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SIA RU007473, Barney, Alice Pike 1857-1931, Alice Pike Barney Papers and Related Materials, circa 1889-1995

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Summary

Creator:
Barney, Alice Pike 1857-1931
Title:
Alice Pike Barney Papers and Related Materials, circa 1889-1995
Dates:
1889, 1889-1995
Notes:
Alice Pike Barney (1857-1931), art patron and painter, is best remembered for her efforts to transform Washington, D.C., into the nation's cultural capital during the first quarter of the twentieth century. Daughter of Cincinnati multimillionaire and art patron Samuel Nathan Pike, Alice studied art in Paris in the 1890s under such well-known artists as Carolus-Duran, Jean Jacques Henner, and James McNeill Whistler. Barney returned to the United States intent on building a thriving arts center in Washington that would cater to every member of society, not just the social elite. She staged exhibitions of her works of art and took on a position of leadership in local art circles, serving as Vice-President of the Society of Washington Artists for the first time in 1901
Alice Pike Barney's home during her residence in Washington, The Barney Studio House, by architect Waddy B. Wood, provided a gathering place for the District's fledgling artists' community. There Barney entertained the likes of Franklin Roosevelt, Sarah Bernhardt, President Taft, and visiting avant-garde artists with elaborate performances of her countless plays, mime dramas, ballets, and musical productions. Barney convinced Congress to fund the building of the National Sylvan Theater on the grounds of the Washington Monument in 1916
Alice's daughters, Natalie Pike Barney (1876-1972), and Laura Clifford Dreyfuss-Barney (1879-1974), lived most of their lives in Paris. In 1960, the daughters gave Studio House to the Smithsonian Institution for use as an arts and cultural center. The building initially housed offices and visiting scholars and guests. After renovation in 1980, Studio House was opened to the public for tours and entertainment events, including restagings of several of Alice Barney's plays. In March 1995, the Smithsonian approved the pending sale of Barney Studio House, the proceeds to go toward the endowment fund for its National Museum of American Art
The strength of the Alice Pike Barney Papers lies in its extensive holdings of Alice Pike Barney's plays, mime dramas, ballets, short stories, and novel-length works. Some of the manuscripts are present in multiple copies, in various stages of editing. They span Barney's life from circa 1904 to 1931. Also included are selected sections and roles from her plays, known as sides and parts, and accompanying musical scores. Many of the theatrical works were performed at various public theaters in Washington, D.C., or at Barney Studio House, and at Theatre Mart in Hollywood. Also included are manuscripts of plays by other authors, sent to Barney for review and for possible production at Theatre Mart. Theatre Mart contracts between playwrights and Barney are arranged in alphabetical order by playwright
Autobiographical information for Alice Pike Barney consists of her fictionalized, unpublished autobiography, which focuses on her romance with British explorer Sir Henry Morton Stanley, a date book covering the year 1926 in Hollywood, California, and Barney family lineage information compiled in 1921 by a relative
Laura Clifford Dreyfuss-Barney's papers consist of a childhood autograph book, diaries recording her correspondents from 1931 to 1939, 1951, and 1953 to 1963, and a travel journal in manuscript form. Her papers also contain a collection of her short stories and one play, Legion of Honor awards for her service in both World Wars, and a monogrammed handkerchief belonging to her father, Albert Clifford Barney. Finally, the Barney Collection includes records of Barney Studio House and other Barney residences, including blueprints, architectural drawings, a visitors' register, and newspaper clippings regarding the divestment of the Barney Studio House by the Smithsonian Institution
Topic:
Art
Subjects:
Barney, Alice Pike 1857-1931, Dreyfus-Barney, Laura, Barney Studio House (Washington, D.C.), Theatre Mart
Form/Genre:
Diaries, Collection descriptions, Signatures (names), Architectural drawings
Local Number:
SIA RU007473
Physical Description:
5.8 linear meters

Finding Aids to Personal Papers and Special Collections in the Smithsonian Institution Archives

Record Unit 7473

Barney, Alice Pike, 1857-1931

Alice Pike Barney Papers, circa 1889-1995

Repository: Smithsonian Institution Archives, Washington, D.C. Contact us at osiaref@si.edu.
Creator: Barney, Alice Pike, 1857-1931
Title: Alice Pike Barney Papers
Dates: circa 1889-1995
Quantity: 5.8 linear meters.
Collection: Record Unit 7473
Language of Materials: English

Historical Note

Alice Pike Barney (1857-1931) is best remembered for her efforts to transform Washington, D.C., into the nation's cultural capital during the first quarter of the twentieth century. Barney's interest in art began in her childhood, under the influence of her father, Samuel Nathan Pike, a multimillionaire businessman and active patron of the arts in Cincinnati, Ohio.

Alice married Albert Clifford Barney in 1876, after a short-lived engagement to celebrated African explorer Sir Henry Morton Stanley. Although her husband did not approve of her art interests, Alice went to Paris to study with John Singer Sargent's teacher, Carolus-Duran, and with the French pre-Raphaelite painter, Jean Jacques Henner in the fall of 1896-1897. A year later, she returned to Paris to study with expatriate American painter James MacNeill Whistler. Barney returned from her experience in Parisian salons intent on building a thriving arts center in the District that would cater to every member of society, not just the social elite. At the time, Washington, D.C., lacked an indigenous arts community or sufficient galleries to sponsor artists' work. Barney began to show her paintings in exhibitions with other prominent or up-and-coming Washington painters, including James Henry Mosher, Richard Norris Brooke, William Henry Holmes, and Hobart Nichols. In November 1901, she presented her first solo exhibition at the Corcoran Gallery of Art's new Hemicycle gallery. Her unique, individual style moved her rapidly to a position of leadership in local art circles. Within a week of the Corcoran exhibition opening, she was elected vice-president of the Society of Washington Artists.

Barney also earned a reputation in Washington, D.C., for her lavishly detailed, artistically rendered ballets, mimes, tableaux, plays, and other theatrical productions. During World War I, Barney pushed for and convinced Congress to fund the building of the National Sylvan Theater on the grounds of the Washington Monument. The theater, dedicated on April 4, 1917, was the nation's first federally supported outdoor theater.

One of Barney's most important contributions to the Washington art scene was Studio House, located at Sheridan Circle and designed by architect Waddy B. Wood in 1902. During Barney's residence in Washington, D.C., the house functioned as her home, her art studio, and the District's cultural center. Elaborately decorated by Barney herself, the house hosted countless theatrical productions, art exhibitions, and visiting avant-garde artists. Her guest list included the Franklin Roosevelts and Cabot Lodges; Sarah Bernhardt and G. K. Chesterton; Admiral Dewey and the Levi Leiters; Emma Calve and Anna Pavlova; Alice Roosevelt and Chief Justice Harlan; President Taft and Countess Cassini.

Barney also devoted her time and her gift for fund raising to Neighborhood House, a settlement house in southwest Washington, and to the women's suffrage cause. In 1914, she was elected president of the Washington branch of the newly founded Women's Peace Party, established by settlement house founder Jane Addams. In 1927, at age 70, Barney moved to Hollywood, California, to be near her oldest sister. There she continued her painting, opened a small theater called Theatre Mart, and wrote plays, including a rewrite of her daughter Natalie's play The Lighthouse, which won the Drama League of America contest in 1927. In 1931, at the age of 74, Alice Pike Barney died of a heart attack.

Alice's daughters, with whom she remained close, lived most of their lives in Paris. Natalie became an author of books of poetry and aphorisms in French. An outspoken lesbian, Natalie was a longtime lover of expatriate American artist Romaine Brooks. Laura married French lawyer Hippolyte Dreyfuss, was an early proponent of Bahaism, and an active campaigner for women's rights and world peace. She was made a chevalier and then an officier of the French Legion of Honor for her service to France during both World Wars. Both sisters died in Paris in their nineties.

In 1960, Natalie and Laura gave Studio House to the Smithsonian Institution for use as an arts and cultural center. The building initially housed offices and visiting scholars and guests. After renovation in 1980, Studio House was opened to the public for tours and entertainment events, including restagings of several of Alice Pike Barney's plays. In March 1995, the Smithsonian approved the pending sale of Barney Studio House, the proceeds to go toward the endowment fund for its National Museum of American Art.

For more biographical information, see Jean L. Kling's Alice Pike Barney, Her Life and Art (Smithsonian Institution Press, 1994).

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Introduction

This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.

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Descriptive Entry

The strength of the Alice Pike Barney Papers lies in its extensive holdings of Alice Pike Barney's plays, mime dramas, ballets, short stories, and novel-length works. Some of the manuscripts are present in multiple copies, in varied stages of editing. They span Barney's life from circa 1904 to 1931. Also included are selected scenes and roles from her plays, known as sides and parts, and accompanying musical scores. Many of the theatrical works were performed at various public theaters in Washington, D.C., or at Barney Studio House, and at Theatre Mart in Hollywood.

Also included are manuscripts of plays by other authors, sent to Barney for review and for possible production at Theatre Mart. Theatre Mart contracts between playwrights and Barney are arranged in alphabetical order by playwright.

Autobiographical information for Alice Pike Barney consists of her fictionalized, unpublished autobiography, which focuses on her romance with British explorer Sir Henry Morton Stanley, a date book covering the year 1926 in Hollywood, California, and Barney family lineage information compiled in 1921 by a relative.

Laura Clifford Dreyfuss-Barney's records consist of a childhood autograph book, diaries recording her correspondents from 1931-1939, 1951, and 1953-1963, and a travel journal in manuscript form. Her papers also contain a collection of her short stories and one play, Legion of Honor awards for her service in both World Wars, and a monogrammed handkerchief belonging to her father, Albert Clifford Barney.

Finally, the Barney collection includes records of Barney Studio House and other Barney residences, including blueprints, architectural drawings, visitors' register, and newspaper clippings regarding the divestment of the Barney Studio House by the Smithsonian Institution.

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This collection is indexed under the following access terms. These are links to collections with related topics, persons or places.

Name

Subject

Physical Characteristics of Materials in the Collection

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Preferred Citation

Smithsonian Institution Archives, Record Unit 7473, Barney, Alice Pike, 1857-1931, Alice Pike Barney Papers

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Container List

Series 1

ALICE PIKE BARNEY AUTOBIOGRAPHICAL INFORMATION.

This series includes Alice Pike Barney's fictionalized, unpublished autobiography, covering the years of her childhood to circa 1904. The manuscript, in two bound volumes, mainly documents the period when Barney was romantically involved with Sir Henry Morton Stanley (1841-1904), whom she was engaged to marry in 1874. Barney's 1926 date book lists appointments, providing insight into Barney's daily activities in Hollywood. Also included is extensive Barney family lineage information compiled by James Perrine Barney in 1921 and sent to Natalie and Laura Barney in 1948. The documents trace the Barney name back as early as the 13th century. A letter of explanation from James Perrine Barney to the two sisters is included with the lineage information.

Box 1

Folder 1 Date Book, Alice P. Barney, 1926.

Box 1 of 31

Folder 2 Stanley's 'Lady' Alice by One Who Knew (1927), Volume I

Box 1 of 31

Folder 3 Stanley's 'Lady' Alice by One Who Knew (1927), Volume II

Box 1 of 31

Folder 4 Barney Family Lineage Information, 1948.

Box 1 of 31

Series 2

THEATRICAL PRODUCTIONS: SCRIPTS.

This series consists of manuscripts by Alice P. Barney for plays, mime dramas, ballets, and musical productions at various stages of editing. The scripts are arranged alphabetically by title. Most of the scripts were written between 1904 and 1931, although some are not dated. Some of the scripts are co-written with her daughters or with other writers. Barney often signed her manuscripts using the name Mrs. Christian Hemmick and the pseudonyms "Alfred Clifford" and "L[aura]. A[lice]. Pike." Most of the performances took place at Barney Studio House or at the following theaters in Washington: Belasco Theater, Lafayette Square Theater, Oaks Estate, National Theater, and National Sylvan Theater. Some were performed at Theatre Mart in Hollywood. Productions of particular note include The Lighthouse, which won first prize in the Washington, D.C. Drama League of America playwrighting contest in June 1927; L'Ecole en Crinoline, a ballet written for and performed by Anna Pavlova; The Opium Pipe, a play written in reaction to friend Renee Vivien's death from anorexia and substance abuse; The Awakening, performed at the base of the Washington Monument on Memorial Day to protest American involvement in World War I; False Value, a semiautobiographical portrayal of Barney's relationship with Christian Hemmick, which won first prize in the D.C. Play National Arts Club; and Jimmie (or Whistler), which she based on her friendship with James MacNeill Whistler. Many of the scripts include notes and occasional sketches for sets by Barney. Clippings of newspaper reviews are included with Transgressors. Not all of Barney's scripts are represented here. Miscellaneous script pieces and one unidentified script are at the end of the series.

Box 2

Folders 1-5 About Thebes, 1922.

Box 2 of 31

Folder 6 Andy the Moonshiner, co-authored by Martha S. Gielow, 1924.

Box 2 of 31

Folder 7 Atlantis, 1916.

Box 2 of 31

Folder 8 The Awakening, co-authored by Hazel MacKaye, 1915.

Box 2 of 31

Folder 9 A Botticelli Interlude, 1921.

Box 2 of 31

Folder 10 The Brides of Venice, 1921.

Box 2 of 31

Folder 11 The Call of the Allies, 1917.

Box 2 of 31

Folder 12 Call of the Bells, 1921.

Box 2 of 31

Folder 13 Challenge of Youth (or The Heart of Gold), 1921.

Box 2 of 31

Folder 14 Colorado (or California), undated.

Box 2 of 31

Folder 15 The Colour of His Soul (or Horace Littlefield Esq., or Legitimate Lovers), co-authored by Natalie Barney, 1918. (1 of 3)

Box 2 of 31

Box 3

Folders 1-2 The Colour of His Soul (or Horace Littlefield Esq., or Legitimate Lovers), co-authored by Natalie Barney, 1918. (2-3 of 3)

Box 3 of 31

Folder 3 Commerage, 1921.

Box 3 of 31

Folder 4 Contrasts, undated.

Box 3 of 31

Folders 5-10 The Courtesan of Rome, 1918. (1-6 of 7)

Box 3 of 31

Box 4

Folder 1 The Courtesan of Rome, 1918. (7 of 7)

Box 4 of 31

Folder 2 A Dainty Farce, 1918.

Box 4 of 31

Folder 3 The Dancer, 1928.

Box 4 of 31

Folder 4 Dear, Unfair Sex, undated.

Box 4 of 31

Folder 5 Dispute of the Muses, 1915.

Box 4 of 31

Folders 6-7 Do and Be Done, 1926.

Box 4 of 31

Folder 8 The Dream of Queen Elizabeth, 1904.

Box 4 of 31

Folder 9 Driven, 1923.

Box 4 of 31

Folders 10-11 L'Ecole en Crinoline, 1915.

Box 4 of 31

Folders 12-14 False Values, 1924.

Box 4 of 31

Folder 15 Fancy Women, co-authored with Samuel Ross, 1927.

Box 4 of 31

Folder 16 The Foreign Dancer, 1928.

Box 4 of 31

Box 5

Folder 1 The Gold Diggers, 1921.

Box 5 of 31

Folder 2 Gossip, 1921.

Box 5 of 31

Folder 3 Graft, 1927.

Box 5 of 31

Folder 4 The Great Pearl, 1921.

Box 5 of 31

Folder 5 His Birthday, 1928.

Box 5 of 31

Folder 6 Horace Littlefield, Esq. (or Legitimate Lovers or Colour of his Soul), co-authored by Natalie Barney, 1928.

Box 5 of 31

Folders 7-9 Is Wrong Right?, 1928. (1-3 of 4)

Box 5 of 31

Box 6

Folder 1 Is Wrong Right?, 1928. (4 of 4)

Box 6 of 31

Folders 2-6 Legitimate Lovers (or Horace Littlefield, Esq. or Colour of His Soul), co-authored by Natalie Barney, 1928.

Box 6 of 31

Folders 7-9 The Lighthouse, 1926. (1-3 of 12)

Box 6 of 31

Box 7

Folders 1-9 The Lighthouse, 1926. (4-12 of 12)

Box 7 of 31

Box 8

Folder 1 The Lost Cat, 1921.

Box 8 of 31

Folders 2-9 Luna-The Man in the Moon (or Moon Madness), 1925. (1-8 of 9)

Box 8 of 31

Box 9

Folder 1 Luna-The Man in the Moon (or Moon Madness), 1925. (9 of 9) (miscellaneous pieces)

Box 9 of 31

Folders 2-4 Luna-The Man in the Moon, Musical Scores, by Sol Cohen, 1925.

Box 9 of 31

Folder 5 The Lure (or The Moth and the Butterfly), 1922.

Box 9 of 31

Folder 6 Mam'selle Moonshine, undated.

Box 9 of 31

Folders 7-11 Mata Hari, 1930.

Box 9 of 31

Box 10

Folder 1 L'Ombrelle Volee, 1921.

Box 10 of 31

Folder 2 On the Road to Shiraz, circa 1927.

Box 10 of 31

Folder 3 On the Stairs, undated.

Box 10 of 31

Folder 4 The Opium Pipe, co-authored by Laura Dreyfuss-Barney, 1909.

Box 10 of 31

Folder 5 Pageant Egyptienne, 1916.

Box 10 of 31

Folders 6-7 Passions (or Transgressors), co-authored by Clarence Woods de Knight, 1929.

Box 10 of 31

Folder 8 The Planets, 1921.

Box 10 of 31

Folder 9 A Play in One Act, 1918.

Box 10 of 31

Folder 10 Power, co-authored by Clarence Woods de Knight, 1914.

Box 10 of 31

Folder 11 Pride Has a Fall, 1921.

Box 10 of 31

Folders 12-13 The Resourceful Rice Seller, 1921.

Box 10 of 31

Box 11

Folders 1-9 The Scar, 1930.

Box 11 of 31

Box 12

Folder 1 The Scourge, 1921.

Box 12 of 31

Folder 2 The Secret of the Scarab, 1928.

Box 12 of 31

Folder 3 The Seller of Dreams, 1921.

Box 12 of 31

Folders 4-5 The Senator, undated.

Box 12 of 31

Folder 6 The Shepard of Shiraz, 1927.

Box 12 of 31

Folder 7 Some Years Hence, 1913.

Box 12 of 31

Folder 8 The Spring Has Come, 1929.

Box 12 of 31

Folder 9 Static, co-authored by James Land, 1928.

Box 12 of 31

Folder 10 A Sticking Party, undated.

Box 12 of 31

Folder 11 The Stolen Sunshade, 1921.

Box 12 of 31

Folder 12 Tom, Toms of Revenge, 1928.

Box 12 of 31

Folders 13-15 Transgressors (or Passions), co-authored by Clarence Woods de Knight, 1929. (1-3 of 8)

Box 12 of 31

Box 13

Folders 1-5 Transgressors (or Passions), co-authored by Clarence Woods de Knight, 1929. (4-8 of 8)

Box 13 of 31

Folder 6 Triumph of the Drama, 1917.

Box 13 of 31

Folder 7 The Veil, 1926.

Box 13 of 31

Folders 8-10 Whistler (or Butterfly or Jimmie), 1931. (1-3 of 4)

Box 13 of 31

Box 14

Folder 1 Whistler (or Butterfly or Jimmie), 1931. (4 of 4)

Box 14 of 31

Folder 2 Why One Should Send Clothes to the Laundry, 1928.

Box 14 of 31

Folders 3-4 Women and War (or The Awakening), 1915.

Box 14 of 31

Folder 5 The Woman Plays, 1929.

Box 14 of 31

Folder 6 Unidentified, Bound Scripts, undated

Box 14 of 31

Folder 7 Miscellaneous, Unidentified Script Parts, undated

Box 14 of 31

Series 3

THEATRICAL PRODUCTIONS: SELECTED SCENES AND ROLES.

This series consists of segments of plays used for auditions and memorization work, known in theater circles as "sides" or "parts." Only a small number of Barney's many plays and other works are represented. The series is arranged alphabetically by title.

Box 15

Folders 1-4 Sides/Parts from Barren, undated.

Box 15 of 31

Folders 5-6 Sides/Parts from The Foreign Dancer, 1928.

Box 15 of 31

Folders 7-9 Sides/Parts from Inheritance (or Passions), 1929. (1-3 of 5)

Box 15 of 31

Box 16

Folders 1-2 Sides/Parts from Inheritance (or Passions), 1929. (4-5 of 5)

Box 16 of 31

Folders 3-6 Sides/Parts from Is Wrong Right?, 1928.

Box 16 of 31

Folders 7-9 Sides/Parts from Legitimate Lovers, co-authored by Natalie Barney, 1928.

Box 16 of 31

Box 17

Folders 1-4 Sides/Parts from Mata Hari, 1930.

Box 17 of 31

Folders 5-8 Sides/Parts from Moon Madness (or Luna - The Man in the Moon), 1925. (1-4 of 5)

Box 17 of 31

Box 18

Folder 1 Sides/Parts from Moon Madness (or Luna - The Man in the Moon), 1925. (5 of 5)

Box 18 of 31

Folders 2-4 Sides/Parts from Whistler, 1931.

Box 18 of 31

Series 4

NON-THEATRICAL, LITERARY MANUSCRIPTS.

This series consists of manuscripts for novels, short stories, and movie scenarios written by Alice P. Barney in various stages of editing. Included is an earlier version of her autobiography entitled, The Love of Henry M. Stanley, with Chapter 1 missing. According to her note on the cover, she had mislaid Chapter 1 and wanted to start over from the beginning. It is possible that Stanley's 'Lady' Alice By One Who Knew is the revised manuscript (see series 1 description). An 8 x 10 photograph of a painting is included with "The Brides of Venice". Some of the manuscripts were reworked from play form, and others were transformed into plays. The series is arranged alphabetically by title.

Box 19

Folder 1 "All's Well" (or "Ich Diem"), undated.

Box 19 of 31

Folder 2 "The Brides of Venice: A Romance from an Historical Episode", undated.

Box 19 of 31

Folder 3 "Is Wrong Right?", undated.

Box 19 of 31

Folders 4-6 Joan of U.S.A., undated.

Box 19 of 31

Folder 7 "The Legend of the Great Pearl: A Fantasy", undated.

Box 19 of 31

Folders 8-9 The Lighthouse, undated. (1-2 of 3)

Box 19 of 31

Box 20

Folder 1 The Lighthouse, undated. (3 of 3)

Box 20 of 31

Folder 2 The Love of Henry M. Stanley, undated

Box 20 of 31

Folder 3 "The Scar, Story of a Motion Picture", undated

Box 20 of 31

Folders 4-6 Stanley's 'Lady' Alice By One Who Knew, undated, original manuscript

Box 20 of 31

Folder 7 Stanley's 'Lady' Alice by One Who Knew, undated copy (1 of 3)

Box 20 of 31

Box 21

Folders 1-2 Stanley's 'Lady' Alice By One Who Knew, undated copy (2-3 of 3)

Box 21 of 31

Folder 3 "The Story of Fad, a Waif of Syria", undated

Box 21 of 31

Folders 4-6 The Tower of Iron, undated, Manuscript 1

Box 21 of 31

Folders 7-9 The Tower of Iron, undated, Manuscript 2

Box 21 of 31

Folder 10 The Tower of Iron, undated, Manuscript 3

Box 21 of 31

Box 22

Folders 1-4 The Tower of Iron, undated, Manuscript 4

Box 22 of 31

Folder 5 Miscellaneous, Unidentified Manuscripts

Box 22 of 31

Series 5

MUSICAL SCORES AND SHEET MUSIC.

This series consists of orchestral scores, sheet music, and individual instrumental scores written as accompaniment to several of Alice P. Barney's theatrical productions. Composers include Henry Cowell, Eugene Goossens, L. M. Rogowski, Sol Cohen, Louis von Gaertner, Gustav Holst, and Chaminade, with Barney often appearing as lyricist.

Box 23

Folder 1 Atlantis, Orchestral score, by Henry Cowell, circa 1916.

Box 23 of 31

Folder 2 Atlantis, Instrument scores, by Henry Cowell, circa 1916.

Box 23 of 31

Folder 3 L'Ecole en Crinoline, Orchestral score, by Eugene Goossens, circa 1915.

Box 23 of 31

Folder 4 The Man in the Moon, Piano score, by L. M. Rogowski, circa 1925.

Box 23 of 31

Folder 5 The Man in the Moon, Orchestral score, by L. M. Rogowski, circa 1925, Acts I & II

Box 23 of 31

Folder 6 The Man in the Moon, Orchestral score, by L. M. Rogowski, circa 1925, Acts III & IV

Box 23 of 31

Folder 7 Moon Madness, Published sheet music, by Sol Cohen, 1929.

Box 23 of 31

Box 24

Atlantis, Piano score, by Louis von Gaertner, circa 1916.

Box 24 of 31

Atlantis, Orchestral score, by Louis von Gaertner, circa 1916.

Box 24 of 31

Box 25

Luna - The Man in the Moon, Piano score with voice, by Sol Cohen, circa 1925.

Box 25 of 31

Moon Madness, Orchestral score, by Sol Cohen, circa 1925.

Box 25 of 31

The Planets, Full orchestral score, by Gustav Holst, circa 1921.

Box 25 of 31

Box 26

Folder 1 L 'Ecole en Crinoline, Orchestral score, by Chaminade, circa 1915, copy.

Box 26 of 31

Folder 2 L 'Ecole en Crinoline, Orchestral score, by Chaminade, circa 1915.

Box 26 of 31

Folder 3 L 'Ecole en Crinoline, Music score with cues, by Chaminade, circa 1915.

Box 26 of 31

Folder 4 The Lure, Reduced musical score, by Eugene Goossens, circa 1922.

Box 26 of 31

Series 6

THEATRE MART PLAYS: CONTRACTS.

This series consists of contracts between Alice P. Barney and the playwrights producing their plays at Barney's Theatre Mart in Hollywood. The contracts, spanning the years 1928-1930, are arranged alphabetically by playwright.

Box 27

Folder 1 Blackmore - Terrel

Box 27 of 31

Folder 2 Osman - Wright

Box 27 of 31

Series 7

THEATRE MART PLAYS: SCRIPTS.

This series includes manuscripts of playwrights who produced their plays at Alice P. Barney's Theatre Mart in Hollywood. Barney handwrote comments regarding the quality of the plays on a select number of works. The scripts, spanning the years 1919-1930, are arranged alphabetically by playwright.

Box 27

Folder 3 Adam - Badger

Box 27 of 31

Folder 4 Beyer - Brown

Box 27 of 31

Folder 5 Carter - Cruger

Box 27 of 31

Folder 6 Fawcett - Hendell

Box 27 of 31

Folder 7 Ingersoll - Rumsey

Box 27 of 31

Folder 8 Stout - Terrel

Box 27 of 31

Box 28

Folder 1 Terrel - Terry

Box 28 of 31

Folder 2 Terry - Von Blon

Box 28 of 31

Folder 3 White - Wright

Box 28 of 31

Folder 4 Wright - Yenrah

Box 28 of 31

Series 8

LAURA CLIFFORD DREYFUSS-BARNEY PAPERS.

This series contains materials documenting the life of one of Barney's daughters, Laura Clifford Dreyfuss-Barney, from 1890 to her death in 1963. An autograph book contains quotes and signatures of friends and family, including notes from her sister Natalie and mother Alice. Laura's manuscript, From the Peace of the East to the War of the West records impressions and specific incidents relating to her travels with her mother across the United States and with her husband Hippolyte Dreyfuss to Korea, Japan, and Northern China. Outlines and Shadows represents an unpublished compilation of 25 of Laura's short stories and one play. The diaries document (in French) Laura's various correspondents from 1931 to 1963. Diary entries for 1940-1950 and for 1952 are not extant. Laura preserved one of her father's handkerchiefs as a memento, and it is included in the collection. Finally, her Legion of Honor awards for service in both World Wars and a poster celebrating Laura and Hippolyte's visit to the Dayton Car Works in 1912 are included.

Box 29

Legion of Honor award posters for Laura Dreyfuss-Barney, 1920, 1925, 1931.

Box 29 of 31

Poster honoring arrival of Laura and Hippolyte Dreyfuss to the Dayton Car Works, circa 1912.

Box 29 of 31

Box 30

Folder 1 Autograph book, 1890 - 1895.

Box 30 of 31

Folder 2 From the Peace of the East to the War of the West, 1916.

Box 30 of 31

Folder 3 Outlines and Shadows, undated.

Box 30 of 31

Folders 4-7 Diaries, 1931-1939, 1951, 1953-1955.

Box 30 of 31

Box 31

Folders 1-4 Diaries, 1956-1963.

Box 31 of 31

Folder 5 Monogrammed handkerchief of Albert Clifford Barney.

Box 31 of 31

Series 9

BARNEY STUDIO HOUSE AND OTHER RESIDENCE RECORDS.

This series consists of a set of undated floorplans of Barney Studio House, drawings of Barney Studio House created for renovation and exhibition use in the 1970s and 1980s, and original floorplans of the Barneys' vacation home in Bar Harbor, Maine, dating circa 1889. The Barney Studio House visitors' register spans the years from 1981 to 1991. Newspaper clippings cover the events surrounding the divestment of the Barney Studio House by the Smithsonian Institution.

Box 31

Folder 6 Newsclippings regarding disposition of Barney Studio House, Washington, D.C., March 1995.

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Folder 7 Visitors' register, Barney Studio House, February 10, 1981-January 26, 1984.

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Folder 8 Visitors' register, Barney Studio House, February 14, 1984-December 22, 1991.

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Floorplans: Studio House (5 sheets), blueprint drawings, 15" x 20.5 ". Wm. K. Karsunky, Consulting Engineer, undated.

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Renovation: Entrance Railing, Studio House (1 sheet), blueline floor plan with elevations, 22" x 34". Unlabeled, undated.

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Renovation: Electrical Plans for Rooms 142 and 242, Studio House (1 sheet), blueline floor plan, 24" x 36". Ron Hunt, 1977.

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Excavation: Paving Plan and Details, Studio House (1 sheet), blueline floor plan, 24" x 36". R[on]. H[unt]., 1981.

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Exhibition Installation/Design: National Museum of American Art, Portraits by Alice P. Barney. (1 sheet), blueline floor plan, 22" x 34". A. K., 1984. (2 copies)

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Floor Plans: Bar Harbor, Maine, House (5 sheets), ink on coated linen paper, 23" x 36". S. V. Stratton, circa 1889.

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