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Virgil Barker papers

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Virgil Barker papers, 1899-1964 | University of Miami Special Collections

By William E. Brown and Karen Hudson

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Collection Overview

Title: Virgil Barker papers, 1899-1964Add to your cart.

ID: ASM0023

Creator: Barker, Virgil (1890-1965)

Extent: 13.0 Boxes. More info below.

Arrangement:

SERIES I: CORRESPONDENCE, arranged chronologically, relates to Barker's professional positions including his work as editor of The Arts magazine, as University of Miami professor of art history, and as director of the Lowe Art Gallery.  Letters also involve inquiries by museums, universities and collectors on various works of art, student recommendations and letters praising Barker's classroom lectures and correspondence with family and friends. Correspondence with critics and scholars concerns art history and Barker's writings.  Prints of paintings and photographs of sculptures are included in the files.

Letters dated 1915-30 concern Barker's work in museums and reviews of the work of artists Alfred Stieglitz, Allen Tucker, Henry Lee McFee, and others.  Correspondence dated 1920-24 relates to a biography of Abbott Thayer and includes copies of Thayer's correspondence and other papers dated 1876-1905.   Barker's review of the work of P. Bryant Baker is documented in letters from 1913-20, clippings, photographs of Baker's sculptures and exhibition programs. 

Correspondence also contains critics' evaluations and artists' responses.  Letters from Henry Van Poon express approval of Barker's review: "It really is a great pleasure to me to have such a sympathetic and intelligent write up." (January 11, 1924)  Allen Tucker writes "I am very much complimented that you should think of writing anything about my work.  And as you probably know I have a high opinion of your opinion."

Letters from Alfred Stieglitz concern Barker's reviews of his work, and Barker describes the beginning of his association with Stieglitz:  "There came a time for me to write a piece about John Marin, and the necessity of seeing a lot of his pictures led me to having sessions with Stieglitz behind the scenes, so as to say, and after the hours of the regular gallery performances.  At these times he was no less the prophet, but the stream of verbiage was interrupted by stretches of silence in which he apparently listened to me or even allowed me to listen to the pictures.  From this basis, my curiosity and respect, together with his tolerance for my immaturity, brought several dinners and evenings back and forth

between O'Keefe and Stieglitz, my wife, and myself."

Stieglitz personality influenced Barker, as later writings reveal, and Barker appreciated Stieglitz's work.  In contrast to other critics, Barker respected photography as a form of art. Steglitz's wrote that one critic "just doesn't see" while another "isn't 'sympathetic, " and described criticism  as "a great and rotten game everywhere." Barker wrote a favorable review of Stieglitz's controversial cloud images: "Can a photograph be a work of art? An entire number of that unperiodical periodical entitled Manuscripts was devoted to a symposium on that question.  And all those words by all those writers, whether for or against, are turned into empty chatter by the wordless sky-songs of Alfred Stieglitz.  To one individual they came as a revelation -- a call to

adventure, an enlargement of experience, a spiritual release. A perceiving soul had trapped sublimity in a machine and on sheets of

paper a hands breath wide has fixed immensity."

Other letters relating to The Arts cover trends and exhibits in Europe.   Letters from Barker dated 1925-26 provide a record of his experience as European editor, while several from Lloyd Goodrich, also an editor of the arts, discuss Paris in 1927. Letters include correspondence with Miami artist, and Barker's personal friend, Theodore Spicer-Simson.  In a series of letters, T.S. Eliot declines Barker's invitation to publish his comments on the visual arts. 

Among the remaining correspondence, arranged topically, are letters concerning a request to "ghost write" an introduction to "A Memorial Volume of Virginia Historical Portraiture, 1585-1830." Author Ellen Glasgow agreed to serve as the "distinguished Virginian" who authored the introduction, provided the material was "prepared."  As correspondence, copies of the manuscript and an article entitled "Ghosting for Ellen Glasgow" reveals, Barker acted

as the "ghost," writing the material which Glasgow altered "to make

it more her own." Correspondence relating to articles for the Dictionary of American Biography and  Encyclopedia Britannica includes questionnaires, iographical data and  articles. 

SERIES I also includes materials from publishers, University of Miami memos, materials relating to the Lowe Art Gallery and articles written for

a university library publication, The Carrell.

SERIES II: WRITINGS includes several articles on American painting. "On Being Released From School" concerns Barker's views on teaching and his desire to write an autobiography. Clippings and copies of articles and reviews from The American Magazine of Art, The Arts, The Saturday Review of Literature, Yale Review and other magazines and newspapers also appear in this series.  Books in

SERIES II include the bibliography, post script and appendices for

"American Painting" as well as a partial manuscript of "Old Bruegel: the Biography of a Mind."  An outline, observations on the progress of the work, research, interpretations of Bruegel's works, a catalog of works and exhibition programs also relate to Barker's work on Bruegel. 

A series of 37 lectures, dated 1952, focuses on the history of American art.  A lecture "Among the Survivors Are..." given at Sarasota in 1958 describes Barker's place within the art world: "I have not been a doer but a watcher...American paintings have been my main means of sharing in the life of my time."  Barker's "Contemporary American Painting: A Survey" dated 1925-26 appears among "miscellaneous writings."  Barker wrote this article in Nice, France, as a "contribution...to the 'literature of discovery' which is helping to bring about a greater measure of cultural self-consciousness and effectiveness." This work reveals Barker's

identification with "Gertrude Stein's Lost Generation." Also included in miscellaneous writings are "The Continuation of mpressionism," "Opening for an article on Reynolds," and "Introductory Ideas" for other writings.

Notes relate to research on art and artists, but include autobiographical writings and analyze influential relationships. Notes on M.F. Barker include remarks on family history recorded by Barker's mother. Mrs. Barker wanted her son to become a preacher and opposed his move from the family-run seminary in Virginia to become an art critic in New York.  Notes dated 1924-40, describe conflicts, and a letter to his mother written almost 30 years after her death reveals the impact of this relationship.

Autobiographical writings also relate to Barker's relationship with his wife, Ida, who served as travelling companion, proofreader, editor and fellow art critic.  Since Virgil Barker was handicapped by partial deafness, Ida also provided Virgil with information he missed in conversations.  In "a letter to my wife Ida" Barker writes that "you saved my life in a physical sense you also saved my soul in becoming for me a bridge to the comprehension of life and art and many people."

Autobiographical writings arranged in chronological order concern various experiences--attending school, teaching at his parents' seminary, working as a museum director and becoming an art critic.  Other files organized under topical headings relate to artists and critics, books, public men and works of art.  Barker's diary and "notes from the Diary of Bessie Mallicote" document his trip to Europe 1925-26. Notes are also organized into chapter headings for a work entitled at various stages "Another Book," "Another Autobiography with Notes on Artists in My Time" and "One More Man's Autobiography with Notes on Some Art and Artists in My Time."  Notes also provide a motive for these writings: "I believe that all I am after is self-discovery.  ...I want to explore myself by writing myself out; and so strongly do I want to do this that I am willing to do it even if no one else is ever interested.  Of

course, I hope that I can make something printable of it, but that is not absolutely necessary for my happiness.  The only necessary thing is self-discovery."

A diary, address book and calendar pages contain addresses of museums, collectors and galleries, records of exhibits, schedules

and other notes.  An outline on American studies provides Barker's

views on areas in need of exploration, methods of stimulating research in the field and recording of scholarship. Miscellaneous notes include domments on criticism, Florida,  and other topics as well as excerpts from books on art, novels, reviews and other sources.  Notes on art include Barkers comments--quotable material on art, architecture and individual artists. 

Notes on art styles include brief introductions on such as neo-Romanticism, surrealism, regionalism, as well as on topics such as mural painting, illustration as an art form, portrait and landscape painting and others.  Each topic also includes biographical and critical notes on representative painters.

Clippings and quotations from other critics and historians appear

among the files. Notes on artists include research as well as comments on contemporaries. Notes on Picasso include an outline for a lecture given by Barker in 1957, quotes from the artist and Barker's interpretations of Picasso's work.  Notes on Leonardo da Vinci also include a lecture prepared by Barker.  A manuscript entitled "Dalinese" appear among notes on Salvador Dali, which date from 1941-43.   Notes on other artists, consisting of clippings, quotations, and original interpretations, cover the lives and works of Abbott Thayer, Seurat and Renoir,  and Samuel Earl Fraser. Extensive research on John Singleton Copley includes notes, exhibit programs and clippings. Biographical and critical notes on Whistler also appear in this series.

Notes also include information on miscellaneous individual painters and groups of painters, such as the "Immaculate" and abstract painters.  Lists derived from Dictionary of American Biography, Notable American Women, and other sources, as well as reproductions of works and clippings on artists comprise notes on women painters. Notes on Stieglitz reveal Barker's interest in this artist whom he considered "the most impressive personage I ever known." Notes include observations on Stieglitz and "The Photographer," "The Prophet" "The Editor" and "The Dealer." Quotes, clippings dated 1946-52, and an announcement for "The

Intimate Gallery Exhibition February 28-March 27 1928" are included

in these files.  In "Stieglitz: A Partial Portrait" Barker considers several issues--the place Stieglitz should occupy in American art; the power of his personality; and his influence over the circle of artists Barker referred to as the "disciples." 

Copies of letters, articles and Barker's responses to art critics 1916-60 appear in notes on critics.  Notes include comments on critics Bernard Berenson and Herbert Read as well as clippings of their reviews, annotated by Barker.  Notes on public men contains an unfinished draft of "Public Men in Public."  Among the notes for writings are research, outlines and ideas for "An Essay on the Essay," and "Three Paintings of Danger," as well as the books "America Painting" and "American Painters in My Time." Notes on fiction include ideas for stories, and  "The Shattered Dream" a story dated 1922.

Lists provide a record of Barker's writings.  A series of lists reveal the painters selected for art surveys, and highlight artists contributing to a "Revolution in Subject" or "Revolution in Form."  Notes for the University Community Report relate to a University of Miami "community planning" committee.

SERIES III: TOPICAL FILES/MISCELLANEOUS MATERIALS contains

postcards, photographs and clippings pertaining to the Chevy Chase

area and to the Chevy Chase College and Seminary, directed by Barker's parents. Barker's report cards, school records and writings for the Bordentown Military Institute newspaper "The Skirmisher" also appear in this series.  Programs, postcards, and photographs from 1909-11 focus on Barker's years at Harvard and a trip to Europe.  Catalogs, calendars, yearbooks, newspaper clippings, and other records document activities of the Chevy Chase College and Seminary 1904-17.  Alumnae records reveal that the girls' school drew students from around the United States as well as from Cuba, Mexico, China and other countries.  Barker taught for a brief period, and class records appear among the files.

Art exhibition programs, newspaper clippings and quotes from letters regarding The Arts relate to Barkers activities from 1917-27.  During this period Barker acted as curator and director for various museums, ccepted the position as editor of The Arts in 1920 and wrote articles an art history, and also lectured and composed the text for gallery programs. Clippings dated 1922-25 pertain to Barker's lectures and include reviews of Pieter Bruegel, The Elder.  Prints and drawings in this series include lithographs, a drawing by Arthur B. Davis, and other works.  Interviews include questionnaires in addition to printed interviews from periodicals, newspapers and University of Miami publications.  Articles provide biographical information as well as Barker's opinions on issues such as the function of art in society, the definition of art and his role as an art historian. Clippings include reviews of Barker's writings and lectures, magazine articles on art criticism 1921-60, and art and book reviews dated 1922-63 and other articles.

Formats/Genres: Letters

Languages: English

Scope and Contents of the Materials

The Virgil Barker Papers document the career of an influential critic and historian, and provide a interesting record of American art history from 1920-60.  The papers contain Barker's writings on art history, American culture, literature, his own life and critical perspective, the post-World War I generation and other topics.  In addition to Barker's writings and correspondence, programs from European and American art exhibitions, newspaper and magazine clippings, prints, sketches and other materials appear among the papers.

Biographical Note

Art critic and historian Virgil Barker was born in Abingdon, Virginia, in 1889.  He attended the Bordentown Military Institute, Harvard University and the Corcoran School of Art.  Barker began his professional career in 1919, serving as special assistant for the biennial exhibitions at the Corcoran Gallery in Washington D.C.

At the Carnegie Institute in Pittsburgh, he held the position of Curator of Paintings, and in 1920 he became director of the Kansas City Art Institute. 

Following this period of museum work, Barker began writing art history and criticism.  He joined the editorial board of The Arts, serving as associate editor and later as contributing editor. Working as an art critic in New York during the 1920s, Barker "came to know well many of the many important American painters who gravitated toward Alfred Stieglitz and Gertrude Vanderbilt Whitney

and whose works dominated American painting between the two wars."

During 1925-26 Barker acted as foreign editor, travelling through Europe to cover exhibitions.  The Arts, which ceased publication in the late 1930s, remains a significant record of the art and art

criticism of this period. 

In 1931, Barker joined the University of Miami as a professor of art.  Praised as a great scholar and superb lecturer, he became a popular teacher.  Barker remained at the University for twenty-

eight years and promoted the visual arts in greater Miami and the University.  Barker wrote several reviews for the Miami Herald as well an article on the art of Vizcaya. In addition to teaching, he

served as a trustee at the University of Miami and played an instrumental role in the establishment of the Lowe Art Gallery, serving as its first director in 1950.  In 1951 the University recognized Barker's scholarship awarding him the honorary Doctor of

Letters degree.  Barker's reputation as a scholar and teacher also led to his appointment by the Carnegie Foundation to an American Studies committee in 1956.  Barker's responsibilities included selecting slides and writing text on colonial American painting for art history courses. 

Barker also contributed to the knowledge and interpretation of American art through his writings.  Barker served on the editorial boards of The Arts and The Art Bulletin, Art and Archaeology, The

Magazine of Art, and Art in America.  He contributed articles and reviews to Art in America, The Magazine of Art, The Yale Review, Saturday Review, and other magazines.  Barker's first book Pieter Bruegel, the Elder, published in 1926, was the first work on Bruegel written in English. In 1931 Barker published a monograph on Henry Lee McFee as well as A Critical Introduction to American

Painting. 

Barker travelled throughout the United States for ten years, surveying paintings in museums and private homes for his next book, American Painting: History and Interpretation, published in 1950.

The work, which presents American painting within its historical context and includes original interpretations, received favorable reviews.  Author, critic and museum director Lloyd Goodrich

described the work as "...the best history of American painting so far written...it will be the definitive work in its field for a long time to come."

Barker's final work, From Realism to Reality in Recent American Painting (1959) contains a series of Barker's lectures. He also wrote numerous biographies of American painters for the Dictionary of American Biography, and Arts of the United States, as well as articles on Colonial American painting and John Singleton Copley for the Enyclopedia of World Art.  Barker was a member of

the College Art Association, and Association Internationale D'Art. The University of Miami Lowe Art Museum organized the Virgil Barker Memorial Collection of American Paintings following Barker's death in 1965, and numerous friends and colleagues donated to the collection.

Subject/Index Terms

Art, American - 20th century
Art criticism
Barker, Virgil, 1890-
Joe and Emily Lowe Art Gallery (University of Miami)
Photographers - United States
Photography, Artistic
Stieglitz, Alfred, 1864-1946

Administrative Information

Alternate Extent Statement: 6.50 Linear ft.

Access Restrictions: This collection is open for research.

Use Restrictions: Virgil Barker Papers Finding Aid© 1993 University of Miami. All rights reserved. Permission to publish materials must be obtained in writing from the Head of Special Collections.

Container List (PDF): http://proust.library.miami.edu/findingaids/legacy/asm0023CL.pdf


Box and Folder Listing


Browse by Series:

[Series 1: Correspondence],
[Series 2: Writings],
[Series 3: Topical Files],
[All]

Series 2: WritingsAdd to your cart.
Box 3Add to your cart.
Folder 25: "On Beings Released from School", n.d.Add to your cart.
Folder 26: "Is Abstraction Becoming Less Abstract?", n.d.Add to your cart.
Folder 27: "Why Do People Collect Art?", n.d.Add to your cart.
Folder 28: "The Hudson River School", n.d.Add to your cart.
Folder 29: "Paintings USA 1492-1775", n.d.Add to your cart.
Folder 30: "Painting in Colonial America", n.d.Add to your cart.
Folder 31: Untitled-American art history, n.d.Add to your cart.
Folder 32: The American Magazine of Art, n.d.Add to your cart.
Folder 33: Art and Archaeology, n.d.Add to your cart.
Folder 34: The Arts, Jun 1923-Feb 1924Add to your cart.
Folder 35: The Arts, Feb 1924-Oct 1927Add to your cart.
Folder 36: The Arts, Dec 1924-May 1927Add to your cart.
Folder 37: The Arts, Jun 1927-Nov 1927Add to your cart.
Folder 38: The Arts, Nov 1927-Mar 29Add to your cart.
Folder 39: The Arts, May 1929-Feb 1931Add to your cart.
Folder 40: The Arts: Miami Herald, n.d.Add to your cart.
Folder 41: New York Evening Post-Yale Review, n.d.Add to your cart.
Folder 42: Miscellaneous, n.d.Add to your cart.
Box 4Add to your cart.
Folder 43: American Painting: Bibliography, n.d.Add to your cart.
Folder 44: American Painting: Post Script and Appendices, n.d.Add to your cart.
Folder 45: "Bruegel: Biography of a Mind", n.d.Add to your cart.
Folder 46: "Bruegel: Biography of a Mind", n.d.Add to your cart.
Folder 47: "Bruegel: Biography of a Mind", n.d.Add to your cart.
Folder 48: "Bruegel: Biography of a Mind", n.d.Add to your cart.
Folder 49: Lectures: American art #1-#28, 1952Add to your cart.
Folder 50: Lectures: American art #1-#28, 1952Add to your cart.
Folder 51: Lectures: American art #1-#28, 1952Add to your cart.
Folder 52: Lectures: American art #1-#28, 1952Add to your cart.
Folder 53: Lectures: American art #1-#28, 1952Add to your cart.
Folder 54: Lectures: American art #1-#28, 1952Add to your cart.
Folder 55: Lectures: American art #1-#28, 1952Add to your cart.
Folder 56: Lectures: American art #1-#28, 1952Add to your cart.
Box 5Add to your cart.
Folder 57: Lectures: American art, #29-#31, 1952Add to your cart.
Folder 58: Lectures: American art, #29-#31, 1952Add to your cart.
Folder 59: Lectures: Miscellaneous, 1915-60Add to your cart.
Folder 60: Memos: Sigma Sigma Phi panels, n.d.Add to your cart.
Folder 61: Miscellaneous, n.d.Add to your cart.
Folder 62: Addresses, diaries, bibliographical, n.d.Add to your cart.
Folder 63: Addresses, exhibits, n.d.Add to your cart.
Folder 64: American studies, n.d.Add to your cart.
Folder 65: Art: General, n.d.Add to your cart.
Folder 66: Art: General, n.d.Add to your cart.
Folder 67: Art: General, n.d.Add to your cart.
Folder 68: Art: General, n.d.Add to your cart.
Box 6Add to your cart.
Folder 69: Art: General, n.d.Add to your cart.
Folder 70: Painting: American, n.d.Add to your cart.
Folder 71: Painting: American, n.d.Add to your cart.
Folder 72: Painting: Individual works, n.d.Add to your cart.
Folder 73: Painting: Individual works, n.d.Add to your cart.
Folder 74: Styles: General, n.d.Add to your cart.
Folder 75: Styles: Abstraction, n.d.Add to your cart.
Folder 76: Art, Styles: Aesthetics, n.d.Add to your cart.
Folder 77: Art, Styles: American Scene, n.d.Add to your cart.
Folder 78: Art, Styles: Colorism, n.d.Add to your cart.
Folder 79: Art, Styles: Distortion, n.d.Add to your cart.
Folder 80: Art, Styles: Figure, etc., n.d.Add to your cart.
Folder 81: Art, Styles: Illustration, n.d.Add to your cart.
Folder 82: Art, Styles: Landscape, n.d.Add to your cart.
Folder 83: Art, Styles: Mural, n.d.Add to your cart.
Folder 84: Art, Styles: Neo-romanticism, n.d.Add to your cart.
Folder 85: Art, Styles: Pigmentalism, n.d.Add to your cart.
Folder 86: Art, Styles: Portrait, n.d.Add to your cart.
Folder 87: Art, Styles: Purism, n.d.Add to your cart.
Folder 88: Art, Styles: Regionalism, n.d.Add to your cart.
Folder 89: Art, Styles: Still Life Westerners, n.d.Add to your cart.
Folder 90: Art, Styles: Surrealism, n.d.Add to your cart.
Folder 91: Art, Styles: Tactility, n.d.Add to your cart.
Folder 92: Art, Styles: Transition Figures, n.d.Add to your cart.
Folder 93: Artists: Copley, John Singleton, 1938Add to your cart.
Folder 94: Artists: Copley, John Singleton, 1938Add to your cart.
Folder 95: Artists: Copley, John Singleton, 1938Add to your cart.
Folder 96: Artists: Copley, John Singleton, 1938Add to your cart.
Folder 97: Artists: Dali, Salvador, 1941-53Add to your cart.
Box 7Add to your cart.
Folder 98: Artists: Fraser, Samuel Earl, 1941Add to your cart.
Folder 99: Artists: Klee, Paul, n.d.Add to your cart.
Folder 100: Artists: Leonardo Da Vinci, 1947Add to your cart.
Folder 101: Artists: Picasso, Pablo, 1957Add to your cart.
Folder 102: Artists: Picasso, Pablo, 1957Add to your cart.
Folder 103: Artists: Seurat and Renoir, n.d.Add to your cart.
Box 8Add to your cart.
Folder 104: Artists: Stieglitz, Alfred, 1946-47Add to your cart.
Folder 105: Artists: Thayer, Abbott, n.d.Add to your cart.
Folder 106: Artists: Whistler, 1945-53Add to your cart.
Folder 107: Artists: Whistler, 1945-53Add to your cart.
Folder 108: Painters: Miscellaneous individuals, n.d.Add to your cart.
Folder 109: Painters: Abstract, n.d.Add to your cart.
Folder 110: Painters: The Immaculates, n.d.Add to your cart.
Folder 111: Painters: Women, n.d.Add to your cart.
Folder 112: Autobiographical: General, n.d.Add to your cart.
Folder 113: Autobiographical: General, n.d.Add to your cart.
Folder 114: Autobiographical: General, n.d.Add to your cart.
Folder 115: Autobiographical: Chronological, 1890-1903Add to your cart.
Folder 116: Autobiographical: Chronological, 1903-06Add to your cart.
Folder 117: Autobiographical: Chronological, 1906-09Add to your cart.
Folder 118: Autobiographical: Chronological, 1912-15Add to your cart.
Folder 119: Autobiographical: Chronological, 1916-17Add to your cart.
Folder 120: Autobiographical: Chronological, 1917-21Add to your cart.
Folder 121: Autobiographical: Chronological, 1921-25Add to your cart.
Folder 122: Autobiographical: Chronological, 1926-31Add to your cart.
Box 9Add to your cart.
Folder 123: Autobiographical: Chronological, 1931-42Add to your cart.
Folder 124: Autobiographical: Chronological, 1942-61Add to your cart.
Folder 125: Topical: Barker, M.F. (mother), n.d.Add to your cart.
Folder 126: Topical: Criticism, n.d.Add to your cart.
Folder 127: Topical: Miscellaneous, n.d.Add to your cart.
Folder 128: Topical: People, n.d.Add to your cart.
Folder 129: Topical: Poetry; Trip to Europe, 1925-26Add to your cart.
Folder 130: Topical: Diary, n.d.Add to your cart.
Folder 131: "From the Diary of Bessie Mallicote", Jun 4, 1925-Mar 18, 1926Add to your cart.
Folder 132: Book Outlines: "Another Book", n.d.Add to your cart.
Folder 133: Book Outlines: "Another Book", n.d.Add to your cart.
Folder 134: Book Outlines: "Another Autobiography with Notes on Art in My Time", n.d.Add to your cart.
Folder 135: Book Outlines: "Another Autobiography..."One More Man's Autobiography...", n.d.Add to your cart.
Box 10Add to your cart.
Folder 136: Notes: Books, n.d.Add to your cart.
Folder 137: Critics: Berenson, Bernard, n.d.Add to your cart.
Folder 138: Critics: Read, Herbert, n.d.Add to your cart.
Folder 139: Critics: Miscellaneous, n.d.Add to your cart.
Folder 140: Critcs: Criticism, n.d.Add to your cart.
Folder 141: Critics: Criticism, n.d.Add to your cart.
Folder 142: Lists: Original Articles and Books, n.d.Add to your cart.
Folder 143: Lists: Painters, n.d.Add to your cart.
Folder 144: Literature: General, n.d.Add to your cart.
Folder 145: Writers: Butler, Samuel, n.d.Add to your cart.
Folder 146: Writers: Kipling, Rudyard, n.d.Add to your cart.
Folder 147: Writers: Montaigne, n.d.Add to your cart.
Folder 148: Writers: Pater, Walter, n.d.Add to your cart.
Folder 149: Miscellaneous, n.d.Add to your cart.
Folder 150: Miscellaneous, n.d.Add to your cart.
Folder 151: Miscellaneous, n.d.Add to your cart.
Folder 152: Public Men, n.d.Add to your cart.
Box 11Add to your cart.
Folder 153: Quotes: Art, n.d.Add to your cart.
Folder 154: Quotes: Art, n.d.Add to your cart.
Folder 155: Quotes: Miscellaneous, n.d.Add to your cart.
Folder 156: Quotes: Miscellaneouos, n.d.Add to your cart.
Folder 157: Articles: "An Essay on the Essay", n.d.Add to your cart.
Folder 158: Articles: "Three paintings of Danger", 1949-50Add to your cart.
Folder 159: Books: American Painting, n.d.Add to your cart.
Folder 160: Books: American Painting, n.d.Add to your cart.
Folder 161: Books: American Painting, n.d.Add to your cart.
Folder 162: Books: American Painting, n.d.Add to your cart.
Folder 163: Books: American Painting/"American Painters in My Time", n.d.Add to your cart.
Folder 164: Books: American Painting/"American Painters in My Time", n.d.Add to your cart.
Folder 165: Books: "Old Bruegel", n.d.Add to your cart.
Folder 166: Books: "Old Bruegel", n.d.Add to your cart.
Folder 167: Books: "Old Bruegel", n.d.Add to your cart.
Box 12Add to your cart.
Folder 168: Books: "Old Bruegel", n.d.Add to your cart.
Folder 169: Books: "Old Bruegel", n.d.Add to your cart.
Folder 170: Books: "Old Bruegel", n.d.Add to your cart.
Folder 171: Books: "Old Bruegel", n.d.Add to your cart.
Folder 172: Book reviews, n.d.Add to your cart.
Folder 173: Fiction, n.d.Add to your cart.
Folder 174: Lectures: Miscellaneous, 1943-50Add to your cart.
Folder 175: Lectures: Spanish painting, n.d.Add to your cart.
Folder 176: Original quotes, n.d.Add to your cart.
Folder 177: University Community Report, n.d.Add to your cart.

Browse by Series:

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