The John Sloan Manuscript Collection

A Finding Aid to the John Sloan Manuscript Collection

Helen Farr Sloan Library & Archives, Delaware Art Museum
Wilmington, Delaware

The John Sloan Manuscript Collection is made possible in part through funding of the Henry Luce Foundation, Inc., 1998

Accessioned: Gift of Helen Farr Sloan, 1978
Extent: 145 linear ft., 23 flat files, 10 file cabinets
Access: Unrestricted
Processed: Sarena Deglin and Eileen Myer Sklar, 2002
Contact Information:
Helen Farr Sloan Library & Archives
Delaware Art Museum
2301 Kentmere Parkway
Wilmington, DE 19806
hfslibrary@delart.org

Table of Contents

Chronology of John Sloan
Scope and Contents Note
Organization of the Manuscript Collection
Description of the Manuscript Collection

Chronology of John Sloan

1871  Born in Lock Haven, Pennsylvania on August 2nd to James Dixon and Henrietta Ireland Sloan.

1876 Family moved to Germantown, later to Philadelphia, Pennsylvania.

1884 Attended Philadelphia’s Central High School where he was classmates with William Glackens and Albert C. Barnes.

1887  April: Left high school to work at Porter and Coates, dealer in books and fine

1888 Taught himself to etch with The Etcher’s Handbook by Philip Gilbert Hamerton.

1890 Began work for A. Edward Newton designing novelties, calendars, etc. Joined night freehand drawing class at the Spring Garden Institute. First painting, Self Portrait.

1891 Left Newton and began work as a free-lance artist doing novelties, advertisements, lettering certificates and diplomas.

1892 Began work in the art department of the Philadelphia Inquirer. Shared studio at 705 Walnut Street with Joe Laub. Fall: Enrolled in a class at the Pennsylvania Academy of the Fine Arts under Thomas Anshutz. Met Robert Henri at a party hosted by Charles Grafly.

1893 March: Co founded the Charcoal Club with Glackens and Henri during a five-month hiatus from the Academy. Became friends with George Luks and Everett Shinn. With Laub, rented Henri’s studio at 806 Walnut Street. Attended Beisen Kubota’s demonstration on Japanese brush technique.

1894 First public recognition of illustrations and poster style from Chicago magazines, The Inland Printer and Chapbook.

1895 December: Left the Inquirer and started to work on the Philadelphia Press. Became art editor of Moods: A Journal Intime.

1897 Began to paint seriously, inspired by Henri, mostly portraits.

1898 Began to paint Philadelphia city scenes. Summer: In New York working on the New York Herald. October: Returned to Philadelphia and resumed working for the Press. Met Anna Maria (Dolly) Wall.

1900 Illustrated Stephen Crane’s Great Battles of the World. Included for the first time in the Pennsylvania Academy Annual. October: Exhibited Walnut Street Theater, Philadelphia at the Chicago Art Institute. November: Exhibited Independence Square at the Carnegie Institute in Pittsburgh.

1901 Spring: Exhibited at Allan Gallery, New York, in the first independent group show organized by Henri. Began first major work in etchings, 53 plates for illustrations for a deluxe edition of the novels of Charles Paul de Kock. Married Anna Maria (Dolly) Wall on August 5.

1903 November: Left the Philadelphia Press but continued making “word charade” puzzles for the Press, which he continued to do through 1910. Painting Violinist, Will Bradner exhibited at the Society of American Artists.

1904 January: Exhibited in group show at the National Arts Club in New York. April: Moved to New York. September: Took an apartment at 165 West 23rd Street. Worked as a freelance illustrator for books and magazines.

1905 Made eight of the ten etchings of the New York City Life series. Received Honorable Mention for The Coffee Line at the Eighth International of the Carnegie Institute.

1906 January: Began diary (continued until 1913). Spring: Substitute taught for Henri at the New York School of Art. Began landscape sketching in oils during brief summer vacation. Four of his six etchings invited to the American Watercolor Society Exhibition were returned as being “too vulgar.” December: Received his first enthusiastic review for a New York scene painting, The Dust Storm, Fifth Avenue.

1907 Mother died August 28. October-December: Taught one day a week at the Pittsburgh Art Students’ League.

1908 February: Exhibition of The Eight at the Macbeth Gallery. May: Began to make lithographs.  Introduced to the Maratta Color System by Henri.

1910 January: Joined the Socialist Party. April: Exhibited with, and served as treasurer for, the Exhibition of Independent Artists. July: Met and became a friend of John Butler Yeats. November: Ran for a seat in the New York State Assembly on the Socialist ticket.

1912 January: Group exhibition at the MacDowell Club. Elected member of the Association of American Painters and Sculptors. May: Took a studio at 35 Sixth Avenue. October: Moved to apartment at 61 Perry Street. December: Became Acting Art Editor of The Masses.

1913 February: Moved to apartment at 240 West Fourth Street. February: Represented by two paintings and five etchings in the International Exhibition of Modern Art Armory Show. Sold painting, Nude, Green Scarf, to Dr. Albert C. Barnes.

1914 Resigned from the Socialist Party and stopped contributing to The Masses. First of five successive summers in Gloucester, Massachusetts.

1915 Received Bronze Medal for an etching at the San Francisco Pan-Pacific International Exposition. October: Moved to apartment at 88 Washington Place.

1916 January: First one-man exhibition at the Gertrude Vanderbilt Whitney’s studio, New York. February: One-man exhibition sponsored by Dr. John Weischel’s People’s Art Guild at Hudson Guild Social Center. Began long-time association with the Kraushaar Galleries. April: Resigned from The Masses and subsequently left the Socialist Party. Taught privately at Gloucester during the summer and then full-time at the Art Students’ League.

1917 Father died. March: First one-man show at Kraushaar Galleries. April: Helped hang the first exhibition of the Society of Independent Artists at the Grand Central Palace.

1918 Elected president of the Society of Independent Artists. Founding member of the Whitney Studio Club.

1919 First trip to Santa Fe, New Mexico with Dolly, Randall and Florence Davey. Duncan Phillips purchased Clown Making Up for the recently incorporated Phillips Memorial Collection.

1920 Bought an adobe house in Santa Fe on 314 Garcia Street where he spent four months each year except 1933 and 1951. Arranged for first exhibition of contemporary Indian paintings in New York at the Society of Independent Artists.

1921 First sale of a painting to a major museum: The Dust Storm, Fifth Avenue to the Metropolitan Museum of Art. Trip to Hopi Snake Dance.

1922 February: Death of John Butler Yeats, his close friend.

1923 Sold twenty oil paintings to George Otis Hamlin, of New York. Was visiting critic at Maryland Institute of Art, Baltimore, MD.

1924 Served on jury of American section of Carnegie International. Resigned from the Art Students’ League.

192 Returned to the Art Students’ League.

1926 Awarded the Gold Medal for the etching Hell Hole at the Philadelphia Sesqui-Centennial International Exposition. Mrs. Whitney gave a complete set of etchings to the Metropolitan Museum of American Art.

1927 Moved to 53 Washington Square.

1928 Subject matter now includes more single figure pieces. Began technique ofmonochrome under-painting with superimposed oil varnish glazes, separating form and color, adapting the method of Old Masters like Rubens and Titian.

1929 Elected to the National Institute of Arts and Letters. Substituted tempera for oil under-painting and began using line work superimposed over glazes. Death of Robert Henri.

1930 Received Carroll H. Beck Gold Medal for Vagis, the Sculptor at the Pennsylvania

1931 Made Honorary Member and elected president of the Art Students’ League.

1932 Began teaching drawing and painting at the of Ecole d’Arte, Archipenko’s School, until February, 1933. Resigned as president of the Art Students’ League. President, Exposition of Indian Tribal Arts. A founder of Washington Square Outdoor Show. December: Exposition of Indian Tribal Arts at the Grand Central Galleries.

1933 Refused the invitation to Moscow by the American Section of the International Bureau of Revolutionary Artists. Sent letter to sixty museums offering paintings at half price.

1934 Following George Luks’ death, elected head of the George Luks School by the students and executors; taught there until May, 1935. Treasurer, Artists and Writers Dinner Club.

1935 Returned to Art Students’ League and continued to teach there until 1937. Sold Pigeons to the Museum of Fine Arts, Boston, as a result of his 1933 offer of paintings at half price. Moved to Hotel Chelsea, 222 West 23rd Street.

1937 Made 16 etchings to illustrate Somerset Maugham’s Of Human Bondage.

1938 March: Retrospective exhibition at the Addison Gallery of American Art, Massachusetts. Death of William Glackens.

1939 Published, in conjunction with Helen Farr, Gist of Art. Painted mural for the Treasury Department Art Program in Bronxville, New York, Post Office.

1940 Started to build Sinagua, six miles from Santa Fe.

1941 Testimonial dinner at Petitpas’ by the directors of the Society of Independent Artists in celebration of its 25th Anniversary and Sloan’s 24th as president. June: One-man exhibition at the Museum of New Mexico, Santa Fe.

1942 Received first prize of $500 for the etching, Fifth Avenue, 1909 in the exhibition called Artists For Victory. Elected to the Academy of Arts and Letters.

1943 Death of Dolly Sloan on May 4. Convalescence in Santa Fe, fall and winter.

1944 Married Helen Farr on February 5, a pupil and long time friend of the Sloans. Elected President Santa Fe Painters and Sculptors.  Resumed writing diaries.

1945 February: Exhibition of etchings at the Renaissance Society Gallery, University of Chicago, where Sloan delivered the Moody lecture. October: Twenty-two paintings, some etchings and lithographs in the Artists of the Philadelphia Press exhibition at the Philadelphia Museum of Art.

1946 July: Retrospective exhibition at Dartmouth College, Hanover, New Hampshire, in honor of his seventy-fifth birthday.

1948 February: Retrospective exhibition at the Kraushaar Galleries.

1949 President of New Mexico Alliance for the Arts.

1950 May: Awarded the Gold Medal for painting by the American Academy of Arts and Letters. Elected to the American Academy of Arts and Sciences. Last summer spent in Santa Fe.

1951 Died on September 7, of post-operative complications, in Hanover, New

Scope

The John Sloan Manuscript Collection includes correspondence with artist friends and others, personal and family papers, financial and legal records, organizational matter, photographs of Sloan, his family and friends, paintings and drawings, printed matter about Sloan and related artists. Among the correspondents are: Robert Henri, Will Shuster, Walter Elmer Schofield, George Luks, William Glackens, John Butler Yeats, A. E. Gallatin, Rockwell Kent, John Kraushaar, Walter Pach, John Cotton Dana, and George Otis Hamlin. Biographical & Personal include the John Sloan diaries, spanning the years 1906-1913 and 1944-1951. Organization matter includes files on the Art Students’ League, Exposition of Indian Tribal Arts, Artist’s Equity Association, Hall of Art, Artist’s and Writer’s Dinner Club, American Academy of Arts and Sciences, American Academy of Arts and Letters, American Artists Group, Hudson Guild, League of American Artists, New Society of Artists, Society of Independent Artists, PWA Project, Municipal Art Committee, Armory Show, and Macbeth Galleries. Photographs are of Sloan, his family, friends, home and studio in Gloucester (MA), New York, Philadelphia (PA), Santa Fe (NM), Art Students’ League (NYC), Artists Equity Association (NYC), Charcoal Club (Philadelphia), Luks School, Pennsylvania Academy of the Fine Arts (Philadelphia), and Philadelphia Theatricals. Printed Matter consists of published material on individual members of The Eight, persons affiliated with Sloan, bibliography, auction and exhibition catalogs. The remaining series contain information on Maratta, catalog cards, Helen Farr Sloan notes, John Sloan notes, sketchbooks, miscellaneous art objects, Helen Farr Sloan family photographs, and files pertaining to Rowland Elzea. The flat files consist of original art work by persons affiliated with Sloan, newspaper and magazine illustrations, Maratta color charts, printers’ proofs and scrapbooks.

Organization of the Manuscript Collection

Series I. Correspondence, 1881-current
Series II. Biographical & Personal
Series III. Legal & Financial
Series IV. Organizational Records
Series V. Society of Independent Artists
Series VI. Photographs & Photographic Material
Series VII. Printed Matter
Series VIII. Print Catalogue Raisonné
Series IX. Illustration
Series X. Maratta
Series XI. Catalog Cards
Series XII. Miscellaneous
Series XIII. Art Media
Series XIV. Original artwork
Drawer List

Description of the Manuscript Collection

Series I. Correspondence

Series I, Correspondence, is organized into two sub-series, Original Correspondence and Correspondence Photocopies. Each is arranged chronologically with the exception of Box 17. The correspondence index is arranged alphabetically by sender, 1800s-1951.

Original Correspondence

Box 1A 1881-1906

Box 1B 1907-1909

Box 2 1910-1914

Box 3A 1915-1922

Box 3B 1923-1929

Box 4 1930-1936

Box 5  1937-1941

Box 6  1942-1946

Box 7 1947-1951

Box 8 1951-1952

Box 9 1952-1966

Box 10 1967-1971

Box 11  1972-current

Box 12 Material not owned by DAM regarding Will Shuster from Archives of American Art and the Estate of Will Shuster

Box 13 Scholar, Elzea, Rowland

Box 14 Scholars, alphabetical (A-D)

Box 15 Scholars (F-K)

Box 16 Scholars (L-Z)

Box 17  Undated correspondence, correspondence organized by name, Christmas cards

Box 18  Illustrated letters

Correspondence, Photocopies

Box 19 1881, 1888, 1893-1909

Box 20 1910-1929

Box 21 1930-1938

Box 22 1939-1942

Box 23 1943-1945

Box 24 1946-1949

Box 25 1950 – Sept. 13, 1951 and Sept. – Nov. 1951 telegrams from John Butler Yeats and Robert Henri

Box 26  John Butler Yeats & Robert Henri

Administrative Note: Correspondence located throughout collection is not included in Series I, Correspondence.

Series II. Biographical & Personal

Box 27  Oversize materials: Greenwich Village Declaration of Independence (photocopy and negative); Illustrated letter from John Sloan to Robert Henri, November 13, 1912 (matted

Box 28 Chronologies, Referential biographies, Certificates, Memorial address, Obituary, Tickets

Box 29  Typed remembrance from Marianna Sloan, Genealogies, Obituaries, Business address listings, Certificates, Press passes, photocopy of family bible

Box 30 Diet, Horoscope, List of models, Personal papers

Box 31 1890s: Sloan bible 1890, Album of published works 1895, Philadelphia Theatricals playbills, manuscripts & tickets, Original poetry, Chapbook, PAFA tickets & invitations

Box 32 Address books

Box 33  Sketches & caricature of Sloan, Childhood stamp book collection

Box 34A Original diaries, 1906-1913

Box 34B Original diaries, 1944-1951 (no 1945—Sloan did not keep a diary in 1945)

Box 34C Photocopies of original diaries, 1906-1913

Box 34D Transcribed diaries, 1906-1910

Box 34E Transcribed diaries, 1911-1913

Box 34F Transcribed diaries, 1944-1951

Box 34G Notes by Sloan and HFS about diaries: “The Hairdresser’s Window” JS Diary 1947; John Sloan Notes 1950; 1950 notes; HFS note on JS diaries

Box 34H Miscellaneous items: Sayings of John Sloan (3 notebooks), Art notes (2 notebooks by Helen Farr Sloan), Art and Philosophy, Packet of empty envelopes from Sloan to Dolly, Card file of students contacted about J. Sloan’s teaching notes, 3 medals from the National Portrait Gallery, Smithsonian Associates, Dag Hammersjold Memorial-Key to New York; In box marked “JS”: 2 silver spoons, souvenir spoons marked Albuquerque, NM, 2 pocket watches, box of “Sloan’s studs.”

Administrative Note: The contents of Box 34H are not directly related to the diaries, however, provenance dictates that these items be catalogued immediately following the diaries. A revised box numbering system would resolve this issue.

Series III. Legal & Financial

Box 35 Inventory of works of art

Box 36 Consignment lists – Kraushaar

Box 37 Sales and record books, 1901 – 1965

Consignment books, 1920 – 1951

Box 38  Sales and record books – Photocopies

Consignment books – Photocopies

Box 39 Income tax, 1921-1944

Box 40  Quinn estate, 1928

Series IV. Organizational Records

Series IV. Organizational Records contains articles of incorporation, minutes, treasurers’ reports, project reports, membership lists, printed matter, correspondence, newsletters, manuscripts, insurance policies, legal and financial material, clippings, royalty statements, contracts, photographs, and bibliography.

Box 41-43 Exposition of Indian Tribal Arts

Box 44 Art Students League

Box 45 Hall of Art (Art Appreciation Movement)

Box 46  Artists Equity Association

Box 47 Delaware Art Museum related materia

Box 48 American Artists Group; Artists and Writers dinner; Hudson Guild; American Academy of Arts and Sciences; Public Works of Art; Whitney/Force material; Municipal Art Committee; Charcoal Club

Box 49 1908 Macbeth Galleries; 1910 Independent Artists; 1913 Armory Show; 1937 WPA radio interview

Series V. Society of Independent Artists

Box 50 Correspondence (1918-1959)

Box 51 Correspondence Photocopies

Box 52 Memberships (1929-1944), mailing lists, floor plans I & II

Box 53 Votes for board

Box 54 Minutes and leases, censorship case, advertisement contracts, bills & receipts (1925-1946), SIA corporate seal embosser

Box 55 Financial records and bank statements

Box 56 Financial records, petty cash

Box 57 Checkbooks and stubs, audit reports, deposit books

Box 58 Cash books (1917-1941)

Box 59 General ledgers, general journals, sales books (1917-1941)

Box 60 Notes, statements

Box 61 Miscellaneous

Box 62 Photographs – Artists filed alphabetically by last name (1939-1940); Installation of 1940 exhibition, donated by Fred Buchholz, 1978; Unknown artists

Box 63 Photographs – works arranged alphabetically by artist (A-K)

Box 64 Photographs – works arranged alphabetically by artist (L-Z)

Box 65 Exhibition catalogs, 1917-1925

Box 66 Exhibition catalogs, 1926-1937

Box 67 Exhibition catalogs, 1938-1944

Box 68-72 Exhibition catalogs – Duplicates

Box 73 Exhibition catalogs, 1917-1944 – photocopies

Box 74 Tickets, membership, brochures, applications, notices

Box 75 Periodicals

Box 76 Miscellaneous

Box 77 Scrapbooks, 1931-1933

Box 78 Scrapbooks, 1938-1939

Box 79 Scrapbooks, 1941-1942

Box 80 Scrapbooks, 1935-1937

Series VI. Photographs

Series VI, Photographs, is organized into twenty-seven sub-series (accession codes) as outlined below.

Photographs:

Box 81-116

Code

1  Artwork

2 Exhibitions

3 Gloucester, MA

4 Lock Haven, PA

5 New York

6 Organizations

7 Philadelphia, PA

8 Portraits, John Sloan Family

9 Portraits, Dolly Wall Sloan Family

10 Portraits, Dolly Sloan

11 Portraits, Helen Farr Sloan

12 Portraits, John Sloan

13 Portraits, John & Dolly Sloan

14 Portraits, John & Helen Sloan

16 Portraits Group w/ John Sloan

17 Portraits, Group w/o John Sloan

18 Portraits, Female

19 Portraits, Male

20 Santa Fe, NM Other

21 Santa Fe, NM Celebrations — Fiesta

22 Santa Fe, NM 1919 Car Trip

23 Sloan Studio

24 Santa Fe, NM Sinagua (built 1940)

Box 117  Witter Bynner / Ernest Knee / Cady Wells; Photographs printed from negatives purchased by Gary Ruttenberg, received by Helen Farr Sloan on June 23, 1997; Letter from Gary M. Ruttenberg to Helen Farr Sloan, dated May 21, 1997; Witter Bynner original negatives; Photocopy of letter from Sloan to Alice Henderson, dated October 15, 1943; Photocopy of SIA postcard from Sloan to Will Shuster, dated March 1, 1921

Oversize Photographs:

OV Box 1 Photographic portraits of Sloan by Gertrude Kasebier, Arnold Newman, other photographers

OV Box 2  Photographic portraits of Sloan by Berenice Abbott

OV Box 3 Miscellaneous oversize photographs

OV Box 4 Dolly / Helen Farr Sloan / John Sloan with Dolly / John Sloan with HelenFarr Sloan / Female / Male / Santa Fe / Art Students League

Photographic Material:

Box 118-119 Lantern slides of JS etchings made c. 1935

Box 120-123 Glass plate negatives, JS paintings

Box 124-129   Negatives

Series VII. Printed Matter

Box 130  The Eight – Davies, Glackens, Lawson

Box 131 The Eight – Luks, Prendergast, Shinn

Box 132 The Eight – Robert Henri

Box 133  The Eight – Robert Henri – Exhibition catalogs

Box 134 The Eight – George Luks (Permission to publish this information must be obtained from owners of original material. Original material not owned by DAM.)

Box 135 De Kock (Quinby) – Sloan, Glackes, Luks, Shinn

Box 136A/B The Eight – William Glackens. Illustrations from De Kock series (1902-1904) and other Glackens illustrations

Box 137  Persons affiliated with Sloan (A-L)

Box 138 Persons affiliated with Sloan (M-Z)

Box 139 Sloan pupils (A-L)

Box 140A/B Sloan pupils (N-Z)

Box 141 Socialism, Art Nouveau

Box 142 Invitations, Sloan omitted

Box 143 Commercial galleries, ads, catalogs, Kraushaar

Box 144 United States Postal Stamp, 1971

Box 145 Related to books

Box 146 Reproductions I

Box 147 Reproductions II

Box 148 Institutional bulletins (1934-1969)

Box 149 Institutional bulletins (1970-current)

Box 150 Lock Haven, PA; Williamsport, PA

Box 151 Printing techniques

Box 152-171 Auction catalogs

Box 172-212 Exhibition History

Box 213-224 Bibliography

Series VIII. Print Catalogue Raisonné

Box 225-229

Series IX. Illustration

Box 231 Illustration: Sketchbook with schemes for A. Edward Newton Novelties (photocopy), 1890; Illustrations not by John Sloan from magazines; Illustration file owned by Sloan, 1890s; Illustration for The International Socialist Review; Illustrations, 1891-1897, freelance; Illustrations, 1898-1927; Illustrations for magazines other than The Masses; Bradley Coal, poems and drawings; Bradley Coal, printers proofs; Bradley Coal, 1890-1903, Theodore Roosevelt; Program cover for theater performance of Our American Cousin; Talk with Harry Wickey re. Mitch Miller (Masters) and Mortal (Max Miller); Manuscripts for Sloan illustrations (Cadmium, The Man With the Broken Fingers, On the Rialto, The Three Questions, The Xantippe Interlude); Program cover for performance by William Warfield, March 19, 1950

Box 232 De Kock: printed matter, notes, editions

Box 233 Printers’ proofs for The Masses, The Coming Nation, and misc., 1907-1914; Sheet music illustration by Sloan; Reproductions

Box 234 The Masses: Correspondence; Notes; Verbatim notes, HFS, of Sloan; Notes, HFS & PM on Max Eastman; Verbatim notes, HFS, of interview of Sloan by Robert Simpson, NY Times (1947); Annual meeting, 1916, Sloan original notes; Photocopy; types; John Lyons’ typed notes; “The Masses 1913-1917″ typed manuscript by Carl Zigrosser; sent HFS; published; Photocopies of Sloan sketchbook, 1934; Printed matter

Series X. Maratta

Box 235-236   Brochures, charts, pigment, color triangles, technical recipes, chromatoscopes, HFS notes, Henri color material, thesis: H.G. Maratta’s color theory and its influence on the painters: Robert Henri, John Sloan, and George Bellows, Elizabeth Armstrong Handy Hawkes, 1969.

Series XI. Catalog Cards

Box 237 Drawings (cards with drawings numbered)
Box 238 Illustrations (dated chronologically)
Box 239 Sloan paintings – sales (A-Q)
Box 240 Sloan paintings – sales (R-XYZ), nudes (A-XYZ), landscapes (1906-1911)

Series XII. Miscellaneous

Box 241 3 records, 78 rpm
Box 242 Robert Henri – Original backing board for DAM 2011-47 with label from Amory Show; List of works loaned by Henri to the Humorists’ Exhibition at the National Arts Club, Dec. 7-30, 1921 (some of these works are in DAM collection)
No Box 243
Box 244 Art objects – bird ashtray, Indian box, Sloan’s pipe, tobacco can, framed portrait of Yohol Micco, Creek Chief
Box 245 CONTENTS TRANSFERED TO SERIES XIV. ORIGINAL ART WORK, BOX 280
Box 246 The Wards and the Sloans (1990) research and production files
Box 247 Marcus Ward original material (books and cards)
Box 248 Archives of American Art
Box 249 John Sloan – Notes (writings, speeches, lectures, poems, cards on etchings, notes on music, answers to puzzles, technical data collected)
Box 250 John Sloan – Notes
Box 251 Helen Farr Sloan – Notes
Box 252 Helen Farr Sloan – Notes
Box 253 Will Shuster Loan (3/29/89) See finding aid for “Letters from John Sloan to Will and Selma Shuster, undated and 1921-1947”
Box 254 Miscellaneous negatives (includes copy of Declaration of Independence of the Greenwich Republic)
Box 255 Sketchbooks 1-5 (William Glackens sketchbook housed in Works on Paper GC Box 204)
Box 256 Sloan 16mm film
Box 257 Miscellaneous
Box 258 Multi-media material
Box 259 Audio cassettes
Box 260 VHS cassettes and DVDs
Box 261 Sloan miscellaneous scrapbooks (2)
Box 261A Scrapbooks #6, #7, misc.
Box 261B Scrapbook #8
Box 261C J.S. illustration file, 1898-1903; Maratta color charts; Original artwork by persons affiliated by Sloan (oversize)
Box 261D-F Scrapbooks (3) – Philadelphia Press puzzles

Series XIII. Art Media

Box 262-273 Etching plates
Box 274 Etching tools
Box 275 Art media: paints, pigment, chalk, charcoal, pochade, etching tool box

Series XIV. Original Artwork

Box 276 John Sloan Drawings (#1-249) – CONTENTS TRANSFERRED TO PERMANENT ART COLLECTION
Box 277 Persons affiliated with Sloan – CONTENTS TRANSFERRED TO PERMANENT ART COLLECTION
Box 278 Will Shuster – Sloan collection – CONTENTS TRANSFERRED TO PERMANENT ART COLLECTION
Box 279 Robert Henri – CONTENTS TRANSFERRED TO PERMANENT ART COLLECTION, 2011
Box 280 Marianna Sloan lampshade – CONTENTS TRANSFERRED TO PERMANENT ART COLLECTION, 2004
Box 281 Native American drawings – 23 original drawings by male Native American students from Santa Fe, New Mexico, possibly in their early twenties. These young men were taught by tribal descendants on the reservation. The students sold their drawings in the Santa Fe market, particularly during the Santa Fe Fiesta. John Sloan purchased the drawings over a period of years beginning in the 1920s. A small number were purchased by Helen Farr Sloan.  Transferred from the Permanent Collection.

Drawer List

1 Gist of Art
2 Miscellaneous illustrations, proofs, etc.
3 Oversized reproductions
4 A mixture of prints (Sloan – ?)
5 Matted objects
6 The Philadelphia Inquirer—1892, 1894
7 The Philadelphia Inquirer—1895, 1896
8 The Philadelphia Inquirer—unknown date
9 The Philadelphia Press—The Genial Idiot and Paul Palette
10 The Philadelphia Press—large pages and supplements
11 The Philadelphia Press—Sunday Supplements color puzzles, 1900
12 The Philadelphia Press—Sunday Supplements color puzzles, 1901
13 The Philadelphia Press—Sunday Supplements color puzzles, 1902 and index
14 The Philadelphia Press—black and white puzzles—1909, 1910
15 Miscellaneous newspaper illustrations
16 The New York Call
17 Book and sheet music illustrations
18 Portfolio