano Lo Medíco, John Marin, Edith Whittlesey Newton, Anton Refregier, Diego Rivera, Arnold Ronnebeck, Grace Cogswell Root, Hyman J. Warsager, Anthony Velonis, and Art Young, among others.

The Papers include approximately 30 original drawings and watercolors, including a number of erotic drawings and paintings. The primary collection of Gág's prints is at the Philadelphia Museum of Art; representative prints were distributed by Zigrosser and Gág's family to a large number of museums around the world after her death. Exhibition catalogs and lists of Gág's works are not complete in these Papers, although lists of her work were compiled as part of the settlement of Gág's estate (Box 32).

Financial records for Wanda Gág are incomplete, comprising only four items. There are notes recording her earnings from commercial art in 1921-1922; one item is an account book in which she kept a strict record of shared household expenses; one is her bank book for a savings account, which shows a balance of $3000-$6000 during the Depression years; and the last item is a book in which she kept handwritten accounts of royalties from book sales.

These Papers include correspondence and partial records for the Estate of Wanda Gág, 1946-1968. Zigrosser and Earle Humphreys were co-executors of the Estate. Upon Humphreys's death in 1950, his co-executor (Wanda's brother-in-law) Robert Janssen became the family representative for Wanda Gág's estate.

Production materials for Gág's children's books were sold after her death. The primary repository for these is the Children's Literature Research Collection, University of Minnesota, Minneapolis. Some Gág family correspondence, Wanda Gág photo albums, and papers of Alma Schmidt Scott are also part of that collection. The papers of Alma Scott, including her correspondence and research materials for her biography of Wanda Gág, are located at the Minnesota Historical Society. The Gág and Biebl families donated family papers and artwork to the New Ulm Library in New Ulm, Minnesota.

Scope and Contents

Carl Zigrosser's personal papers comprise 116 boxes, which contain correspondence, manuscripts, proofs, newspaper clippings, diaries, and photographs. Some files include original drawings or prints by artists such as Mabel Dwight, Wanda Gág, Rockwell Kent, and J.J. Lankes. Consisting of 72 boxes, correspondence predominates the collection and includes files from many contemporary artists such as Merle Armitage, Alexander Calder, Mabel Dwight, Wharton Esherick, Wanda Gág, Rockwell Kent, J. J. Lankes, Henri Matisse, Georgia O'Keefe, Walter Pach, Roderick Seidenberg, John Marin, and Alfred Stieglitz, as well as letters from writers such as Hart Crane, Max Eastman, Lewis Mumford, Eugene O'Neill, Wallace Stevens, and Max Weber. One important box contains Zigrosser's copy of the catalogue for the 1913 Armory Show in New York, during which he made notes and sketches of some of the famous paintings on exhibit for the first time in the United States.

Within the 116 boxes of the collection are 2464 folders, arranged by correspondent, institution, or title of manuscript. The collection documents not only Zigrosser's professional development as an authority on printmaking but his personal relationships with many artists. Zigrosser saved most of his papers throughout his adult life, including copies of many letters that he wrote, newspaper clippings, memos to himself, and numerous diaries and receipts. Little seems to have been discarded by Zigrosser, and care was taken during the processing not to disrupt Zigrosser's own organization of the material.

Zigrosser's guiding principle for arranging his general correspondence appears to have been the establishment of a file for each correspondent by name; the material within each file was later arranged chronologically by the collection processor. Undated items were placed at the end of each folder or in subsequent folders labeled undated. The year of correspondence within the file or the first and last years of the items within a file is listed, together with the number items, the number of leaves of paper, number of pamphlets or photographs, and the folder number.

In sorting, priority was given to maintaining Zigrosser's alphabetical system, but papers were processed chronologically within the file. Many materials were inscribed by Zigrosser with dates, which proved very accurate and facilitated later processing. Corporate files were not integrated with the General Correspondence, series; rather, these folders were arranged by Zigrosser in separate boxes under the headings: "Simon R. Guggenheim Museum,”, "The Modern School,", "Philadelphia Museum of Art,", "Print Council of America,", and "Tamarind Workshop.", In addition, separate boxes contain family correspondence. Although many letters originally kept together as "unidentified" were identified and properly filed, three folders remain of unidentified correspondence.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  1999

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  1991

Finding Aid Author

Finding aid prepared by Maggie Kruesi, Christa Stefanski, and Jessica Dodson

Finding Aid Author

Finding aid prepared by Felicia McMahon

Sponsor

The processing of the Wanda Gág Papers and the preparation of this register were made possible by a grant from the National Historical Publications and Records Commission.

Access Restrictions

This collection is open for research use.

Use Restrictions

The Wanda Gág Papers are available for consultation by researchers in the Reading Room, Rare Book and Manuscript Library at the University of Pennsylvania. Permission to reproduce or publish materials from this collection must be obtained from a curator at the Kislak Center for Special Collections, Rare Books and Manuscripts, from the estate of Wanda Gág and/or from other holders of copyright for these materials.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Carl Zigrosser, June 1972.

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Controlled Access Headings

Form/Genre(s)
  • Correspondence
  • Diaries
  • Drawings (visual works)
  • Financial records
  • Photographs
  • Prints
  • Watercolors (paintings)
  • Writings (documents)
Subject(s)
  • Art
  • Artists
  • Authors
  • Authors, American--20th century
  • Children's literature
  • Children's literature, American
  • Women
  • Women artists--United States
  • Women authors

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Controlled Access Headings

Corporate Name(s)
  • John Simon Guggenheim Memorial Foundation.
  • Modern School.
  • Philadelphia Museum of Art.
  • Print Council of America.
  • Solomon R. Guggenheim Foundation.
  • Solomon R. Guggenheim Museum.
  • Weyhe Gallery.
Form/Genre(s)
  • Correspondence
  • Diaries
  • Manuscripts, American--20th century
  • Memorabilia
  • Speeches
Subject(s)
  • Art
  • Artists

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Other Finding Aids

For a complete listing of correspondents, do the following title search in Franklin: Wanda Gág Papers.

Other Finding Aids note

For a complete listing of correspondents, do the following ns2:title search in Franklin: Carl Zigrosser Papers.

Bibliography

Gág, Wanda. Growing Pains: Diaries and Drawings for the Years 1908-1917. New York: Coward McCann, 1940; reprint edition, St. Paul: Minnesota Historical Society Press, 1984.

Hoyle, Karen Nelson. Wanda Gág. New York: Twayne Publishers, 1994. Focuses on Gág's work as a writer and illustrator of children's books.

Scott, Alma. Wanda Gág, the Story of an Artist. Minneapolis, Minn.: University of Minnesota Press, 1949. Alma Schmidt Scott was a lifelong friend of Gág and her family. She based this biography on her own cor respondence and Wanda's diaries. Scott worked on this project with Gág in 1944 and 1945, but did not complete the biography until after Gág's death.

Winnan, Ardur H. Wanda Gág: A Catalogue Raisonné of the Prints. Washington, D. C.: Smithsonian Institution Press, 1992. This includes the most complete listing of Gág's exhibitions and publications; disc ussion of her printmaking techniques; a useful chronology of her life (which does, however, contain a few inaccuracies); excerpts from Gág's later diaries; a biographical sketch and information about her family members.

Books written / translated and illustrated by Wanda Gág

Batiking at Home. 1926. New York: Crowell Publishing.

Millions of Cats. 1928. New York: Coward-McCann.

The Funny Thing. 1929. New York: Coward-McCann.

Snippy and Snappy. 1931. New York: Coward-McCann.

Wanda Gág's Story Book [  Millions of Cats, The Funny Thing, and  Snippy and Snappy in one volume]. 1932. New York: Coward-McCann.

The ABC Bunny. 1933. New York: Coward-McCann.

Gone is Gone. 1935. New York: Coward-McCann.

Tales from Grimm. 1936. New York: Coward-McCann.

Snow White and the Seven Dwarfs. 1938. New York: Coward-McCann.

Growing Pains. 1940. New York: Coward-McCann.

Nothing at All. 1941. New York: Coward-McCann.

Three Gay Tales from Grimm. 1943. New York: Coward-McCann.

More Tales from Grimm. 1947. New York: Coward-McCann.

Collection Inventory

I.  Correspondence, 1905-1961. 12 boxes.

Series Description

Arranged alphabetically and then chronologically within folders, outgoing and incoming correspondence is interfiled. Undated correspondence was sometimes dated retrospectively by Wanda Gág or by Earle Humphreys whose notes and dates are found thro ughout the Papers. Readers should be aware that Gág was not careful about dates and attempts by later individuals to date materials in this collection are tentative.

Correspondence between Wanda Gág and her siblings is found in Boxes 3-5; family correspondence among her siblings is in the final correspondence subseries in Box 14. Carl Zigrosser's correspondence in reference to the estate of Wanda Gág is in Box 30.

A.  Letters to and from Wanda Gág, 1905-1946.

Description

The bulk of this correspondence is from Adolf Dehn, Earle M. Humphreys, Alma Scott, Carl Zigrosser, and members of Gág's family, including her siblings and aunt Lena Biebl. There is a small selection of letters from important artists and correspon dence with a number of organizations which Gág supported with small donations during the 1930s and early 1940s.

Box Folder

Adamic, Stella -- Dehn, Adolf, 1915-1916.

1 1-46

Dehn, Adolf, 1917-1943, undated.

2 47-67

Deml, Clara -- Gág, Dehli, 1915-1942.

3 68-97

Gág, Dehli -- Gág, Howard, 1916-1945.

4 98-120

Gág, Howard -- Howland, Garth, 1943-1945.

5 121-153

Humphreys, Earle Marshall, 1930-1940.

6 154-173

Humphreys, Earle Marshall -- Janssen, Robert, 1931-1943.

7 174-193

Janssen, Robert -- Moore, Anne Carroll, 1937-1945.

8 194-228

National Bureau for Blind Artists -- Scott, Alma, 1911-1935.

9 229-268

Scott, Alma, Stieglitz, Alfred, 1936-1945.

10 269-296

Tiala, Viola -- Zigrosser, Carl, 1924-1933.

11 297-326

Zigrosser, Carl, 1934-1944.

12 327-344

Zigrosser, Carl -- Unidentified, 1945-1946, undated.

13 345-348

B.  Letters to and from Alma Schmidt Scott, 1912-1961.

Description

Comprises Alma Scott's correspondence with individuals other than Wanda Gág. Most of this correspondence was generated while Scott was working on her biography of Gág, ca. 1942-1949; but it also includes Scott's early correspondence with Gág's sisters, especially from Flavia and Stella, dating from 1912. Correspondence with Gág's family members continues after Wanda's death in 1946. Scott filed typewritten notes and attached photographs to this correspondence for her biography.

Box Folder

Coward-McCann, Inc. -- Gág, Stella, 1912-1945.

13 349-365

Gág, Stella -- Weschcke, Charles, 1946-1961, undated.

14 366-374

C.  Family correspondence, circa 1927-1946.

Description

Correspondence among family members, not including Wanda Gág. Includes some items of correspondence between Gág's family, Earle M. Humphreys and Carl Zigrosser. Also included is correspondence between Humphreys and Zigrosser from 1932-1946. The continuation of their correspondence to 1950, which refers to the estate of Wanda Gág, is in Box 30.

At various times Wanda Gág shared her country homes with her sisters Flavia and Dehli, with her brother Howard, and with Earle M. Humphreys. Her other sisters and brothers-in-law visited and vacationed at her home, as did Carl Zigrosser. This network of close relationships is reflected in correspondence among various family members and friends.

Box Folder

Biebl, Magdalena to Dehli Gág and Alma Scott.

14 375

Biehn, Marcus to Earle M. Humphreys.

14 376

Gág, Asta to Dehli Gág.

14 377

Gág Asta to Flavia Gág.

14 378

Gág, Asta to Howard Gág.

14 379

Gág, Dehli to Flavia Gág.

14 380

Gág, Dehli to Jack Grass.

14 381

Gág, Dehli to Earle M. Humphreys.

14 382

Gág, Dehli from Robert Janssen.

14 383

Gág, Dehli to Carl Zigrosser.

14 384

Gág, Flavia to Howard Gág with appended note from Humphreys to Howard Gág.

14 385

Gág, Flavia and Stella Gág.

14 386

Gág, Flavia and Thusnelda Gág.

14 387

Gág, Flavia and Earle M. Humphreys.

14 388

Gág, Flavia and Robert Janssen.

14 389

Gág, Flavia and Carl Zigrosser includes typescript story by Flavia Gág "The Self-Maid Man" .

14 390

Gág, Howard and Stella Gág, includes drawings made by Stella's child Gary Harm.

14 391

Gág, Howard and Thusnelda Gág.

14 392

Gág, Howard to Earle M. Humphreys.

14 393

Gág, Howard and Robert Janssen.

14 394

Gág, Stella to Thusnelda Gág.

14 395

Humphreys, Earle M. and Robert Janssen.

14 396
Humphreys, Earle M. and Carl Zigrosser.
Description

Includes 2 photographs of Humphreys taken by Robert Janssen.

14 397

Humphreys, Earle Marshall. Condolences sent to Humphreys at Wanda Gág's death, 1946.

14 398-399

Janssen, Robert to Zigrosser, Carl.

14 400

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II.  Writings and ideas for publication, 1905-1945. 3 boxes.

Series Description

Includes nearly all of Gág's writings found in her papers at the University of Pennsylvania, with the exception of her diaries and a few notes she prepared for lectures and radio talks. From the time of her childhood, Gág wrote with the idea of publishing her writings; after her father died in 1908, publishing became a necessity. Although these writings have been organized in a series separate from her artwork, readers should be aware that there was no clear division between ideas for art and ideas for writing in Gág's work. These notes, notebooks, and sketch books include drawings, sketches, and stories throughout. The series V. Artwork comprises completed drawings and prints, but also includes some notes and text for stories.

A.  Published writings and artwork, 1923-1940.

Description & Arrangement

Includes Gág's pamphlet, "Batiking at Home" and her article for  The Nation,  "A Hotbed of Feminists," plus copies of serials where her prints were published, which are arranged chronologically. In addition, a few of these published prints are in Oversize, box 40.

Box Folder

The Guild Pioneer, vol. 1 no.5 (May 1923). Prints by Wanda Gág.

14 401

Batiking at Home: A handbook for beginners, published by  Woman's Home Companion, 1926.

14 402

"These Modern Women: A Hotbed of Feminists,"  The Nation, 22 June 1927 .

14 403

Book Dial, vol. 5, no. 5 (Late Fall, 1928). Prints by Wanda Gág.

14 404

"A Scene From the Scandals,"  Theatre Guild Magazine. December 1928. Print by Wanda Gág.

14 405

"There is a Green Hill Far Away."  The American Sketch. January 1929. Print by Wanda Gág.

14 406

Wings: The Literary Guild Magazine, vol. 12, no. 7 (July 1938). Illustrations by Wanda Gág.

14 407

Growing Pains. Illustrated order form, 1940.

14 408

B.  Early writings, circa 1905-1920.

Description & Arrangement

Comprises notebooks in which Gág copied andrecopied stories she had written for submission to periodicals, primarily the Minneapolis Junior Journal. Also includes two sketch books, containing more writing than sketches, which she kept during her student days in art school in Minneapolis and New York, and which were not included in her series of diaries. Arranged chronologically, titles of stories and poems are listed when possible. Edythe Vernon Younge was a pen name of Wanda Gág.

Box Folder
Early Writings, circa 1905-1906. 1 item (notebook).
Contents

* "Jocko"

*  "Goldenrod and Sylvia"

*  "To the Rescue"

*  "Violet! Our May Queen"

*  "Arizona and Co."

15 409
Early Writings, circa 1905-1906. 1 item (notebook, ill. with watercolor).
Contents

* "An Afternoon Trip"

*  "Doll Reggy and I"

*  "Ronnie's Trouble"

*  "Emerald Woods"

15 410
Early Writings, circa 1905-1906. 2 items (8 leaves).
Contents

* "Sally's Thoughts About Gardening"

*  "The Story of a Trip"

* Ideas for stories

15 411
Early Writings, circa 1906-1907. 1 item (pocket notebook, ill).
Contents

* "A Little Mother's Cares"

*  "The Return"

*  "Lady Tulip Bulbs Visit"

*  "A Spring Sketch"

*  "Jocko, the Paper Parcel" [fragment]

*  "Vela's Glen"

*  "Sally's Thoughts About Gardening"

*  "Sally Has the Earache"

*  "Bobby's Black-and-Tan" [play]

*  "A Noise You Dislike. Why?"

*  "Hyacinthe's Garden"

*  "Two Little Innocent Thieves"

*  "Jane's Revenge"

*  "The Spring Garden"

15 412

Early Writings, "Jane's Revenge" and an early attempt at dialog, circa 1906-1907. 2 items (12 leaves).

15 413
Early Writings, circa 1906-1907. 1 item (notebook).
Contents

Notebook with "I Am It" printed on front cover, ill. with pencil drawings, watercolor and illustrations cut out from magazines (fragile):

* "Ruth and her Dress"

*  "Thanksgiving Day"

*  "The Jolly Four"

*  "Mr. Bluebird's Misfortune"

*  "Child's Alphabet"

*  "The Great Resolve"

*  "Hyacinthe Abroad"

*  "The Prize Garden"

*  "How the Easter Rabbit Was Hatched"

*  "Easter Bonnets"

* Lists of names for girls, boys, twins, last names and names of palaces

15 414

Early Writings, 1908. 2 leaves.

15 415
Early Writings, poems, 1910-1913. 5 items (9 leaves).
Contents

* "Her Twisted Way"

*  "Would You?"

*  "A Little-Girl Adventure"

*  "Indian Summer"

*  "The Walra"

*  "To L-"

15 416
Early Writings, poems and songs, 1910-1913. 1 item (pocket notebook).
Contents

* "Just Dreams"

*  "Wanderer's Abschied" (in German)

*  "The Tables Turned"

*  "Who Is He? Can You Guess?"

*  "A Difference"

*  "The Snowstorm"

*  "Mother Goose's Party"

*  "The Coming of Spring"

*  "Easter Verse"

*  "Nonsense Verse"

*  "Great Grandmama's Chest"

*  "The Wind"

*  "Dedication to Mr. R. Graves"

*  "The Day is Done"

*  "Dedication to Miss Gould"

*  "Grandmother's Farm"

*  "Letter Limerick"

*  "The Garden of Dreams"

*  "Thanksgiving at Grandma's"

*  "Out of the Harbor, into the Sea"

*  "Indian Summer"

*  "Tragedy"

*  "Parody"

*  "A Thought"

*  "The Christmas Spirit"

*  "A Dream"

*  "The Walra"

*  "To L-"

*  "A Message"

15 417
Early Writings, 1914-1915. 12 leaves.
Contents

* "A Rainy-Day Thought"

*  "An Artist's Thought"

*  "The First of May"

*  "The Garden of the Great Unknown"

*  "A Twentieth Century Wail"

* Poems

*  "Personal Discoveries," writings about problems in drawing

15 418
Sketch book and commonplace book, circa 1914-1915. 1 item (notebook).
Description

Poetry, ideas for stories, sketches, meditations, reflections on books read while in art school; pencil sketches of people, self-portraits, watercolor ideas for Christmas cards, and fashion sketches.

15 419
Notes and reflections, 1914-1917. 30 leaves.
Description

Reflections on art, pencil sketches, diary entries, poems. Leaves are from notebooks, some fragments.

15 420
Commonplace book and reflections, 1915-1918. 1 item (notebook).
Description

Reflections on art theory, readings. Lists of art lectures, plays, music, excursions experienced in New York City, Lists of books in her library, a few diary entries, very few sketches, printed poems tipped in. 1 notebook, cloth binding, a number of pages torn out.

15 421
Early Writings, circa 1919-1920, undated. 4 items (12 leaves).
Contents

* "Growing Pains"

*  "Interlude"

* Poems

*  "The Middle West Far East Colony," typescript story

* Untitled story  "One winter day two little children..."

15 422
Early Writings, undated. 13 leaves.
Contents

* "My Schoolhouse"

*  "Not a Poem"

*  "I Was Made For You"

*  "A Midsummer Night's Dream"

*  "The Love of an Adolescent"

15 423

C.  Children's literature, circa 1920-1945, undated.

Description

Notes on ideas for children's stories, some published, but most unpublished. The production materials for Gág's published children's books were sold after her death and are located in other repositories, primarily the University of Minnesota.

1.  Original stories.

Description

Includes some children's stories Gág worked on with Ruth Chrisman Gannett, which Gág attributes to Gannett, and stories by Gág.

Box Folder
Stories, 1930-1931.
Contents

Stories by Ruth Gannett:

*  "The Kitten Story"

*  "The Fuzzy Dog Story"

*  "Sleeping Away"

*  "Snowing"

*  "The Bird Story"

15 424

"Millions of Cats" puppet play, typescript,  "Millienen von Katzen," translation by Gág into German, and notes about cats, undated.

15 425
Stories, 1935 and undated.
Contents

* "Ivory Soap Stories"

*  "The Cry-Away Bird" [published in  Delineator, May 1935

*  "Round-Eyes and Roley-Eyes"

*  "The Lonely Mountains"

*  "The Pink Puppy and His Trees" (typescript, manuscript, and 5 colored pencil drawings by Gág) * Typescripts with ms. corrections

15 426
Stories.
Contents

* "Shoes"

*  "Invention"

*  "Bobo"

*  "Ooza"

15 427

"Stories, ideas & notes, expressions" , circa 1930-1941. 1 item (notebook, ill).

15 428

2.  Translations from Fairy Tales by the Brothers Grimm.

Description

Gág made her own translations from German of the Kinder- und Hausmärchen of the Brothers Grimm. Includes notes Gág took on other writers' translations of Grimms' Fairy Tales, and her research materials on the stories.

Box Folder

"The Griffon,"  "Poor and the Rich,"  "Cobbler and Elves,"  "Golden Goose,"  "Die Rübe,"  "Three Men in the Woods,"  "The Juniper Tree" and more. 2 items (notebooks).

15 429

"The Old One in the Wood" notebook;  "Red Riding Hood" and manuscript notes for Grimms' tales.

15 430

"Reynard the Fox" research notes. 1 item (notebook).

15 431

3.  Proposed "Baby's Bookshelf," Collection of stories and verse for young children, circa 1942-1944.

Description

Ideas, including original verse, for an illustrated series for young children.

Box Folder
Stories and poetry for proposed "Baby's Bookshelf" . 2 items (notebooks).
Contents

* "My Gardens"

*  "Birds in the Branches"

*  "The Bumble Bee"

*  "The Kitten Story"

*  "The Bird Story"

*  "Birds and Bunnies"

*  "The Garden"

*  "Shoes"

*  "Roosterkin and Henniken and Home Sweet Home"

*  "Three Little Duckies"

*  "Hide and Seek"

*  "Two Little Fingers"

*  "A Very Little Flea"

*  "Barbara"

* Other fragments and ideas

16 432
Stories and poetry for proposed "Baby's Bookshelf" .
Contents

* "Hide and Seek"

*  "Two Little Fingers"

*  "A Very Little Flea"

*  "Birds in the Branches"

*  "The Moon"

*  "Three Little Children" *  "Of Olden Days and Fairy Ways"

* Notes and drafts for unidentified children's stories

16 433

D.  Autobiographical writings, 1918-1945, undated.

1.  Proposed "Childhood Reminiscences" .

Description

Stories told from the point of view of a young child, based on Gág's experiences growing up in New Ulm, Minnesota. Includes Gág's research on her family history, and a number of Gág's recollections copied in multiple versions. One notebook from this series and three typed stories were gifts to Zigrosser and are located with correspondence in Folders 342 (notebook) and 344 (typescript).

Box Folder
Reminiscences, 1942. 1 item (notebook).
Contents

* "The Dentist Story"

*  "Wanda and God"

*  "Pre-school"

*  "Papa's Schulzeugnis"

16 434
Reminiscences, 1942. 1 item (notebook).
Contents

* "Meditation"

*  "Books"

*  "Etiquette books"

*  "School" (2nd - 8th grades)

*  "Worries"

*  "Odds and Ends"

*  "Abstract Experiences" (  "Rhythm,"  "Fairies,"  "Abstract Forms,"  "Accordion Pleats,"  "Art,"  "Sex" )

16 435
Reminiscences, 1942. 1 item (notebook).
Contents

* "Outline"

*  "Grown-ups"

*  "The Park Concert"

*  "Primavera"

*  "Story Behind the Picture"

16 436
Reminiscences, 1944. 1 item (notebook + 18 leaves).
Contents

* "I'm Two"

* Notes on children including her niece Barbara Jean Treat

16 437
Reminiscences, 1945, undated. 2 items (notebooks).
Contents

* "All Christmas"

*  "Christmas Story"

16 438
Reminiscences, undated. 1 item (notebook).
Contents

* "Grandma's - general" (descriptions of family members, neighbors and friends,  "Klaus Contingent,"  "Papa,"  "Mama" )

* Family Origins

*  "School"

*  "Going down the Rellrote Tracks"

*  "Paper Dolls at Grandma's"

* Biographical information on family and more

16 439
Reminiscences, undated. 2 items (notebooks).
Contents

* "Meditation"

16 440
Reminiscences, undated. 1 item (notebook).
Contents

* Layout of New Ulm * Family origins

*  "Fate?"

*  "Early Ideas, Superstitions, etc."

*  "Technique or Plan"

*  "Papa's Schulzeugnis"

*  "My First Home..."

*  "Prememory Items"

*  "Kindergarten"

*  "Primary School"

*  "Pre-school Memories"

*  "Our Home"

*  "First Grade"

*  "Early Drawing"

*  "What Home Meant to Me"

*  "Grown-up World and I"

*  "Wanda and God"

16 441
Reminiscences, undated. 1 item (notebook).
Contents

* "Wanda and God"

*  "Meditation"

*  "Primavera"

*  "The Park Concert"

16 442
Reminiscences, undated. 1 item (notebook).
Contents

* Playing Dentist

*  "Grab Bag"

*  "Christmas"

*  "Dolls"

*  "Puppet Show"

*  "Playing"

*  "Clothing"

*  "Food"

*  "The First Show I Went to Alone"

*  "Weseparately" (descriptions of siblings Stella, Thusnelda, Asta, Dehli, Howard and Flavia)

*  "Vacation Days"

*  "Sand Stones"

*  "Playmates"

*  "Wash Day"

16 443
Reminiscences, undated. 1 item (notebook).
Contents

* Scenes from the House of Gág

* The Gág Saga

*  "Art"

*  "Technique"

*  "Books"

*  "Clothing"

*  "Christmas"

*  "Eating"

*  "Feminism"

*  "Friends"

*  "The Grown-up World and I"

*  "Our Home"

*  "Infantile Doings and Sayings"

*  "Klaus Contingent"

* Descriptions of Biebl relatives

*  "Grandma's"

*  "Neighbors"

*  "Obsessions, Superstitions and Queer Ideas"

*  "Odds and Ends"

*  "Playing"

*  "Papa"

*  "School"

*  "This and That"

*  "We-separately"

*  "General Plan for book"

16 444
Reminiscences, undated. 2 items (notebooks).
Contents

* "Of Pennies and Pencils" (description of family and New Ulm)

* "First Memories, My Place in My Young World" (house in New Ulm)

16 445
Reminiscences, undated. 1 item (notebook).
Contents

* "About Fairies"

*  "The Dentist Story"

*  "About Teachers"

*  "Going down the Rellrote Tracks"

*  "Paper Dolls at Grandma's"

16 446
Reminiscences, undated. 1 item (notebook).
Contents

* "The Dentist Story"

*  "Going to the Barbershop"

16 447
Reminiscences, undated. 1 item (notebook).
Contents

* "Her First Show"

*  "Down at Grandma's"

*  "Her First Show Alone"

*  "A Summer's Day"

16 448
Reminiscences, undated. 2 items (notebooks).
Contents

* "General Play"

*  "Dolls"

*  "The Sand Stone"

16 449
Reminiscences, undated. 1 item (notebook).
Contents

* "Kindergarten"

*  "Papa's Death"

*  "Our Block"

*  "Hermanje"

*  "The Rhythm Beat"

*  "Primary School"

*  "Accordion Pleats"

*  "Burying Children"

*  "Visit for Aunt Mary"

*  "Aunt Lena"

*  "Del-Floofy"

*  "Rhythm"

*  "Ruby"

*  "Mirror"

*  "Pins"

*  "Holzegens"

*  "Accordion Pleats"

*  "Papa and Mama"

*  "Decoration Day"

17 450

Early history of New Ulm and family origins, undated. 1 item (notebook).

17 451
Reminiscences, undated. 1 item (notebook).
Contents

* "Rell Rote Tracks"

*  "Paper Dolls"

*  "Going to the Butcher Shop"

*  "Wanda and God"

*  "Meditation"

17 452
Notes, undated. 1 item (notebook + 31 leaves).
Contents

* Home

* Pre-school memories

*  "Primavera"

*  "In the one-roomed school house"

*  "Books"

*  "House and Yard"

*  "Meditation"

*  "Duplicates of Childhood Reminiscences"

17 453
Reminiscences, undated. 42 leaves.
Contents

* "Tussy Sick"

*  "Measles"

*  "1901-1902" ”-Grandma's

*  "Down at Grandma's"

*  "A day at Grandma's"

*  "Paper Dolls"

*  "The Barbershop"

*  "Show Alone"

*  "Wash Day"

*  "Snow"

17 454
Notes for proposed "Childhood Reminiscences" , undated. 38 leaves.
17 455

3.  Proposed sequel to Growing Pains .

Description and Arrangment

Gág planned to publish additional excerpts from her diaries and letters from 1918 on, and for this she recopied portions of her diaries and correspondence with Adolf Dehn. This sequel was never completed. Arranged chronologically, the letters were later numbered by Wanda in reference to this project.

Box Folder
Notes re: proposed sequel to Growing Pains, undated. 58 leaves.
Description

Lists of letters between Wanda Gág and Adolf Dehn, recopied letters and diary excerpts re: Adolf Dehn, 1920-1922 and more.

17 459
Recopied letters, book 3, 5½, undated. 1 item.
Description

Letters between Wanda Gág and Adolf Dehn and two poems dated 21 July 1918-27 April 1919.

17 460
Recopied letters, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 14 October 1918 - 21 July 1919.

17 461
Recopied letters and diary entries, book 6, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 20 December 1918 - 29 April 1919.

17 462
Recopied letters and diary entries, book 6 ½, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 16 May 1919 - 8 June 1919.

17 463
Recopied letters and diary entries, book 7, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 25 June 1919 - 7 September 1919.

17 464
Recopied diary entries, book 8, undated. 1 item (notebook).
Description

Diary entries dated 25 July 1919 - 22 May 1920.

17 465
Recopied diary entries, book 9, undated. 1 item (notebook).
Description

Diary entries dated 22 May 1920 - 23 March 1921.

17 466
Recopied diary entries, book 10, undated. 1 item (notebook).
Description

Diary entries dated 30 March 1921 - 5 October 1921.

17 467
Recopied letters, undated . 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 16 October 1921 - 28 December 1921.

17 468
Recopied letters, undated. 56 leaves.
Description

Letters between Wanda Gág and her siblings Asta, Dehli, Flavia, Howard and Thusnelda, and her friends Alma Schmidt Scott and Boris dated 16 January 1920 - 29 September 1921.

17 469

Notes for proposed "Childhood Reminiscences" , undated. 64 leaves.

17 456

2.  Growing Pains .

Description

Materials from Gág's diaries and letters from 1908-1917 used or recopied for inclusion in Gág's book, published in 1940. Typed transcripts of these diaries were prepared for the book and have been filed with the original diaries. Gág's handwriting is sometimes difficult to read, and the transcripts, typed by Flavia Gág, make the diaries more accessible.

Box Folder

Notes on Growing Pains,  "My Early Letters to Alma Schmidt" , undated. 2 items (notebooks).

17 457

Miscellaneous notes on Growing Pains.

17 458

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III.  Diaries, 1908-1946. 9 boxes.

A.  Diaries, 1908-1945.

Description & Arrangement

Gág referred to these as her "Diaries Proper," and distinguished them from Day Diaries and other notebooks in which she wrote. The diaries were transcribed for Wanda Gág's book  Growing Pains, published in 1940. The diaries were typed, for the most part, by Flavia Gág; typed transcripts are filed with the originals, and are arranged chronologically, numbered by Gág. Diaries numbered 1, 6, 12, 21, and 29 are missing and were not part of the papers when they were transferred to the University of Pennsylvania.

Box Folder

Diary 2, 12 October 1908 - February 1909.

18 470

Transcript of Diary 2, undated.

18 471

Diary 3, 8 April 1909 - 26 September 1909.

18 472

Transcript of Diary 3, undated.

18 473

Diary 4, 25 September 1909 - 16 January 1910.

18 474

Transcript of Diary 4, undated.

18 475

Diary 5, 27 December 1909 - 28 February 1910.

18 476

Transcript of Diary 5, undated.

18 477

Diary 7, 1 March 1910 - 11 July 1910.

18 478

Diary 7B, 19 March 1910 - 15 June 1910.

18 479

Transcript of Diary 7B, undated.

18 480

Diary 8, 12 July 1910 - 21 August 1910.

18 481

Transcript of Diary 8, undated.

18 482

Diary 9, 29 August 1910 - 28 October 1910.

18 483

Transcript of Diary 9, Diary entries, undated.

18 484

Diary 10, 28 October 1910 - 21 January 1911.

18 485

Transcript of Diary 10, undated.

18 486

Diary 11, 23 January 1911 - 14 May 1911.

18 487

Transcript of Diary 11, undated.

18 488

Diary 13, 1 July 1911 - October 1911.

19 489

Transcript of Diary 13, undated.

19 490

Diary 14, 25 December 1911 - 28 April 1913.

19 491

Transcript of Diary 14, undated.

19 492

Diary 15, 5 May 1913 - 8 August 1913.

19 493

Transcript of Diary 15, undated.

19 494

Diary 16, 13 August 1913 - 22 September 1913.

19 495

Transcript of Diary 16, undated.

19 496

Diary 17, 27 September 1913 - 17 January 1914.

19 497

Transcript of Diary 17, undated.

19 498

Diary 18, 8 January 1914 - 20 February 1914.

19 499

Transcript of Diary 18, undated.

19 500

Diary 19, 1 March 1914 - 5 April 1914.

19 501

Transcript of Diary 19, undated.

19 502

Diary 20, April 1914 - 6 May 1914.

19 503

Transcript of Diary 20, undated.

19 504

Diary 22, 25 May 1914 - 15 August 1914.

20 505

Transcript of Diary 22, undated.

20 506-508

Diary 23, 17 August 1914 - 2 October 1914.

20 509

Transcript of Diary 23, undated.

20 510-511

Diary 23A, 6 October 1914 - 26 November 1914.

20 512

Transcript of Diary 23A, undated.

20 513-514

Diary 24, 27 November 1914 - 15 December 1914.

20 515

Diary 25, 18 December 1914 - 9 February 1915.

21 516

Diary 26, 15 February 1915 - 14 April 1915.

21 517

Diary 27, 14 April 1915 - 25 May 1915.

21 518

Diary 28, 25 May 1915 - 7 September 1915.

21 519

Diary 30, 18 February 1916 - 4 October 1916.

21 520

Diary 31, 14 October 1916 - 31 July 1917.

21 521

Diary 32, August 1917 - 30 November 1917.

22 522

Diary 33, 30 November 1917 - 10 June 1918.

22 523

Diary 34, 28 June 1918 - 29 October 1918.

22 524

Diary 35, 1 November 1918 - 25 June 1919.

22 525

Diary 36, February 1919 - February 1920.

22 526

Diary 36B, February 1920 - 23 March 1921.

22 527

Diary 37, 30 March 1921 - 7 November 1921.

22 528

Diary 38, 9 November 1921 - 2 May 1922.

22 529

Diary 39, 3 May 1922 - 22 January 1923.

23 530

Diary 40, 22 March 1922 - 2 December 1922.

23 531

Diary 41, 29 January 1924 - 13 April 1925.

23 532

Diary 42, 25 April 1925 - 18 January 1928.

23 533

Diary 43, 18 January 1928 - 13 February 1928.

23 534

Diary 44, 14 February 1928 - 16 March 1929.

23 535

Diary 45, 17 March 1929 - 23 April 1929.

23 536

Diary 46, 2 May 1929 - 10 July 1929.

24 537

Diary 47, 10 July 1929 - 4 March 1930.

24 538

Diary 48, 6 March 1930 - 12 June 1930.

24 539

Diary 49, 20 June 1930 - 30 January 1931.

24 540

Diary 50, 30 January 1931 - 23 June 1931.

24 541

Diary 51, 10 March 1932 - 28 December 1932.

24 542

Diary 52, 28 December 1932 - 25 May 1933.

24 543

Diary 53, 3 June 1933 - 10 June 1933.

24 544

Diary 54, 10 June 1933 - 17 July 1933.

24 545

Diary 55, 17 July 1933 - 17 September 1933.

25 546

Diary 56, 17 September 1933 - 10 December 1933.

25 547

Diary 57, 10 December 1933 - 13 May 1935.

25 548

Diary 58, 14 March 1938 - 17 February 1942.

25 549

Diary 59, 17 March 1942 - 14 February 1945.

25 550

B.  Day diaries, 1929-1946.

Description

Gág referred to these as her "Diary Annex" as differentiated from the  "Diaries Proper." For the most part they contain brief annotations about activities, although in some cases they include full diary entries. Included here are notebooks and day diaries kept by Wanda during her final illness.

Box Folder

1929-1932. 4 items (notebooks).

25 551

Day Diaries, 1933-1935. 3 items (notebooks).

25 552

Recopied Day Diaries for 1929-1935, undated. 1 item (notebook).

25 553

Day Diaries, 1936-1937. 2 items (notebooks).

25 554

Recopied Day Diaries for 1936-1937, undated. 1 item (notebook).

25 555

Day Diaries, 1940-1941. 2 items (notebooks + 10 leaves).

26 556

Day Diaries, 1942-1943. 2 items (notebooks).

26 557

Day Diaries, 1944-1945. 2 items (notebooks).

26 558

Recopied Day Diaries for 1944 - April 1945. 1 item (notebook).

26 559

Hospital Diary, 18 February 1945 - 5 April 1945. 1 item (notebook + 12 leaves).

26 560

Recopied Hospital Diary for 11 March 1945 - 19 June 1945. 1 item (notebook).

26 561

Trip to Florida Travelog, 1946. 2 items (notebooks).

26 562

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IV.  Lecture notes; notes on writing; radio talks and readings; miscellaneous and unidentified notes. 6 folders.

Box Folder

Lecture notes, "The artist and the child," for the Child Study Association, typescript with ms. corrections, undated. 3 leaves.

27 563

Lecture notes on art and life with reference to Gág's print Grandma's Parlor , undated. 1 item (notebook).

27 563

Notes for "Author! Author!" notes and partial story for appearance on  "Author! Author!" canceled due to illness, circa 1945, undated. 13 leaves.

27 564
Notes on writing, including grammar, word choice, etc. 2 items (notebooks).
Contents

* "My first radio effort June 1941" * Radio notes and ideas

27 565
Notes on art, marriage, undated. 12 leaves.
Contents

* "After our secret marriage..."

* Lecture notes on art by Robert Henri, with explanation of  "Diary Annex" on cubism, god, grownups

*  "Spaziergang" [three artists taking a stroll]

27 566

Chronological life history/autobiography by Gág from with related notes, 1912-1944. 9 leaves.

27 567

Unidentified notes.

27 568

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V.  Artwork, 1915-1948, undated. 1.5 boxes (+ oversize).

Series Description

Includes published and unpublished drawings, prints, and Christmas cards. There are a number of erotic and humorous drawings, watercolors, and booklets; presumably most of these were gifts from Wanda Gág to Carl Zigrosser.

A.  Drawings, watercolors and prints, 1915-1944, undated.

Description & Arrangement

Includes published and unpublished drawings and prints; Christmas cards; sexually humorous booklets, drawings, and paintings; and rough sketches. A number of these were gifts to Carl Zigrosser. Arranged chronologically, titles in quotation marks are taken from the item if titled, and from Winnan, if untitled. See also 5 items in Oversize, Box 40.

Box Folder

Self-portrait, pastel, 1915. 1 item.

27 569

Untitled pencil sketches, 1921-1922. 3 items.

27 570
Drawings, watercolors and prints, 1924-1927. 3 items.
Contents

* Untitled pen, brush and ink related to Chidlow Tree, [Connecticut], 1924

* Untitled nude, pencil, 1926-1927, gift to Carl Zigrosser, 1940

* Tumble Timbers, linoleum cut, 1927

27 571
Christmas Eve II , 1927. 10 items.
Description

Lithograph, with message "Greetings from the House of Weyhe 1927."

27 572
Drawings, watercolors and prints, 1928. 2 items.
Contents

* Siesta, soft ground etching, gift to Carl Zigrosser

*  A Morning in January, pen and ink, gift to Carl Zigrosser

27 573

The Cobbler's Shop, first print, not successful, 1931.

27 574

Adam and Eve, ink and pencil. Gift to Carl Zigrosser, 1923-1932. 1 item (booklet + 2 leaves).

27 575
Urformen der Natur, 1934. 1 item (booklet + 8 leaves).
Description

Watercolors, miniatures, some are detached from pages.

27 576
Christmas Cards, 1935.
Description

Christmas Tumble Timbers, Christmas Eve, Fireplace, Franklin Stove, Lantern and Fireplace. 5 cards with prints by Gág, published by the American Artists Group.

27 577
Self-Caricature (Self Portrait) , 1940.
Description

Print from 1937 drawing, used for announcement for Wanda Gág retrospective exhibition at the Wehye Gallery.

27 578
Landscapes, 1944, undated. 2 items.
Contents

* Untitled landscape, pencil

* Color reproduction of  The Red Barn, watercolor

27 579

A Sinthesis of the More Exotic Vices, watercolor, undated. 1 item (8 leaves).

27 580
Six Little Gems of Modern Art with appreciations by Professor Ernest De Fender, undated. 26 leaves.
Contents

* Crescendo

*  Love's Young Dream

*  Nude with Egg-Beater

*  Interlewd

*  Ob Scene in Central Park

*  The Fountain of Youth

* Preliminary drawings for each

27 581
Drawings, watercolors and prints, undated. 3 items.
Contents

* The Tree of Knowledge, pen and ink

* Untitled [man and tree], pencil

* Untitled [man and tree], pencil

27 582

Love Among the Acrobats , sketches, pen and ink and pencil, circa 1934. 3 leaves.

27 583

Untitled female nude, pen, brush and ink, undated. 1 item.

27 584

Untitled (2 reclining figures), drawing on sandpaper, undated. 1 item.

27 585

Untitled, watercolor on sandpaper, undated. 2 items.

27 586

Untitled sketches, notes, poems, captions for drawings, undated. 16 leaves.

27 587

B.  Drawings and prints for children's books, projects for children, circa 1921-1942, undated.

Description

Artwork for children's books and a booklet created for Gág's niece, Barbara Jean Treat. Some of these items were gifts to Carl Zigrosser, laid into copies of Gág's books.

Box Folder

Early drawings, pencil, undated. 3 items.

28 588
Text for Happiwork Story Boxes, typescript, circa 1921-1923, undated.
Note

See Boxes 36-39.

28 589
Cats, 1928-1929. 4 items.
Contents

* Cat on Chair (Cat in Kitchen), wood engraving, sixth state, 1928. 1 item

*  Cats at the Window, wood engraving, 1929 2 copies

* From  Millions of Cats, two cards with prints from the book, promotion by Coward-McCann. 2 items

28 590
Tales From Grimm, 1936-1938. 3 items.
Contents

* Spindle, Shuttle, and Needle, preliminary pen and ink drawing for  Tales From Grimm. Gift to Carl Zigrosser, 1936. 1 item

* Six Servants, preliminary pen and ink drawing for  Tales From Grimm. Gift to Carl Zigrosser, 1936. 1 item

*  Snow White and the Seven Dwarfs, preliminary pen and ink drawing, 1938. 1 item

28 591

Nothing at All, 2 original drawings, signed. Gift to Carl Zigrosser, 1941.

28 592
Drawings and ideas for children's books. 4 items.
Contents

* Fanny and Bobo, pencil sketch, undated

*  The Wimble Wamble of Jimble Jamble, colored pencil, undated

*  Tin-canary, pen and ink, undated

* Untitled watercolor (Girl sleeping, stockings on bed posts),undated

28 593

A Bedtime Story for Barbara Jean , circa 1941-1942. 1 item (booklet + 2 leaves).

28 594
Miscellaneous sketches for children, undated. 14 leaves.
Contents

* Kangarooster

*  Hippopotamustard

* Sketches of cats, dogs, tiger, penguin, squirrel, elves, pencil

28 595

C.  Family drawing and word games, circa 1944-1945.

Description

These drawings, made during family get togethers, include some completed and signed sketches by Wanda and Flavia Gág, Howard Cook, and Barbara Latham Cook, plus four-part people drawn by these and other family members who were Wanda's guests at "All Creation."

Box Folder
Drawing and word games, 1932. 16 items.
Description

By Howard Cook, Barbara Latham Cook, Flavia Gág, and Wanda Gág, pencil, most signed and dated by the artists.

28 596
Drawing and word games, circa 1944-1945.
Description

Includes sisters Stella, Dehli, Flavia, Bob Janssen, Earle Humphreys, Howard, Alma Scott and her daughters, Jane and Patsy.

28 597
Drawing and word games, undated.
Description

Includes Carl Zigrosser drawings, Gág notes on games and family rhymes. See also folder 689 for Christmas rhymes exchanged among family members.

28 598

Drawing games, four-part people, undated. 35 leaves.

28 599

Drawing games, four-part people, undated. 40 leaves.

28 600

D.  Exhibition catalogs, announcements, and reviews, 1926-1948.

Description & Arrangement

Arranged chronologically, it contains catalogs for Gág's exhibitions and press reviews of her exhibitions. Not complete. Information on posthumous exhibitions is in Carl Zigrosser's correspondence, Box 30.

Box Folder
"Watercolors, Drawings and Lithographs by Wanda Gág." The Weyhe Gallery, 3-20 November 1926. 3 items.
Contents

* Catalog, introduction by Rockwell Kent. catalog. 1 item

* Exhibition announcement. typescript. 1 leaf

* Review,  New York Evening Post, 13 November 1926. 1 leaf

28 601
"Watercolors, Drawings and Prints by Wanda Gág." The Weyhe Gallery, 19-31 March 1928. 3 items.
Contents

* Exhibition announcement

*  The Spinning Wheel, wood engraving, 3 copies

* Exhibition announcement, typescript, 2 leaves

28 602
"Watercolors, Drawings and Prints by Wanda Gág." The Weyhe Gallery, 13 January - 1 February 1930.
Contents

* Exhibition announcement. 2 copies

*  "Gág Number."  The Checkerboard, published on occasion by the Weyhe Gallery, January 1930, includes chronological list of prints. 3 copies, signed by the artist, one with notations by Carl Zigrosser

28 603

Rīgas Grafiķu Biedrības. Joint exhibition. Exhibition catalog, 3-24 April 1932. 1 item.

28 604

"Wanda Gág: 35 Years of Picture-Making," retrospective show at the Weyhe Gallery, Exhibition announcement, proof, 21-31 October 1940. 1 item.

28 604

"Art Sale and Auction to Aid the Defense in the Oklahoma Book Trials," Puma Gallery [New York City], Announcement for joint exhibition and sale, 3-7 December 1941. 1 item.

28 604
Wanda Gág Memorial Exhibition. Philadelphia Museum of Art, 16 October - 24 November 1946. 3 items.
Contents

* Wanda Gág Memorial Exhibition. Philadelphia Museum of Art. 16 October - 24 November 1946. Press releases. 2 items, 3 leaves

* Review,  Philadelphia Inquirer, Oct. 27, 1946 1 item, 2 leaves

28 605

Wanda Gág Memorial Exhibition. New York Public Library. Announcement; introduction by Anne Carroll Moore, 23 June-1 November 1947. 1 item (1 leaf).

28 605

Wanda Gág Memorial Exhibition. Alfalfa Hill Barn, Milford, New Jersey. 4-6 September 1948. Newspaper announcement, 20 August 1948. 1 item (2 leaves).

28 605

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VI.  Writings about Wanda Gág: Biographical articles, obituaries, and book reviews arranged chronologically, 1927-1996. 1 1/2 box.

A.  Biographical articles and obituaries, 1927-1996.

Description & Arrangement

Arranged chronologically and includes a few items added to the collection since it was acquired by the University of Pennsylvania.

Box Folder

Mannes, Marya. "Wanda Gág: Individualist."  Creative Art. Published article and typescript, December 1927.

28 606

Herendeen, Anne. "Wanda Gág: The True Story of a Dynamic Young Artist Who Won't Be Organized."  The Century Magazine. offprint, with Carl Zigrosser's notes on cover, August 1928.

28 607

Foster, Helen Herbert. "Seven Little Gágs Grown Up."  Eagle (Brooklyn, N.Y.)., 11 November 1928. 1 item (1 leaf).

28 608

"New Ulm's Cinderella finds Art's Golden Slipper in New York."  Minneapolis Journal Magazine, circa 1928.

28 609

"Wanda Gág - Graver and Illustrator."  The Index of Twentieth Century Artists, vol. 3, no. 7, and Supplement, April 1936. 10 leaves.

28 610

Obituaries, Delaware Valley News, New York Herald Tribune, New York Sun, New York Times, Publisher's Weekly, Hunterdon County Democrat , June-July 1946. 8 items.

28 611
Obituaries, 1946. 2 items.
Contents

* "Wanda Gág."  Four Star Final

* Evans, Ernestine.  "Wanda Gág."  Four Star Journal - Juvenile supplement.

28 612
"In Tribute to Wanda Gág."  Horn Book Magazine , May-June 1947. 1 volume (21 leaves).
Description

Includes articles by Alma Schmidt Scott, Carl Zigrosser, Ernestine Evans, Rose Dobbs, Lynd Ward, and Earle Marshall Humphreys. Typescript for Zigrosser's essay, "Wanda Gág: Artist." 2 copies. List of captions for Gág prints were written by Carl Zigrosser, with additional notes.

28 613

Bixler, Bernice. "A Memorial to Wanda Gág, an Artist-Author."  Delaware Valley News, 20 February 1948.

28 614

Beavin, Helen. Biographical information compiled from published sources, University of Wisconsin Library School, Copy of typescript, June 1960.

28 615

Hoyle, Karen Nelson. "A Children's Classic: Millions of Cats," in  Manuscripts, 31, no. 4, offprint, Fall 1979.

28 616

Hanson, Doug. "Wanda Gág" and  "An Interview with Ardur Winnan," in  The Window, vol. 2, no. pp. 4-13, 6 January 1995.

28 617

"Wanda Gág House."  New Ulm Visitor's Guide , published by  The Journal , New Ulm, Minn., 1996. 1 volume.

28 618

"Wanda Gág," for  National Cyclopaedia of American Biography, typescript, circa 1947.

28 619

Zigrosser, Carl. "Wanda Gág," Biographical essay and bibliography, typescript and ms., circa 1955. 26 leaves.

28 620

B.  Book reviews, including unpublished reviews of Growing Pains, 1928-1947.

Arrangement

Arranged chronologically.

Box Folder

Reviews and promotion for Millions of Cats and  The Funny Thing , 1928-1929.

29 621

Unidentified reader's response to typescripts of the diaries for Growing Pains, 1935.

29 622

Kenton, Edna. "Report on Anonymous Diary." Re:  Growing Pains, circa 1940.

29 623

Zigrosser, Carl. Foreword to Growing Pains, circa 1940.

29 624

Berryman, Florence S. "New Books on Art."  The Magazine of Art. Review of  Growing Pains, 1940.

29 625

Zigrosser, Carl. Foreword and notes for More Tales From Grimm, circa 1947.

29 626

Becker, May Lamberton. Review of More Tales From Grimm. New York Herald Tribune, 16 November 1947.

29 627

E.L.B. Review of More Tales From Grimm. New York Times , 16 November 1947.

29 628

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VII.  Wanda Gág financial records. Account books, royalties, lists, 1920-1942, undated.

Series Description

Bank book, notes, and notebooks in which Gág kept financial records.

Box Folder

Accounts regarding employment, 1920-1921. .

29 629
Account books, 1924-1942.
Description

Household expense accounts, Bowery Savings Bank account, Royalty statements and Christmas lists.

29 630

Address lists, mostly for publishers, undated.

29 631

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VIII.  Wanda Gág estate, 1945-1968. 2 boxes.

Series Description

In her will, Wanda Gág named her husband, Earle M. Humphreys and her friend Carl Zigrosser as co-executors of her estate. Humphreys took responsibility for financial matters and inventory and organization of her personal papers. Zigrosser took responsibility for her prints, overseeing the donation of Gág prints to major museums and locating prints which were in the stock of art dealers around the country. The estate was not completely settled at the time of Humphreys' death in May 1950. He appointed his brother, Warren Humphreys and brother-in-law Robert Janssen to be his co-executors. By agreement with Gág's siblings, Janssen became their representative in regard to the estate.

A.  Zigrosser correspondence, 1946-1968.

Description

Includes Zigrosser's correspondence with Earle M. Humphreys from 1947-1950 and Zigrosser's correspondence with Robert Janssen. Also included is correspondence regarding shows in which Gág's work was shown and correspondence concerning the distribution of her prints to museum collections.

Box Folder

Correspondence: A-W, 1946-1968.

30 632-676

Museums, Responses to Zigrosser's query re museum holdings of Gág prints and paintings, 1950.

30 677

B.  Legal documents, lists of assets, executors' accounts, notes, 1945-1958.

Box Folder
Wanda Gág will, draft, carbon copy, 1945-1958.
Contents

* Note of explanation to family

* Agreement re estate between Robert Janssen, Warren Humphreys and heirs, 23 December 1950, carbon copy

* Agreement re Wanda Gág diaries, 5 February 1958

31 678

Note of explanation to family.

31 678

Agreement re estate between Robert Janssen, Warren Humphreys and heirs, carbon copy, 23 December 1950.

31 678

Agreement re Wanda Gág diaries, 5 February 1958. .

31 678

Lists of prints and catalogues, Written by Earle Marshall Humphreys, Robert Janssen, and Carl Zigrosser, 1949-1951, undated.

31 679

Lists of prints and catalogues, Written by Earle Marshall Humphreys, Robert Janssen, and Carl Zigrosser, undated.

31 680

Carl Zigrosser notes, accounts.

31 681

Earle Humphreys' accounts for expenditures, 1946-1949.

31 682

Earle M. Humphreys' notes and envelopes.

31 683

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IX.  Newspaper clippings. 2 folders.

Series Description

These appear to be clippings Gág collected. Most refer to the process of writing autobiography.

Box Folder

Clippings, 1908-1949.

32 684

Clippings, undated.

32 685

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X.  Memorabilia, 1857-1948, undated. 5 folders.

Series Description

A few family items from New Ulm, Wanda Gág's membership cards, Christmas gift tags and verses, miscellaneous.

Box Folder

Strong Vocational Interest Blank (Stanford University Press) completed by Gág, 1948.

32 686

Wanda Gág membership cards, bookplate Anton Gag business card, circa 1938-1946.

32 687
Map to "All Creation" , 1857, undated.
Contents

* Sketch of house plan and exterior

*  New York Times

* Classified ad

* Mura Dehn concert announcement

* Items related to family history:  "Schulzeugnis," date of settlement at New Ulm

* Inventory for Biebl family paintings and items donated to New Ulm Library and Museum

See also blueprints for New Jersey house by Herbert Treat in Oversize, Box 40

32 688

Christmas gift notes, rhymes and riddles, by Gág family members and friends.

32 689
Earle Marshall Humphreys and Gág.
Contents

* 8 keys

* Cover to Wanda Gág's photo album. Dismantled. Photos are in archival album, Vol. 33

32 690

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XI.  Happiwork, circa 1921-1923. 4 boxes.

Series Descripton

From 1921-1923 Gág was engaged in a commercial venture to design and produce these play and activity sets for children. Several of the sets have been used and the boxes (with a color design by Gág on the cover) are generally in poor condition.

Box
Happiwork Story Boxes "Four Little Happy Workers;" Happiday Valentine Package; Crinoline Girl Place Cards, P.F. Volland, Co., Chicago.
Description

Original packaging damaged.

36
Happivillage.
Description

2 sets, 1 has been used and is missing the village plan. Original packaging damaged.

37
Happiwork Packages.
Contents

* Krinkle Chains

* Foldabout Papers

* Threadabout Papers

38

Happiwork Home Play Assortment (Cut-Ups, Weavings and Foldabout Papers); Happiwork Story Boxes "Little Black Sambo;" and Coloring / Clay Modeling Cards. 3 items.

39

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XII.  Photographs, 1892-1946. 3 volumes.

Series Description

Comprises a disassembled photograph album that belonged to Gág which includes photographs of her parents and some childhood photos. The second volume contains photographs of Gág, her family and friends, most taken by Robert Janssen and by Carl Zigrosser, arranged chronologically. The third volume comprises photographs of Gág's prints, drawings, and watercolors.

Volume

Wanda Gág photograph album, in original order, 1892-1933.

33
Photographs of Wanda Gág, family and friends, 1926-1946.
Description

Most photographs were taken by Robert Janssen and by Carl Zigrosser. Some of Janssen's photographs are described in his letters to Alma Scott (Folder 371). The first two numbers (in pencil, on reverse) on Janssen's prints indicate the year in which the photograph was taken. The album contains 204 black-and-whie prints plus 128 negatives.

34
Photographs of Gág artwork, 1923-1945.
Note

See also 1 photograph in Oversize, Box 40.

35

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XIII.  Oversize artwork, photographs, clippings, blueprints, 1924-1937, undated. 1 box.

Series Description

Original artwork, clippings, a photograph, and blueprints for Milford, N.J. house.

Box

Pencil sketch on tracing paper, undated.

40

Male nude, pencil on paper, undated.

40

Reclining figures, pencil on paper, undated.

40

Ephesian Diana , watercolor, undated.

40

Lantern and Fireplace , wood engraving, 1931-1932.

40

Photograph of Chidlow Tree , 1924.

40

Waves, illustrating poem by Thomas Hickey, printed in  The Fight, p. 44, 1936.

40

Nativity, drawing printed in  New York Herald Tribune - Books , 1936.

40

After a Visit from Franco, lithograph printed in  The Fight. p. 44, 1937.

40

Blueprints for house in Milford, N.J., by Herbert R. Treat, 1933.

40

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Collection Inventory

I.  General Correspondence. 51 boxes.

Series Description

Correspondence with artists, acquaintances, friends, and professional associates to and from Carl Zigrosser.

Box Folder

Abbott, Jere - American Artists' Group.

1 1-40

American Artists' Group - Armitage, Merle.

2 41-76

Armory Show, - Baker, John.

3 77-107

Baker, Lamar - Bibliothéque Nationale.

4 108-155

Biddle, George - Bryn Mawr College.

5 156-222

Buchholz, Karl - Castellon, Federico.

6 223-268

Castellon, Federico - Cohn, Erich.

7 269-306

Coke, Van Deren - Cook, Howard Norton.

8 307-323

Cook, Howard Norton - Davied, Camille.

9 324-371

Davies, Arthur B. - Dewey, John.

10 372-403

Dey, Mukul - Durieux, Caroline.

11 404-443

Durieux, Caroline - Dwight, H.G.

12 444-454

Dwight, Mabel - Flannagan, Grace Briggs.

13 455-521

Flannagan, John B.

14 522-532

Flannagan, John B. - Ganso, Fanny.

15 533-578

Ganymed - Goodrich, Lloyd.

16 579-613

Goodspeed's Book Shop - Gurdjieff, Georges.

17 614-648

Gwinn, David - Hochscild, Kathrin.

18 649-718

Hofer, Philip - Hyperion Press.

19 719-756

Imandt, Robert - Ivins, William.

20 757-774

Jackson, Gardener - Kent, Norman.

21 775-836

Kent, Rockwell, 1911-1934.

22 837-846

Kent, Rockwell, 1934-1949.

23 847-857

Kent, Rockwell, 1950-1971.

24 858-864

Kent, Rockwell - Killam, Walt (includes inscribed original artwork of "breaching whale upturning a boat full of men," circa 1930 [inscription: "To Carl who first suggested doing Moby Dick, Rockwell Kent"] from Lakeside Press edition of  Moby Dick, or the Whale, 1930).

25 865-882

Kimball, Fiske - Kowaloff, Meyer.

26 883-911

Kreisler, Fritz - Lankes, J.J.

27 912-942

Lankes, J.J. - Laver, James.

28 943-957

Lawrence, Frieda von Richthofen - McCausland, E.

29 958-1036

McClellan, John - Marin, John C.

30 1037-1081

Marin, John - Mellon, Paul.

31 1082-1115

Meltzer, Doris - Morse, Samuel French.

32 1116-1165

Moschzisker, Bertha von - Nash, Ray.

33 1166-1199

Nason, Thomas - Norfolk Society of Arts.

34 1200-1250

Norman, Dorothy - Paris, Harold.

35 1251-1292

Paris, Harold - Pratt Institute.

36 1293-1368

Prescott, Kenneth - Rich, Daniel Catton.

37 1369-1416

Richards, Joseph - Rose, Ruth Starr.

38 1417-1453

Rose, Ruth Starr - Rutgers University.

39 1454-1481

Rutland, Emily - Seidenberg, Roderick.

40 1482-1543

Seidenberg, Roderick - Siegel, Helen.

41 1544-1570

Simkhovitch, Vladimir - Spruance, Benton.

42 1571-1610

Spruance, Benton - Sternberg, Harry.

43 1611-1642

Sternberg, Harold - Stieglitz, Alfred.

44 1643-1655

Stieglitz, Alfred - Temple University.

45 1656-1697

T'eng, Kuei - Time.

46 1698-1714

Ting, Walasse - University of California.

47 1715-1757

University of Chicago - Ward, Lynd.

48 1758-1816

Warneke, Heinz & Jessie - Weyhe Gallery.

49 1817-1858

Weyhe Gallery - Wood, R. Carey.

50 1859-1913

Woodcut Society - Zvegintzov, Nancy.

51 1914-1947

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II.  Family Correspondence. 3 boxes.

Series Description

Letters and cards from family members, including first wife Florence King, daughter Carola, and second wife Laura Canadè.

Box Folder

Aunt Jennie - Canadè, Vincent.

52 1948-1969

Kavanaugh, Steven & Andrea & Carla - King, Florence.

53 1970-1981

King, Florence - Zigrosser, Hugo & Emma.

54 1982-1988

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III.  The Modern School. 2 boxes.

Series Description

General correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine.

Box Folder

Letters.

55 1989-2075

Notes, manuscripts, clippings, etc.

56 2076-2079

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IV.  Philadelphia Museum of Art. 1 box.

Series Descripiton

General correspondence related to internal matters, gifts, and exhibitions held.

Box Folder

General, 1932-1971.

57 2080-2090

José Guadalupe Posada Exhibition, 1944.

57 2091

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V.  John Simon Guggenheim Memorial Foundation. 1 box.

Series Description

General correspondence related to fellowships, juries, and other internal matters, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum.

Box Folder

John Simon Guggenheim Memorial Foundation.

58 2092-2094

John Simon Guggenheim Fellowship.

58 2095-2097

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VI.  Solomon R. Guggenheim Foundation & Museum. 9 boxes.

Series Description

General correspondence relating to the Foundation and Museum, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum.

Box Folder

General, 1946-1952 October.

58 2098-2106

General, 1952 November-1956 May.

59 2107-2117

General, 1956 June-1959 August.

60 2118-2128

General, 1959 September-1961 July.

61 2129-2142

General, 1961 August-1963 April.

62 2143-2155

General, 1963 May-1966 May.

63 2156-2171

General, 1966 June-1971 December.

64 2172-2190

General, undated

Museum of Non-Objective Painting, 1953-1959 December.

65 2191-2202

Museum of Non-Objective Painting, 1959 December-1963 March.

66 2203-2215

Museum of Non-Objective Painting, 1963 February-1970.

67 2216-2231

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VII.  Print Council of America. 4 boxes.

Series Description

General correspondence about exhibitions, council meetings, and other internal matters.

Box Folder

1954-1957.

68 2232-2241

1958-1964.

69 2242-2257

1965-1971.

70 2258-2266

Clippings, 1956-1967.

71 2267-2281

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VIII.  Tamarind Workshop Correspondence.

Box Folder

1960-1971.

72 2282-2287

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IX.  Research Files. 1 box.

Series Description

Notes and manuscripts for Display of Prints—Past and Present; Augustin Dupré; Book of Fine Prints; and miscellaneous materials relating to American prints.

Box Folder

Notes for Display of Prints—Past and Present, 1960.

73 2288

Requests for information re Augustin Dupré

Notes and photographs pertaining to Dupré, 1958-1960.

73 2289

Booklet on Falaise (Guggenheim estate), undated.

73 2290

Clippings, articles, requests dealing with materials on American prints, 1946-1971.

73 2291

Notes, clippings, and miscellaneous materials pertaining to Book of Fine Prints (New Edition).

73 2292

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X.  Armory Show, 1913. 1 box.

Series Description

Zigrosser's notes and sketches accompanying as well as made in the catalogue to the 1913 exhibition.

Box Folder

Catalogue, notes, and sketches related to the 1913 exhibition; Independent Artists Catalogue, 1910.

74 2293

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XI.  Speeches/Notes. 1 box.

Series Description

Notes on the following WHYY radio broadcasts: "The Appeal of the Print;"  "The Relief Process;"  "The Old and the New;" and  "The Intaglio Tone Processes and Other Techniques."

Box Folder

WHYY Broadcasts: notes and revisions.

75 2294

Announcements and notes on miscellaneous lectures; Posada seminar; 1944

 "Art of Collecting Art" , 1961.

75 2295

Announcements, speeches, and notes by Zigrosser.

75 2296

Announcements, notes for speeches by Zigrosser on such subjects as American prints, Stuart Davis, and photography.

75 2297

SAE luncheon: notes, 1943 November .

75 2298

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XII.  Lectures. 1 box.

Series Description

Notes on lectures found in preceding box, as well as additional lectures made by Zigrosser.

Box Folder

Notes on "American Prints in the 20th Century" .

76 2299

Notes on "The Appeal of Prints" , 1964-1968.

76 2300-2303

Notes on "The Art of Displaying Prints" , 1956.

76 2304

Notes on "A Bit of Advice to Beginners" .

76 2305

Lecture notes: College Art Association.

76 2306

Rosenbach lecture introducing Hyatt Major.

76 2307

Notes on "The Intaglio Linear Processes" , 1961.

76 2308-2309

Notes on "The Interpretation of Prints" , 1957.

76 2310

Notes on "Lithography" .

76 2311

Notes on "The Old and the New" .

76 2312

Notes on Pratt Institute lecture.

76 2313

Notes on "The Relief Process" .

76 2314

Notes on "16th Century Graphic Art" .

76 2315

Notes on "Twentieth Century Color Prints" .

76 2316

Course notes for University of Pennsylvania, 1958-1959.

76 2317

Notes for "What Is an Original Print?" , 1967.

76 2318

Miscellaneous lecture notes, untitled.

76 2319

Leonard Baskin lecture notes.

76 2320

Notes on "Modern American Prints" , 1930.

76 2321

Notes on "Modern American Artists" .

76 2322

Notes on "Men Apart" , 1941.

76 2323

Notes on KYW lecture.

76 2324

Notes for WDAS interview, 1942.

76 2325

Notes on lecture at University of Iowa, 1941.

76 2326

Notes on "Racial Origins of Inter-American Culture" , 1944.

76 2327

Notes for Art Teachers' Association lecture, 1948.

76 2328

Notes for untitled lectures.

76 2329-2330

Notes "On the Graphic Arts" .

76 2331

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XIII.  Manuscript Materials. 19 boxes.

Series Description

Zigrosser's manuscripts, revisions, notes, and reviews on the following: Art in America;  American Prints in the 20th Century;  Artist at Work;  Six Centuries of Prints;  The Expressionists;  Arts in the U.S.;  Prints and Their Creators;  Prints of Rockwell Kent;  A World of Art and Their Museums;  Käthe Kollwitz;  My Own Shall Come To Me; and several  "untitled" and  "unpublished" manuscripts, poems, reviews, and clippings.

Box Folder

Proofs for Artist in America.

77 2232-2233

Notes for Artist in America.

77 2334

Miscellaneous announcements related to Artist in America.

77 2335

Lecture notes for American Prints in the Twentieth Century.

78 2336

Manuscript for The Appeal of Prints.

78 2337

Photographs related to The Appeal of Prints.

78 2338

Manuscript for "Art in the U.S." .

78 2339

Lecture notes for Pennsylvania Academy of Fine Arts Commencement Address, 1964 May.

78 2340

Notes, clippings on "Flower Prints from the Ages" .

78 2341

Manuscript and notes pertaining to "Goethe as a Print Lover" .

78 2342

Notes and clippings related to to the "Guide to Collecting and Care of Original Prints" .

78 2343

Copy of published manuscript for a travelling show of American prints in Sweden.

78 2344

Photographs and notes related to an exhibition of "Humorous Prints and Drawings" at the Philadelphia Museum of Art.

78 2345

Manuscript for Original Prints by American Artists.

78 2346

Copy of published manuscript, "The Seriograph, A New Medium" , 1941 December.

78 2347

Manuscript for a magazine of Misch Kohn.

78 2348

Copy of forward for Six Centuries of Fine Prints; 4th edition titled  Prints and Their Creators, 1937, 1974.

78 2349

Manuscript for Twenty-Five Years of Printmaking.

78 2350

Manuscripts, notes, and photographs for Mediaeval Illuminated Manuscripts, 1962 July .

78 2351-2352

Manuscripts and notes for "The Microcosm of London" .

78 2353

Manuscripts and notes for lecture on Edvard Munch.

78 2354

Notes on "My Philosophy" .

78 2355

Manuscript for "The Artist at Work" .

79 2356

Notes and photographs for "The Artist at Work" .

79 2357

Review of Bertram Wolfe's Diego Rivera.

79 2358

Manuscript and photographs for "Display of Prints Past and Present" .

79 2359

Manuscript for The Graphic Arts.

79 2360

Review of Humor, Drama, and Poetry in Pictures, 1936.

79 2361

Drafts of introduction to the book on Dehn Drawings; copy of forward to a book of Maurico Lasansky's prints ; introduction to a portfolio of muscial prints issued by WFLN Radio; various exhibition pamphlets, 1970-1971.

79 2362

Published review of Ingres by Walter Pach.

79 2363

Copy of published manuscript on Mexican Graphic Art.

79 2364

Copy of published manuscript on Modern American Graphic Art.

79 2365

Copy of published manuscript on The Modern School.

79 2366

Review of Engraving in the Sixteenth and Seventeenth Centuries, Part II by Arthur M. Hind, 1955.

79 2367

Review of The Diary and Letters of Käthe Kollwitz by Richard and Clara Winston.

79 2368

Manuscript on Rockwell Kent.

79 2369

Announcement of Carl Zigrosser's book, Six Centuries of Fine Prints, 1937.

79 2370

Manuscript for "Ten Years of Serigraphy" .

79 2371

Review of Contemporary American Art Exhibition sponsored by Artists for Victory, Inc.

79 2372

Manuscript for Arts News on  "Prints of the Year" .

79 2373

Manuscript on Thomas W. Nelson.

79 2374

Manuscript on lithography.

79 2375

Manuscript on graphic arts.

79 2376

Review of an exhibition on American graphic arts.

79 2377

Review of Woodcuts and Wood Engravings: How I Make Them by Hans Alexander Mueller.

79 2378

Manuscript on silk-screen.

79 2379

Review of an exhibition of graphic art.

79 2380

Review of Growing Pains by Wanda Gág.

79 2381

Obituary for H. R. Orage.

79 2382

Manuscripts for the American Yearbook on Engraving, Photography, and Other (Kindred) Arts, 1926.

79 2383

Review of Leonardo the Florentine by Rachel Taylor and  The Mind of Leonardo da Vinci by Edward McCurdy, 1928.

79 2384

Review of Illustrations of the Book of Job by William Blake ; obituary for Alexandre Salzman; untitled manuscript on etching in America, 1935.

79 2385

Review of exhibition of works by Charles Nicolas Cochin the Younger, 1958.

79 2386

Commentary on an exhibition, "Between Two Wars, Prints by American Artists, 1914-1941" held at the Whitney Museum of American Art, 1942.

79 2387

Lecture notes, clippings, program for speeches for Museum Directors Conferences in Germany, 1958.

80 2388

Lecture notes for "Nature of the Graphic Media" .

80 2389

Notes on Petrology.

80 2390

Poems by Zigrosser, 1918-1972.

80 2391

Manuscripts on prints for Voice of America broadcast.

80 2392

Review by Zigrosser of Prints and Visual Communication by William M. Ivins, Jr.

80 2393

Revisions for What Is an Original Print? (Cahn Project).

80 2394

Notes, layouts, and prints for Six Centuries of Fine Prints.

81 2395-2401

Manuscripts and notes for Twentieth Century Color Prints.

81 2402

General notes on prints.

81 2403

Notes on fifteenth-century art.

81 2404

Notes on Renaissance art.

81 2405

Notes for an introduction on prints.

81 2406

Notes on seventeenth-century art.

81 2407

Notes on the end of the Gothic and the beginning of the print.

81 2408

A notebook designed by Zigrosser as "a commonplace book to be kept with my manuscript" .

82 2409

Manuscript on Mexican graphic art.

82 2410

Notes on The Modern School.

82 2411

Revised manuscripts on Graphic Arts in the South.

82 2412

Manuscript "For Young Artists" .

82 2413-2414

Research notes by Zigrosser at the request of Fiske Kimball for information on the background of studies on Rubens' painting of Prometheus.

82 2415

Cleveland lecture on modern American prints.

82 2416

Notes on William Butler Yeats.

82 2417

Notes on the significance of evolution and the rhythm of sex.

82 2418

Notes on "Lambs' Thursday Evenings" .

82 2419

Notes and manuscript on Hercules Seghers.

82 2420

Rejected manuscript for The Dial Magazine.

82 2421

Revisions for The Literary Work of Albrecht Dürer.

82 2422

Manuscript of "Wild Life Near Mamaroneck" .

82 2423

Rejected manuscript submitted to The New Yorker,  "Mail Order à la Mode" , 1955.

82 2424

Essay concerning an exhibition held at the Whitney Museum of American Art, 1942.

82 2425

Unpublished manuscript on "The Artist and Society" of  "The Functions of Art" .

82 2426

Personal memoir: "Causerie on Carola as an Infant" .

82 2427

Manuscripts and notes on American graphic arts.

82 2428

Untitled manuscript on "walking" .

82 2429

Untitled manuscript on the "commercialization of art" .

82 2430

Manuscript on "The Southwest," which appeared in  Southwest Review.

82 2431

Manuscript entitled "Philadelphia" .

82 2432

Notes on "Ralph's Scrapbook" .

82 2433

Rejection notice from The New Republic.

82 2434

Manuscript entitled "The Rocky Mountain Region" .

82 2435

Manuscript on "Self-Appraisal" .

82 2436

Notes on Manet.

82 2437

Untitled notes.

82 2438

Notes related to "my first charcoal drawing" .

82 2439

Essay on "Oklahoma" .

82 2440

Description of the Philadelphia Museum of Art, Department of Prints and Drawings; an exhibition at the Museum of Modern Art on engravings.

82 2441

Essay on war.

82 2442

Essay on traveling.

82 2443

Essay on the philosophy of ideas.

82 2444

Incomplete essay on artists.

82 2445

Notes on foreign prints.

83 2446

Notes on prints of prints.

83 2447

Notes on women artists.

83 2448

Notes on the conduct of museums.

83 2449

Notes on commerce in prints.

83 2450

General notes.

83 2451

Notes on "Criticism & Juries" .

83 2452

Notes and corrections for Close-Ups: 24 Portraits of Contemporary American Printmakers.

83 2453

Programs for concerts in which Zigrosser sang in the chorus.

83 2454

Musical autographs by Joseph Stransky, Harold Bauer, Fritz Kreisler, and Pablo Casals, 1914.

83 2455

Miscellaneous notes on topics such as American prints and drawings; The Appeal of Prints; Philobiblon, 1958.

83 2456

Miscellaneous notes designated by Zigrosser as "special notes and clippings" .

83 2457

Clippings, 1892-1972.

83 2458-2464

Materials for The Expressionists, including notes, revisions, reactions to the book, 1957.

84-89

Materials for the exhibition, "Arts in the U.S." (Carnegie Survey).

84-89

Layout and manuscript for Prints and Their Creators, second revised edition, 1974.

84-89

Manuscript by Dan Burbe Jones, Rockwell Kent with forward by Zigrosser, 1973.

84-89

Manuscript for A World of Art and Museums, 1975.

84-89

Manuscript, revisions, clippings, notes for Käthe Kollwitz.

84-89

Manuscripts, notes, proofs, printer's dummy for personal memoir, My Own Shall Come To Me.

90-92, 93, 94-96

Notes, proofs, and manuscript for Ars Medica.

94-96

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XIV.  Memorabilia. 2 boxes.

Series Description

Draft cards, medals, pamphlets, and announcements for art exhibitions.

Box

Draft cards and registration information (1917); travel maps, Rockwell Kent medal (1940); Art Alliance Medal (1959); Philadelphia Waterc olor Club Medal.

96-97

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XV.  Art work. 3 albums.

Series Description

One album contains photographic prints of the sculpture of John B. Flannagan; another contains original prints and drawings by Karig Nalbandian; and the last contains original lithographs by Rockwell Kent.

Box

Photographic prints of the sculpture of John B. Flannagan.

98

Original prints and drawings by Karig Nalbandian.

98

Original lithographs by Rockwell Kent.

98

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XVI.  Documents and Records. 2 boxes.

Series Description

Family records, school records, passports, general receipts, and address books.

Box

Family records, school records, passports, etc.

99-100

General receipts, notebooks, address books, invitations, etc.

101-102

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XVII.  Materials Related to book on Rockwell Kent. 1 box.

Series Description

Proofs of book by Kent, which includes articles reprinted from catalogues, periodicals, and manuscripts.

Box

Proofs for Rockwellkentiana.

101-102

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XVIII.  Family Album.

Series Description

Photographs and original drawings of Carl Zigrosser, family, and friends.

Box

Photographs and drawings.

103

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XIX.  Diaries. 4 boxes.

Series Description

Zigrosser's personal diaries from 1916-1972.

Box

Diaries, 1916-1972.

104-107

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XX.  Miscellaneous Oversize. 1 box.

Series Description

Includes scrapbook of "Harvest Festival," a party given in 1954 by Zigrosser and his wife;  "Windy Night," sheet music copied by Randolph S. Bourne; various oversize original drawings or prints by Caroline Durieux, Mabel Dwight, Wanda Gág, Rockwell Kent, and others.

Box

Miscellaneous oversize items.

108

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XXI.  Journals and Pamphlets, 1912-1975. 7 boxes.

Series Description

Exhibition catalogues, pamphlets, and magazines arranged chronologically. A majority contain articles written by Zigrosser.

Box

Exhibition catalogues, pamphlets and magazines, 1912-1975.

109-116

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Wanda Gág papers

Ms. Coll. 310

Wanda Gág papers

Ms. Coll. 310

This is a finding aid. It is a description of archival material held at the University of Pennsylvania. Unless otherwise noted, the materials described below are physically available in our reading room, and not digitally available through the web.

Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Gág, Wanda , 1893-1946
Title:
Wanda Gág papers
Date [inclusive]:
1892-1968
Call Number:
Ms. Coll. 310
Extent:
40 boxes
Language:
English
Abstract:
Personal papers of Wanda Gág, including correspondence to and from Wanda, as well as letters to and from Alma Schmidt Scott, a biographer of Gág, and letters among Gág family members; writings, such as diaries, children’s books, autobiographical works, and juvenilia; notes for talks and for writings; artwork; exhibition catalogs and related publicity material; writings about Gág, including obituaries, biographical pieces, and book reviews; financial records; materials regarding the Estate of Wanda Gág; newspaper clippings; memorabilia; photographs; and examples of Happiwork, a product for children created by Gág.
Cite as:
Wanda Gág papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
PDF Version:

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Summary Information

Repository:
University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts
Creator:
Zigrosser, Carl, 1891-1975
Title:
Carl Zigrosser papers
Date:
circa 1891-1971
Call Number:
Ms. Coll. 6
Extent:
116 boxes
Language:
English
Abstract:
The Carl Zigrosser Papers comprise personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on print s and printmaking and his personal relationships with artists. The Papers are particularly rich in correspondence with the major artistic and cultural figures in America during the first half of the twentieth century.
Cite as:
Carl Zigrosser papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania
PDF Version:

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Biography/History

Artist, illustrator, and writer Wanda Gág was born Wanda Hazel Gag on 11 March 1893 in the town of New Ulm, Minnesota, a German-speaking community of freethinking artisans and farmers. She was the oldest of seven children born to Anton Gag, a painter, photographer, and decorator, and his wife Elisabeth Biebl, also from an artistic family who made their living through cabinet making, photography, and farming. Gág described her parents, Anton and Lissi, as "iconoclasts" who did not practice the Catholicism of their Bohemian ancestors and raised their children in a home where drawing, painting, music, gardening, and sewing were the chief occupations of parents and children. Lissi designed and made her children's stylish clothes, a skill her daughters learned. As an older child Wanda Gág was amazed to discover that there were people who did not know how to draw--she and her brother and sisters were drawing before they entered school.

Wanda Gág's earliest teacher was her father Anton. He painted church interiors and decorated houses as partner in the firm Heller & Gag. On Sundays he painted in his attic studio in their home. One of his paintings of the 1862 Indian Massacre in New Ulm (now referred to as the Dakota conflict of 1862) was exhibited at the World's Columbian Exposition in Chicago in 1893; others are in private collections, museums, and historical societies in Minnesota and elsewhere. Anton Gag was an immigrant, born near Neustadtbei Heide, Bohemia. Lissi Biebl was born in Pennsylvania of Bohemian parents, both families moved to New Ulm around the same time. After moving to New York, Wanda Gág altered the family name by adding an accent to it, because people so often mispronounced her name. Some of Wanda's siblings adopted this change in their name after Gág became well known. (See Gág's note in Growing Pains, hereafter  GP, 471.)

When her father was on his deathbed in May 1908 at the age of 48, he called Wanda to his side and told her "Was der Papa nicht thun konnt' muss die Wanda halt fertig machen" (What Papa couldn't do, Wanda will have to finish). Wanda was fifteen years old, her youngest sister Flavia was one year old, her mother was ill and often unable to do housework and they were left very little beyond their home at 226 Washington Street, New Ulm, and life insurance of $1200 which was made to last over the next six years.

In October of that year, 1908, Wanda began keeping a record of her earnings, expenses, and events of her life in a ledger book that had belonged to her father. This was the start of her habit of keeping diaries, which she continued until her death. With her mother's approval, Wanda decided not to take work as a clerk or housekeeper. Instead she was determined to earn as much as she could by her art work--drawing bookmarks, place cards, and postcards (at 5 cents each) which she sold locally. She illustrated her own stories and poems for submission to the Minneapolis Junior Journal, which paid a dollar for each published work. A year later, she was holding drawing classes in her home to earn money for the family. Wanda also decided that she and her sisters and brother would each finish high school. Her attendance at school was often interrupted by having to tend the baby at home when her mother was sick, and by doing the washing, cleaning, cooking, chopping firewood, and other chores. The story of these years and her earliest studies at art schools in St. Paul and Minneapolis is told in Wanda Gág's book  Growing Pains, comprising excerpts from her diaries and letters from 1908 to 1917 and published in 1940.

Wanda balanced her sense of obligation to her siblings, who remained close to her throughout her life, and her desire to pursue art. The Wanda Gág Papers at the University of Pennsylvania include a significant amount of family correspondence plus Gág's writings about her family. Her siblings were her sisters Stella Gag Harm (1894-1962); Thusnelda Gag Stewart ( "Tussy,"  "Nelda" ) (1897-1973); Asta Gag Treat (  "Drift" ) (1899-1987); Dehli Gag Janssen (  "Dale,"  "Deli" ) (1900-1958); her brother, Howard Gag (1902-1961); and baby sister Flavia Gág (  "Flops" ) (1907-1978) who also became an author and illustrator of children's books (see Winnan, 78). Her mother's family, the Biebls, whom Wanda called  "Grandma folks," were especially close to her. They included her grandmother; her uncle Joe (  "Josie" ) Biebl; her Aunts Mary and Magdalena (  "Lena" ) Biebl; and her uncle Frank Biebl, a woodcarver, cabinet maker, photographer, and musician.

Wanda had a keen appreciation for music, learned from her family. She played the piano, sang in the Glee Club, arranged the school song in four parts, and was happy when her uncle Frank, who also made musical instruments, came to their house and played his guitar. She played duets at the piano with her friend Alma Schmidt ( "Schmidty," later Alma Schmidt Scott), who maintained a lifelong friendship with the Gág family and wrote a biography of Wanda, published in 1949. They graduated together from high school in New Ulm in 1912.

During the summer she returned to New Ulm and was visited by Charles Weschcke of St. Paul, who had known her father and was interested in Gág's talent. He offered to send her to the St. Paul Institute of Arts and Sciences and to pay her board at t he Y.W.C.A. Her sister Stella was able to teach school that year to support the family and in the fall of 1913 Wanda began classes, preparing for a career in illustration and commercial art.

Wanda received early support from a number of individuals in St. Paul and Minneapolis. Among them was Arthur J. Russell, journalist and editor at the Minneapolis Journal and  Minneapolis Junior Journal, where Wanda had submitted her stories and drawings since she was in her early teens. She wrote to him about her compulsion to draw, which she referred to as  "fierce drawing moods" or  "drawing fits" and her  "myself and many me's" which occupied her thoughts in her diaries:

Myself is the part of me that sees its way out of my "self-to-me" arguments, as for instance the one above about cleverness; and Me is that part that writes things in diaries in angular words, angular phrases and angular thoughts. Like this :-Myself is inside, and  Me is trying to sort of fit around the outside only it can't very well because it's so angular, you see, and can do no more than touch  myself and feel that myself is there.

-- GP, 212-213

Russell gave her books to read and wrote to her for over thirty years encouraging her to pay attention to her unique view of her world and her work:

I am sure your me's will not worry you for you know now they are deciduous, if that is the word, or in other words they are crops of leaves that you are shedding as the seasons go. The real tree of you stands and will stand.

--Russell to Gág, 24 November 1914

Wanda first met Arthur Russell on 28 November 1914. He introduced her to his editor, Herschel V. Jones, who was so excited by her work that Jones offered to pay Wanda's tuition, room, and board at the Minneapolis School of Art on the spot. Wanda considered this and then accepted and moved to Minneapolis in December 1914. She returned home to New Ulm for the Christmas holidays, where Dehli was recovering from a serious illness. Christmas was an important part of Gág's life. In New Ulm the holiday began with St. Nicholas's Day, December 6, but the tree trimming did not take place until December 24, and in the intervening weeks much effort went into making presents for every member of the family. The family practice of writing verses and riddles attached to Christmas gifts persisted throughout their lives and a large number of these have been preserved in Gág's Papers.

After Wanda's return to Minneapolis in January 1915, she frequently mentions one of her classmates, artist Adolf Dehn (spelled Adolphe or Adolph in his letters to Gág). They became close friends, discussing immortality, art, books, and religion, and after a few years, the pros and cons of marriage. Although she greatly enjoyed the company of men, Wanda had always said that art came first in her life, and from her teenage years she thought seriously about remaining single. Dehn's declaration of his love for her in 1916 drove her to think about the question almost constantly.

In January 1917, after she had returned to Minneapolis following the Christmas holidays in New Ulm, she received a message from Stella that she should return home immediately. Her mother had been ill over the holidays. The weather was bitterly cold and Wanda kept the fires and furnace going and tried to keep a normal routine for the youngest children. Two neighbors and the doctor were with Gág at her mother's bedside when she died early in the morning of January 31. Her mother was 48, the same age her father had been when he died almost ten years earlier. After a few months Wanda decided that the best chance of keeping the family together (some local families wanted to adopt the youngest children) and of giving them opportunities for education would be to sell their home in New Ulm and move to Minneapolis. In April of the same year Wanda Gág and Adolf Dehn both received notice that they were among twelve students nationwide who had won scholarships to the Art Students League in New York. Agai n, Herschel V. Jones offered to pay Gág's room and board, this time in New York.

During the summer of 1917, Wanda, her sisters, and Adolf Dehn painted the house in New Ulm to ready it for sale and they sold most of their household goods. By the end of September the house had not sold and through that winter Asta stayed with the youngest children in New Ulm, while Stella and Nelda worked to support them in Minneapolis. Wanda borrowed $150 for the children from Jean Sherwood Rankin for whom she illustrated A Child's Book of Folk-lore: Mechanics of Written English (1917) a guide to assist immigrants in learning the English language. Wanda Gág, Adolf Dehn, and their classmate Arnold Blanch went to New York together at the end of September 1917.

At the Art Students League Gág studied with Frank Vincent DuMond, Kenneth Hayes Miller, and Robert Henri. She took a class in etching from Mahonri Young, while attending lectures and classes with a number of other instructors including John Sloan. She roomed at the Studio Club of the Y.W.C.A. but moved to a room at 859 Lexington Avenue to save money to send home to New Ulm where the children were having a difficult winter. Gág began looking for commercial art jobs to earn extra money.

Gág returned to New Ulm for the summer of 1918, sold their house and moved her family to Minneapolis. Wanda returned to New York with an art school classmate, Lucile Lundquist, who had roomed with Stella in Minneapolis. Although her scholarship had been renewed, Gág was not able to study full time, and spent much effort trying to interest publishers in her work; trying to obtain work making covers for sheet music; and becoming involved in fashion advertising, which she hated. In her diary she describes the celebration at the end of World War I in New York City when the news came of Germany's surrender, with bits of paper falling everywhere from the sky. That November she took a job decorating lampshades for 25 cents an hour for a Danish woman named Mrs. Lund.

Adolf Dehn had been drafted into the Army in June 1918, and served as a conscientious objector in a guard house in Spartanburg, South Carolina. While still in the Army, Adolf was able to visit Wanda in New York in January 1919. She described their meet ing in detail and wrote in her diary, "Adolphe, of course, is not greatly in favor of marriage, neither am I, but being a woman, & being also very fond of children, free love has as many disadvantages as marriage for me" [Diary 35, 1 February 1919]. She often wrote of the disadvantages of being a woman. When Dehn and sculptor and fellow Minnesotan John B. Flannagan wanted to hire on as deck hands on a merchant ship to China, Gág was very upset that Dehn didn't ever consider that it would be impossible for her to take the trip with him because she was a woman [Diary 36, 16 December 1919]. They did plan to travel to Europe together and began saving money for this.

During the period 1920 to 1922 Gág was becoming more successful earning money through commercial art. In her diaries she was preoccupied with her relationship with Adolf, worried about the effects of her unsatisfied desires on her health and about his self-described "promiscuity." She investigated methods of birth control and exchanged information about sex with her roommate Lucile Lundquist, who was involved in a relationship with Arnold Blanch. Dehn and Gág became lovers but con tinued to “torture” (her word) each other and when he persisted with his wish to travel to Europe in October 1921 she did not go with him. At this time Gág was undertaking a business venture called  "Happiwork," a series of activity kits for children. Gág designed and wrote stories for these; her partners were Janet and Ralph Aiken who lived in Connecticut.

Gág still thought about joining Dehn in Europe once Happiwork was established. She wanted to travel to her ancestors' homelands in Austria and Czechoslovakia, in addition to spending time in Paris. But she became involved with Earle Marshall Humphreys, a friend of Adolf Dehn, who had been interred with him as a conscientious objector in South Carolina during the war. Earle Humphreys, a bookseller and writer, was born in Philadelphia and had graduated magna cum laude from the University of Pennsylvania. Meanwhile Dehn wrote to Gág on 24 February 1922 that he had fallen in love with Mura Ziperovitch, a young dancer, but that he wanted Gág to join him soon in Vienna. Gág obtained her passport on 11 March 1922, but never departed for Europe.

Wanda Gág had her first art exhibition at the New York Public Library's East 96th Street Branch from 15 February to 1 April 1923. Her work was well received by fellow artists and she received notices in the press. Among her admirers was Carl Zigrosser, a founder of the Weyhe Gallery in New York, which specialized in prints. Throughout the 1920s Zigrosser encouraged her, wrote to her, sent books to her, and bought all her completed prints for Weyhe so that she would have some money to live on. Zigrosser organized her first exhibition at Weyhe, 1-20 November 1926, which was a critical success.

In 1923 the Happiwork venture failed. Gág did not like the pace of living in New York City year round and prized the times she had been able to spend in the country--at Mohegan Lake, New York in the summer of 1919 and in Connecticut with the Aiken family. Although she had a steady income from commercial art, her real desire was to make art for herself. She made the decision in 1923 to "go native" as she called it, to give up fashion drawing and go to the country to pursue art. She spent the summer and autumn of 1923 and 1924 in the country near Ridgefield, Connecticut and long summers from 1925 through 1930 at a rented farmhouse near Glen Gardner, New Jersey which she called  "Tumble Timbers." Here she was able to plant a garden, to study the growth of nature and forms of the landscape, and to draw and paint every day. Gág sometimes expressed her experiences of the fundamental forces of nature by using musical analogies. In one diary entry she describes the forms of trees and masses of foliage as a symphony, the sound comprised not just of wavelengths, but volume [6 July 1923, Diary 40]. She wrote to Carl Zigrosser about her work and her determination.

...once and for all to get at the bottom of the principle which governs all this [the forms of hills, planes, conflicting fragments, big forms].... My aesthetic existence teems with forms which project themselves tauntingly toward me, recede elu sively from me, bulge, flow - and, worst of all, turn triumphantly over the edge of things, leaving me to wonder what's going on beyond. But of course that's exactly the place where I can't afford to give up...

--Gág to Zigrosser, 10 May 1926

Her companions in the country and during the winter at their apartments in New York City were Earle Humphreys and her sisters and brother. Thusnelda moved to New York in 1922, Asta in 1924, Dehli and Flavia (who had been living with Stella, now married in Minneapolis) in 1926, and Howard in 1927. Nelda, Asta, and Dehli married, but Flavia remained unmarried and spent a number of years living with Gág, as did her brother Howard, who supported himself as a musician at clubs in New York.

Gág was involved in a number of collaborative efforts with artists in New York, including William Gropper, with whom she founded a magazine without an editor entitled Folio in 1924. Carl Zigrosser invited her to parties and exhibition openings, some of which she accepted, but many she turned down, preferring to spend her time working uninterrupted. She did accompany Zigrosser to Lake George, New York for a weekend in August 1928--an invitation from Alfred Stieglitz and Georgia O'Keeffe. Stieglitz admired her work and an autobiographical article she had written for  The Nation titled  "These Modern Women: A Hotbed of Feminists" (22 June, 1927) and Gág enjoyed Georgia O'Keeffe's company.

In 1928 Gág became nationally known with the publication of her first illustrated children's book, Millions of Cats. She followed this the next year with another book,  The Funny Thing. Gág had been writing stories for children since her teens and had attempted to publish some of them during the early 1920s in New York. Her meeting with Coward-McCann editor Ernestine Evans at the time of Gág's exhibition at Weyhe Gallery in 1926 led to the publication of  Millions of Cats. The period from 1924 to 1928 had been especially productive for her as an artist. Her innovative lithographs from sandpaper plates and her ink drawings and watercolors on sandpaper were widely acclaimed. Her drawings appeared in  New Masses; her lithograph  Elevated Station was selected as one of the Fifty Prints of the Year (1926) by the American Institute of Graphic Arts, an honor she received during each of the next five years. She exhibited in a number of group exhibitions around the country, and had a second exhibition at the Weyhe Gallery, 19-31 March 1928. The royalties from her children's books gave her a substantial income for the first time in her life and when  "Tumble Timbers," became unavailable for rent in 1931, Gág and Humphreys began looking for a rural property to buy. She wrote to Jean Sherwood Rankin, who was trying to get Gág to collaborate on another book:

I am planning to get myself a little country place somewhere-one where I can stay all the year round. I have quite “gone native” and I like to go in hiding for the purpose of greater freedom and concentration in my work.

--Gág to Rankin, 16 November 1930

They bought a farm of 193 acres in the Musconetcong mountains near Milford, New Jersey in June 1931, and set to work renovating the old farmhouse and planting the garden. The following year, they built a studio on the property for Gág which she named "All Creation," the name later applied to the whole property. This work occupied nearly all of Gág's time (and Humphreys' and Howard Gag's) for the second half of 1931. Gág highly prized her personal freedom and privacy for her own work. She had once written to Zigrosser that:

These are the times-this winter being one of them-when I am so intensely absorbed in my work that a love-affair just cannot hold out against it. Maybe that's cruel, but that's me! Way back in my art school days I used to say, "Art comes first-and men, much as I like them and need them, must come second." I think no one believed me then, but I meant it, and I have practiced it, I think, pretty consistently throughout my life.

--Gág to Zigrosser, 28 January 1929

Humphreys moved to Virginia in 1932 to make time for himself to work on a manuscript for a book, an endeavor in which Gág supported him. He returned in the summer and traveled with Gág to Walden and Concord, Massachusetts. Gág worked on her wood engravings and lithographs during the 1930s, but the number of prints she produced was fewer than in the 1920s. In March of 1932 her friends the artists Howard Norton Cook and his wife Barbara Latham stayed with her at "All Creation" while Howard Cook taught her the techniques of aquatint. Barbara was reading Gág's diaries (and evidently upset by Gág's views on sex and creativity) and Gág wrote of this to Earle:

I think it is this part of it that Barbara [Latham Cook] failed to see. I tried to explain to her that sex to me was not a neurotic desire for many experiences, but that it was like the earth to me-growth, breadth, creation.... I am inclined to think t hat a great personal pleasure is more potent for the purposes of aesthetic re-birth than a trip to another country.

--Gág to Humphreys, 4 April 1932

Gág's circle of friends in the 1930s and 1940s included Hugh Darby and his wife Eleanor Muriel Kapp, Louis and Stella Adamic, Carl Van Doren, Mark and Dorothy Van Doren, Joe Freeman, Mike Gold, and Max Jacobs. Gág also had a close friendship with the writer Lewis Gannett and his wife Ruth Chrisman Gannett. In July 1934 she was invited by the Gannetts to a party for a Russian consul.

As soon as we got there, Ruth introduced me to a man who talked with me off & on for a great part of the evening. When I was about to go home I found out that it had been Morris Ernst. He was very different from what I expected him to be like. Theodore Dreiser was there too. I was introduced to him in passing. If I had known what to say I could easily have gotten into a conversation with him, I think, for he's not aloof.

--Gág to Humphreys, 16 April 1934

Gág was in demand as a lecturer. Her publisher, Coward-McCann, wanted her to produce more children's books and to give some time to promoting them. She was also asked to illustrate books for other authors. She refused most of these requests, but during the Depression, there was little demand for fine art; many of her artist friends were struggling (see, for example, letters from her friend J. J. Lankes) and her ability to earn a living and help support her siblings through the market for children' s literature was important. Between 1930 and 1940 she published seven more books, six for children plus her early diaries, Growing Pains, all for Coward-McCann. These included original stories by Gág and her illustrations and translations of the  Kinder- und Hausmärchen of the Brothers Grimm. Gág had grown up hearing traditional stories and spoke only German until she entered school. She continued to work on her German langauge skills while she was in Minneapolis-St. Paul. She enjoyed the project of working on the Grimms' Fairy Tales, and not coincidently, published her illustrated  Snow White and the Seven Dwarfs during the same year, 1938, that the Walt Disney movie was released.

Gág served on art juries for the New York World's Fair in 1939 and she applied for a Guggenheim Fellowship that year, obtaining letters of reference from Lewis Gannett, Rockwell Kent, Lewis Mumford, and Carl Zigrosser. Zigrosser applied for and received a fellowship in the same year, but in a different category from Gág's application, which was not funded.

In 1940 the Weyhe Gallery mounted a major retrospective of Gág's work, "Wanda Gág: 35 Years of Picture-Making," 21-31 October 1940. On this occasion the gallery published a special  "Gág Number" of  The Checkerboard, which includes a catalog of her works to date. She was also working in oils at this time. In her early career she had little experience with oils because she could afford neither paints nor canvas. The success of the autobiographical  Growing Pains(1940) prompted her to start work on a sequel.

Since 1939 Gág had been suffering from severe dizziness, poor eyesight, ringing in her ears, weight loss, and low energy which kept her from drawing and painting much of the time. She was still able to write, however, and continued her work on various writing projects. She was not able to get a clear diagnosis of her medical problems from the doctors she visited; they blamed her symptoms on menopause, dysentery, thyroid problems, and eventually on allergies. She had expressed concern about her hea lth as early as 1928 in a letter she wrote to Carl Zigrosser:

I'm not feeling at all well, and a certain trouble which I had hoped would decrease, has apparently increased instead. I did not tell you about this, because I do not like to talk about my ailments, and the worse they are, the harder it is to get me to tell about them. It was chiefly about this that I went to the naturopath. He told me it was an enlarged gland in my left breast-resulting probably from a strain. But I was not at all reassured, and now-after having been careful to use my left arm very li ttle-it seems to bother me more than formerly.

--Gág to Zigrosser, 28 May 1928

Zigrosser was alarmed and recommended a doctor, Dr. Burton J. Lee, whom Gág continued to see over the next several years. Stieglitz and Georgia O'Keeffe also recommended O'Keeffe's doctor. Evidently nothing substantive was done for Gág, and she continued to complain of pain in her side in her letters to Zigrosser in 1931 and 1934.

Gág was depressed by her health and by the state of the world at the approach of the second World War. She contributed a drawing to the American League for Peace and Democracy for its 1939 calendar. She was committed to anti-Fascism and to the liberal causes that many of her artist friends espoused. Her contributions consisted of donating her prints for auctions and other fundraisers plus some small cash contributions. She held memberships in the American Artists Congress, the League of American Writers, and the Authors' Guild of the Authors' League of America through which she contributed to the National War Fund during World War II.

Wanda Gág and Earle Humphreys were married at the end of August 1943, affirming their bond of more than twenty years. The church ceremony took place at the Central Baptist Church in New York City, on a rainy August 27, with Gág's brother-in-law Bob Janssen as witness. Robert Janssen, married to Wanda's sister Dehli, was very close to both Earle and Wanda. They married to quell criticism received by Earle at his defense job that he was living with an unmarried woman--criticism motivated by hos tility and distrust of Earle's union organizing activities in the plant. Although she felt all along that theirs had been a true and moral relationship, Wanda was positive about the marriage; she was glad to be able to be open about their relationship, particularly with Earle's family.

Gág's work continued to be exhibited in group shows and traveling exhibitions. In 1944 she was represented in the First Annual Exhibition of Contemporary American Drawings at the National Academy of Design and was awarded the Joseph and Elizabeth R. Pennell Purchase Prize by the Library of Congress for her lithograph Barns at Glen Gardner.

By 1945 Wanda Gág was seriously ill, she wrote that she could not walk a block without panting and she frequently ran a fever. When she was hospitalized in February, several pints of fluid were removed from her left lung. X-rays and exploratory su rgery revealed that she was suffering from terminal lung cancer. Her doctors and husband, Earle Humphreys, decided not to inform her of this, the only people who were told were her brother Howard, Robert Janssen, and Carl Zigrosser. Wanda probably suspected the malignancy, she received radiation treatments and Earle determined that he would take care of her and make her as comfortable as possible, taking over all the maintenance of the household and garden so that she could continue to work.

Late in December of 1945, Earle and Wanda left New York City and drove to Florida where they hoped the warmer climate would make Wanda more comfortable. She continued to work on this trip, producing drawings and working on translations for her next col lection of Grimms' tales. Returning to "All Creation," on May 17, Earle and Howard Gag planted the garden. Wanda became critically ill in June and died at Doctor's Hospital in New York City, 27 June 1946 after a few days hospitalization. She was cremated and her ashes scattered at  "All Creation."

Gág's will was dated 13 December 1945. In it she named Humphreys and Zigrosser as co-executors. Earle Humphreys died 16 May 1950 of a heart attack before final settlement of the estate. His co-executor, Robert Janssen then represented the family in the final settlement. In accordance with Earle's instructions, Robert Janssen burned Humphreys' papers, including the manuscripts for his unpublished books. Her family's wish was that Wanda Gág's work be distributed widely and a number of memorial exhibitions of her work were held in New York, Philadelphia, and Minnesota. Few of Wanda's friends or colleagues had known how ill she was and her death at the age of 53 was a shock to the art world.

Biography/History

Carl Zigrosser (1891-1975) was one of the few influential museum curators in the United States: he actively promoted the art of print-making. From 1941 through 1963 the Print Department of the Philadelphia Museum of Art increased under his direction from approximately 15,000 objects to more than 100,000 works of art. Notable acquisitions during his tenure include Watteau engravings from the Rosenwald collection; the Osborn collection of folk prints; the Scholz collection of seventeenth-century etchings; the Stieglitz collection of photographs; and Japanese prints from the Rockefeller and the Archibold and Vera White collections. At the time of his death in 1975, Evan Turner, Director of the Museum, described Zigrosser as "a driving force" in the development of the Philadelphia Museum of Art.

In Zigrosser's personal memoir, My Own Shall Come To Me, he described himself simply as  "an appraiser or appreciator of the arts and of life." Although he dedicated twenty-three years of his curatorship to building the museum's art collection until it reached internationally-recognized stature, Zigrosser was also a noted scholar and art historian. He did not view his contributions as exceptional:  "my career has meaning only as an example of what has been achieved or extracted from existence on this planet—the notion of a life span conceived as a construction or work of art."

Zigrosser was born in 1891 in Indianapolis; he was the son of Hugo and Emma Zigrosser. His father had emigrated from Austria and became a naturalized citizen in 1890. Hugo Zigrosser married Emma Haller of Newark, New Jersey and established a partnership with Leopold von Bohlen in an architectural firm in Indianapolis. After an early retirement for serious health reasons, Hugo moved his family to Newark but did not resume his profession. Soon after the family's arrival in Newark, Carl was enrolled in Newark Academy, from which he graduated in 1908. On the basis of his scores on the College Entrance Examination, he was awarded a scholarship at Columbia College, as well as a prize given by the Columbia College Alumni of New Jersey to the student with the highest examination marks.

In 1908 Zigrosser entered Columbia and majored in chemistry and mathematics. His interests, however, turned to literature, and he completed his course-work in this field in three years. He was then elected to Phi Beta Kappa and received his B.A. in 1911. During his undergraduate studies he contributed to the campus literary magazine, The Columbia Monthly. Through his readings of John Dewey, Francisco Ferrer, Bertrand Russell, and Jean-Jacques Rousseau, Zigrosser becam e interested in the theory of modern or progressive education. In 1915 he began writing book reviews for  The Modern School Magazine, which at the time was published at the Ferrer Colony in Stelton, New Jersey. His first influential essay on his conception of the ideal of the Modern School was reprinted as a pamphlet with a title page designed by Rockwell Kent. In 1917 Zigrosser took over the editorship of  The Modern School Magazine, a publication which continued to discuss key issues in libertarian education.

During this early period Zigrosser met and married Florence King, whom Zigrosser described as "a modern emancipated woman-athletic, efficient, priding herself on economic independence" and to whom he referred in his extensive personal correspondence as  "Kinglet." On 10 September 1917 their only child, Carola (nickname,  "Dux" ), was born in New York City, where the couple resided.

Zigrosser's professional career and his study of art began with the New York print dealer, Frederick Keppel & Co., for whom he worked until 1917. Two years later he founded and directed the Weyhe Gallery, an outgrowth of the Weyhe bookstore in Manhatt an. In 1939 and 1940 he was awarded a Fellowship from the John Simon Guggenheim Foundation for research in art; in 1962 he was elected a trustee of the Simon R. Guggenheim Museum.

In 1940 Fiske Kimball approached Zigrosser with the prospect of becoming the curator of prints at the Philadelphia Museum of Art. In the same year Zigrosser was awarded a Testimonial Gold Medal by the Philadelphia Watercolor Club. After accepting the curatorial position at the Philadelphia Museum of Art, Zigrosser moved to Philadelphia, a city that he described as possessing an "individuality rare among American cities." Comparing New York City, his former residence for many years, with Philadelphia was, for Zigrosser, like comparing Berlin with Vienna: the former was the  "dominant, gogetter" city whereas the latter, with its old traditions, had  "mellowness and charm." Zigrosser attributed the difference between the two cities to a change in climate: Philadelphia's tempo was  "easygoing and gemütlich " because it had a southerly atmosphere.

The move to Philadelphia signaled a major shift in the development of Zigrosser's career, for he now concentrated on scholarly aspects of the graphic arts rather than commercial ventures. On the eve of his departure from New York, fifty artists— all of whom felt indebted to Zigrosser for either the publication or sale of their prints—gave a party during which they presented him with a medal designed by Rockwell Kent "in behalf of the many artists who appreciate his sympathetic, unselfish se rvice to them and to art in America."

After the death of his first wife, Zigrosser married Laura Canadè in 1946, whom he credited as having an important influence on his art career. Laura was the daughter of the artist Vincent Canadè and an artist in her own right. Zigrosser and his second wife resided in Philadelphia for the duration of his twenty-three-year curatorship at the Philadelphia Museum of Art. During this period he also served as consultant for the Graphic Art Carnegie Study in the United States, which was an exhibition held in 1964. In 1961 Zigrosser was awarded an honorary doctorate from Temple University; he also served as Vice-Director of the Print Council of America and Vice-President of the Print Club of Philadelphia. He first appeared in Who's Who in America in 1966-1967.

Zigrosser's contributions to the world of art were not solely defined by his position as Curator of Prints and Drawings. As early as 1919 he edited and provided the introduction for Twelve Prints by Contemporary Artists. In 1946 he edited the publication,  Lithographs by Lautrec, as well as  Prints: Thirteen Essays (1962), to which he also contributed an essay. In addition, he authored sixteen scholarly books , including  Fine Prints, Old and New (1937);  The Artist in America (1942);  Käthe Kollwitz (1946);  Book of Fine Prints (1948);  Caroline Durieux (1940);  The Masterpieces of Drawing (1950);  Ars Medica (1955);  The Expressionists: A Survey of Their Graphic Art (1955 );  Maurico Lasansky (1960);  Misch Kohn (1961);  Guide to the Collecting and Care of Original Prints (1965);  Multum in Paryo (1965);  The Complete Etchings of John Martin (1969);  Prints and Drawings of Käthe Kollwitz (1969); and  Medicine and the Artist (1969).

After his retirement as curator in 1963, Zigrosser continued as Curator Emeritus at the Philadelphia Museum of Art. On 4 September 1964, the Museum arranged an exhibition in his honor: it was entitled "Carl Zigrosser: Curatorial Retrospective." The display of one hundred twenty outstanding prints and drawings acquired by Zigrosser during his curatorship was a tribute to his enormous influence in the world of art. On exhibit were prints by Old Masters and printmakers from the sixteenth to twentieth centuries in France, Spain, Mexico, the United States, and Japan; drawings included Old Masters and artists from the United States. The earliest work displayed was Augustin's text,  City of God, illuminated by a follower of Jacquement de Hesdin (ca. 1410). Also included were:  "Minotauromachi," the most celebrated and sought-after print by Picasso; Benjamin West's  "He Is Not Here for He Is Risen," considered by authorities to be West's first lithograph of merit;  "Snake-Gourd Vine," from the 1633 Chinese color woodcut book,  The Ten Bamboo Studio;  "Calvary," a fifteenth-century woodcut scene attached inside the lid of a box of which only forty are known to exist;  "Battle of Ten Naked Men," a print by Antonio Pollaiuolo and the first print that can be pictorially regarded as a major work of art. Other prints on exhibit included works by Albrecht Dürer, Rembrandt, Canaletto, Jacques Callot, Jacques Bellange, William Hogarth, Giambattista Piranesi, J.A.D. Ingres, Jean Duvet, Abraham Bosse, Gabriel de St. Aubin, Paul Gauguin, Honoré Daumier, Paul Cézanne, Georges Rouault, Toulouse-Lautrec, Henri Matisse, Francisco Goya, Käthe Kollwitz, Paul Klee, Edvard Munch, Vincent Van Gogh, Wassily Kandinsky, Emil Nolde, E.L. Kirchner, Leonard Baskin, Misch Kohn, Maurico Lasansky, Gabor Peterdi, and Jerome Kaplan. Among the drawings acquired by Zigrosser were works by Pieter Brueghel the Younger, Alessandro Magnasco, G.B. Castiglione, G.B. Tiepolo, Samuel Pal mer, Jean François Millet, Odilon Redon, Alexander Calder, Stuart Davis, William Glackens, and Robert Henri.

Zigrosser was succeeded by Kneeland McNulty as Curator of the Department of Prints and Drawings. At the time of Zigrosser's retirement, McNulty expressed the following sentiments: "Carl Zigrosser's retirement from his position of Curator of Prints an d Drawings culminates only one, but nevertheless a very important, period in his life. The catalogue of the exhibition held in his honor documents the incredible achievement of an internationally respected scholar and curator who dedicated himself for twenty-three years to enriching the art collection of a great metropolis."

Throughout his life Carl Zigrosser did his utmost to aid and advance the careers of artists such as Rockwell Kent, Misch Kohn, J.J. Lankes, and Diego Rivera. He provided support for the professional careers of these and numerous other artists. After his retirement Zigrosser remained active as a critic, historian, and lecturer, serving as associate of the Whitney Museum of Art and exhibition organizer for the Museum of Modern Art. On 26 November 1975, Zigrosser died in Montagnola, Switzerland, where he had lived for the last three years of his life. Four years prior to his death, Zigrosser published his personal memoir, My Own Shall Come To Me, in which he quoted from his own personal diaries and prolific correspondenc e with associates and close friends, many of whom were artists later recognized because of Zigrosser's efforts.

Scope and Contents

The Wanda Gág papers at the University of Pennsylvania are the primary repository for information on her personal and family life including, as they do, the nearly complete set of her diaries from 1908-1946. Gág's diaries were important to her. She had a compulsion to write that was as strong as her compulsion to draw. She read from her diaries to her close friends, she recopied long sections of them to use in later writings. In them she wrote about art, her family, her friendships, her lovers, her emotions, her ideals, women's roles in society, her health, marriage, money, education, and her passion for the natural world.

Gág's diaries are the primary source for understanding her creative process, her views on art and the work of her contemporaries. She had developed the habit of analyzing her thoughts, motives, morals, moods, and creativity early in childhood and her writings provide an unusually rich inner portrait of a talented and driven artist who was a perfectionist in her work.

The diaries incidently contain much of interest in regard to women's health, particularly women's reproductive health and treatment from the 1920s to the 1940s. Gág was frank in writing about her use of birth control, her sexual activity, and her suffering during menstruation (she suffered so severely from dysmenorrhea that she had to reschedule all her activities each month). In April and May of 1921, Gág feared that she was pregnant and went to see Margaret H. Sanger, whom she describes in her diary (she wasn't pregnant, but was given a regime to follow to induce her menstruation). There is also material related to the health of her sisters. Dehli suffered from depression and turned to Christian Science when she was eighteen, in part to gai n control over her thoughts. She saw a number of psychiatrists and other specialists after she moved to New York in 1926, with financial assistance from Wanda. Flavia, who became a successful author and illustrator of children's books by following Wanda's lead, also suffered from a number of health problems. The poor nutrition of the Gág family members in their childhood may have been responsible for at least some of their health problems later in life.

Correspondence in the Wanda Gág Papers is focused predominantly on personal and family relationships. Her extensive correspondence with Adolf Dehn, 1915-1943, documents his life in a guardhouse as a conscientious objector in World War I, but is primarily an extension of their conversations on art, love, and marriage. He continued to write to her from Europe in the 1920s and his letters contain information about artists they both knew. Gág's letters to Dehn are preserved in the Adolf and Virginia Dehn Papers and Dehn Family Papers, Archives of American Art, Smithsonian Institution. Her correspondence with Earle M. Humphreys spans the years 1931-1943 (from about the time he and Wanda purchased their farm in Milford, New Jersey) and does not date from the earliest years of their relationship. Correspondence with Carl Zigrosser is extensive, dating from 1924 until weeks before Gág's death in 1946. Zigrosser's letters in the Wanda Gág Papers and his own papers, also held by the Universit y of Pennsylvania (Ms. Coll. 6) contain a wealth of information about artists and the art world in the United States and Europe for the first half of the century. The Wanda Gág Papers were donated to the University of Pennsylvania by Zigrosser in 197 2 with the donation of his papers, and include items, in addition to their correspondence, which were gifts from Gág to Zigrosser.

There are significant letters from each of Gág's siblings, and ongoing correspondence in particular with Dehli and with Flavia. Some of the earliest letters from her sisters Thusnelda and Stella to Wanda in New York show their struggles to feed the family and keep them warm in the harsh Minnesota winters after their mother died.

Letters from Alfred Stieglitz and Georgia O'Keeffe reflect the high regard they both felt for Gág. Other artists, authors, and activists whose work and/or lives are represented or discussed in the papers include Egmont Arens, George Biddle, Roger N. Baldwin, Arnold Blanch, Lucile Lundquist Blanch, Louise Bogan, Howard Cook, Adolf Dehn, Max Eastman, John B. Flannagan, Lewis Gannett, Ruth Chrisman Gannett, Mike Gold, Harry Gottlieb, Emil Ganso, Horace Gregory, William Gropper, Max Jacobs, Frida Kahl o, Spencer Kellogg, Jr., Rockwell Kent, Julius J. Lankes, Harold Atkins Larrabee, Barbara Latham, Thomas Gaetano Lo Medíco, John Marin, Edith Whittlesey Newton, Anton Refregier, Diego Rivera, Arnold Ronnebeck, Grace Cogswell Root, Hyman J. Warsager, Anthony Velonis, and Art Young, among others.

The Papers include approximately 30 original drawings and watercolors, including a number of erotic drawings and paintings. The primary collection of Gág's prints is at the Philadelphia Museum of Art; representative prints were distributed by Zigrosser and Gág's family to a large number of museums around the world after her death. Exhibition catalogs and lists of Gág's works are not complete in these Papers, although lists of her work were compiled as part of the settlement of Gág's estate (Box 32).

Financial records for Wanda Gág are incomplete, comprising only four items. There are notes recording her earnings from commercial art in 1921-1922; one item is an account book in which she kept a strict record of shared household expenses; one is her bank book for a savings account, which shows a balance of $3000-$6000 during the Depression years; and the last item is a book in which she kept handwritten accounts of royalties from book sales.

These Papers include correspondence and partial records for the Estate of Wanda Gág, 1946-1968. Zigrosser and Earle Humphreys were co-executors of the Estate. Upon Humphreys's death in 1950, his co-executor (Wanda's brother-in-law) Robert Janssen became the family representative for Wanda Gág's estate.

Production materials for Gág's children's books were sold after her death. The primary repository for these is the Children's Literature Research Collection, University of Minnesota, Minneapolis. Some Gág family correspondence, Wanda Gág photo albums, and papers of Alma Schmidt Scott are also part of that collection. The papers of Alma Scott, including her correspondence and research materials for her biography of Wanda Gág, are located at the Minnesota Historical Society. The Gág and Biebl families donated family papers and artwork to the New Ulm Library in New Ulm, Minnesota.

Scope and Contents

Carl Zigrosser's personal papers comprise 116 boxes, which contain correspondence, manuscripts, proofs, newspaper clippings, diaries, and photographs. Some files include original drawings or prints by artists such as Mabel Dwight, Wanda Gág, Rockwell Kent, and J.J. Lankes. Consisting of 72 boxes, correspondence predominates the collection and includes files from many contemporary artists such as Merle Armitage, Alexander Calder, Mabel Dwight, Wharton Esherick, Wanda Gág, Rockwell Kent, J. J. Lankes, Henri Matisse, Georgia O'Keefe, Walter Pach, Roderick Seidenberg, John Marin, and Alfred Stieglitz, as well as letters from writers such as Hart Crane, Max Eastman, Lewis Mumford, Eugene O'Neill, Wallace Stevens, and Max Weber. One important box contains Zigrosser's copy of the catalogue for the 1913 Armory Show in New York, during which he made notes and sketches of some of the famous paintings on exhibit for the first time in the United States.

Within the 116 boxes of the collection are 2464 folders, arranged by correspondent, institution, or title of manuscript. The collection documents not only Zigrosser's professional development as an authority on printmaking but his personal relationships with many artists. Zigrosser saved most of his papers throughout his adult life, including copies of many letters that he wrote, newspaper clippings, memos to himself, and numerous diaries and receipts. Little seems to have been discarded by Zigrosser, and care was taken during the processing not to disrupt Zigrosser's own organization of the material.

Zigrosser's guiding principle for arranging his general correspondence appears to have been the establishment of a file for each correspondent by name; the material within each file was later arranged chronologically by the collection processor. Undated items were placed at the end of each folder or in subsequent folders labeled undated. The year of correspondence within the file or the first and last years of the items within a file is listed, together with the number items, the number of leaves of paper, number of pamphlets or photographs, and the folder number.

In sorting, priority was given to maintaining Zigrosser's alphabetical system, but papers were processed chronologically within the file. Many materials were inscribed by Zigrosser with dates, which proved very accurate and facilitated later processing. Corporate files were not integrated with the General Correspondence, series; rather, these folders were arranged by Zigrosser in separate boxes under the headings: "Simon R. Guggenheim Museum,”, "The Modern School,", "Philadelphia Museum of Art,", "Print Council of America,", and "Tamarind Workshop.", In addition, separate boxes contain family correspondence. Although many letters originally kept together as "unidentified" were identified and properly filed, three folders remain of unidentified correspondence.

Administrative Information

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  1999

Publication Information

University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts,  1991

Finding Aid Author

Finding aid prepared by Maggie Kruesi, Christa Stefanski, and Jessica Dodson

Finding Aid Author

Finding aid prepared by Felicia McMahon

Sponsor

The processing of the Wanda Gág Papers and the preparation of this register were made possible by a grant from the National Historical Publications and Records Commission.

Access Restrictions

This collection is open for research use.

Use Restrictions

The Wanda Gág Papers are available for consultation by researchers in the Reading Room, Rare Book and Manuscript Library at the University of Pennsylvania. Permission to reproduce or publish materials from this collection must be obtained from a curator at the Kislak Center for Special Collections, Rare Books and Manuscripts, from the estate of Wanda Gág and/or from other holders of copyright for these materials.

Use Restrictions

Copyright restrictions may exist. For most library holdings, the Trustees of the University of Pennsylvania do not hold copyright. It is the responsibility of the requester to seek permission from the holder of the copyright to reproduce material from the Kislak Center for Special Collections, Rare Books and Manuscripts.

Source of Acquisition

Gift of Carl Zigrosser, June 1972.

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Controlled Access Headings

Form/Genre(s)
  • Correspondence
  • Diaries
  • Drawings (visual works)
  • Financial records
  • Photographs
  • Prints
  • Watercolors (paintings)
  • Writings (documents)
Subject(s)
  • Art
  • Artists
  • Authors
  • Authors, American--20th century
  • Children's literature
  • Children's literature, American
  • Women
  • Women artists--United States
  • Women authors

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Controlled Access Headings

Corporate Name(s)
  • John Simon Guggenheim Memorial Foundation.
  • Modern School.
  • Philadelphia Museum of Art.
  • Print Council of America.
  • Solomon R. Guggenheim Foundation.
  • Solomon R. Guggenheim Museum.
  • Weyhe Gallery.
Form/Genre(s)
  • Correspondence
  • Diaries
  • Manuscripts, American--20th century
  • Memorabilia
  • Speeches
Subject(s)
  • Art
  • Artists

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Other Finding Aids

For a complete listing of correspondents, do the following title search in Franklin: Wanda Gág Papers.

Other Finding Aids note

For a complete listing of correspondents, do the following ns2:title search in Franklin: Carl Zigrosser Papers.

Bibliography

Gág, Wanda. Growing Pains: Diaries and Drawings for the Years 1908-1917. New York: Coward McCann, 1940; reprint edition, St. Paul: Minnesota Historical Society Press, 1984.

Hoyle, Karen Nelson. Wanda Gág. New York: Twayne Publishers, 1994. Focuses on Gág's work as a writer and illustrator of children's books.

Scott, Alma. Wanda Gág, the Story of an Artist. Minneapolis, Minn.: University of Minnesota Press, 1949. Alma Schmidt Scott was a lifelong friend of Gág and her family. She based this biography on her own cor respondence and Wanda's diaries. Scott worked on this project with Gág in 1944 and 1945, but did not complete the biography until after Gág's death.

Winnan, Ardur H. Wanda Gág: A Catalogue Raisonné of the Prints. Washington, D. C.: Smithsonian Institution Press, 1992. This includes the most complete listing of Gág's exhibitions and publications; disc ussion of her printmaking techniques; a useful chronology of her life (which does, however, contain a few inaccuracies); excerpts from Gág's later diaries; a biographical sketch and information about her family members.

Books written / translated and illustrated by Wanda Gág

Batiking at Home. 1926. New York: Crowell Publishing.

Millions of Cats. 1928. New York: Coward-McCann.

The Funny Thing. 1929. New York: Coward-McCann.

Snippy and Snappy. 1931. New York: Coward-McCann.

Wanda Gág's Story Book [  Millions of Cats, The Funny Thing, and  Snippy and Snappy in one volume]. 1932. New York: Coward-McCann.

The ABC Bunny. 1933. New York: Coward-McCann.

Gone is Gone. 1935. New York: Coward-McCann.

Tales from Grimm. 1936. New York: Coward-McCann.

Snow White and the Seven Dwarfs. 1938. New York: Coward-McCann.

Growing Pains. 1940. New York: Coward-McCann.

Nothing at All. 1941. New York: Coward-McCann.

Three Gay Tales from Grimm. 1943. New York: Coward-McCann.

More Tales from Grimm. 1947. New York: Coward-McCann.

Collection Inventory

I.  Correspondence, 1905-1961. 12 boxes.

Series Description

Arranged alphabetically and then chronologically within folders, outgoing and incoming correspondence is interfiled. Undated correspondence was sometimes dated retrospectively by Wanda Gág or by Earle Humphreys whose notes and dates are found thro ughout the Papers. Readers should be aware that Gág was not careful about dates and attempts by later individuals to date materials in this collection are tentative.

Correspondence between Wanda Gág and her siblings is found in Boxes 3-5; family correspondence among her siblings is in the final correspondence subseries in Box 14. Carl Zigrosser's correspondence in reference to the estate of Wanda Gág is in Box 30.

A.  Letters to and from Wanda Gág, 1905-1946.

Description

The bulk of this correspondence is from Adolf Dehn, Earle M. Humphreys, Alma Scott, Carl Zigrosser, and members of Gág's family, including her siblings and aunt Lena Biebl. There is a small selection of letters from important artists and correspon dence with a number of organizations which Gág supported with small donations during the 1930s and early 1940s.

Box Folder

Adamic, Stella -- Dehn, Adolf, 1915-1916.

1 1-46

Dehn, Adolf, 1917-1943, undated.

2 47-67

Deml, Clara -- Gág, Dehli, 1915-1942.

3 68-97

Gág, Dehli -- Gág, Howard, 1916-1945.

4 98-120

Gág, Howard -- Howland, Garth, 1943-1945.

5 121-153

Humphreys, Earle Marshall, 1930-1940.

6 154-173

Humphreys, Earle Marshall -- Janssen, Robert, 1931-1943.

7 174-193

Janssen, Robert -- Moore, Anne Carroll, 1937-1945.

8 194-228

National Bureau for Blind Artists -- Scott, Alma, 1911-1935.

9 229-268

Scott, Alma, Stieglitz, Alfred, 1936-1945.

10 269-296

Tiala, Viola -- Zigrosser, Carl, 1924-1933.

11 297-326

Zigrosser, Carl, 1934-1944.

12 327-344

Zigrosser, Carl -- Unidentified, 1945-1946, undated.

13 345-348

B.  Letters to and from Alma Schmidt Scott, 1912-1961.

Description

Comprises Alma Scott's correspondence with individuals other than Wanda Gág. Most of this correspondence was generated while Scott was working on her biography of Gág, ca. 1942-1949; but it also includes Scott's early correspondence with Gág's sisters, especially from Flavia and Stella, dating from 1912. Correspondence with Gág's family members continues after Wanda's death in 1946. Scott filed typewritten notes and attached photographs to this correspondence for her biography.

Box Folder

Coward-McCann, Inc. -- Gág, Stella, 1912-1945.

13 349-365

Gág, Stella -- Weschcke, Charles, 1946-1961, undated.

14 366-374

C.  Family correspondence, circa 1927-1946.

Description

Correspondence among family members, not including Wanda Gág. Includes some items of correspondence between Gág's family, Earle M. Humphreys and Carl Zigrosser. Also included is correspondence between Humphreys and Zigrosser from 1932-1946. The continuation of their correspondence to 1950, which refers to the estate of Wanda Gág, is in Box 30.

At various times Wanda Gág shared her country homes with her sisters Flavia and Dehli, with her brother Howard, and with Earle M. Humphreys. Her other sisters and brothers-in-law visited and vacationed at her home, as did Carl Zigrosser. This network of close relationships is reflected in correspondence among various family members and friends.

Box Folder

Biebl, Magdalena to Dehli Gág and Alma Scott.

14 375

Biehn, Marcus to Earle M. Humphreys.

14 376

Gág, Asta to Dehli Gág.

14 377

Gág Asta to Flavia Gág.

14 378

Gág, Asta to Howard Gág.

14 379

Gág, Dehli to Flavia Gág.

14 380

Gág, Dehli to Jack Grass.

14 381

Gág, Dehli to Earle M. Humphreys.

14 382

Gág, Dehli from Robert Janssen.

14 383

Gág, Dehli to Carl Zigrosser.

14 384

Gág, Flavia to Howard Gág with appended note from Humphreys to Howard Gág.

14 385

Gág, Flavia and Stella Gág.

14 386

Gág, Flavia and Thusnelda Gág.

14 387

Gág, Flavia and Earle M. Humphreys.

14 388

Gág, Flavia and Robert Janssen.

14 389

Gág, Flavia and Carl Zigrosser includes typescript story by Flavia Gág "The Self-Maid Man" .

14 390

Gág, Howard and Stella Gág, includes drawings made by Stella's child Gary Harm.

14 391

Gág, Howard and Thusnelda Gág.

14 392

Gág, Howard to Earle M. Humphreys.

14 393

Gág, Howard and Robert Janssen.

14 394

Gág, Stella to Thusnelda Gág.

14 395

Humphreys, Earle M. and Robert Janssen.

14 396
Humphreys, Earle M. and Carl Zigrosser.
Description

Includes 2 photographs of Humphreys taken by Robert Janssen.

14 397

Humphreys, Earle Marshall. Condolences sent to Humphreys at Wanda Gág's death, 1946.

14 398-399

Janssen, Robert to Zigrosser, Carl.

14 400

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II.  Writings and ideas for publication, 1905-1945. 3 boxes.

Series Description

Includes nearly all of Gág's writings found in her papers at the University of Pennsylvania, with the exception of her diaries and a few notes she prepared for lectures and radio talks. From the time of her childhood, Gág wrote with the idea of publishing her writings; after her father died in 1908, publishing became a necessity. Although these writings have been organized in a series separate from her artwork, readers should be aware that there was no clear division between ideas for art and ideas for writing in Gág's work. These notes, notebooks, and sketch books include drawings, sketches, and stories throughout. The series V. Artwork comprises completed drawings and prints, but also includes some notes and text for stories.

A.  Published writings and artwork, 1923-1940.

Description & Arrangement

Includes Gág's pamphlet, "Batiking at Home" and her article for  The Nation,  "A Hotbed of Feminists," plus copies of serials where her prints were published, which are arranged chronologically. In addition, a few of these published prints are in Oversize, box 40.

Box Folder

The Guild Pioneer, vol. 1 no.5 (May 1923). Prints by Wanda Gág.

14 401

Batiking at Home: A handbook for beginners, published by  Woman's Home Companion, 1926.

14 402

"These Modern Women: A Hotbed of Feminists,"  The Nation, 22 June 1927 .

14 403

Book Dial, vol. 5, no. 5 (Late Fall, 1928). Prints by Wanda Gág.

14 404

"A Scene From the Scandals,"  Theatre Guild Magazine. December 1928. Print by Wanda Gág.

14 405

"There is a Green Hill Far Away."  The American Sketch. January 1929. Print by Wanda Gág.

14 406

Wings: The Literary Guild Magazine, vol. 12, no. 7 (July 1938). Illustrations by Wanda Gág.

14 407

Growing Pains. Illustrated order form, 1940.

14 408

B.  Early writings, circa 1905-1920.

Description & Arrangement

Comprises notebooks in which Gág copied andrecopied stories she had written for submission to periodicals, primarily the Minneapolis Junior Journal. Also includes two sketch books, containing more writing than sketches, which she kept during her student days in art school in Minneapolis and New York, and which were not included in her series of diaries. Arranged chronologically, titles of stories and poems are listed when possible. Edythe Vernon Younge was a pen name of Wanda Gág.

Box Folder
Early Writings, circa 1905-1906. 1 item (notebook).
Contents

* "Jocko"

*  "Goldenrod and Sylvia"

*  "To the Rescue"

*  "Violet! Our May Queen"

*  "Arizona and Co."

15 409
Early Writings, circa 1905-1906. 1 item (notebook, ill. with watercolor).
Contents

* "An Afternoon Trip"

*  "Doll Reggy and I"

*  "Ronnie's Trouble"

*  "Emerald Woods"

15 410
Early Writings, circa 1905-1906. 2 items (8 leaves).
Contents

* "Sally's Thoughts About Gardening"

*  "The Story of a Trip"

* Ideas for stories

15 411
Early Writings, circa 1906-1907. 1 item (pocket notebook, ill).
Contents

* "A Little Mother's Cares"

*  "The Return"

*  "Lady Tulip Bulbs Visit"

*  "A Spring Sketch"

*  "Jocko, the Paper Parcel" [fragment]

*  "Vela's Glen"

*  "Sally's Thoughts About Gardening"

*  "Sally Has the Earache"

*  "Bobby's Black-and-Tan" [play]

*  "A Noise You Dislike. Why?"

*  "Hyacinthe's Garden"

*  "Two Little Innocent Thieves"

*  "Jane's Revenge"

*  "The Spring Garden"

15 412

Early Writings, "Jane's Revenge" and an early attempt at dialog, circa 1906-1907. 2 items (12 leaves).

15 413
Early Writings, circa 1906-1907. 1 item (notebook).
Contents

Notebook with "I Am It" printed on front cover, ill. with pencil drawings, watercolor and illustrations cut out from magazines (fragile):

* "Ruth and her Dress"

*  "Thanksgiving Day"

*  "The Jolly Four"

*  "Mr. Bluebird's Misfortune"

*  "Child's Alphabet"

*  "The Great Resolve"

*  "Hyacinthe Abroad"

*  "The Prize Garden"

*  "How the Easter Rabbit Was Hatched"

*  "Easter Bonnets"

* Lists of names for girls, boys, twins, last names and names of palaces

15 414

Early Writings, 1908. 2 leaves.

15 415
Early Writings, poems, 1910-1913. 5 items (9 leaves).
Contents

* "Her Twisted Way"

*  "Would You?"

*  "A Little-Girl Adventure"

*  "Indian Summer"

*  "The Walra"

*  "To L-"

15 416
Early Writings, poems and songs, 1910-1913. 1 item (pocket notebook).
Contents

* "Just Dreams"

*  "Wanderer's Abschied" (in German)

*  "The Tables Turned"

*  "Who Is He? Can You Guess?"

*  "A Difference"

*  "The Snowstorm"

*  "Mother Goose's Party"

*  "The Coming of Spring"

*  "Easter Verse"

*  "Nonsense Verse"

*  "Great Grandmama's Chest"

*  "The Wind"

*  "Dedication to Mr. R. Graves"

*  "The Day is Done"

*  "Dedication to Miss Gould"

*  "Grandmother's Farm"

*  "Letter Limerick"

*  "The Garden of Dreams"

*  "Thanksgiving at Grandma's"

*  "Out of the Harbor, into the Sea"

*  "Indian Summer"

*  "Tragedy"

*  "Parody"

*  "A Thought"

*  "The Christmas Spirit"

*  "A Dream"

*  "The Walra"

*  "To L-"

*  "A Message"

15 417
Early Writings, 1914-1915. 12 leaves.
Contents

* "A Rainy-Day Thought"

*  "An Artist's Thought"

*  "The First of May"

*  "The Garden of the Great Unknown"

*  "A Twentieth Century Wail"

* Poems

*  "Personal Discoveries," writings about problems in drawing

15 418
Sketch book and commonplace book, circa 1914-1915. 1 item (notebook).
Description

Poetry, ideas for stories, sketches, meditations, reflections on books read while in art school; pencil sketches of people, self-portraits, watercolor ideas for Christmas cards, and fashion sketches.

15 419
Notes and reflections, 1914-1917. 30 leaves.
Description

Reflections on art, pencil sketches, diary entries, poems. Leaves are from notebooks, some fragments.

15 420
Commonplace book and reflections, 1915-1918. 1 item (notebook).
Description

Reflections on art theory, readings. Lists of art lectures, plays, music, excursions experienced in New York City, Lists of books in her library, a few diary entries, very few sketches, printed poems tipped in. 1 notebook, cloth binding, a number of pages torn out.

15 421
Early Writings, circa 1919-1920, undated. 4 items (12 leaves).
Contents

* "Growing Pains"

*  "Interlude"

* Poems

*  "The Middle West Far East Colony," typescript story

* Untitled story  "One winter day two little children..."

15 422
Early Writings, undated. 13 leaves.
Contents

* "My Schoolhouse"

*  "Not a Poem"

*  "I Was Made For You"

*  "A Midsummer Night's Dream"

*  "The Love of an Adolescent"

15 423

C.  Children's literature, circa 1920-1945, undated.

Description

Notes on ideas for children's stories, some published, but most unpublished. The production materials for Gág's published children's books were sold after her death and are located in other repositories, primarily the University of Minnesota.

1.  Original stories.

Description

Includes some children's stories Gág worked on with Ruth Chrisman Gannett, which Gág attributes to Gannett, and stories by Gág.

Box Folder
Stories, 1930-1931.
Contents

Stories by Ruth Gannett:

*  "The Kitten Story"

*  "The Fuzzy Dog Story"

*  "Sleeping Away"

*  "Snowing"

*  "The Bird Story"

15 424

"Millions of Cats" puppet play, typescript,  "Millienen von Katzen," translation by Gág into German, and notes about cats, undated.

15 425
Stories, 1935 and undated.
Contents

* "Ivory Soap Stories"

*  "The Cry-Away Bird" [published in  Delineator, May 1935

*  "Round-Eyes and Roley-Eyes"

*  "The Lonely Mountains"

*  "The Pink Puppy and His Trees" (typescript, manuscript, and 5 colored pencil drawings by Gág) * Typescripts with ms. corrections

15 426
Stories.
Contents

* "Shoes"

*  "Invention"

*  "Bobo"

*  "Ooza"

15 427

"Stories, ideas & notes, expressions" , circa 1930-1941. 1 item (notebook, ill).

15 428

2.  Translations from Fairy Tales by the Brothers Grimm.

Description

Gág made her own translations from German of the Kinder- und Hausmärchen of the Brothers Grimm. Includes notes Gág took on other writers' translations of Grimms' Fairy Tales, and her research materials on the stories.

Box Folder

"The Griffon,"  "Poor and the Rich,"  "Cobbler and Elves,"  "Golden Goose,"  "Die Rübe,"  "Three Men in the Woods,"  "The Juniper Tree" and more. 2 items (notebooks).

15 429

"The Old One in the Wood" notebook;  "Red Riding Hood" and manuscript notes for Grimms' tales.

15 430

"Reynard the Fox" research notes. 1 item (notebook).

15 431

3.  Proposed "Baby's Bookshelf," Collection of stories and verse for young children, circa 1942-1944.

Description

Ideas, including original verse, for an illustrated series for young children.

Box Folder
Stories and poetry for proposed "Baby's Bookshelf" . 2 items (notebooks).
Contents

* "My Gardens"

*  "Birds in the Branches"

*  "The Bumble Bee"

*  "The Kitten Story"

*  "The Bird Story"

*  "Birds and Bunnies"

*  "The Garden"

*  "Shoes"

*  "Roosterkin and Henniken and Home Sweet Home"

*  "Three Little Duckies"

*  "Hide and Seek"

*  "Two Little Fingers"

*  "A Very Little Flea"

*  "Barbara"

* Other fragments and ideas

16 432
Stories and poetry for proposed "Baby's Bookshelf" .
Contents

* "Hide and Seek"

*  "Two Little Fingers"

*  "A Very Little Flea"

*  "Birds in the Branches"

*  "The Moon"

*  "Three Little Children" *  "Of Olden Days and Fairy Ways"

* Notes and drafts for unidentified children's stories

16 433

D.  Autobiographical writings, 1918-1945, undated.

1.  Proposed "Childhood Reminiscences" .

Description

Stories told from the point of view of a young child, based on Gág's experiences growing up in New Ulm, Minnesota. Includes Gág's research on her family history, and a number of Gág's recollections copied in multiple versions. One notebook from this series and three typed stories were gifts to Zigrosser and are located with correspondence in Folders 342 (notebook) and 344 (typescript).

Box Folder
Reminiscences, 1942. 1 item (notebook).
Contents

* "The Dentist Story"

*  "Wanda and God"

*  "Pre-school"

*  "Papa's Schulzeugnis"

16 434
Reminiscences, 1942. 1 item (notebook).
Contents

* "Meditation"

*  "Books"

*  "Etiquette books"

*  "School" (2nd - 8th grades)

*  "Worries"

*  "Odds and Ends"

*  "Abstract Experiences" (  "Rhythm,"  "Fairies,"  "Abstract Forms,"  "Accordion Pleats,"  "Art,"  "Sex" )

16 435
Reminiscences, 1942. 1 item (notebook).
Contents

* "Outline"

*  "Grown-ups"

*  "The Park Concert"

*  "Primavera"

*  "Story Behind the Picture"

16 436
Reminiscences, 1944. 1 item (notebook + 18 leaves).
Contents

* "I'm Two"

* Notes on children including her niece Barbara Jean Treat

16 437
Reminiscences, 1945, undated. 2 items (notebooks).
Contents

* "All Christmas"

*  "Christmas Story"

16 438
Reminiscences, undated. 1 item (notebook).
Contents

* "Grandma's - general" (descriptions of family members, neighbors and friends,  "Klaus Contingent,"  "Papa,"  "Mama" )

* Family Origins

*  "School"

*  "Going down the Rellrote Tracks"

*  "Paper Dolls at Grandma's"

* Biographical information on family and more

16 439
Reminiscences, undated. 2 items (notebooks).
Contents

* "Meditation"

16 440
Reminiscences, undated. 1 item (notebook).
Contents

* Layout of New Ulm * Family origins

*  "Fate?"

*  "Early Ideas, Superstitions, etc."

*  "Technique or Plan"

*  "Papa's Schulzeugnis"

*  "My First Home..."

*  "Prememory Items"

*  "Kindergarten"

*  "Primary School"

*  "Pre-school Memories"

*  "Our Home"

*  "First Grade"

*  "Early Drawing"

*  "What Home Meant to Me"

*  "Grown-up World and I"

*  "Wanda and God"

16 441
Reminiscences, undated. 1 item (notebook).
Contents

* "Wanda and God"

*  "Meditation"

*  "Primavera"

*  "The Park Concert"

16 442
Reminiscences, undated. 1 item (notebook).
Contents

* Playing Dentist

*  "Grab Bag"

*  "Christmas"

*  "Dolls"

*  "Puppet Show"

*  "Playing"

*  "Clothing"

*  "Food"

*  "The First Show I Went to Alone"

*  "Weseparately" (descriptions of siblings Stella, Thusnelda, Asta, Dehli, Howard and Flavia)

*  "Vacation Days"

*  "Sand Stones"

*  "Playmates"

*  "Wash Day"

16 443
Reminiscences, undated. 1 item (notebook).
Contents

* Scenes from the House of Gág

* The Gág Saga

*  "Art"

*  "Technique"

*  "Books"

*  "Clothing"

*  "Christmas"

*  "Eating"

*  "Feminism"

*  "Friends"

*  "The Grown-up World and I"

*  "Our Home"

*  "Infantile Doings and Sayings"

*  "Klaus Contingent"

* Descriptions of Biebl relatives

*  "Grandma's"

*  "Neighbors"

*  "Obsessions, Superstitions and Queer Ideas"

*  "Odds and Ends"

*  "Playing"

*  "Papa"

*  "School"

*  "This and That"

*  "We-separately"

*  "General Plan for book"

16 444
Reminiscences, undated. 2 items (notebooks).
Contents

* "Of Pennies and Pencils" (description of family and New Ulm)

* "First Memories, My Place in My Young World" (house in New Ulm)

16 445
Reminiscences, undated. 1 item (notebook).
Contents

* "About Fairies"

*  "The Dentist Story"

*  "About Teachers"

*  "Going down the Rellrote Tracks"

*  "Paper Dolls at Grandma's"

16 446
Reminiscences, undated. 1 item (notebook).
Contents

* "The Dentist Story"

*  "Going to the Barbershop"

16 447
Reminiscences, undated. 1 item (notebook).
Contents

* "Her First Show"

*  "Down at Grandma's"

*  "Her First Show Alone"

*  "A Summer's Day"

16 448
Reminiscences, undated. 2 items (notebooks).
Contents

* "General Play"

*  "Dolls"

*  "The Sand Stone"

16 449
Reminiscences, undated. 1 item (notebook).
Contents

* "Kindergarten"

*  "Papa's Death"

*  "Our Block"

*  "Hermanje"

*  "The Rhythm Beat"

*  "Primary School"

*  "Accordion Pleats"

*  "Burying Children"

*  "Visit for Aunt Mary"

*  "Aunt Lena"

*  "Del-Floofy"

*  "Rhythm"

*  "Ruby"

*  "Mirror"

*  "Pins"

*  "Holzegens"

*  "Accordion Pleats"

*  "Papa and Mama"

*  "Decoration Day"

17 450

Early history of New Ulm and family origins, undated. 1 item (notebook).

17 451
Reminiscences, undated. 1 item (notebook).
Contents

* "Rell Rote Tracks"

*  "Paper Dolls"

*  "Going to the Butcher Shop"

*  "Wanda and God"

*  "Meditation"

17 452
Notes, undated. 1 item (notebook + 31 leaves).
Contents

* Home

* Pre-school memories

*  "Primavera"

*  "In the one-roomed school house"

*  "Books"

*  "House and Yard"

*  "Meditation"

*  "Duplicates of Childhood Reminiscences"

17 453
Reminiscences, undated. 42 leaves.
Contents

* "Tussy Sick"

*  "Measles"

*  "1901-1902" ”-Grandma's

*  "Down at Grandma's"

*  "A day at Grandma's"

*  "Paper Dolls"

*  "The Barbershop"

*  "Show Alone"

*  "Wash Day"

*  "Snow"

17 454
Notes for proposed "Childhood Reminiscences" , undated. 38 leaves.
17 455

3.  Proposed sequel to Growing Pains .

Description and Arrangment

Gág planned to publish additional excerpts from her diaries and letters from 1918 on, and for this she recopied portions of her diaries and correspondence with Adolf Dehn. This sequel was never completed. Arranged chronologically, the letters were later numbered by Wanda in reference to this project.

Box Folder
Notes re: proposed sequel to Growing Pains, undated. 58 leaves.
Description

Lists of letters between Wanda Gág and Adolf Dehn, recopied letters and diary excerpts re: Adolf Dehn, 1920-1922 and more.

17 459
Recopied letters, book 3, 5½, undated. 1 item.
Description

Letters between Wanda Gág and Adolf Dehn and two poems dated 21 July 1918-27 April 1919.

17 460
Recopied letters, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 14 October 1918 - 21 July 1919.

17 461
Recopied letters and diary entries, book 6, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 20 December 1918 - 29 April 1919.

17 462
Recopied letters and diary entries, book 6 ½, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 16 May 1919 - 8 June 1919.

17 463
Recopied letters and diary entries, book 7, undated. 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 25 June 1919 - 7 September 1919.

17 464
Recopied diary entries, book 8, undated. 1 item (notebook).
Description

Diary entries dated 25 July 1919 - 22 May 1920.

17 465
Recopied diary entries, book 9, undated. 1 item (notebook).
Description

Diary entries dated 22 May 1920 - 23 March 1921.

17 466
Recopied diary entries, book 10, undated. 1 item (notebook).
Description

Diary entries dated 30 March 1921 - 5 October 1921.

17 467
Recopied letters, undated . 1 item (notebook).
Description

Letters between Wanda Gág and Adolf Dehn dated 16 October 1921 - 28 December 1921.

17 468
Recopied letters, undated. 56 leaves.
Description

Letters between Wanda Gág and her siblings Asta, Dehli, Flavia, Howard and Thusnelda, and her friends Alma Schmidt Scott and Boris dated 16 January 1920 - 29 September 1921.

17 469

Notes for proposed "Childhood Reminiscences" , undated. 64 leaves.

17 456

2.  Growing Pains .

Description

Materials from Gág's diaries and letters from 1908-1917 used or recopied for inclusion in Gág's book, published in 1940. Typed transcripts of these diaries were prepared for the book and have been filed with the original diaries. Gág's handwriting is sometimes difficult to read, and the transcripts, typed by Flavia Gág, make the diaries more accessible.

Box Folder

Notes on Growing Pains,  "My Early Letters to Alma Schmidt" , undated. 2 items (notebooks).

17 457

Miscellaneous notes on Growing Pains.

17 458

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III.  Diaries, 1908-1946. 9 boxes.

A.  Diaries, 1908-1945.

Description & Arrangement

Gág referred to these as her "Diaries Proper," and distinguished them from Day Diaries and other notebooks in which she wrote. The diaries were transcribed for Wanda Gág's book  Growing Pains, published in 1940. The diaries were typed, for the most part, by Flavia Gág; typed transcripts are filed with the originals, and are arranged chronologically, numbered by Gág. Diaries numbered 1, 6, 12, 21, and 29 are missing and were not part of the papers when they were transferred to the University of Pennsylvania.

Box Folder

Diary 2, 12 October 1908 - February 1909.

18 470

Transcript of Diary 2, undated.

18 471

Diary 3, 8 April 1909 - 26 September 1909.

18 472

Transcript of Diary 3, undated.

18 473

Diary 4, 25 September 1909 - 16 January 1910.

18 474

Transcript of Diary 4, undated.

18 475

Diary 5, 27 December 1909 - 28 February 1910.

18 476

Transcript of Diary 5, undated.

18 477

Diary 7, 1 March 1910 - 11 July 1910.

18 478

Diary 7B, 19 March 1910 - 15 June 1910.

18 479

Transcript of Diary 7B, undated.

18 480

Diary 8, 12 July 1910 - 21 August 1910.

18 481

Transcript of Diary 8, undated.

18 482

Diary 9, 29 August 1910 - 28 October 1910.

18 483

Transcript of Diary 9, Diary entries, undated.

18 484

Diary 10, 28 October 1910 - 21 January 1911.

18 485

Transcript of Diary 10, undated.

18 486

Diary 11, 23 January 1911 - 14 May 1911.

18 487

Transcript of Diary 11, undated.

18 488

Diary 13, 1 July 1911 - October 1911.

19 489

Transcript of Diary 13, undated.

19 490

Diary 14, 25 December 1911 - 28 April 1913.

19 491

Transcript of Diary 14, undated.

19 492

Diary 15, 5 May 1913 - 8 August 1913.

19 493

Transcript of Diary 15, undated.

19 494

Diary 16, 13 August 1913 - 22 September 1913.

19 495

Transcript of Diary 16, undated.

19 496

Diary 17, 27 September 1913 - 17 January 1914.

19 497

Transcript of Diary 17, undated.

19 498

Diary 18, 8 January 1914 - 20 February 1914.

19 499

Transcript of Diary 18, undated.

19 500

Diary 19, 1 March 1914 - 5 April 1914.

19 501

Transcript of Diary 19, undated.

19 502

Diary 20, April 1914 - 6 May 1914.

19 503

Transcript of Diary 20, undated.

19 504

Diary 22, 25 May 1914 - 15 August 1914.

20 505

Transcript of Diary 22, undated.

20 506-508

Diary 23, 17 August 1914 - 2 October 1914.

20 509

Transcript of Diary 23, undated.

20 510-511

Diary 23A, 6 October 1914 - 26 November 1914.

20 512

Transcript of Diary 23A, undated.

20 513-514

Diary 24, 27 November 1914 - 15 December 1914.

20 515

Diary 25, 18 December 1914 - 9 February 1915.

21 516

Diary 26, 15 February 1915 - 14 April 1915.

21 517

Diary 27, 14 April 1915 - 25 May 1915.

21 518

Diary 28, 25 May 1915 - 7 September 1915.

21 519

Diary 30, 18 February 1916 - 4 October 1916.

21 520

Diary 31, 14 October 1916 - 31 July 1917.

21 521

Diary 32, August 1917 - 30 November 1917.

22 522

Diary 33, 30 November 1917 - 10 June 1918.

22 523

Diary 34, 28 June 1918 - 29 October 1918.

22 524

Diary 35, 1 November 1918 - 25 June 1919.

22 525

Diary 36, February 1919 - February 1920.

22 526

Diary 36B, February 1920 - 23 March 1921.

22 527

Diary 37, 30 March 1921 - 7 November 1921.

22 528

Diary 38, 9 November 1921 - 2 May 1922.

22 529

Diary 39, 3 May 1922 - 22 January 1923.

23 530

Diary 40, 22 March 1922 - 2 December 1922.

23 531

Diary 41, 29 January 1924 - 13 April 1925.

23 532

Diary 42, 25 April 1925 - 18 January 1928.

23 533

Diary 43, 18 January 1928 - 13 February 1928.

23 534

Diary 44, 14 February 1928 - 16 March 1929.

23 535

Diary 45, 17 March 1929 - 23 April 1929.

23 536

Diary 46, 2 May 1929 - 10 July 1929.

24 537

Diary 47, 10 July 1929 - 4 March 1930.

24 538

Diary 48, 6 March 1930 - 12 June 1930.

24 539

Diary 49, 20 June 1930 - 30 January 1931.

24 540

Diary 50, 30 January 1931 - 23 June 1931.

24 541

Diary 51, 10 March 1932 - 28 December 1932.

24 542

Diary 52, 28 December 1932 - 25 May 1933.

24 543

Diary 53, 3 June 1933 - 10 June 1933.

24 544

Diary 54, 10 June 1933 - 17 July 1933.

24 545

Diary 55, 17 July 1933 - 17 September 1933.

25 546

Diary 56, 17 September 1933 - 10 December 1933.

25 547

Diary 57, 10 December 1933 - 13 May 1935.

25 548

Diary 58, 14 March 1938 - 17 February 1942.

25 549

Diary 59, 17 March 1942 - 14 February 1945.

25 550

B.  Day diaries, 1929-1946.

Description

Gág referred to these as her "Diary Annex" as differentiated from the  "Diaries Proper." For the most part they contain brief annotations about activities, although in some cases they include full diary entries. Included here are notebooks and day diaries kept by Wanda during her final illness.

Box Folder

1929-1932. 4 items (notebooks).

25 551

Day Diaries, 1933-1935. 3 items (notebooks).

25 552

Recopied Day Diaries for 1929-1935, undated. 1 item (notebook).

25 553

Day Diaries, 1936-1937. 2 items (notebooks).

25 554

Recopied Day Diaries for 1936-1937, undated. 1 item (notebook).

25 555

Day Diaries, 1940-1941. 2 items (notebooks + 10 leaves).

26 556

Day Diaries, 1942-1943. 2 items (notebooks).

26 557

Day Diaries, 1944-1945. 2 items (notebooks).

26 558

Recopied Day Diaries for 1944 - April 1945. 1 item (notebook).

26 559

Hospital Diary, 18 February 1945 - 5 April 1945. 1 item (notebook + 12 leaves).

26 560

Recopied Hospital Diary for 11 March 1945 - 19 June 1945. 1 item (notebook).

26 561

Trip to Florida Travelog, 1946. 2 items (notebooks).

26 562

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IV.  Lecture notes; notes on writing; radio talks and readings; miscellaneous and unidentified notes. 6 folders.

Box Folder

Lecture notes, "The artist and the child," for the Child Study Association, typescript with ms. corrections, undated. 3 leaves.

27 563

Lecture notes on art and life with reference to Gág's print Grandma's Parlor , undated. 1 item (notebook).

27 563

Notes for "Author! Author!" notes and partial story for appearance on  "Author! Author!" canceled due to illness, circa 1945, undated. 13 leaves.

27 564
Notes on writing, including grammar, word choice, etc. 2 items (notebooks).
Contents

* "My first radio effort June 1941" * Radio notes and ideas

27 565
Notes on art, marriage, undated. 12 leaves.
Contents

* "After our secret marriage..."

* Lecture notes on art by Robert Henri, with explanation of  "Diary Annex" on cubism, god, grownups

*  "Spaziergang" [three artists taking a stroll]

27 566

Chronological life history/autobiography by Gág from with related notes, 1912-1944. 9 leaves.

27 567

Unidentified notes.

27 568

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V.  Artwork, 1915-1948, undated. 1.5 boxes (+ oversize).

Series Description

Includes published and unpublished drawings, prints, and Christmas cards. There are a number of erotic and humorous drawings, watercolors, and booklets; presumably most of these were gifts from Wanda Gág to Carl Zigrosser.

A.  Drawings, watercolors and prints, 1915-1944, undated.

Description & Arrangement

Includes published and unpublished drawings and prints; Christmas cards; sexually humorous booklets, drawings, and paintings; and rough sketches. A number of these were gifts to Carl Zigrosser. Arranged chronologically, titles in quotation marks are taken from the item if titled, and from Winnan, if untitled. See also 5 items in Oversize, Box 40.

Box Folder

Self-portrait, pastel, 1915. 1 item.

27 569

Untitled pencil sketches, 1921-1922. 3 items.

27 570
Drawings, watercolors and prints, 1924-1927. 3 items.
Contents

* Untitled pen, brush and ink related to Chidlow Tree, [Connecticut], 1924

* Untitled nude, pencil, 1926-1927, gift to Carl Zigrosser, 1940

* Tumble Timbers, linoleum cut, 1927

27 571
Christmas Eve II , 1927. 10 items.
Description

Lithograph, with message "Greetings from the House of Weyhe 1927."

27 572
Drawings, watercolors and prints, 1928. 2 items.
Contents

* Siesta, soft ground etching, gift to Carl Zigrosser

*  A Morning in January, pen and ink, gift to Carl Zigrosser

27 573

The Cobbler's Shop, first print, not successful, 1931.

27 574

Adam and Eve, ink and pencil. Gift to Carl Zigrosser, 1923-1932. 1 item (booklet + 2 leaves).

27 575
Urformen der Natur, 1934. 1 item (booklet + 8 leaves).
Description

Watercolors, miniatures, some are detached from pages.

27 576
Christmas Cards, 1935.
Description

Christmas Tumble Timbers, Christmas Eve, Fireplace, Franklin Stove, Lantern and Fireplace. 5 cards with prints by Gág, published by the American Artists Group.

27 577
Self-Caricature (Self Portrait) , 1940.
Description

Print from 1937 drawing, used for announcement for Wanda Gág retrospective exhibition at the Wehye Gallery.

27 578
Landscapes, 1944, undated. 2 items.
Contents

* Untitled landscape, pencil

* Color reproduction of  The Red Barn, watercolor

27 579

A Sinthesis of the More Exotic Vices, watercolor, undated. 1 item (8 leaves).

27 580
Six Little Gems of Modern Art with appreciations by Professor Ernest De Fender, undated. 26 leaves.
Contents

* Crescendo

*  Love's Young Dream

*  Nude with Egg-Beater

*  Interlewd

*  Ob Scene in Central Park

*  The Fountain of Youth

* Preliminary drawings for each

27 581
Drawings, watercolors and prints, undated. 3 items.
Contents

* The Tree of Knowledge, pen and ink

* Untitled [man and tree], pencil

* Untitled [man and tree], pencil

27 582

Love Among the Acrobats , sketches, pen and ink and pencil, circa 1934. 3 leaves.

27 583

Untitled female nude, pen, brush and ink, undated. 1 item.

27 584

Untitled (2 reclining figures), drawing on sandpaper, undated. 1 item.

27 585

Untitled, watercolor on sandpaper, undated. 2 items.

27 586

Untitled sketches, notes, poems, captions for drawings, undated. 16 leaves.

27 587

B.  Drawings and prints for children's books, projects for children, circa 1921-1942, undated.

Description

Artwork for children's books and a booklet created for Gág's niece, Barbara Jean Treat. Some of these items were gifts to Carl Zigrosser, laid into copies of Gág's books.

Box Folder

Early drawings, pencil, undated. 3 items.

28 588
Text for Happiwork Story Boxes, typescript, circa 1921-1923, undated.
Note

See Boxes 36-39.

28 589
Cats, 1928-1929. 4 items.
Contents

* Cat on Chair (Cat in Kitchen), wood engraving, sixth state, 1928. 1 item

*  Cats at the Window, wood engraving, 1929 2 copies

* From  Millions of Cats, two cards with prints from the book, promotion by Coward-McCann. 2 items

28 590
Tales From Grimm, 1936-1938. 3 items.
Contents

* Spindle, Shuttle, and Needle, preliminary pen and ink drawing for  Tales From Grimm. Gift to Carl Zigrosser, 1936. 1 item

* Six Servants, preliminary pen and ink drawing for  Tales From Grimm. Gift to Carl Zigrosser, 1936. 1 item

*  Snow White and the Seven Dwarfs, preliminary pen and ink drawing, 1938. 1 item

28 591

Nothing at All, 2 original drawings, signed. Gift to Carl Zigrosser, 1941.

28 592
Drawings and ideas for children's books. 4 items.
Contents

* Fanny and Bobo, pencil sketch, undated

*  The Wimble Wamble of Jimble Jamble, colored pencil, undated

*  Tin-canary, pen and ink, undated

* Untitled watercolor (Girl sleeping, stockings on bed posts),undated

28 593

A Bedtime Story for Barbara Jean , circa 1941-1942. 1 item (booklet + 2 leaves).

28 594
Miscellaneous sketches for children, undated. 14 leaves.
Contents

* Kangarooster

*  Hippopotamustard

* Sketches of cats, dogs, tiger, penguin, squirrel, elves, pencil

28 595

C.  Family drawing and word games, circa 1944-1945.

Description

These drawings, made during family get togethers, include some completed and signed sketches by Wanda and Flavia Gág, Howard Cook, and Barbara Latham Cook, plus four-part people drawn by these and other family members who were Wanda's guests at "All Creation."

Box Folder
Drawing and word games, 1932. 16 items.
Description

By Howard Cook, Barbara Latham Cook, Flavia Gág, and Wanda Gág, pencil, most signed and dated by the artists.

28 596
Drawing and word games, circa 1944-1945.
Description

Includes sisters Stella, Dehli, Flavia, Bob Janssen, Earle Humphreys, Howard, Alma Scott and her daughters, Jane and Patsy.

28 597
Drawing and word games, undated.
Description

Includes Carl Zigrosser drawings, Gág notes on games and family rhymes. See also folder 689 for Christmas rhymes exchanged among family members.

28 598

Drawing games, four-part people, undated. 35 leaves.

28 599

Drawing games, four-part people, undated. 40 leaves.

28 600

D.  Exhibition catalogs, announcements, and reviews, 1926-1948.

Description & Arrangement

Arranged chronologically, it contains catalogs for Gág's exhibitions and press reviews of her exhibitions. Not complete. Information on posthumous exhibitions is in Carl Zigrosser's correspondence, Box 30.

Box Folder
"Watercolors, Drawings and Lithographs by Wanda Gág." The Weyhe Gallery, 3-20 November 1926. 3 items.
Contents

* Catalog, introduction by Rockwell Kent. catalog. 1 item

* Exhibition announcement. typescript. 1 leaf

* Review,  New York Evening Post, 13 November 1926. 1 leaf

28 601
"Watercolors, Drawings and Prints by Wanda Gág." The Weyhe Gallery, 19-31 March 1928. 3 items.
Contents

* Exhibition announcement

*  The Spinning Wheel, wood engraving, 3 copies

* Exhibition announcement, typescript, 2 leaves

28 602
"Watercolors, Drawings and Prints by Wanda Gág." The Weyhe Gallery, 13 January - 1 February 1930.
Contents

* Exhibition announcement. 2 copies

*  "Gág Number."  The Checkerboard, published on occasion by the Weyhe Gallery, January 1930, includes chronological list of prints. 3 copies, signed by the artist, one with notations by Carl Zigrosser

28 603

Rīgas Grafiķu Biedrības. Joint exhibition. Exhibition catalog, 3-24 April 1932. 1 item.

28 604

"Wanda Gág: 35 Years of Picture-Making," retrospective show at the Weyhe Gallery, Exhibition announcement, proof, 21-31 October 1940. 1 item.

28 604

"Art Sale and Auction to Aid the Defense in the Oklahoma Book Trials," Puma Gallery [New York City], Announcement for joint exhibition and sale, 3-7 December 1941. 1 item.

28 604
Wanda Gág Memorial Exhibition. Philadelphia Museum of Art, 16 October - 24 November 1946. 3 items.
Contents

* Wanda Gág Memorial Exhibition. Philadelphia Museum of Art. 16 October - 24 November 1946. Press releases. 2 items, 3 leaves

* Review,  Philadelphia Inquirer, Oct. 27, 1946 1 item, 2 leaves

28 605

Wanda Gág Memorial Exhibition. New York Public Library. Announcement; introduction by Anne Carroll Moore, 23 June-1 November 1947. 1 item (1 leaf).

28 605

Wanda Gág Memorial Exhibition. Alfalfa Hill Barn, Milford, New Jersey. 4-6 September 1948. Newspaper announcement, 20 August 1948. 1 item (2 leaves).

28 605

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VI.  Writings about Wanda Gág: Biographical articles, obituaries, and book reviews arranged chronologically, 1927-1996. 1 1/2 box.

A.  Biographical articles and obituaries, 1927-1996.

Description & Arrangement

Arranged chronologically and includes a few items added to the collection since it was acquired by the University of Pennsylvania.

Box Folder

Mannes, Marya. "Wanda Gág: Individualist."  Creative Art. Published article and typescript, December 1927.

28 606

Herendeen, Anne. "Wanda Gág: The True Story of a Dynamic Young Artist Who Won't Be Organized."  The Century Magazine. offprint, with Carl Zigrosser's notes on cover, August 1928.

28 607

Foster, Helen Herbert. "Seven Little Gágs Grown Up."  Eagle (Brooklyn, N.Y.)., 11 November 1928. 1 item (1 leaf).

28 608

"New Ulm's Cinderella finds Art's Golden Slipper in New York."  Minneapolis Journal Magazine, circa 1928.

28 609

"Wanda Gág - Graver and Illustrator."  The Index of Twentieth Century Artists, vol. 3, no. 7, and Supplement, April 1936. 10 leaves.

28 610

Obituaries, Delaware Valley News, New York Herald Tribune, New York Sun, New York Times, Publisher's Weekly, Hunterdon County Democrat , June-July 1946. 8 items.

28 611
Obituaries, 1946. 2 items.
Contents

* "Wanda Gág."  Four Star Final

* Evans, Ernestine.  "Wanda Gág."  Four Star Journal - Juvenile supplement.

28 612
"In Tribute to Wanda Gág."  Horn Book Magazine , May-June 1947. 1 volume (21 leaves).
Description

Includes articles by Alma Schmidt Scott, Carl Zigrosser, Ernestine Evans, Rose Dobbs, Lynd Ward, and Earle Marshall Humphreys. Typescript for Zigrosser's essay, "Wanda Gág: Artist." 2 copies. List of captions for Gág prints were written by Carl Zigrosser, with additional notes.

28 613

Bixler, Bernice. "A Memorial to Wanda Gág, an Artist-Author."  Delaware Valley News, 20 February 1948.

28 614

Beavin, Helen. Biographical information compiled from published sources, University of Wisconsin Library School, Copy of typescript, June 1960.

28 615

Hoyle, Karen Nelson. "A Children's Classic: Millions of Cats," in  Manuscripts, 31, no. 4, offprint, Fall 1979.

28 616

Hanson, Doug. "Wanda Gág" and  "An Interview with Ardur Winnan," in  The Window, vol. 2, no. pp. 4-13, 6 January 1995.

28 617

"Wanda Gág House."  New Ulm Visitor's Guide , published by  The Journal , New Ulm, Minn., 1996. 1 volume.

28 618

"Wanda Gág," for  National Cyclopaedia of American Biography, typescript, circa 1947.

28 619

Zigrosser, Carl. "Wanda Gág," Biographical essay and bibliography, typescript and ms., circa 1955. 26 leaves.

28 620

B.  Book reviews, including unpublished reviews of Growing Pains, 1928-1947.

Arrangement

Arranged chronologically.

Box Folder

Reviews and promotion for Millions of Cats and  The Funny Thing , 1928-1929.

29 621

Unidentified reader's response to typescripts of the diaries for Growing Pains, 1935.

29 622

Kenton, Edna. "Report on Anonymous Diary." Re:  Growing Pains, circa 1940.

29 623

Zigrosser, Carl. Foreword to Growing Pains, circa 1940.

29 624

Berryman, Florence S. "New Books on Art."  The Magazine of Art. Review of  Growing Pains, 1940.

29 625

Zigrosser, Carl. Foreword and notes for More Tales From Grimm, circa 1947.

29 626

Becker, May Lamberton. Review of More Tales From Grimm. New York Herald Tribune, 16 November 1947.

29 627

E.L.B. Review of More Tales From Grimm. New York Times , 16 November 1947.

29 628

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VII.  Wanda Gág financial records. Account books, royalties, lists, 1920-1942, undated.

Series Description

Bank book, notes, and notebooks in which Gág kept financial records.

Box Folder

Accounts regarding employment, 1920-1921. .

29 629
Account books, 1924-1942.
Description

Household expense accounts, Bowery Savings Bank account, Royalty statements and Christmas lists.

29 630

Address lists, mostly for publishers, undated.

29 631

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VIII.  Wanda Gág estate, 1945-1968. 2 boxes.

Series Description

In her will, Wanda Gág named her husband, Earle M. Humphreys and her friend Carl Zigrosser as co-executors of her estate. Humphreys took responsibility for financial matters and inventory and organization of her personal papers. Zigrosser took responsibility for her prints, overseeing the donation of Gág prints to major museums and locating prints which were in the stock of art dealers around the country. The estate was not completely settled at the time of Humphreys' death in May 1950. He appointed his brother, Warren Humphreys and brother-in-law Robert Janssen to be his co-executors. By agreement with Gág's siblings, Janssen became their representative in regard to the estate.

A.  Zigrosser correspondence, 1946-1968.

Description

Includes Zigrosser's correspondence with Earle M. Humphreys from 1947-1950 and Zigrosser's correspondence with Robert Janssen. Also included is correspondence regarding shows in which Gág's work was shown and correspondence concerning the distribution of her prints to museum collections.

Box Folder

Correspondence: A-W, 1946-1968.

30 632-676

Museums, Responses to Zigrosser's query re museum holdings of Gág prints and paintings, 1950.

30 677

B.  Legal documents, lists of assets, executors' accounts, notes, 1945-1958.

Box Folder
Wanda Gág will, draft, carbon copy, 1945-1958.
Contents

* Note of explanation to family

* Agreement re estate between Robert Janssen, Warren Humphreys and heirs, 23 December 1950, carbon copy

* Agreement re Wanda Gág diaries, 5 February 1958

31 678

Note of explanation to family.

31 678

Agreement re estate between Robert Janssen, Warren Humphreys and heirs, carbon copy, 23 December 1950.

31 678

Agreement re Wanda Gág diaries, 5 February 1958. .

31 678

Lists of prints and catalogues, Written by Earle Marshall Humphreys, Robert Janssen, and Carl Zigrosser, 1949-1951, undated.

31 679

Lists of prints and catalogues, Written by Earle Marshall Humphreys, Robert Janssen, and Carl Zigrosser, undated.

31 680

Carl Zigrosser notes, accounts.

31 681

Earle Humphreys' accounts for expenditures, 1946-1949.

31 682

Earle M. Humphreys' notes and envelopes.

31 683

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IX.  Newspaper clippings. 2 folders.

Series Description

These appear to be clippings Gág collected. Most refer to the process of writing autobiography.

Box Folder

Clippings, 1908-1949.

32 684

Clippings, undated.

32 685

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X.  Memorabilia, 1857-1948, undated. 5 folders.

Series Description

A few family items from New Ulm, Wanda Gág's membership cards, Christmas gift tags and verses, miscellaneous.

Box Folder

Strong Vocational Interest Blank (Stanford University Press) completed by Gág, 1948.

32 686

Wanda Gág membership cards, bookplate Anton Gag business card, circa 1938-1946.

32 687
Map to "All Creation" , 1857, undated.
Contents

* Sketch of house plan and exterior

*  New York Times

* Classified ad

* Mura Dehn concert announcement

* Items related to family history:  "Schulzeugnis," date of settlement at New Ulm

* Inventory for Biebl family paintings and items donated to New Ulm Library and Museum

See also blueprints for New Jersey house by Herbert Treat in Oversize, Box 40

32 688

Christmas gift notes, rhymes and riddles, by Gág family members and friends.

32 689
Earle Marshall Humphreys and Gág.
Contents

* 8 keys

* Cover to Wanda Gág's photo album. Dismantled. Photos are in archival album, Vol. 33

32 690

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XI.  Happiwork, circa 1921-1923. 4 boxes.

Series Descripton

From 1921-1923 Gág was engaged in a commercial venture to design and produce these play and activity sets for children. Several of the sets have been used and the boxes (with a color design by Gág on the cover) are generally in poor condition.

Box
Happiwork Story Boxes "Four Little Happy Workers;" Happiday Valentine Package; Crinoline Girl Place Cards, P.F. Volland, Co., Chicago.
Description

Original packaging damaged.

36
Happivillage.
Description

2 sets, 1 has been used and is missing the village plan. Original packaging damaged.

37
Happiwork Packages.
Contents

* Krinkle Chains

* Foldabout Papers

* Threadabout Papers

38

Happiwork Home Play Assortment (Cut-Ups, Weavings and Foldabout Papers); Happiwork Story Boxes "Little Black Sambo;" and Coloring / Clay Modeling Cards. 3 items.

39

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XII.  Photographs, 1892-1946. 3 volumes.

Series Description

Comprises a disassembled photograph album that belonged to Gág which includes photographs of her parents and some childhood photos. The second volume contains photographs of Gág, her family and friends, most taken by Robert Janssen and by Carl Zigrosser, arranged chronologically. The third volume comprises photographs of Gág's prints, drawings, and watercolors.

Volume

Wanda Gág photograph album, in original order, 1892-1933.

33
Photographs of Wanda Gág, family and friends, 1926-1946.
Description

Most photographs were taken by Robert Janssen and by Carl Zigrosser. Some of Janssen's photographs are described in his letters to Alma Scott (Folder 371). The first two numbers (in pencil, on reverse) on Janssen's prints indicate the year in which the photograph was taken. The album contains 204 black-and-whie prints plus 128 negatives.

34
Photographs of Gág artwork, 1923-1945.
Note

See also 1 photograph in Oversize, Box 40.

35

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XIII.  Oversize artwork, photographs, clippings, blueprints, 1924-1937, undated. 1 box.

Series Description

Original artwork, clippings, a photograph, and blueprints for Milford, N.J. house.

Box

Pencil sketch on tracing paper, undated.

40

Male nude, pencil on paper, undated.

40

Reclining figures, pencil on paper, undated.

40

Ephesian Diana , watercolor, undated.

40

Lantern and Fireplace , wood engraving, 1931-1932.

40

Photograph of Chidlow Tree , 1924.

40

Waves, illustrating poem by Thomas Hickey, printed in  The Fight, p. 44, 1936.

40

Nativity, drawing printed in  New York Herald Tribune - Books , 1936.

40

After a Visit from Franco, lithograph printed in  The Fight. p. 44, 1937.

40

Blueprints for house in Milford, N.J., by Herbert R. Treat, 1933.

40

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Collection Inventory

I.  General Correspondence. 51 boxes.

Series Description

Correspondence with artists, acquaintances, friends, and professional associates to and from Carl Zigrosser.

Box Folder

Abbott, Jere - American Artists' Group.

1 1-40

American Artists' Group - Armitage, Merle.

2 41-76

Armory Show, - Baker, John.

3 77-107

Baker, Lamar - Bibliothéque Nationale.

4 108-155

Biddle, George - Bryn Mawr College.

5 156-222

Buchholz, Karl - Castellon, Federico.

6 223-268

Castellon, Federico - Cohn, Erich.

7 269-306

Coke, Van Deren - Cook, Howard Norton.

8 307-323

Cook, Howard Norton - Davied, Camille.

9 324-371

Davies, Arthur B. - Dewey, John.

10 372-403

Dey, Mukul - Durieux, Caroline.

11 404-443

Durieux, Caroline - Dwight, H.G.

12 444-454

Dwight, Mabel - Flannagan, Grace Briggs.

13 455-521

Flannagan, John B.

14 522-532

Flannagan, John B. - Ganso, Fanny.

15 533-578

Ganymed - Goodrich, Lloyd.

16 579-613

Goodspeed's Book Shop - Gurdjieff, Georges.

17 614-648

Gwinn, David - Hochscild, Kathrin.

18 649-718

Hofer, Philip - Hyperion Press.

19 719-756

Imandt, Robert - Ivins, William.

20 757-774

Jackson, Gardener - Kent, Norman.

21 775-836

Kent, Rockwell, 1911-1934.

22 837-846

Kent, Rockwell, 1934-1949.

23 847-857

Kent, Rockwell, 1950-1971.

24 858-864

Kent, Rockwell - Killam, Walt (includes inscribed original artwork of "breaching whale upturning a boat full of men," circa 1930 [inscription: "To Carl who first suggested doing Moby Dick, Rockwell Kent"] from Lakeside Press edition of  Moby Dick, or the Whale, 1930).

25 865-882

Kimball, Fiske - Kowaloff, Meyer.

26 883-911

Kreisler, Fritz - Lankes, J.J.

27 912-942

Lankes, J.J. - Laver, James.

28 943-957

Lawrence, Frieda von Richthofen - McCausland, E.

29 958-1036

McClellan, John - Marin, John C.

30 1037-1081

Marin, John - Mellon, Paul.

31 1082-1115

Meltzer, Doris - Morse, Samuel French.

32 1116-1165

Moschzisker, Bertha von - Nash, Ray.

33 1166-1199

Nason, Thomas - Norfolk Society of Arts.

34 1200-1250

Norman, Dorothy - Paris, Harold.

35 1251-1292

Paris, Harold - Pratt Institute.

36 1293-1368

Prescott, Kenneth - Rich, Daniel Catton.

37 1369-1416

Richards, Joseph - Rose, Ruth Starr.

38 1417-1453

Rose, Ruth Starr - Rutgers University.

39 1454-1481

Rutland, Emily - Seidenberg, Roderick.

40 1482-1543

Seidenberg, Roderick - Siegel, Helen.

41 1544-1570

Simkhovitch, Vladimir - Spruance, Benton.

42 1571-1610

Spruance, Benton - Sternberg, Harry.

43 1611-1642

Sternberg, Harold - Stieglitz, Alfred.

44 1643-1655

Stieglitz, Alfred - Temple University.

45 1656-1697

T'eng, Kuei - Time.

46 1698-1714

Ting, Walasse - University of California.

47 1715-1757

University of Chicago - Ward, Lynd.

48 1758-1816

Warneke, Heinz & Jessie - Weyhe Gallery.

49 1817-1858

Weyhe Gallery - Wood, R. Carey.

50 1859-1913

Woodcut Society - Zvegintzov, Nancy.

51 1914-1947

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II.  Family Correspondence. 3 boxes.

Series Description

Letters and cards from family members, including first wife Florence King, daughter Carola, and second wife Laura Canadè.

Box Folder

Aunt Jennie - Canadè, Vincent.

52 1948-1969

Kavanaugh, Steven & Andrea & Carla - King, Florence.

53 1970-1981

King, Florence - Zigrosser, Hugo & Emma.

54 1982-1988

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III.  The Modern School. 2 boxes.

Series Description

General correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine.

Box Folder

Letters.

55 1989-2075

Notes, manuscripts, clippings, etc.

56 2076-2079

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IV.  Philadelphia Museum of Art. 1 box.

Series Descripiton

General correspondence related to internal matters, gifts, and exhibitions held.

Box Folder

General, 1932-1971.

57 2080-2090

José Guadalupe Posada Exhibition, 1944.

57 2091

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V.  John Simon Guggenheim Memorial Foundation. 1 box.

Series Description

General correspondence related to fellowships, juries, and other internal matters, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum.

Box Folder

John Simon Guggenheim Memorial Foundation.

58 2092-2094

John Simon Guggenheim Fellowship.

58 2095-2097

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VI.  Solomon R. Guggenheim Foundation & Museum. 9 boxes.

Series Description

General correspondence relating to the Foundation and Museum, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum.

Box Folder

General, 1946-1952 October.

58 2098-2106

General, 1952 November-1956 May.

59 2107-2117

General, 1956 June-1959 August.

60 2118-2128

General, 1959 September-1961 July.

61 2129-2142

General, 1961 August-1963 April.

62 2143-2155

General, 1963 May-1966 May.

63 2156-2171

General, 1966 June-1971 December.

64 2172-2190

General, undated

Museum of Non-Objective Painting, 1953-1959 December.

65 2191-2202

Museum of Non-Objective Painting, 1959 December-1963 March.

66 2203-2215

Museum of Non-Objective Painting, 1963 February-1970.

67 2216-2231

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VII.  Print Council of America. 4 boxes.

Series Description

General correspondence about exhibitions, council meetings, and other internal matters.

Box Folder

1954-1957.

68 2232-2241

1958-1964.

69 2242-2257

1965-1971.

70 2258-2266

Clippings, 1956-1967.

71 2267-2281

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VIII.  Tamarind Workshop Correspondence.

Box Folder

1960-1971.

72 2282-2287

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IX.  Research Files. 1 box.

Series Description

Notes and manuscripts for Display of Prints—Past and Present; Augustin Dupré; Book of Fine Prints; and miscellaneous materials relating to American prints.

Box Folder

Notes for Display of Prints—Past and Present, 1960.

73 2288

Requests for information re Augustin Dupré

Notes and photographs pertaining to Dupré, 1958-1960.

73 2289

Booklet on Falaise (Guggenheim estate), undated.

73 2290

Clippings, articles, requests dealing with materials on American prints, 1946-1971.

73 2291

Notes, clippings, and miscellaneous materials pertaining to Book of Fine Prints (New Edition).

73 2292

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X.  Armory Show, 1913. 1 box.

Series Description

Zigrosser's notes and sketches accompanying as well as made in the catalogue to the 1913 exhibition.

Box Folder

Catalogue, notes, and sketches related to the 1913 exhibition; Independent Artists Catalogue, 1910.

74 2293

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XI.  Speeches/Notes. 1 box.

Series Description

Notes on the following WHYY radio broadcasts: "The Appeal of the Print;"  "The Relief Process;"  "The Old and the New;" and  "The Intaglio Tone Processes and Other Techniques."

Box Folder

WHYY Broadcasts: notes and revisions.

75 2294

Announcements and notes on miscellaneous lectures; Posada seminar; 1944

 "Art of Collecting Art" , 1961.

75 2295

Announcements, speeches, and notes by Zigrosser.

75 2296

Announcements, notes for speeches by Zigrosser on such subjects as American prints, Stuart Davis, and photography.

75 2297

SAE luncheon: notes, 1943 November .

75 2298

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XII.  Lectures. 1 box.

Series Description

Notes on lectures found in preceding box, as well as additional lectures made by Zigrosser.

Box Folder

Notes on "American Prints in the 20th Century" .

76 2299

Notes on "The Appeal of Prints" , 1964-1968.

76 2300-2303

Notes on "The Art of Displaying Prints" , 1956.

76 2304

Notes on "A Bit of Advice to Beginners" .

76 2305

Lecture notes: College Art Association.

76 2306

Rosenbach lecture introducing Hyatt Major.

76 2307

Notes on "The Intaglio Linear Processes" , 1961.

76 2308-2309

Notes on "The Interpretation of Prints" , 1957.

76 2310

Notes on "Lithography" .

76 2311

Notes on "The Old and the New" .

76 2312

Notes on Pratt Institute lecture.

76 2313

Notes on "The Relief Process" .

76 2314

Notes on "16th Century Graphic Art" .

76 2315