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Greenwood, Marion
Archive of American Artist Marion Greenwood, of New York City and Woodstock, New York, including Correspondence, Documents, Ephemera, Original Art, Photographs, along with Diaries, Journals, and Writings, of her husband, writer Robert Plate, , 1929-1986

Large Archive consisting of the following: 470 letters, 654 pp., (18 retained mailing envelopes), written by and to Marion Greenwood, her husband Robert Plate, and others; dated 21 August 1929 to 25 October 1983. (See complete inventory below). 101 pieces of Artwork of Marion Greenwood, and others, including drawings, prints, sketches, and watercolors, circa 1920s to 1960s. 8 bound diaries and journals (1582 pp.), 1 account book (34 pp.), 1 notebook (22 pp.); 32 short stories (387 pp.); 237 loose pp. of journal writings; 90 loose pp. of magazine writing; all of Robert Plate, dated 1936 to 1986. 2 address books (86 pp.) of Marion Greenwood, not dated; plus, small diary possibly of Charles Fenn, 1939. 157 photographs mostly of Greenwood, family, husbands, artist friends, 1910s-1960s. Over 280 paper and manuscript ephemeral items, c1930s-1970s.

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Large and compelling archive of Marion Greenwood, American artist who had a successful career from the 1920sthrough the 1950s. She was a painter and muralist and knew and correspondedwith many of the leading artists of the day, Isamu, Noguchi, Diego Rivera andothers. The archive would be of interest for scholars and historians of theperiod, and of woman artists, not only for Greenwood’s correspondence, but thejournals of Robert Plate comprise a fascinating and lively account of the NewYork City art scene of the 1950s. OCLC does not record a repository forGreenwood’s papers, the largest consisting of 0.4 linear feet, mainlyphotographs, catalogs, etc., was donated to the Smithsonian Archives ofAmerican Art by Greenwood in 1964.

       Life of Marion Greenwood (1909-1970)

Marion Greenwood was an American socialrealist artist who became popular starting in the 1920s and became renowned inboth the United States and Mexico, first as a muralist, then as a painter. Sheis most well known for her powerful murals, but she also practiced easelpainting, printmaking, and frescoes.

Marion Greenwood was born on 6 April 1909 inBrooklyn, New York, and was the daughter of Walter Greenwood and KathrynBoyland. Her father Walter was a painter by trade and worked in a paint store.Walter and his wife had at least four children. Marion’s two older brothers,Irwin Greenwood (1893-1969) and Lester Greenwood, were both listed as artists inCensus records from 1920 to 1940. Marion’s sister Grace Greenwood Crampton(1902-1979) also became an artist. When the 1930 Census was taken, Marion wasthe only one of the children still living at home and was listed as an artist.

Marion exhibited artistic talent at a veryyoung age and left high school at the age of fifteen to study with ascholarship at the Art Students League. There she studied with John Sloan andGeorge Bridgman. She also studied lithography with Emil Ganso and mosaic withAlexander Archipenko. At eighteen, she made multiple visits to Yaddo inSaratoga Springs, New York. There, she painted portraits ofintellectuals-in-residence and gained experience and knowledge throughconversation. It was also at Yaddo that Josephine Herbst began her enduringrelationship with Greenwood, as well as the poet Jean Garrigue (who was alsohaving an affair at the time with another Yaddo resident, Alfred Kazin). Stillin her teens, Greenwood used the proceeds from a portrait of a wealthyfinancier to begin her travels through Europe. While she was there, she studiedat the Academie Colarossi in Paris, where she met Isamu Noguchi.

In early 1927, after receiving a GuggenheimFellowship, sculptor and landscape artist Isamu Noguchi (1904-1988) traveled toParis, working as a studio assistant to Constantin Brancusi for six monthsbefore continuing to Japan. Around 1928, after his return to New York, heturned to studio portraiture as a means of earning income. One of his subjectsincluded the young painter Marion Greenwood, who he had met at the Académie dela Grande Chaumiére in Paris. Although Noguchi’s portrait of Greenwood providesno clues, the two artists were involved in a romantic affair at the time. Thiscollection includes an intimate photograph of Greenwood and Noguchi as well aswhat could be called a love letter to Greenwood from Noguchi in which hediscusses making her portrait bust.

Greenwood returned to New York in 1930 butcontinued to travel extensively over the next four decades, mostly throughoutthe United States, Mexico, and China. The first visit to Taxco, Mexico in 1932marked a crucial turning point in her career, she worked on fresco murals forthe Mexican government. Between 1933 and 1936, Greenwood and her sister paintedfive separate murals in Taxco and Morelia, Mexico. There she met the artistPablo O'Higgins, a communist who had been an assistant to Diego Rivera. Heintroduced her to fresco painting. As a result, she began focusing her effortson fresco-mural painting. Greenwood also worked with Ramon Alva Guadarrama,another Diego Rivera assistant. Rivera would later call Greenwood and hersister Grace two of the best muralists in North America.

Her first trip to the Southwest began atheme in her work which involved depicting ethnic types in different parts ofthe world. As she visited different locales throughout her life, Greenwoodwould spend time learning about the people there and use them as subjects fordrawings and paintings. Greenwood would often use these studies later on toplace figures in a larger composition and her murals. An example of her processis evident in the preparation for the decoration of the University of SanNicolas Hidalgo in Morelia. She spent a year studying and immersing herself inthe culture of the Tarascan Indians before completing this project.

At one point, Greenwood drove to Mexico withAmerican writer Josephine Herbst (1892-1969) and her husband. Herbst was aradical with communist leanings, who incorporated the philosophy of socialisminto her fiction and aligned herself with the political Left. She was the wifeof John Hermann, also a radical writer from New York (he is alleged to haveintroduced Whittaker Chambers to Alger Hiss). The couple met in Paris in the1920s and married in 1924. They were friends with Katherine Anne Porter, ErnestHemingway, John Dos Passos, William Carlos Williams, and others. Herbst andHermann drove to Mexico with a young Marion Greenwood. Greenwood had previouslyhad an intense lesbian affair with Herbst, who was 17 years older thanGreenwood, when the two were resident at Yaddo. (The archive contains anintimate photograph of the couple).

Greenwood completed her first fresco on thestairwell at the Hotel Taxqueño, Taxco, Mexico; it was a small mural. Thesuccess of this piece led to commissions from the University of San NicolasHidalgo in Morelia, and the Abelardo L. Rodriguez Market in the historic centerof Mexico City. In those days José Clemente Orozco and Diego Rivera dominatedthe scene, but Greenwood also quickly rose to the status of a near legendaryfigure in Mexico.

Her work during her Mexican Mural period wasrevolutionary in theme and was influenced by the stylization of José ClementeOrozco and Diego Rivera in its highly stylized figures and dynamiccompositions. There are several photographs in the collection of Greenwood togetherwith Rivera and of her murals.

Greenwood's murals were often large dramaticscenes with groups of people engaged in cultural practices or in the case of asocial works project, workers in their environment. Often the murals had themesof optimism, democracy, and diversity. For example, her Rehearsal forAfrican Ballet depicts a group of African Americans playing music, singing,and dancing together. In Blueprint for the Living, workers are layingbricks and building while a family looks upon the construction.

Greenwood was the first woman to receive amural commission from a foreign government (Mexico). Shortly after these projects,she returned to the United States to create a mural for the social hall of theWestfield Acres Housing Project in Camden, New Jersey. In 1937 she was hired toteach fresco painting at Columbia University, and a year later was commissionedby the Section of Fine Arts to paint an oil mural for the post office inCrossville, Tennessee. In 1940 she was commissioned by the Federal Art Projectto paint frescoes for the Red Hook housing project in Brooklyn. This project,titled Blueprint for Living, was meant for low-income citizens ingovernment housing and expressed optimism for a more harmonious future.

At the start of World War II, Greenwood wasone of only two women appointed as an artist war-correspondent. During thistime, she painted the reconditioning of wounded soldiers. This sometimesinvolved being present at surgeries to sketch and following the patient throughto occupational therapy. The paintings, drawings, and etchings from this seriesare now in the official archives of the U.S. War Department. Correspondence inthis archive discuss these various government projects.

Beginning in 1940, Greenwood focused oneasel painting, printmaking, and smaller works. The subjects from this periodwere mainly portraits of people, often lower-class individuals toiling in workor squalor from foreign regions as well as in America, depicting powerful,gritty scenes of working classes or insightful portraits.  Greenwood was applauded by critics for"her profound sympathy with the poor and the oppressed of all lands, hernatural democratic feeling" and "her disregard of difficulties andclass barriers". She was viewed as an advocate for struggling people inthe same way that she supported social movements with her social realistmurals.

After the war, she lived in Hong Kong withher first husband, Charles Fenn (1907-aft 1973), and traveled widely on her ownand for magazine assignments. Fenn was Marion Greenwood’s first husband. He andGreenwood married about 1939 just before they set off on a two-month weddingtrip to London, Southern Italy, and Tunisia, including a visit to the desertheadquarters of General LeClerc of France. Lieutenant Fenn was an OSS liaisonofficer. Born in London, he lived and worked in many countries. After fiveyears at sea, Fenn emigrated to the United States, landed a job in textiles andsubsequently became an American citizen. As an officer in the U.S. Marine Corpsduring World War II, he was assigned to the Office of Strategic Services (OSS),and subsequently to the Air Ground Aid Services (AGAS), where he engaged in therescue of downed pilots and liaison with prisoners of war. While pursuing thiswork in southern China, he received invaluable help in AGAS work from Ho ChiMinh. In connection with these various pursuits, Fenn was thrice decorated forservices and valor. Professionally, he was a writer of plays, novels, and somenonfiction. In 1973 Fenn wrote Ho Chi Minh, a short biography that waspublished in several countries and highly rated for its insight and accuracy.

Greenwood appears to have divorced Fenn in1950, as per one of the letters by Fenn to Greenwood dated 23 February 1950.They separated in 1949. However, while still married to Fenn, Greenwood livedand worked in China from 1944-46 and she made her solo debut with pieces fromher one-year stay in Hong Kong at the galleries of Associated American Artists.Another two exhibitions were held in December 1947 and March 1948.

In 1951-1951 the correspondence shows that Greenwoodtraveled in the Caribbean, visiting Haiti, Cuba, and the Dominican Republic.She was in Cuba when the 1952 Cuban coup d'état took place on March 10, 1952,when the Cuban Army, led by Fulgencio Batista, intervened in the election thatwas scheduled to be held on June 1, staging a coup d'état and establishing a defacto military dictatorship in the country. She wrote about it in a letter toRobert Plate.

After this she was exhibited in numeroussolo shows at the American Contemporary Artists Gallery. She also exhibited atthe Corcoran Gallery in Washington, the Whitney Museum in New York, MOMA, andthe New York World's Fair. She traveled to Hong Kong, India, the West Indies,and North Africa depicting peoples of different cultures and ethnicities andpaying special attention to oppressed people in underdeveloped locations. TheUniversity of Georgia added one piece of her work from the Associated AmericanArtists Gallery and her works are in the collections in the Metropolitan Museumof Art and the Newark Museum, Pennsylvania Academy of Fine Arts. In 1954 shereceived another large commission for a mural, The History of Tennessee,in the student center auditorium of the University of Tennessee in Knoxville.Her last mural was made in 1965 at Syracuse University. This mural wasdedicated to women of the world and combined drawings and paintings from herstudies and world travels.

In her work, Greenwood employed a variety ofmediums: oil paint, fresco, lithography, etching, charcoal, and ink. Greenwoodreceived numerous awards during her career: Second Prize at the CarnegieInstitute; Lithography Prize from John Herron Art Institute; First LippincottFigure Prize at Pennsylvania Academy of Fine Arts; First Altmann Figure Prizeat the National Academy of Design; Second Purchase Prize at the ButlerInstitute of Art; The Grumbacher Prize; N.A.W.A Annual; Lillian Cotton Award atthe National Academy of Design; and the National Academician at the NationalAcademy of Design.

Her works are represented in the permanentcollections of the Museum of Modern Art, the Library of Congress, New YorkPublic Library, the Bibliothèque Nationale, Pennsylvania Academy of Fine Arts,the Tel Aviv Museum, Yale Museum, Boston University, the Butler Art Institute,Newark Museum, Mint Museum, Montclair Art Museum, Norfolk Museum, NationalAcademy of Design, New Britain Art Institute, John Herron Art Institute andSmith College. She is also in the private collections of Maurice Wertheim,Joseph Hirschorn and Marc Sandler.

At the end of her life she lived inWoodstock, New York with the writer Robert Plate, who was ten years youngerthan her. It is unclear if they married. The last three years of her life weremarred by tragedy. Crippled by a 1967 auto accident, she painfully won back hermobility and vigor and tried to resume her career. However, on 2 September1969, just as she applied the finishing touches to a lithograph, she wasstricken by a cerebral hemorrhage, which led to the long battle for life thatended with her death on 20 February 1970 at the age of 60. She was buried in theArtists Cemetery at Woodstock. Marion’s sister Grace (1902-1979) is also buriedin Woodstock’s Artist Cemetery, as is Robert Plate, and Robert’s brother, theartist Walter Plate. She was a lifetime member of the Woodstock ArtAssociation, where she first exhibited her work at the age of 14, and for thelast twenty-years of her life owned a studio on Glasco Turnpike.

Her friend, Sir Julian Huxley, called her“an original artist whose depth and maturity of vision reveal new aspects ofreality. A universal human sympathy underlies all her work.” Ralph Pearsonnoted her “Uncanny power to capture and dramatize the inner as well as theouter nature of her subjects.” Always a figure painter, a painter of people,Greenwood worked on great theme capable of infinite variations: the diversityof humanity. The ethnic or exotic stimulated some of her best work; hence herlengthy working trips to Europe, the West Indies, North Africa, India, Mexico,and a stay of over a year in Hong Kong. She always returned to Woodstock, whichshe first visited as a child some fifty years before her death.


Life of Robert V. Plate (1919-2005)


Robert Vincent Plate was an Americanfree-lance writer and author of historical biographies. He was born 31 July1918 in Brooklyn, New York.  He was theson of auditor Oscar Plate (1892-1948) and his wife Loretta G. Finnell(1892-1932), who married in 1913 at Brooklyn. Oscar Plate was the son of Germanimmigrants. Robert Plate was one of at least six children born to his parents;the others being: Oscar, Murial; Walter, William, Elizabeth


Plate attended Duke University and New YorkUniversity in the 1930s and starting writing about 1940. Plate was aconscientious objector in World War II and served as a forest-fire fighter withDorothy Day’s Catholic Workers instead.


Early in his writing career, he contributedto comic strips like Captain Midnight and wrote crime tales and short storiespublished by Alfred Hitchcock Mystery Magazine (AHMM), or CrestwoodPublications. AHMM (still published today) is a monthly digest size fictionmagazine specializing in crime and detective fiction. AHMM is named for AlfredHitchcock, the famed director of suspense films and television. Over itshistory AHMM has published short fiction by noted mystery novelists such asRobert Bloch, Lawrence Block, G. K. Chesterton, Ron Goulart, Dorothy L. Sayers,and Donald E. Westlake. The magazine has also regularly featured such shortstory specialists as John H. Dirck, Kenneth Gavrell, Edward D. Hoch, JackRitchie, and Stephen Wasylyk.

Crestwood Publications, also known asFeature Publications, was a magazine publisher that also published comic booksfrom the 1940s through the 1960s. In 1940, Crestwood's Prize Publications,already established as a producer of pulp magazines, jumped onto the superherobandwagon with the new title Prize Comics. Its title Prize Comics containedwhat is considered the first ongoing horror comic-book feature, Dick Briefer's"Frankenstein". Crestwood is best known for its Prize Group imprint,published in the late 1940s to mid-1950s through packagers Joe Simon and JackKirby, who created such historically prominent titles as the horror comic BlackMagic, the creator-owned superhero satire Fighting American, and the firstromance comic title, Young Romance.


Robert Plate wrote "The DinosaurHunters: Cope and Marsh" (1964), about the fierce rivalry of thepaleontologists and fossil collectors Edward Drinker Cope and Othniel CharlesMarsh. He also wrote "Palette and Tomahawk: The Story of GeorgeCatlin" (1962); "Alexander Wilson: Wanderer in the Wilderness"(1966); "Charles Wilson Peale: Son of Liberty, Father of Art andScience" (1967); and "John Singleton Copley: America's First GreatArtist" (1969), all published by McKay Company in New York. He also wrotearticles for national and arts journals and scripts for television.


Robert Plate met Marion Greenwood circa 1950and soon after they lived together in Woodstock, New York, and New York City,until Greenwood died in 1970. Robert Plate outlived her and died on 15 May 2005at his brother William’s home in East Hampton, New York. He had been living atSarasota, Florida.  It is unclear ifPlate and Greenwood ever married, but he was the sole heir of her estate andits executor.


Robert Plate’s younger brother was theartist Walter Plate (1925-1972). Walter Plate’s ascent in the early Post WarAbstract Expressionist movement was remarkable. One of the youngest artists of themovement to achieve major exhibition status alongside Guston, Gottlieb, Rothkoand other modernist masters, Walter Plate’s works were eagerly purchased by theWhitney Museum of American Art, The Corcoran Gallery of Art, the NationalGallery and other museums early in his career.


Born in Woodhaven New York in 1925, hestudied at the Grand Central School of Art in New York before enlisting in theMarines in 1943. Following the war, he attended L’Ecole des Beaux Arts, LaGrande Chaumiere and the atelier of Fernand Leger. In 1950 he came toWoodstock, New York and attended classes of Yasuo Kuniyoshi at the Art Studentsleague.


In each work, Plate’s flat planes andgestural brushstrokes compete with one another creating various chaoticenergies within a thoughtful, functional order. The opaque and lucid quality ofhis surface and palette, somewhat reminiscent of stained-glass windows,highlight his superiority as a master colorist. In Plate’s early 1960scompositions, he transitions from a linear to more concentrated and complexcomposition, perhaps a testament to his influential friendship with PhilipGuston.


His early one-man shows are those of GansoGallery, New York City, 1954 and the Stable Gallery, 1958 and 1960, wherePlate’s works were presented at the annual “Salon” of the most advanced andvital members of the New York avant-garde.


His early group shows were global, includingThe Whitney Museum annuals, 1957-61, PAFA, 1955, 1960; the 26th, and 27thCarnegie International biennial exhibitions, The Tate Gallery, London, 1959;The International Exhibition of Abstract Artists, Tokyo, Japan, 1959; theCorcoran Gallery Biennials, Washington D.C.


He was not a prolific artist, but when hepainted, he received great reviews from Stuart Preston and Dore Ashton of theNew York Times, and Lawrence Campbell of Art News. Yet, longer term, Plate’sconviction to stay out of the New York City mainstream and avoid publicitywould take its toll. He never wavered in his commitment to abstraction, aposition that rendered him a “figure from the past” during the last 12 years ofhis life from 1960-72.

Some of the Correspondents in the MarionGreenwood collection are:


Elizabeth Ames – first executive of Yaddo. Yaddo was thecountry estate of financier Spencer Trask and his wife Katrina, a writer. Leftwithout immediate heirs by the deaths of their four children, the Trasksbequeathed their fortune and estate to the establishment of a residency programfor artists. They founded the Corporation of Yaddo in 1900. Yaddo opened itsdoors to its first group of guests in 1926. By that time both Spencer andKatrina had died. Guests were welcomed by George Foster Peabody, Spencer’sbusiness partner and Katrina’s second husband, and Elizabeth Ames, Yaddo’sfirst executive director.


Victor D’Amico (1904-1987) was an American teaching artistand the founding Director of the Department of Education of the Museum ofModern Art, New York, where for more than three decades (1937–1969), he servedas the Director of MOMA’s Education Department.


George Biddle (1885-1973) was an American painter,muralist and lithographer, best known for his social realism and combat art. Achildhood friend of President Franklin D. Roosevelt, he played a major role inestablishing the Federal Art Project (1935–43), which employed artists underthe Works Progress Administration.


Federico Castellon (1914 - 1971) was born one of seven childrenin Alhabia, a city in Almería, Spain. His parents moved the family to Flatbush, in Brooklyn when he wasseven.   As a Spanish-speaking child withlimited English living in a new country, Castellon found himself ostracized byhis peers.  In the early 1930s, Castellonwas introduced to Diego Rivera who took an interest in the young man’s work andbrought Castellon’s drawings to the attention of the director of the WeyheGallery in New York.  Although Castellonwould gain notoriety in virtually every media, he remains best known for hisoriginal prints, a medium in which he became a master. The archive includes agreeting card and photo of Castellon, and  he is  mentioned often in Greenwood’s letters whenshe stayed with him and his wife Hilda in Madrid, Spain, in 1962, as he ismentioned in Robert Plate’s journals.


Albert William Christ-Janer (1910 – 1973) - Painter, graphic artist,writer, and teacher. Christ-Janer was born in Appleton, Minnesota. He studiedat the Art Institute of Chicago, Yale University, and Harvard University.Christ-Janer wrote about American artists Boardman Robinson and John CalebBingham, and taught at a variety of institutions, including Stephens College,Cranbrook Academy, Pratt Institute Art School, and the University of Georgia.He was also an artist-in-residence at Tamarind Lithography Workshop in 1972.


Robert William Davidson (1904–1982) was an American sculptor.Davidson was born in Indianapolis, Indiana in 1904. He was an apprentice to hisfather, Oscar Davidson, also an artist. He studied sculpture at the John HerronArt Institute (now the Herron School of Art), the Art Institute of Chicago, theSchool of American Sculpture in New York City, and the Bavarian Fine ArtsAcademy in Munich, Germany. Davidson's wife, Maryetta Mauck, was an Indianaceramics artist and they both graduated from the John Herron Art Institute in1926. They moved to Saratoga Springs, New York where Davidson taught art atSkidmore College from 1934 to 1972. Davidson is a nationally known artist whosework is in the collections of the Indianapolis Museum of Art and theSmithsonian. He won many awards for his works including the Art AssociationPrize at the Herron Art Institute in 1925, the Harry Johnson Prize from HoosierSalon in 1930, and two first prize wins at the Indiana State Fair in 1923 and1924.


Hugo Gellert (1892-1985) was a Hungarian-Americanillustrator and muralist. A committed radical and member of the Communist Partyof America, Gellert created much work for political and social activist causes inthe 1920s and 1930s. It was distinctive in style, considered by some artcritics as among the best political work of the first half of the 20th century.


Joseph Norman Hettel (1885-1957) - was born in Camden, New Jersey,and eventually practiced architecture from offices in New Jersey. He attendedthe Franklin Institute from 1902 to 1904, the Pennsylvania Museum and School ofIndustrial Art from 1904 to 1907, the T-Square Club Atelier from 1907 to 1909,and Drexel Institute from 1909 to 1911, accomplishing all of this through nightclasses. By 1903 he was already employed by Price & McLanahan, where heremained until 1905. He then transferred to E. F. Durang & Son from 1906 to1911, Brockie & Hastings from 1912 to 1915, Ballinger & Perrot from1916 to 1920, and McLanahan & Bencker in 1920. In 1921 he and BenjaminLackey established Lackey & Hettel, with an office in Camden, New Jersey.Chief among their works were the Camden County Vocational School (1926) and thePhiladelphia Osteopathic Hospital (1929). In 1930 Hettel returned toindependent practice and remained so through 1946, but in that year he andWilliam Kendall Albert began an association which lasted until shortly beforeHettel's death. Hettel & Albert designed the First Presbyterian Church,Merchantville, New Jersey (1955).


Joint Anti-Fascist Refugee Committee - In 1941, the Joint Anti-Fascist RefugeeCommittee was formed by Lincoln Battalion veterans of the Spanish Civil War toprovide aid to Spanish Loyalists refugees from Francoist Spain. JAFRC supersededprevious groups, including the North American Committee to Aid SpanishDemocracy and American Medical Bureau (the latter of which Barsky had foundedin 1936). Specifically, JAFRC was "dedicated to the rescue and relief ofthousands of anti-fascist fighters trapped in Vichy, France, and NorthAfrica" so they might "return to the active fight against theAxis."


Julia S. Leaycraft (1885-1960), magazine editor and landscapepainter. She was managing editor of the Delineator magazine and, also paintedlandscapes in oils, exhibiting in New York City and Albany. She lived inWoodstock, New York.


Nickolas Muray (1892-1965) was a Hungarian-born Americanphotographer and Olympic saber fencer. He married four times, he also had adecade-long on-and-off liaison with artist Frida Kahlo. Between 1920 and 1940,Muray made over 10,000 portraits; many of celebrities and stars in Hollywood.His 1938 portrait of Frida Kahlo, made while Kahlo sojourned in New York,attending her exhibit at the Julien Levy Gallery, became the best known andloved portrait made by Muray.


Isamu Noguchi (1904-1988) was a Japanese American artistand landscape architect whose artistic career spanned six decades, from the1920s onward. Known for his sculpture and public works, Noguchi also designedstage sets for various Martha Graham productions, and several mass-producedlamps and furniture pieces, some of which are still manufactured and sold. In1947, Noguchi began a collaboration with the Herman Miller company, when hejoined with George Nelson, Paul László and Charles Eames to produce a catalogcontaining what is often considered to be the most influential body of modernfurniture ever produced, including the iconic Noguchi table which remains inproduction today. The collection includes 1 letter to Greenwood. Noguchi traveledin the same circles as Greenwood and was a close friend of the artists AdolfDehn and his wife Virginia Dehn, who were good friends of Greenwood, and whoare mentioned regularly in the journals of Robert Plate in this collection.Noguchi sculpted a bust of Greenwood and the two also had a love affair.


John O’Connor - assistant director of Department of FineArts, Carnegie Institute. Between 1940 and 1949—the war years—three domesticshows were mounted at the Carnegie Institute by assistant director JohnO’Connor while director Homer Saint-Gaudens served in the military: AmericanPainting (1940), Directions in American Painting (1941), and Painting in theUnited States (1943–1949).


Elizabeth Olds (1896-1991) was an American artist knownfor her work in developing silkscreen as a fine-art medium. She was a painterand illustrator, but is primarily known as a printmaker, using silkscreen,woodcut, lithography processes. In 1926, she became the first female honoredwith the Guggenheim Fellowship. She studied under George Luks, was a SocialRealist, and worked for the Public Works of Art Project and Federal Art Projectduring the Great Depression. In her later career, Olds wrote and illustratedsix children's books


Joseph Pass - editor of “The Fight Against War andFascism,” the principal media organ of the League for Peace and Democracy,formerly called The American League Against War and Fascism, an organizationformed in 1933 by the Communist Party USA and pacifists united by their concernas Nazism and Fascism rose in Europe. In 1937 the name of the group was changedto the American League for Peace and Democracy. Rev. Dr. Harry F. Ward headedthe organization. The League dissolved after the 1939 signing of the Molotov–RibbentropPact, a non-aggression treaty between Josef Stalin's Soviet Union and AdolfHitler's Nazi Germany that ended the CPUSA's anti-Hitler activity until the1941 Nazi invasion of the USSR, discouraged its non-communist members. Itscommunist elements then influenced the founding of the American PeaceMobilization front to lobby against American help for the Allies, particularlythe United Kingdom under Prime Minister Winston S. Churchill, in their struggleagainst Hitler in the opening years of World War II.


Ralph Mosher Pearson (1883-1958) - studied at the Art Instituteof Chicago with C. F. Browne and John Vanderpoel. In 1913, at the New YorkArmory, the American public was invited to see for the first time a large-scaleexhibition of the work of the modern movement. Pearson traveled from Chicagofor what was to prove to be for him a change of direction and an enlargement ofvision. In 1914, he found 'the first school of modern art in this country,taught by Hugo Robus,' and where he was to 'inaugurate a painful unlearning andrelearning process of some eight years' duration which was a cheap enough priceto pay for a basic reorientation.' Pearson moved to northern New Mexico in the1920s. He also spent time in California, exhibiting at the Stendahl Gallery inLos Angeles in 1923.


Wilbur D. Peat (1898-1966) - Divisional Manager of thePublic Works of Art Project in Region 9, which included Ohio, Michigan,Indiana, and Kentucky. He was also the director of the John Herron Museum ofArt in Indianapolis (later the Indianapolis Museum of Art), from 1929-1965.


Joseph C. Pollet (1897–1979) was an American painter. Polletwas born in Albbruck, Germany and emigrated with his parents to New York Cityin 1911. He studied at the Art Students League of New York. By age 21, Polletwas employed as an advertising copywriter, while studying painting, and settlednear Woodstock, New York, where he retained ties even when he lived in Parisand Italy from 1954 until 1961. Pollet was best known for his realistic rurallandscapes. In 1971, a fire in his Greenwich Village studio destroyed nearly150 of his paintings.


Edward B. Rowan (1898-1946) - Gallery director, painter,sculptor, teacher; Falls Church, Virginia. and Cedar Rapids, Iowa. Founder anddirector of The Little Gallery, Cedar Rapids, Iowa, 1928-1934. The gallery wasconcerned with promoting education in the community. Because of his successwith the Little Gallery, in 1931 he was chosen by the American Federation ofArts to be the director of a new experimental art center in Cedar Rapids. Rowanwas affiliated with the Fogg Art Museum at Harvard before going to Cedar Rapidsand served as Chief, Public Buildings Administration, 1930's-1940's.


Homer Saint-Gaudens (1880-1958) was the only child of sculptorAugustus Saint-Gaudens and his wife Augusta (née Homer). He served as theDirector of the Art Museum of the Carnegie Institute and was a founder of theSaint-Gaudens Memorial, a non-profit organization that maintained the familyhome as a museum before its donation to the National Park Service in 1965.Saint-Gaudens was featured on the cover of Time magazine for its 12 May 1924 issue.


Marc J. Sandler (1907-1968), born in Sweden, immigrated toAmerica, came to Pittsburgh, Pennsylvania, where he became the president ofLiggett Spring and Axle Company. He was an art collector and collected some ofGreenwood’s paintings. Sandler writes to Greenwood about her work, including particularpieces he has purchased, but then later he appears to have perhaps had arelationship with her, or at least, he professes his love for her, unclear ifshe felt the same.


Oskar Gregory Stonorov (1905-1970), was a modernist architect andarchitectural writer, historian and archivist who emigrated to the UnitedStates from Germany in 1929. He worked with Marion Greenwood on a publichousing project in Camden, New Jersey. 

                 Sample Quotes from the Correspondence ofMarion Greenwood:


“[8 Aug 1929]


Dearest Marion,


I would have answered your card immediately,but that having gone horse-back riding the week-end with Julian, I was much toostiff.


I have been finishing your head and now it’sperfect – looking at me and as I worked, I saw you, and even now I feel you inthe room. It seems as though I had stolen some essence – calling you back – Iwonder whether you felt me kiss you or your brow?


I’m mighty pleased to hear that you areworking hard and leading an aesthetic life – may you fill me with amazementwhen I come – and by the bye I wonder if coming a week later I could staylonger as I would like to finish u whatever heads and be unconcerned?


Isamu [Noguchi]…”




“Treasury Department, Washington, PublicWorks of Art Project

September 22, 1934


Miss Marion Greenwood

Woodstock, New York


My dear Miss Greenwood:


It was my privilege last evening to look atsome photographs of murals which you had executed in Mexico as well as someoriginal drawings and studies for these murals which were brought to the BoyerGalleries by Isamu Noguchi. Your work is extremely fine and monumental as wellas unusually sensitive both in draftsmanship and content.

This note is merely one of appreciation and encouragement, and I hope that youwill succeed in getting a really important commission here in this country uponyour return from your proposed trip back to Mexico.

Very cordially yours,

Edward B. Rowan

Assistant Technical Director”



“Treasury Department, Procurement Division, PublicWorks Branch

Washington, November 2, 1935


Miss Marion Greenwood

86 Republica de Columbia

Mexico City, Mexico


Dear Miss Greenwood


Mr. Isamu Noguchi stopped at this officethis morning, and explained that you very much resented the tone of my letterof July 17.


I was frankly surprised to find that thiswas the case, as I thought of that letter as one reflecting an appreciation ofyour art and a sincere interest in what you are doing.


I have been talking up your art ever since Ifirst saw examples and photographs of it in the Boyer Galleries.


My purpose in explaining to you that theSection of Painting and Sculpture was in no way a work insurance program forartists was to warn you against a dependence upon this program for work over aperiod in case you returned to the United States at this time. It occurred tome that if you had a commission in Mexico which would enable you to furtheryour achievement in your field it were wise to proceed along that line, asevery mural to your credit should prove all to the good upon your eventualreturn to the United States.


I trust that any misunderstanding which mayhave existed on your part will be straightened out with this explanation.

Very sincerely yours,


Edward B. Rowan, Superintendent

Section of Painting & Sculpture”



United States

Department of the Interior

Office of Indian Affairs



June 10 1936


Miss Marion Greenwood

160 Fenimore Street

Brooklyn, N.Y.


Dear Miss Greenwood,


I was hoping to hear from you again, for Iinterpreted your last note as indicating that you would let me know where Icould reach you. I am presuming that you received my letter explaining why Iwas not in Washington at the time when you expected to be here following ourfirst correspondence.


I am still very much interested in carryingout the plan which I outline to you briefly with the regard to some muraldevelopment on the part of some of our more talented Indians and hope theopportunity may be given me to meet and talk with you about how such a programmay be worked out, in the event you still feel the interest which you expressedin your letter in February.


Let me know where I can reach you, and maybewe can arrange to get together. I am in and out of Washington quite a bit formuch of my duties carry me into the field to visit Indian reservations,schools, etc. If in replying to this you can give me some indication of whereyou will be over the remainder of the month of June, for instance, or July, Ithink it might be possible for me to make some arrangement to meet you.


Willard W. Beatty,

Director of Education”



Oscar G. Stonorov, Registered Architect

2021 Chancellor Street

Philadelphia, PA June 23, 1936


Miss Marion Greenwood

126 Washington Place

New York City, N.Y.


Dear Miss Greenwood,


      Mr.Hettel told me of his visit to your studio last week. He was greatly elatedover the progress of your work, yet he had one objection to make to the theme,which I feel I have to bring to your attention in this way.


      Namely – that the picket line in your mural should be thematicallybalanced by the scene of settlement, as we had discussed previously if you canremember. I feel that it is essential that the Administration’s policy towardLabor, namely, The Right to Bargain Collectively and The Worker’s Right toStrike – should be brought out in this way, otherwise criticism from therepresentatives of industry in Camden might become serious. One the one side, Ifeel that the purpose of striking, and the portrayal of a strike, even in thedescriptive mural, would lose the strength of argument if it would not show forwhat the works are striking. One the other side, it would show the readiness ofcertain good employers in this country to sit down around a table and discussmatters of the workers. You might stress this by having a sheet of paper lyingon the table with some inscription such as: ‘National Labor Relations Board –Right of Bargaining Collectively,’ which would truly express the point of viewof the Administration.

Please do not misunderstand my suggesting this, but I feel that I have to go onrecord this way for benefit of all concerned.

Very sincerely yours, Oscar G. Stonorov


cc to: Mrs. Alice M. Sharkey

  Mr.Joseph N. Hettel

  Mr.Olin Dows”


“Yaddo Saratoga Springs, New York, May 14,1937


Marion dear,


It is so good to hear from you and to knowwhere you are, what you are doing. Your letter of a year and more ago camewhile I was moving around and was lost before I noted your address. Sometimewhen you are through with government projects, you must come back to Yaddo fora while. Do be sure to let me know of a change in address. I do want to see youwhen I can.


Things having been difficult and criticalfor Yaddo in many ways. For months Mr. Peabody has been dangerously ill and isstill in Georgia without much hope of being moved home.


Because we need to save for a while andbecause of all the uncertainties connected with Mr. Peabody’s illness we aredoing rather less this summer after having done more than actually planned forthrough many years. Already the list seems quite full. I wish though you wouldask Miss Dehn to write me, telling me more of her own work and what she wouldactually need here for work. If she needs to bring an accompanist, I fearentertaining her at the Mansion, provided she were passed on by our advisors,would be impossible this year. Perhaps she would be willing to take one of ourlittle camp apartments and go on her won. Anyway, tell her to write me, and atonce.

My love to you,

Elizabeth Ames”


Jan. 21, 1941


Dear Reeves,


As you know I’ve been working on some easelpaintings and before I continue with this work, I want to tell you how verymuch I appreciated your visit to my studio and the interest you have shown.


Needless for me to tell you that now I ampainting very ‘rigorously’ for my coming one-man show this fall. As soon as Ihave some more pictures satisfactorily completed, I’ll bring them up to you.


Of course, I am very happy to be associatedwith the gallery and I would greatly appreciate if you would be good enough toconfirm to me, our arrangement and also give me a tentative date for myforthcoming exhibit.

With best personal regards, very cordially, Marion Greenwood”



“Associated American Artists, Inc.

711 Fifth Avenue, New York City


January 24th, 1941


Miss Marion Greenwood

69 E. 39th Street

New York, N.Y.


My dear Marion:


Thank you for your letter of January 22nd.We too are extremely happy to have you associated with us and we shall doeverything possible to make our relationship a very enjoyable one. Please beassured that we shall do our very best to have you represented in all the bigexhibitions throughout the country. However, it is going to be a ratherdifficult thing to do unless we, of course, have pictures on hand from you. Forexample, the Corcoran committee is coming here next Tuesday and I have but twothings to show them. If they select one, it means that only one other willremain. But I know that you are producing as rapidly as you are able.


I hope that you will be ready to hold yourshow in the Fall. However, this is entirely up to you and if you will give methe date that you prefer for your exhibition, I shall do my best to fit it inat that time. However, let’s say this, that you will definitely have a shownext season.


With my best personal regards,

Sincerely, Reeves” 





“Associated American Artists, Inc.

711 Fifth Avenue, New York City

October 13, 1942


Miss Marion Greenwood

Woodstock, New York


Dear Marion:


Your sketch arrived this morning. I think itis quite good and want you to go ahead with it. However, I want to caution youabout a couple of things.


1. Be sure that you indicate somehow thatthis is an American schoolroom by having typically American school desks andchildren’s faces.

2. Be sure the little boy at the boardwriting Heil Hitler is crestfallen and crying.

3. I feel somewhat that the Nazi is toostatic. He should be more belligerent, and possibly should have his right handextended in a pointing gesture at the blackboard. In any event try to get alittle action into the figure.


The picture should be done in a proportionof 28 1/2 inches by 40 inches. You can either do it that size or 36 inches by50 inches would be a good size.


Let’s see you get a lot of life and color,drama, and human interest into this painting. I can give you until November 10thto finish it instead of the 5th.


Reeves Lewenthal”



“60 West 9th St.

New York City

April 10, 1943


Mr. George Biddle

Art Advisory Committee (War Dept)

120 Wall Street

New York City

Dear Mr. Biddle:


We should like you to give consideration tothe employment of women artists in portraying war activities both at home andabroad.


We feel that to the growing list of menartists who are being sent on assignments should be added the names ofoutstanding women artists for depicting all services including the vitalcontribution which women in Waacs, Waves, Spars are making to the war effort.


Whatever you can do to organize suchemployment will, we believe, not only add useful propaganda to that already inprogress, and contribute pictorial records of historical significance, but alsokeep art before the public at a time when they need it most.


The artists listed below have asked thattheir names be used to signify their vital interest in this matter.


Very truly yours, Marion Greenwood, onbehalf of:


Peggy Bacon, Katherine Schmidt, GladysRockmore Davis, Elizabeth Olds, Doris Lee, Minna Harkavy, Doris Rosenthal,Margaret Lowengrund, Bernice Abbott, Esther Williams, Minna Citron, GraceGreenwood, Elizabeth Timberman, Allela Cornell, Lucille Blanche, ElizabethTerrel, Concetta Scaravaglione, Lily Harmon, Alzira Pierce Nevelson”



“60 West 9th St.

New York City


Mrs. Henry Morgenthau

Treasury Department

Washington, D.C.

Dear Mrs. Morgenthau,


Your recent kind interest in Art for WarBonds has been greatly appreciated throughout the art world.

Amongst the two-dozen artists to be honored on ‘Bataan Day’ by your citations,I happened to be the only woman. This encourages me to ask your help inexpanding the activities of women artists for the war effort.


A considerable number of men artists arealready being used to depict the war both at home and abroad. Now a group ofwomen artists including myself are trying to establish themselves on the samebasis.


In response to a letter to Mr. Biddle threewomen have been chose to work on the home front. But considering the tremendousscope of war activities and the large number of good women artists available,we feel that their employment should be greatly expanded.

May we hope that you will include such expansion in your present interest in‘Art at War’?


Yours sincerely, Marion Greenwood”







“Nov 24, 1947

Dear Sister,


I am leaving Hong Kong in a few days for theinterior of China, where my work will be more important and significant than isthe life I have been leading in Hong Kong. I am going to offer my service tomankind. To their cause I am devoted, that is why I have made up my mind toleave this colony. I hope in the next two or three years in China, in additionto my real struggle for democracy and the people I shall yet be able to touchoff some paintings on the people’s true living.


After my departure it will be difficulty forme to keep you posted, as the place where I shall stay is within guerrilla warzone. Mails are difficult to cross the lines where antagonistic forces areengaging each other. But you will write me, I request, and please address yourletter to the care of Miss Lui Noi Mui, Hong Kong Sanitorium & Hospital,Happy Valley, Hong Kong. Miss Lui will ask my friends to bring your letter tome.


Three years from now, I hope, my countrywill be truly democratic. Then shall I return to Hong Kong and resume ourfrequent correspondence. Say, even try to go to see you in the United States.

I shall be very very pleased if you will write to me from time to time eventhough you do not hear from me because I am fighting. Don’t let us lose contactwith each other.


My sincerest regards, and good-bye,

Your little brother,

Kwok Yim”






Most of the trip back was spent thinking ofyou, of us and some of the talks, which we had, in particular did my braincircle around the interesting topic whether I have become – and I will hereavoid the use of that delicate word – attracted to you as a woman because of myadmiration for you as an artist; or whether I admire the artist in you becauseof the woman. Did the chicken or the egg come first?


There is little doubt that I liked yourpaintings before I had even met you, as evidenced by ‘Dancers Resting.’However, there is also little doubt that I have discovered new qualities,different [manners] in your work since we did meet. As little as we coulddivorce the chicken from the egg, as little can we in our minds divorce thewoman Marion from the artist Miss Greenwood. And no logic or mathematicalformula will from now on be workable in determining the extent of theemotional, rather than factual interest in your creation. Because, as much asyour own self has become a part of my blood, as much have your creativeaccomplishments become utmost vital to me.

The devil knows what relationship will eventually develops between us. Youbelieve in destiny – so we will leave it up to destiny to decide. But if I canbring to the woman Marion now and then hours of happiness and some innercontentment, I will be happy and if this will in any way further the artistMiss Greenwood, it will make me even happier.


Yet – and, darling, please remember this –if I do not make you happy, or if I disturb rather than stimulate your creativeforces, I will as quietly drop out of your life as I entered it noisily. Thatimportant is to me the peace of your mind and the peace of your body.

Is that too simple a conclusion of a seemingly complex matter?


Marc [Sandler]”



“Hotel San-Michele




April 11, 1951




Just a quick note after my siesta – asMadame Malval is taking me into town in the caminoneta. My first impression ofthe town was very exciting, only glimpsed for a bit in the car – the old friendof Adolph, was very sweet & ugly, we babbled in bad Spanish & he torehis hair (not much left) with frustration against idioms in general. Thecustom’s officer while searching thru my stuff asked if he could come to see mewhen I had to give the name of my hotel at the port! Black as night – what anerve! It’s really funny. I’m so tired I can’t even spell. I slept for 3 hoursright after the midday meal. Don’t know how I’m going to take the heat likeliving in a warmed up over, but wonderful wind all the time. Big palms and flatfronds that make a swishing noise like the sea. Unfortunately, my room (whichisn’t bad compared to Mexican places I’ve been in, is sunny) they don’t seem toknow about shade & air at the same time a la Calcutta, etc. Mad Malvaltalks too much in awkward English is very solicitous, but has rather worn medown. She’s youngish, rather faded pretty type, divorced, & has writtensome kind of a little book she hopes to get published. I’m all pains from theflight, no sleep, storms, and crouched position, and so sad at leaving ‘my baby’mummm! I watched you thru the weeping window of the plane, we were suddenlyclosed off from each other and I felt so lost. Have you written yet? Sent atelegram to Muzzy after all, $1.95. So far, I’ll stay here because it seemsreally nice, tiny, pension food not bad, haven’t looked up anyone of course.I’m going to bed at 8 tonight, so I’ll be able to get up real early to beat theheat. Can’t see the market place from here, rather suburban walled in, but bigbalconies & I still haven’t explored – a nice young French professor ofmathematics speaks a little English, was eating at the next table.  He’s short (too short). Must hurray now topost this.

Love & Love xxxxxxxx”







“4:20 A.M., Mar. 11, 1952



Got your letter today, just in time! Rightnow, its dawn. I’m waiting for a man to take me to airport & to Camaguey.I’ve been sick all night throwing up, from too much sun today (in yuca factory& sugar cane fields), awful food in filthy little bar restaurant incountry.


Sudden coup ‘de taut, Batista, you will knowmore than me on what happened here last night, all planes, boats, etc., stoppedso until an hour ago I didn’t know whether I could get out. No money from because of sudden political upset. However, they arranged for me to signfor Bill. Any moment I must stop, so this note will probably never getfinished.

Write to me Dom. Rep, Ciudad Trujillo, same address, c/o E. S.O. S.A.

Love, I’m off, write quickly, Marion”


“Mar 12, 52

Hotel Jaragua

Ciudad Trujillo, Republica Dominica




Just got your letter handed to me in theEsso office. I’d just returned from the big market place & waterfront witha few chaotic not good sketches. I’m getting a little exhausted because of notime to relax., or maybe its because I’m getting only hit & miss glimpses& therefore must change my attitude. Had to communicate with you last nightwith the ‘night letter’ it was very cheap. Advise you to send me that for thenews of when & where you’ll be in Key West. I’ll not do the television jobunless it’s from there, just because I’ve already had too much hopping around& certainly will have by then. Secondly, I can get direct flight fromTrinidad back to N.Y. (via San Juan) I think, if I don’t come to Florida tomeet you. Also, I’m not going to go to Puerto Rico at all since I can cut acountry out & it doesn’t interest me. They had someone to meet me when Iarrived & have been very nice. This is the most gorgeous hotel I’ve everstayed in, good taste architecture, formal wonderful service (black peopledressed in white of course). My room looks out on pounding surf & limitlesssea then a gorgeous pool & palms. The hotel is full of businessmen of allnationalities, a couple of wolf types around, but I’ve been out all the time,or in my room exhausted so even if I was interested – there’s no time! Mr.Brown looks like the whiskey ad, typical man of distinction, he’s provided mewith different & sundry escorts, he’s got a wife - & they work hard tofind bachelors for escorts – Cuban or mixed, all from S.O. offices of course.It’s all be very pleasant & well done after the Havana experience. Did Itell you they couldn’t give me money there after all because of the coup de‘etat? Here they just handed me another $500 in traveler’s checks. Trouble is Ihave to take off into the interior tomorrow for cattle, coffee or cocoa, &water system, which they’re proud of it seems. I’ll drive about 4 or 5 hoursstay in another hotel comeback here by plane, just when I thought I couldsettle down a bit here. Then I leave here Sat for Haiti 3 days, then Jamaica.Better plan to write me Jamaica not Haiti, I’ll stay longer there & lettersget there easier…


Write and please don’t stop loving me,because I love you and we must meet in Key West!”



“Feb 26, 1957


Darling baby sweetheart,


I hope you come soon, don’t let too muchtime go by, your good vibrations are needed by your poor deserted lonelybewildered woman artist, former and (present?) mistress.


I wasn’t able to cash your check today at mybank, they said they couldn’t because its written to a corporation. How do theyknow that Robert Finnell is the only one to have to sign for it? So, I stillhave it tho I endorsed it. Fortunately, got paid at last for the pictureViola’s friend Pell bought. I had her call him up & tell him to go fuckhimself, which she was delighted to do and so I got $200 just in time for thedwindling checking account.


Lester’s been sitting around here for 2 dayswhich gets on my nerves terribly, tho he tries to be helpful an as usual is sosweet & kind. He’s trying to get his unemployment insurance. Today I toldhim I just can’t paint any longer with a relative around & that’s that. Youare a symbol of something else, constructive, so I can paint with you here (IfI can call what I do lately by that name).


Yesterday, I got all excited because theAcad. called saying would I reduce ‘Beggar Woman’ at all? I said yes to $800(from 900). Some inquiry only but it’s maddening when somebody could push itand doesn’t. Milch’s can’t do anything they said since they don’t know the nameof possible buyer. Also, in two days or by end of week I must have session withthem about show.


Since last interview, which I told you ofmore and more I’m beginning to decide I’d better put it off and not even havethe trial performance.  I suggested thereis always the comparison of later work with the present and according to Milchit would be bad for me and gallery to have a half borrowed back show(commercially of course even more so). Zinn the framer today went on about itin the same vein. I decided to have the Indian head on rice paper put underglass and had ordered two frames, the prices will kill me (tho the cheapest)for the ‘Flower Vendor’ & ‘Peasants Praying,’ which is now proving almost impossibleto paint.


Tonight, I shall head to some frozenscallops & face myself – all evening, tho I’m so tired – I know I’llaccomplish nothing, but I’ve been out e4very night in the past week and itexhausts me being social (and drinking) when I’m under such pressure with mywork.


Sat. the Van Veen’s had a farewell cocktailparty. The Refs are always inviting me lately, but I said no last night for aquiet evening with Adolph & Virginia. Haven’t seen Viola at all thank God.Anyway sweet heart please come soon to your poor lonesome Green Eyes…”








“June 1, 1962, Madrid



Saw a bullfight today, the bulls werewonderful, but I can do without the whole thing anytime. We walked the gran viaand environs. There isn’t a hotel to be had, nor even reservation at one,unless I start paying around 6 dollars a day at swanky ones, without meals. TheCastellons [Frederico & wife Hilda] are being very nice and I’m quitecomfortable here as I can go into the kitchen & make coffee when I wake upat 4 or 5. Anyway, he still hasn’t got his car because he had another accidentand doesn’t know when the fixture will be sent…Monday the 4th I’llsee the lithographer with Fred & Hilda and hope to start something,transfer or working up something from Nazare. Haven’t been able to developanything done in Portugal. So much time wasted listening & beling a guest& conforming to other people’s hours, but what would I have done withoutthe Robilants, or the Castellons? Mrs. Lagarde told me that she knows people who’vehad to sleep on benches though they had reservations (doctor that came here ina medical group, etc.)! So, I mustn’t be fussy and take something where I’ll beon a business basis as I can’t waster time looking thru pension or more hotels.Fred does promise me as of yesterday, to take a trip to Merida sort of aroundthe 25th of June to July 1st. Then he has to be backhere, meanwhile he thinks I should take a bus to Segovia along sometime &back. They want to go to Toledo again maybe next weekend. Som with the thoughtthat I have the lithographer to go to, plus the fact that I still haven’tcontacted H. Matthews friends, or Julio’s family (it’s a store address &its always been the wrong time to go) & I haven’t yet seen old Madrid partor markets, or museums, I can somehow keep going though I’m longing to just besettled in one small country or sea side village, to sketch and see that kindof people…


Fred really wants me to get a lot of workdone & like his country – but he’s got his own routine. I feel however he’sstarting the lithograph thing just to help me out. He won’t let me pay foranything here. Hilda wants a sketch instead. I have treated them to dinner& 1 lunch however.

The name of Zegris’ artist friend is wrong, so that fell thru. Sylvia had avery efficient American woman (television & movie executive worker) whoinvited me to stay in her apartment, big & modern, but I’d have to sleep inliving room, so to hell with that.


I hope you got squared away with your editorand all set in Woodstock. Have forgotten how many letters I’ve sent toWoodstock, think this is the 3rd one.

I love you so much and miss you don’t worry about me, more later, going outwith Hilda to the park.

Green Eyes

Why are you not with me?

Continue to write Amer. Ex.”






“June 9, 1962


Darling Sweetheart,


Got all your letters. I hope you had a goodtime at the beach & at your sisters…


Hope you got all the pictures withoutcursing too much. Please see that Rudolph does get a couple of oils, gouaches& sketches, but keep a separate list. After all, something might sell –even a couple of the new large lithos, but I forgot whether I signed them ornot.  I’m writing this in thehairdressers while Hilda gets a shampoo. I got sores from picking where I hadthe Chignon on so can’t get it dyed till, they heal. By the way, the Spanishgirls are beautiful with hairdos about 3 feet high…I’ve had some awful lonesomeand desolate moods, but I get over them. I long for you and worry about you.Hope you’ve got enough money? And is your work going well. Once you get rid ofmain chores you will settle down to a routine. Strange that here my hot flusheshave come very rarely must be the altitude…


Went to Goya’s tomb by myself in a taxi.Have been doing another litho, ordered the first ones already. They don’t havesmooth surfaces here, so I filled stone with bl. touché’ and scratched a Nazarethere. Now I’m only in touch with Castellons when I see them at lithographers.I must plan what to do. There’s no possibility of reservations anywhere inSpain for hotels, unless I do it thru some agency and wait…


Went to a preview in Lagarde’s gallery,& met some Spanish artists. No one speaks E3nglish, quite good exhibit.Some gypsy boys clapped and sand, so I asked them to pose next day at hergallery (couldn’t have them up here), can’t tell what scribbles I have, but itwas fun & cost me 200 pesetas, also last night the little Italian artistnamed Dante, 25 years old, who thinks I can help to exhibit him in NY, took mefor a walk in Old Madrid and that was lovely, & into an old sort of tavern,where we had wine. I take taxies a lot after exhausting myself getting around& getting lost on buses. This is a really fascinating city & I stillhaven’t seen the flea market or half the museums. The cafes & benches inparks & avenues are wonderful & I still must go back to Prado etc.


However, I came to see something else ofSpain, besides Madrid. This weekend Fred had promised the Toledo trip, now hesays maybe Sunday…I must definitely make my own plans and stop waiting forCastellons to do anything. Though they did their best and were very kind, Ihave the feeling that Hilda doesn’t want me around too much…


Your lonely but loving artist mistress –Green Eyes


I’m going to stop working on lithos, as itkeeps me from seeing & sketching here in mornings, rushing back to eat atmeal times, the long siesta hours when everything is closed, makes days veryshort…”








“El Corsairio, Ibiza

June 26, 1962




What a relief to get some letters – thefirst I’ve gotten since Madrid…


I also had a horrible experience whichrather shook me (besides being terribly worried about you for days anddepressed yet trying to control my fears). I h ad walked back to my hotel toolate at night and alone. Had been at a café with 2 American writer friends ofSteve Seeling’s he had disappeared with a little Dutch girl he was screwing anda young wiry boy, couldn’t see his face well in the moonlight, followed me upand tried to attack me. I had to beat him off. This was right at the door ofthe hotel, so I had to resort to screaming and he ran as Uta finally opened herdoor said I’d wake up everybody. I got damn mad and said I wasn’t going to letmyself be raped just to keep the peace. There was an alarm bell, but no one had bothered to tell me about it.Anyway, that’s that. Yesterday I spent the whole day on a wonderful beach withthe American girl Lee Gardner & her three kids, etc. The blue green waterwas heaven…


I’m going to try and cancel going to Parisat all and fly home from Madrid so I’ll be coming home if I can do this by the3rd or 4th or 5th to N.Y. City.

Can’t sit it out spending money just to make it last 2 months. I want to see mydarling baby and I’m itching to paint and have our nice quiet life together.More later, must get this off…


Your homesick – Green Eyes…”



“Fri. 11 Jan 5:30


Hello Sweetheart,


Will you stop holding on to those uselessdiamonds? If I had 3 diamonds….!!


…Did I tell the doctor said I shouldn’t beliving alone and need a rest in Florida and no worries or burdens etc.? Justmore pills & vitamins – cost me $7 more dollars, and I should stop smoking(which of course I won’t do). Is there anything left in life that I can do?Yes, screw, but I only want that with my ‘fatty orchid lidded ting,’ yadoesn’t! YA DOESN’T!! Pearlman is x-raying all my teeth. I see him next week tosee what the bastard has found. Sussman thought it was unspeakable and terriblethat Pearlman had pulled a perfectly good healthy molar out of my poor jaw.Monday I will see the eye man & get my glasses changed, couldn’t read thecough prescription with them on. Somebody should tell them to! Yes, I know,anyway I have no more blood pressure at all and I’m not to take Serpisal anylonger, as he thinks it depresses me. I’m back once again on Dexedrine, whichonce produced the ‘Elegy,’ but alas that’s not happening now. Lost a changepurse with about 3.50 in it the night I had dinner with Jean. Took a taxi backfound I didn’t have 1c. The man was nice & said I could send him the fare,about $1.00. Then I lost his address so I can’t send him anything & I wasso grateful to him. So, the nice people get cheated -C’est la vie – Andwonderful generous kind loving people like myself are finally left unloved andalone.


So, this is what my life has brought me to –nothingness – for me work isn’t enough, creative or not, it must be combinedwith partnership, human contact, or it is an empty shell. Guess I’m too human!


Glad to hear you made some money and itswonderful you know more is coming in.


Bad took me to the 5 Spot Cafe, it was niceto walk in the cold there & back. Nobody we knew was there, but the jazzwas good. Unfortunately (and I guess unknowingly), he made me very depressedtrying to explain (in his way) that you didn’t love me like you’re supposed toetc. etc. Why didn’t I find someone else? I told him there wasn’t anybody.Anyway, he opened the wounds. I cam back and cried myself to sleep, couldn’teven read. Why is everybody so cruel and insensitive. I don’t know I’ve reacheda certain point of my development where I can no longer just go to bed withanybody that wants me. Therefore, what do I have to face, the answer isobvious, unless I can find someone who loves me and I can love back, the futureis utter loneliness. All you have to do is tell me you’ve got somebody else andI won’ expect you to see me anymore, but you haven’t said that yet. You arefree you know.


Now I’m too weepy to write, it’s theweekend, there’s no one else to phone, they all know after years of not circulatingI’m only phoning them now because I’m alone and haven’t got you. Going down tobuy a bottle.


Love, Marion”


“Aug 5 Sun Morn.

Hotel Francia



Darling Babykins,


No letters from you since the one dated July28. Have you been getting mine? Written tow since. Feel lost when I don’t hearfrom you. Please write soon to your lonely darlin!


…Another frustrating day in the Market (thovisually wonderful) impossible to sketch anybody without trouble ensuing. So, Ijust make the barest notes, then try to work things up a bit in the hotel room.I don’t know what other, town to go to. Afraid they’re all alike now. Met aRussian artist I used to know in N.Y. He’s been coming here for many years& says he can’t sketch them anymore & that things are changed. Don’tknow what has happened to D. Rosenthal, guess she’s gone away. There will befireworks & some fiesta for some Virgin of something tonight. Hope theLutz’s or Ben will take me otherwise can’t go out on the streets alone. Got 3more weeks & 2 days before my flight home. Will probably take more then aweek before in Mexico City. Maybe I’ll turn my ticket in and leave sooner bybus or train for the border? I don’t know where I’ll stay. Probably have toresort to the pension O’Higgins told me about. If I only had you and car howwonderful it would be here. I get a new cold it seems every day. Want to getthis off. Going to take it straight to P.O. myself. Don’t trust the mail boxhere anymore. Just saw a silent procession with the little white coffin andflowers pass my window. Sad & touching. Waiting to hear all my love. YourGreen Eyes”



                   Sample Quotations from Robert Plate’sJournals


“December 2, 1950

Today is Saturday. By next Wednesday I mustwrite three comic scripts, four synopses. Tomorrow I must complete at least onescript, mail it. I have had this same task ahead of me for the past ten days,and have not yet even made a good start on it. What the hell is wrong with me?Is it just plain laziness, or is it a reluctance to work on comics? If thelatter though, at least I should have sense enough to work on something elseinstead of wasting time completely.


Last night with Marion to a party at the VanVeen’s, a spacious railroad flat near Gramercy Park. Buffet supper of turkey,raw cauliflower and carrots. Guests – artists mostly, some writers.


Mrs. VV: small, alert, warm, Christian,stutters.


Mr. VV: Jewish, slightly effeminate, aprofessional artist, but not a good one. Teaches art at NYU. Younger than Mrs.V.


Stein: Writes 5 mystery novels a year, under3 different names. Goes to Mexico in winter, Europe in summer, but can deductmuch of these expenses from income tax as expenses. Does research on trips, andworks. Recommended Oaxaca as place to visit, work at. Beautiful, unspoiled,cheap. Couple can have house, car, 3 servants, live well for less than 150monthly. Airfare however, about 300 round trip…Stein also bit effeminate. Tall,nervous, glasses.


Max Beckmann. Famous German artist, still uncertain inlanguage. Crooked teeth. Big square bald head. In sixties. Big square man.Attentive wife.  Talked with Kuniyoshi. Jap and German. Kuniyoshi reputedly clever.Seems stupid with wide grins, cackling laugh. But is clever, I guess.


A petite sexy Australian, fortyish. Describedseeing Angkhor Wat (?) by full moonlight. Rich husband hired hundred dancersfor her.


Head of Art Students League. Quiet, amiable.Has taller blond wife, who seemed crazy. Drunk, bewildered. Tried to sit onmen’s laps, make husband jealous. Did not make husband jealous. Supposedlyloves him very much, gets jealous herself, quickly.


Quiet art student, in bow tie, white servantjacket, served liquor. Colored woman helped serve food, clean up…Much talkabout art, artists.”


“April 9, 1951

Tomorrow at 10 PM Marion leaves LaGuardiafor Haiti. With her usual genius for making the simple complex, she has been inthe past week the center of a cyclone of activity and confusion…


…Marion is perpetually looking for efficientpeople who will counterbalance her own admitted inefficiency, her amazinginability to cope with the simplest facts of daily existence. She feltincapable of buying the right ticket to Haiti; I had to go along to give hermoral support – although I purposely withdrew to the men’s room as sheapproached the counter. When I returned, I found she had bought the rightticket after all…


Her family is chaotic and miserable and isone of the best possible reasons for Marion to ravel frequently and for longperiods of time. There is the mother, senile, self-pitying and possessive; thefather, disliked and feeling abused; the drunkard brother, enmeshed in onetragedy after another; the loud-mouthed positive bore of a brother; the bitterneurotic hateful sister; the eldest remote and stupid brother. All of themready to take from Marion.”



“August 20, 1951

One short essay out, ‘Here’s Your Hat,’ atthe New Yorker. This is the first story I’ve sent out in several years.Ideally, of course, I should always have a dozen short stories and a couple ofplays making the rounds. When work is out no day is without hope.


Today my first task is to work out 3 GHayessynopses. No matter how dull this work, it is what keeps me alive, andtherefore, to me if nobody else, of primary importance. After three years ofwriting Gabby, three or four or more every month, I am running short of ideas;there is only one way to get them; to sit and peck and dig. They come.


Marion, who often gripes because she doesnot get enough commercial jobs through her agency, is filled with terror whenshe does get one. For four days she has been working grimly on a littleassignment for Abbott Laboratories – something she should be able to toss offin a couple of hours. Her face is drawn; she is irritable., she despairs and isfull of gloom and foreboding. At night she sleeps lightly, wakes up at four inthe morning, can’t sleep again till dawn. She awakes looking like hell; tired,barely able to drag herself out of bed. Again, she attacks the job, which shehas almost finished a dozen times, only to destroy with indecision andtightness. Somehow, she will finish it, after much anguish. And soon, she againbe lamenting that she doesn’t get enough jobs, or that when she does, they areonly small ones.


Just when she is in the midst of this work,she gets another rush assignment. She must have a lithograph in by next Monday.So, even if she finishes this job by tomorrow, she will still have the litho tosweat over all week long.”



“August 29, 1951

A big party at KarlFortess last evening, ostensibly to honor Gus Hanson, a big husky handymanwho had built a chimney for them and was making further additions to theFortess houses. Hanson, who arrived in Woodstock in 1932 for a vacation and hasstayed here ever since, his services much in demands, has attained full statusas a ‘character,’ and numerous anecdotes about his efficiency and ploddingmethods and untutored skill are told with much chuckling and shakings of thehead…


In public at least, Woodstock places all itsemphasis on business and material things – almost none on art. I have yet tohear a discussion of esthetics, artistic theory, etc. – except in relation tobusiness – assignments for trips, gallery shows, covers, sales. Many of theartists are almost blatantly on the make, currying favor with the right people– the big names in art or business or museums can help them. The community isfull of secrets, intrigues, back-biting, career sabotage, and ass-kissing. Someof the artists are very shrewd businessmen; some, like Marion, are not, and arerendered incapable by their personalities of kissing asses or being clever withthe right people. It is possible for one to be a good artist and a goodbusinessman, but in at least some of the cases here it seems that the artisthas focused so much time and attention on the business side of art, that thereis damn little left for the art and creative sides of art.  They are hacks; commercial artists who keeptheir cake and eat it too, by retaining the prestige of being ‘fine artists.’”



“Sunday, November 3 –51

…Working well the past few days; a scriptfinished Friday, another finished yesterday; and now to finish another today.Not that there is anything great about this; I ought to finish two in one day.But, by keeping up this pace a few more days I’ll free myself for a couple ofweeks of creative writing. Must get started on my next play. (But I wonder ifit is not better to start on a regular full day of writing, devoting themornings to the comics and other commercial writing, and the afternoon to playsand what I want to write?)


Marion’s apartment is sunny and cheerful;not quite big enough, though, for two people to work in efficiently. Biggestdrawback is the accursed telephone – and her wretched family. Hours a day arespent in emotional fatiguing and disturbing conversations with theabsent-minded melancholic mother in Brooklyn, with the melodramatic brother,with the drunkard brother, with the embitter sister, with nurses, doctors, andagencies who might take care of the sick father. Everything is done with amaximum of friction; nothing is done quickly, easily, or calmly. Always thereis a storm of invective, sarcasm, or recrimination….”



“December 3, 1951

…Today I looked into JosephineHerbst’s ‘Somewhere the Tempest Fall,’ which seems to be a dull and badlywritten novel. However, the sections I sought held my interest, for, in thecharacter of Anna Gates, was Marion, lifted straight from life – at least asfar as Herbst, in a somewhat limited and prejudiced vision, could see her.


Marion is presented as being a tempestuous,strong, outspoken, unhappy, passionate artist – one who has many lovers, few ofwho are successful. She is also presented as one who’s constant irritationswith the minutiae of living – bills, shopping, cooking, cleaning, laundry, etc.– becomes irritating in itself. All true, as far it goes. Herbst starts outapparently meaning to give an unfavorable picture of a woman she dislikes –but, just because she sticks rather close to the facts, using actual incidents andconversations out of Marion’s life, the picture can’t help becoming sympathetic– and Marion’s great vitality carries right through to the book. From what Iread of it, she is by far the most interesting and live character in it…”



“December 17, 1951

[Nickolas]Muray, in his earlysixties, is still a man of enthusiasm. He is a fencer, a pilot, an interestedfather, a top color photographer. Above all, he loves art. And artists. He isproud of his friendship with Tamayo, lets him stay free at his New Yorkapartment. He is proud of knowing Marion. His apartment here has many paintingsand water colors; he says his California place has even more. He is proud thathis daughter – who died at the age of twenty-one, from a throat infection inMexico – was a talented art student. And, when he finally showed Marion one ofhis latest works, in Holiday, he was rathe proud of that too. The subject –truffles – had seemed completely lacking in pictorial appeal; for a change, hehad considered an assignment a challenge. He had met the challenge by dressingup the picture with other foods – grapes, bread a slab of pate de foie gras(the other subject, with truffles) on a slab of marble.

Marion, sensing his interest, trying to makehim feel good, said ‘By God, it’s good! It’s a work of art!’ Muray’s facesaddened. He shook his head ‘No, that is not art.’ Earlier in the evening, hehad been almost apologetic when his profession was mentioned; apparently, he isa thwarted artist, who feels keenly that he has sold out or failed somewhere inhis life. ‘It is not art.’


His wife, his second, and much younger, whohas the bony build and features of a professional model, frequently arose inthe course of the evening, and left us for the kitchen. From my seat, I couldsee that she always poured a liberal dose of gin into her glass of coke. As thenight went on, she became louder and duller. (She has given Muray two children,one of whom has been shipped off to a private school in Lake Placid.)


Before his second marriage he had an affairwith M[arion], and wanting to marry her, asked if she could be faithful to him.She answered ‘No.’”



“May 18 –1952

To FedericoCastellon’s new house in Brooklyn last night. Rather a dull evening. Wentwith the Dehns via cab…Castellon, apparently, reached his peak as an artistmany years ago, although he is still under forty. He gained success as a youthwith his lithographs and surrealistic art. However, he may be a good example ofan artist who has succumbed to the fascinating lure of money. Most of hisconversation now consists of prices for commercial jobs, teaching jobs,mortgages, rates of interest, plans for collecting rents from parts of hishouse, etc. And his painting has become dull…One big job he did for Life, whichtook him many months of research and labor, on the topic of Justice through theages, yielded him eleven thousand dollars from Life; furthermore, he retainedpossession of the paintings, and has now sold them for seven thousand dollars.”




Marion’s family brings out the worst inMarion. When she is with anybody in her family, I dislike her. She becomesself-righteous, aggressive, critical, and worst of all, cruel. The last shewould deny, in shock, but it is true. For instance, when Grace, who isborderline, recently went to an opening, at the art show, Marion’s first querywas, “Did you speak to anybody?” Implying Grace is so far gone that she won’teven talk to people. Or when Lester, the drunk, came up with the son heidolizes, and the son’s young wife, Marion could not forebear from lecturinghim on his weakness, advising him, before the young people, to get a grip onhimself, not to be weak, etc. Part of this is not cruelty; it is a naturalclumsiness that she has. IN a physical way it is expressed by the fact that sheis always breaking glasses, cups and saucers, jamming her zippers, droppingbottles; on the social side she forgets names, commits faux pas, unwittinglyinsults people, bluntly brings up issues, others would prefer to ignore. But,when we are alone, though she still has the physical clumsiness, strangelycombined with bodily grace and rhythm, she is much more sensitive and far morelikeable. Her strangely uneven intelligence gets a much better chance in quietconversation that it does in mixed groups, where her emotionalism takes over,and makes her voice loud and strong, and her thoughts illogical. The cause ofher clumsiness, physical and social, I do not know. Partly it is her excitable,flarable temperament, which takes over, in a pell-mell rush. Partly, perhaps,it goes back to the attitude drummed into her as a child by her god damn bitchmother, that life is horrible, awful, etc. and this to a girl bursting with thelove of life on every level.”



July 17 – 52

Amy, the vivid sex conscious housewife sculptressin her early forties, thinks she has given up a great deal of excitement andenjoyment by being a fairly faithful wife and dutiful mother for more thantwenty years. Perhaps she has, but I suspect she is closer to being happy thanshe’d be if she had deserted her family years ago for a life of promiscuity. Infact, she believes this too, though she still would like to make up for some ofthe romantic adventures she has missed.


In ordinary topics, Amy is a bit dull, tendsto be a bit querulous, but as soon as the topic is sex, she warms up, becomesmerry and alive and much more attractive. She recounted last night, when we hadher to dinner, the big event of her life, which occurred when she was in hermid-teens and having an affair with the man to who she was engaged. When shelearned that the man was also fucking her best friend, and overheard himtelling this best friend how inadequate she  was in bed, she was terribly shocked, brokeoff engagement, and suffered in silence unable to talk it over with her mother,and reacting with some bitterness against all men. Gay and lively, in lateryears she became something of a teaser, interested in sex, but not liking menand shutting them off at the last moment. She was frigid for a long time, upuntil about ten years ago, and says she is grateful for having a wise andpatient husband. Now apparently, she’d love to have some little affairs on theside, without harming her marriage, but I wonder how she’ll make out in thisproject? There aren’t many desirable men on the loose in Woodstock.Furthermore, who wants to do it discretely, which is hard in a town so small.Probably she is in for more frustration, or big emotional complications. Shementioned that women in forties seem to have greater craving for sex actionthan younger women; so she has decided after talking it over with her friends,some of whom confess that they’d just like to spend a whole day in bed just forthe fucking sensual pleasure, and to hell with the romantic trimmings.”



“July 26, 1952


Yesterday, a crowded opening in the tinyMollie Higgins Smith gallery, upstairs, overlooking the small Woodstockcommons, or green, featuring Eugene Speicher’s work.Why Speicher chose to show his work in this little place nobody knows. Perhapsbecause Miss Smith is a friend of the family. Perhaps because he is not asprosperous as everybody supposes, and would like to sell some work. Perhapsbecause he simply felt like having a show in town. Anyway, his work, thoughskillful in the traditional manner, is rather dull, especially when seen in agroup. One feels that there has been no development in thirty of forty years.As a young man he had attained his technical dexterity, developed his own notvery unique style, and since then, he has not changed. Altogether, a mostunexciting painter, however ‘solid’ his virtues. I prefer a bit more emotion,daring, and poetry in painting.


Then to PhoebeTowbin’s opening a the Twon House, well attended, for Phoebe is a gay,colorful and social creature. General comment was that the paintings were agood reflection, or expression, of Phoebe’s personality, cheerful, sunny, neat.So they are. But, putting one art in terms of another, Phoebe’s paintings,while they are not everyday pop tunes, such as slick magazine illustrations,are not the high art of a Beethoven symphony or a Brahms concerto either; theyare about on the Victor Herbert level of music, pleasant, diverting,semi-classical, but not quite art…”



“August 4, 1953

…Last night I insisted that Marion get apicture out of the house. It is a profile of Isabel, Julio de Diego’s gay younggirl, and, though it is not a major painting, it is rather nice, fresh andalive. I insisted that it go out immediately, to Rudolph’s gallery, and, withmuch reluctance and dragging she finally agreed. Marion’s problem is not inpainting pictures; she does it constantly and well. The trouble comes when shemust part with them. She is afraid to send them out; afraid that they are notgood enough, not modern enough, and as soon as the time nears when a paintingmight be called finished all these fears and others assail her; she sees manylittle faults in the painting, starts to correct them, and in making thecorrections throws other parts of the painting off balance. Then, in turn,these new faults must be corrected, thereby making still further alterationsnecessary, and so, on and on, until very often the painting is overworked anddestroyed. Her great problem is decision, bravery. She must boldly, arrogantlysend her paintings out into the world when they are fresh and free; she mustnot work them over.”



“January 25, 54

Bud’s [Walter Plate] opening yesterday atGanso. A queer mixed turnout of loyal from different times and layers of aman’s life. The aunt and the brothers and sisters and a niece, none – exceptme, having any appreciation at all for the paintings, but hoping for the best.And the Woodstockers, current friends, who came all the way down the Catskillsjust to be loyal. And the New York friends, a smattering left over fromdifferent phases of life, early school days, a stay in the Village, his visitto France. And a few people came possibly to look at the paintings and possibleto buys some.


One painting sold, the good colorful marinethat was at the Whitney, and good comments in papers and in art magazines. Itsold yesterday, but only for one hundred and fifty dollars. The price, even forsuch a new and unknown artist as Bud, should have been twice that at the veryleast. However, it is a sale; I don’t think he’ll get many more from this show.His paintings, although lovely in color and good in form, are a bit tooabstract for salability.


Ginny came, and if she found a painting sheliked, I know she would have bought one. However, she didn’t find one.”



December 8, 1955

Stuyvesant Van Veen and his stuttering wifeFran came over for drinks at six, which necessitated sending down to Finn’s fora four-dollar bottle of bourbon (Finn’s own), since they are bourbon people –and afterwards, too long afterwards, about eight, we drove in Van’s newChevrolet station wagon to Mott Street for a Chinese dinner. He put a smallcrease in the side of his car, in sliding into one of the scarce parking placesin Chinatown’s narrow streets. Dinner, at Qwon Luck’s, was pretty good – lobsterCantonese, sweet and sour pork, fried rice, beef and Ch veg. Innumerable potsof tea kept the ordeal going till after 10:30.


Ordeal, because Marion is getting completelyimpossible socially. All she ever does is talk, loud, angrily, dogmatically, abouther troubles: 1. Her mania for overworking pictures, and consequent lack offinished paintings. 2. The financial plight of artists, especially her own, andwhat a rotten age we live in. 3. Her family problem, with ten thousand detailsof her troubles with Irwin, Wally, Grace, Lester, and Muzzy. All this I’veheard repeated to the point of nausea. When Marion and I are alone at least wecan usually keep on other subjects, but as soon as she gets an audience theslightest bit sympathetic – no matter how bored they may actually be – sheturns on the blues, vomiting her life’s indigestion over one and all, withabsolutely no thought as to their interests. I can no longer stand it, andintend to avoid every social obligation I can possibly worm out of.


The vv’s kept futilely trying to talk aboutthemselves and their ideas, but had little chance against Marion, whose voiceis much stronger, and whose attention immediately wanders. She constantlyinterrupted people to tell something about herself – and then accuse them ofinterrupting her. VV, a bespectacled weak-looking guy, a completely untalentedand unsuccessful artist, teaches at City College, works hard in Equity. He’shaving a show of water colors based on the tearing down of the 3d Ave El.


Wife Fran, lively, scatterbrained, is now inher third marriage, but this one has lasted 13 years. She’s from Cincinnati,calls herself a writer, but has no success, and I doubt that she does muchwriting. Last night, a bit tight, she berated Van for not going to bring thecar to the door – she had her hair died, said it had given her some itchyallergy – hence could put nothing on her head to protect it from the cold nightair. In her anger she suddenly seemed quite bitchy, and threw up the fact thatshe didn’t mean to pay a 54-dollar gas bill so he could drive all over NewYork. Apparently, she has a small income, pays some of the expenses, anddoesn’t mean to let him forget it.”





Chernick,Karen. The Brooklyn-Born Sisters Diego Rivera Dubbed “The Greatest Living WomenMural Painters,” March 19, 2018; as viewed on Artsy on 10 Sept 2019 at:


Duus,Masayo. The Life of Isamu Noguchi: Journey without Borders. Translated by PeterDuus. Princeton & Oxford: Princeton University Press, 2004.


Herrera,Hayden. Listening to Stone: The Art and Life of Isamu Noguchi. New York:Farrar, Straus and Giroux, 2016.


MarionGreenwood: A Modern Woman in Modern Mexico, as viewed on 10 Sept 2019 at:


Mulcahy,Joanne B. “Marion Greenwood and Anne Poor: The Women Artists of the WWII ArtProgram,” June 4, 2019; as viewed on Hyperallerigic on 10 Sept 2019 at:


MarionGreenwood, as viewed on Wikipedia on 10 Sept 2019 at:



Martinez-Sulvara,Angelica. Marion Greenwood: A Modern Woman in Modern Mexico, as viewed onDocomomo US on 10 Sept 2019 at:


Oles,James. "The Mexican Murals of Marion and Grace Greenwood," in LauraFattal and Carol Salus, eds., Out of Context: American Artists Abroad.Westport, Conn.: Greenwood Press, 2004. pp. 113-134.


Seckler,Dorothy. Oral history interview with Marion Greenwood, 31 Jan 1964 by Seckler,for the Archives of American Art's New Deal and the Arts Oral History Project,as viewed on Smithsonian website on 10 Sept 2019 at:


             A complete Inventory of the collection follows:

            Marion Greenwood Correspondence

58 outgoingletters of Marion Greenwood, 111 pp., dated 21 January 1941 to 22 October 1963;of the 58 letters, 28 are not dated, but fit in the same timeframe, circa1940s-1960s; of the 58 letters, 9 are retained copies, the others original andsigned; there are 2 retained mailing envelopes, a couple of letters areincomplete.

The bulk ofcorrespondence consists of  originalletters written and signed by Marion Greenwood to her lover Robert Plate,written while she was conducting research and sketching in Mexico, the DominicanRepublic, Cuba, Haiti, and Spain during the years 1951-1952, 1956-1957, and1962-1963, as well as some letters she wrote while in New York City. Earlierletters from 1943 of Greenwood to George Biddle, Mrs. Henry Morgenthau, andEdward B. Rowan, concern Greenwood’s efforts to get ‘women’ artists hired bythe U.S. War Department’s Art Advisory Committee, who were hiring artists (men)for war propaganda (selling war bonds, etc.) projects. There is also included inthe archive an original letter by Greenwood to the founder of Associated American Artists, art dealer ReevesLewenthal, written in 1941; a 1950 copy of a letter by Greenwood to DeanVaughan at Cooper Union Art School, where Greenwood was applying for a job and1 letter to her brother Walter Greenwood, written to him when she was in Spainin 1962. The letters written to Robert Plate show the personality and characterof Greenwood, the loneliness she suffered, the insomnia, drinking, takingDexedrine, the worries of getting work done on time for shows, the failure ofnot getting enough good sketching done on trips, an attempted rape when she wasout late one night in Spain, worries about money, selling art, etc.

268incoming letters written to Marion Greenwood, 348 pp., (17 retained mailing envelopes);dated 8 August 1929 to 14 October 1972.

Thissection of correspondence focuses on several different periods of Greenwood’slife, including several of her U.S. government contracts for murals and wartimeart; correspondence of Chinese artist friends from her time in Hong Kong; herinvolvement and work with Reeves Lewenthal and the Associated American Artists;her entering exhibitions at Carnegie Institute and winning a prize, andsubsequent sales of her work; as well as her involvement and activities withartists who were friends, lovers, and associates. The correspondence includes,but is not limited to, the following:

There are anumber of letters from various officials of the Treasury Department’s PublicWorks of Art Project concerning mural projects she worked on in a Camden, NewJersey housing project; a Crossville, Tennessee Post Office; and proposals forprojects for the Department of Interior Office of Indian Affairs, as well asthe War Department for artwork of the war (WWII). These letters were written byEdward B. Rowan (23), Superintendent of the Section of Painting & Sculpturefor Public Works; Willard W. Beatty (4), Director of Education in the Office ofIndian Affairs; Olin Dows (3), Chief of Treasury Relief Art Project; Henry LaFarge (1), Special Assistant Treasury Relief Art Project; Cecil H. Jones (5),Chief of Treasury Relief Art Project; Abner D. Silverman (1), ManagementSupervisor, Dept Interior, US Housing Authority; Forbes Watson (2), SpecialAssistant to the Chief Section of Fine Arts; Neil A. Melick (1), Commissionerof Public Buildings; Hugh Davenport (2), postmaster of the Crossville PostOffice; Maria K. Ealand (1) Administrative Assistant Section of Fine Arts;Julian Street, Jr. (2), Office of the Secretary, Treasury Department; ElinorMorgenthau (1), War Savings Staff; Major General Norma T. Kirk (2), SurgeonGeneral; and letters of artist George Biddle (4), in his capacity as Chairman,War Department Art Advisory Committee.

There arealso letters (11) of several Chinese artists, who were living in Hong Kong, oneof whom, Kwok Yim, wrote four of these letters, telling Greenwood that he was leavingto go into the interior to fight against the Communists, he also includes threewoodcuts in one of the letters; other letters are from individuals and artistsliving in Hong Kong, who she became friends with when living there in the1940s.

Correspondencealso documents Greenwood’s involvement with director/founder Reeves Lewenthal(32), of the Associated American Artists (AAA), as well as other staff andofficers of AAA; where Greenwood was under contract for a time: Dorothy Winter(1), Estelle Mandel (5), Jane Howard (1); Bernard Bergman (4); Robert Parsons(2); Odien Steele Hughes (1); Helen (1); and Pegeen Sullivan (13), who alldiscuss the selling of Greenwood’s art, contracts, shows and exhibitions, thebuyers of her art, etc., and several letters concerning a project thatEncyclopedia Britannica was doing on Modern Artists, where they had to gothrough AAA since Greenwood was under contract with AAA.

Thecollection also includes letters from the Carnegie Institute where Greenwood’swork was exhibited in a couple of shows and won a prize, with follow up salesof her work; these letters are from: John O’Connor, Jr. (17), Acting Director,Department of Fine Arts; Homer Saint-Gaudens (7), Director of CarnegieInstitute; and Grace Huntley Pugh (1), Exchange of Sales for the institute.

Thecollection includes correspondence between her and other artists, friends,lovers, or associates, such as Albert Christ-Janer (2); Isamu Noguchi (1);Maryetta Mauck Davidson (1); Robert William Davidson (1), Ralph M. Pearson (4);Francine Baehr (1); Julia S. Leaycraft (2), photographer Nicholas Muray (2);and Hugo Gellert (1); and others like Rudolph Frederick-Fiolic (1) of RudolphGalleries, Woodstock, NY. There are also letters of architects Joseph NormanHettel (2) and Oskar Stonorov (1) who she worked on projects with; art colonyYaddo director Elizabeth Ames (2) and Yaddo president Marjorie Peabody Waite(1); editor Joseph Pass (1) of “The Fight Against War and Fascism” where shehelped out on a project; and others like C. Philip Boyer (1) of Boyer Galleriesin Philadelphia; Victor E. D’Amico (4), Director of Education at the Museum ofModern Art, NY; James I. Breen (1) RKO Radio Pictures, Inc; Thomas C. Parker(1) and Helen H. Campbell (2), of the American Federation of Artists; and MabelPollock (1), of the Women’s Division Joint Anti-Fascist Refugee Committee; andSidney Laufman (1), of the Artist’s Equity Association.

There are alsoletters from Marc J. Sandler (14), who started out as a collector ofGreenwood’s artwork, but then appears to have fallen in love with Greenwood. Itis unclear if Greenwood returned the love. There are also 2 letters of herfirst husband Charles Fenn, who writes from London, after they had separatedand were in the middle of getting divorced in 1950. There are 28 incomingletters that were written to Greenwood between 1950 and 1972; with one of thoseletters dated 14 October 1972, written to Greenwood after her death, the writerwas unaware that she had died in 1970.

There arealso 21 undated letters that fit into the timeframe of the above letters, circa1930s-1960s.

There arealso 19 miscellaneous letters, dated 1 Jan/Feb 1937 to 22 May 1970; variouscorrespondents, to various individuals, in general these letters pertain toMarion Greenwood and her mural artwork, her work for the U.S. TreasuryDepartment’s Public Works of Art Projects; showing her work at galleries; hertime in Hong Kong; teaching at the Art Student’s League in NYC; there are also twoletters written to Grace Greenwood, 1 letter to Walter Greenwood, and 1 byWalter Greenwood; amongst other letters. Telephone Address Book of MarionGreenwood, 35 pp., lacks binding, loose sheets, measures 5 ¾” x 8”, not dated.

          Correspondence of Robert Plate

90 outgoingletters of Robert Plate, 109 pp., dated 31 December 1953 to 25 October 1983; thebulk of which are typed retained copies. 29 letters are not dated; includes 34letters written to his wife Marion Greenwood, 1 letter each to her sister andbrothers (Grace, Irwin, and Walter); plus other letters dealing with thehandling of Marion Greenwood’s estate and artwork after her death in 1970,amongst others.

35 incomingletters written to Robert Plate, 54 pp., dated 11 August 1961 to 30 March 1980;12 are not dated; written by various individuals to Plate, a number concern thedeath of Marion Greenwood, the sale of her artwork, etc.

           Diaries/Journals, Account and Notebooks, andother manuscripts of Robert Plate

Diary/Journal,37 pp. plus blanks, black cloth boards, measures 5 ½” x 8 ½”, entries dated 13October 1936 to 5 January 1938; kept by Plate while he was a student at DukeUniversity.

Notebook/Journal,58 pp., spiral notebook, limp blue wrappers, measures 3” x 5”, entries datedSept/Dec 1969; includes diary like entries, as well as miscellaneous notes,etc.

Diary/Journal,152 pp., black cloth boards, measures 8” x 11”, entries dated 13 January to 6September 1971.

Diary for 1973, 281 pp., limpgreen “pleather”, measures 6” x 8”, entries dated 1973.

AccountBook - Free Lance Writing; 34 pp., limp red wrappers, measures 4 ¼” x 6 ¾”, entriesdated 7 March 1961 to October 1974.

Diary/Journal– “Mexico,” 92 pp., spiral notebook, limp yellow wrappers, measures 4” x6”, notes and diary/journal, entries dated Feb/March 1977.

 Diary for 1980, 291 pp., limpbrown “pleather”, measures 6” x 8”, entries dated 1980.

Notebook,22 pp., spiral notebook, limp blue wrappers, measures 4” x 6”, miscellaneous manuscriptnotes, dated c1980-1981.

Diary/Journal- “Mexico, Sarasota, VCCA 1981-82,” spiral notebook, limp wrappers,measures 6 ½” x 8 ½”, 362 pp., entries dated 1 January 1981 to 24 April 1982.

Diary for1986, 309 pp., limp brown “pleather”, measures 6” x 8”, text block becomingdetached, inside front hinge open, dated 1986.

32 manuscriptshort stories, 1 tv script, and 1 play, 387 typed pp., dated 8 February 1956 to17 December 1959; each story is between 2100 to 4500 words each (stated on eachtitle page); 7 pieces are not dated, 1 piece is incomplete; titles of storiesare as follows chronologically: The Wrong Pattern; The Fun House; A Taste ofGlory; Yellow Stripe; To Be Like Lila; Fire And Ice; The Proud Man; Die, DieAgain; Accident; Forty-Dollar Shoes; Final Exam; The Day The Hunters Came;Double Frame; Between The Lions; A Nice Day For Murder; Breath Of Life; KillerIn The Icebox; Keep It Light, Keep It Gay; Monkey Round The Moon; Long Die TheKing; The Man Who Died Twice; Fit To Kill; One Of Our Mice Is Missing; Hot RodHick; Payoff For A Pusher; Kiss And Kill; The Link; The Wonderful Pigeon; TheNightingale’s Echo (half hour television play); A Crime In The Family; GuideMissile; A Taste Of Glory (incomplete); one untitled play; Some of the storiesare inscribed “sold” on the title pages with dates and to what publicationspurchased them. These publications were Alfred Hitchcock Mystery Magazine andCrestwood.

237 typedpp., loose Journal sheets by Robert Plate, browned, dated 19 August 1950 to 27September 1992; the bulk of the journal dates from the 1950s to mid-1960s;loose journal pages.

Plate’s journalentries contain excellent descriptions of the art scene in New York City andWoodstock, New York in the 1950s and 1960s. Plate’s entries are veryinformative about the life and activities of Marion Greenwood during thisperiod. He describes their life in the art colony of Woodstock where Marionalso kept a studio. Plate recounts social gatherings, art openings, parties,going out to restaurants, shows, etc., and gives a very good detailed andcritical account, of the artists that he and his wife socialized with and met,including: the artists Max Beckmann; Gladys Brodsky; Federico Castellon; EdwardChavez; Mel Cummin; Bruce Currie; Adolf Dehn, Virginia Dehn (née Engleman);Harvey Fite; Karl Fortess; Grace Geenwood; Leon Kroll; Yasuo Kuniyoshi;Fletcher Martin; Edward Millman; Tomas Penning; Walter “Bud” Plate; AntonRefregier; Daniel Revzan; Andrée Ruellan; Georges Schreiber; Amy Small; EugeneSpeicher; John W. Taylor; Phoebe Towbin; Stuyvesant Van Veen; Sol Wilson;Arthur Zaidenburg; others; writers Josephine Bentha; Josephine Herbst; ManuelKomroff; Aaron Marc Stein; others; photographer Nickolas Muray; and many othersincluding actors Louis Criss and Wilna Hervey; retailer Stanley Marcus(Neiman-Marcus); folk singer Barbara Moncue; Byrdliffe Arts Colony’s PeterWhitehead; and others. There is also much on Marion Greenwood’s dysfunctionalfamily (parents and siblings) and Plate’s more famous brother artist Walter“Bud” Plate and his wife artist Gladys Brodsky. Robert Plate also details hisown writing career, the work he is doing, his attempts to discipline himselfand write regularly, deadlines, work completed, etc.

Plate’sjournal on the Woodstock community and New York City’s art community, provides anexcellent resource for scholars of mid -20th century American art andthe period.

“GabbyHayes Ideas” (writings), 90 typed pp., browned, 4 Aug 1948 to 12 Feb 1952;Plate’s writings for Gabby Hayes Western, a magazine published byFawcett Publications from 1948 to1957. The series was based on actor GeorgeFrancis "Gabby" Hayes who played in B-Western film series as thebewhiskered, cantankerous, woman-hating, but the ever-loyal and brave comicsidekick of the cowboy star Hopalong Cassidy.

            Diary of Charles Fenn

Smalldiary, 23 pp., dated 1939, 2” x 3”, bound in limp leather; entries very brief,unclear who the author is, the author is possibly Charles Fenn, Greenwood’sfirst husband, there is an entry which mentions being in Tunisia, and thecollection includes a photo of Fenn in Tunisia

Art Work

          Drawings by Marion Greenwood

29Drawings, varying  sizes, from smallestat 6 ½” x 10 ½” to largest at 16” x 20”, dated 1929-1965; not all drawingsdated, those that have dates are portraits of “D. Rhudyar” [Rudhyar theauthor, modernist composer and humanistic astrologer] (signed by Greenwood,1929); “My brother” (signed by Greenwood, 1930); “Eugenio CamiloJanitzio” (signed by Greenwood, 1933); Charles Fenn (signed by Greenwood,1941); “Calcutta Coolie” (signed by Greenwood India, 1946);“Julio”(signed by Greenwood, 1965); about a dozen of the drawings have an Art Decolook. There is also a cartoon for one of Geenwood’s murals, 36” x 28”, made inink and pencil on thin tissue like paper, some tears, and tape, the drawingcould be a detail of one of her murals, not dated.

           Prints by Marion Greenwood

          8 prints as follows:

“EasternMemory” for Bob, signed by Greenwood, image of an Asian woman, 10” x 14 ½”,mounted, not dated;

“Folksinger” signed byGreenwood, image of a female musician with guitar, 15” x 19”, not dated.

Lament”37/40, Artist Proof, signed in pencil by Greenwood, image of Asian woman andchild, 16” x 22 ½”, not dated.

“Teenager” Artist’sPrint, signed by Greenwood, image of a teenage girl, 12” x 19”, mounted, notdated.

No Title,image of a Mexican (?) woman holding child, 13” x 18 ½”, not dated.

No Title,2/3, Self-Portrait of Greenwood, 11” x 15 ½”, mounted, not dated.

No Title, 2prints, one image is black and red, the other black and green, both areabstract prints, both are inscribed on rear “Gladys Brodsky c1969,” whichwould appear to mean these are prints of artist Gladys Brodsky, who marriedartist Walter Plate, brother of Greenwood’s 2nd husband RobertPlate, one is 14” x 10”, the other 11 ½” x 16”, dated 1969.

        Sketches by Marion Greenwood

Sketchbook– (from note on front board): “Mostly Rough Sketches / of Student Days / ButEarly Art Deco / & Expressionist Experiments / Self Portrait / 2 Noguchis,”includes 11 sketches, some in color, unclear if she means that 2 of thesketches are by Noguchi, or that the subjects of sketches were Noguchi; one isclearly a portrait of Noguchi,  11” x 14½”, not dated circa late 1920s We believe that all sketches in the book weredone by Marion Greenwood.

Sketchbook,contains 18 sketches/drawings, spiral notebook, stiff paper covers, 5” x8”,  not dated; also includes 52 scrapsof paper tucked in, containing manuscript notes of the names and addresses ofpeople that either bought Greenwood’s artwork, want to buy it, or own italready, often with the title of the work, etc.

Sketchbook contains25 sketches/drawings, 4” x 6”, dated 1940s; contains portraits of her husbandCharles Fenn, and what looks to be a portrait of Louis Untermeyer, others ofAsian/African sailors; possibly sketchbook was used to sketch while Greenwoodwas sailing.

         Watercolors by Marion Greenwood

          10Watercolor Paintings as follows:

          Image of awoman and a bird, watercolor on paper, 12” x 18”, not dated.

          Image of aLatin/Central American woman watercolor on paper, 9” x 19 ½”, not dated.

Image of a Latin/Central American woman, watercoloron paper, 10” x 20”, not dated.

Kadouga,” an Indiangirl, dated Hergla 1939 and signed by Greenwood, 9” x 11 ½”, painted on paper,mounted on a sheet of larger thicker paper, top left-hand corner withinpainting is painted “Souvenir of Our Trip Together,” dated 1939.

Self Portrait, signedby Greenwood, 11” x 14”, watercolor and pencil, not dated.

           SelfPortrait, 17” x 14”, not dated.

Image ofChinese man, carrying mail, title on the image “China Mail,” black and whitewatercolor, 8” x 9 ½”, not dated.

          Image of nudewomen, black and white watercolor, 9 ½” x 13 ½”, not dated.

Image of Asian women, children,possibly study for a mural, signed by Greenwood, 13” x 10”, not dated.

          Art by Others

De Diego,Julio (1900-1979) Spanish born American artist. Image of a nude woman andhorse, rear is inscribed “de Diego,” 10 ½” x 9”, not dated.


The archiveincludes 159 photographs, 7 color, the remainder black and white, measuringbetween 2 ½” x 2 ½” to 20” x 12” dating from circa 1910s to 1960s; some arelabeled.

107 of thephotographs are images that include Marion Greenwood, the rest are photos ofother individuals, or of her artwork (murals in Mexico, oil paintings), studio,other buildings, landscapes, etc. 73 out of the 107 photographs are portraitsof Greenwood. The remaining photos are images of Greenwood with her family(mother, father, sister Grace) when she was young (circa 1910s-1920s), orphotos of her first husbands Charles Fenn; 2nd husband Robert Plate,or friends, lovers, and associates: Addy (Marion’s Amor), Josephine Herbst,Yasuo Kuniyoshi, Isamu Noguchi, Diego Rivera, Louis Untemeyer, MargaretWebster, and others.

Some of thephotos were taken at Pátzcuaro, Mexico (1932); Mexico City (1936); theSouthwest - Taos, New Mexico, (1930s); a passport photo (1946); Hong Kong(1947); New York City (1948, 1967); Woodstock, New York (1948, 1960); SyracuseUniversity (1965); and Florida (1952). Ten of the photos (8” x 10”) are mountedon paper, or hard paper stock, these are portraits of Greenwood, or of herpainting, or smoking; 1 photo  (20” x12”) is a of the “Artists Equity Testimonial Dinner to Yasuo Kuniyoshi in Honorof his Retrospective Show at the Whitney Museum Café Montparnasse – March 25,1948,” showing a large audience of dinners sitting at tables looking at thephotographer. Another 5 oversize photos are mounted on hard paper stock, one isa portrait of Julio de Diego, with 3 of these showing her murals; one hasCharles Fenn and others in Tunisia.

1 framedblack and white photograph of Marion Greenwood as a young woman, in bathingsuit, sitting on ground with dog, not dated, measures 9 ½” x 6 ½” includingframe, not dated, circa 1920s.

          Miscellaneous Items and Ephemera

El NacionalArtes Plasticas / A Cargo de Fernando Leal, 4 pp., 16 ¼” x 21”, dated c1935;article on Greenwood, with illustrations, covers whole first page, concerns hermural work in Mexico, minor tears.

TGP Mexico.El Taller de Grafica Popular doce anos de obra artistica collective. Theworkshop for Popular Graphic Art a record of twelve years of collective work.La Estampa Mexicana – 1949; 196 pp., bound in heavy black limp cloth, spiralbinding; includes 50 graphic artists, 450 illustrations, 5 original engravings.Presentation copy to Marion Greenwood.

2Certificates for – “Certify that Marion Greenwood is an Associate of theNational Academy of Design,” 9 April 1958 and 4 March 1959, paper sheets, 13” x10 ½”.

1 “Award ofMerit for Outstanding Contribution to the Arts” – Marion Greenwood, Oil Award –67th Annual Exhibition – National Association of Women Artists, 6May 1959, paper sheet, 11” x 8 ½”.

1“Certificate of Merit Awarded by Audubon Artists to Marion Greenwood for“Gazing Children” winner of the Lillian Cotton Memorial Award,” 15 January1964, paper sheet, 11” x 8 ½”.

1 broadside“Recent Paintings Passal / Daniela Polari Gallery Woodstock, New York / August11-24 1968…,” printed on paper, 12” x 17 ½”. 

TelephoneAddress Book of Marion Greenwood, 50 pp., limp red cloth, measures 5” x 8”, notdated, includes phone numbers, some addresses, for various artist friends,family, galleries, etc.

TelephoneAddress Book of Marion Greenwood, 36 pp., loose stiff sheets, lacks binding, 6”x 8”, not dated, includes phone numbers, some addresses, for various artistfriends, family, galleries, picture framer’s, etc.

Dustjacketfor the book “A Solitary Parade” by Frederick L. Hackenburg, published by TheThistle Press, with a brochure (4 pp.) about the book, not dated (1929), thedustjacket appears to have been made at Yaddo, the art colony in New York, thename “Yaddo” appears within the image on the front of the jacket, unclear whothe artist was.

29postcards and greeting cards; 7 greeting cards are from friends in Hong Kong,some appear to be handmade (not dated); 1 greeting card is from Britishevolutionary biologist, eugenicist, Julian Huxley and his wife and sculptorJuliette Huxley, both of London; 1 handmade card by artist Federico Castellonand his wife Hilga, includes photo of Castellon (1941), with the remainder beingpostcards from Associated American Artists (11) detailing paintings that wereselected for shows; 1 from her mother, 3 from her father; others.

Over 250pieces of ephemera, including various miscellaneous notes, poems, writings,character sketches, lists of paintings with prices and titles, death notices,receipts, documents, etc., some on 8 ½” x 11” paper, others on scraps of paper,either written, or typed, plus newspaper and magazine clippings, brochures forexhibitions and shows, documents and paper work for art projects, invitations,business cards, contract, poster, used envelopes, etc., much of written by, ordealing with Marion Greenwood; some Robert Plate; some items dated, howevermostly not, but dated circa 1930s to 1970s.