SUNWISE TURN: A MODERN BOOKSHOP
KNOWN EXHIBITIONS, LECTURES, and PERFORMANCES (1916–1927)
This is a work-in-progress chronology. My hope in putting this material online is that it may help to foster further discovery and uncover new information. I hope to eventually include this as part of my biography of Mary Mowbray-Clarke, the president of the shop for its duration. If you have any additions, clarifications, or corrections, please email me at eulogycontact@hotmail.com. Thank you!
From the beginning of its incorporation, on April 6 1916, The Sunwise Turn bookshop showcased furniture and sundries from Roger Fry’s Omega Workshop. This is but one example among an array of work that was included in the shop as part of the decorative atmosphere, but not listed in notices of announced exhibitions or in extant inventory/sales receipts. Batik textiles, including the curtains of the shop, were contributed by Martha Ryther (and others) and the shop’s interior (at its initial location on 2 E. 31 St.) was designed by Arthur B. Davies and Henry Fitch Taylor, with practical carpentry skills contributed by Howard Kretz Coluzzi. The shop’s sign was painted by Henry Fitch Taylor, with an additional calligraphic sign lettered by John Wolcott Adams. The furniture at the original location of the shop was loaned by Taylor’s wife, interior decorator and art patron Clara Davidge, who likely also contributed to the decorating. The mosaic tile inlay on the exterior of the shop’s second location at the Yale Club Building (51 E. 44th. St.) was designed by Frank Applegate. In the course of the shop’s eleven year history there would be countless art objects exhibited and impromptu happenings that were either never recorded or for which details are now lost to history. There are definitely many gaps in this record, and I will update periodically with new information. Still, the extant archival record offers a broad and detailed overview of the shop’s hectic schedule and the staggering array of artworks exhibited/sold on commission. The following is an incomplete chronology of exhibits, readings, and performances, with as much clarifying detail regarding dates and work included as possible, along with sources cited.
1916
Ratan Devi aka Alice Richardson Coomaraswamy (1889–1958) — April 12 [date unconfirmed] Music recital of traditional Indian folk music.[1]
Theodore Dreiser (1871–1945) — April 30. Author’s reading, selections from “Plays Natural and Supernatural.” At least one attendee also took a turn reading from Dreiser’s work.[2]
Charles Burchfield (1895–1967) — October — November. The specific work shown by Burchfield at Sunwise Turn during this time remains unknown. His work was likely hung alongside that of his art school friend Francesco Daniele aka Frank Daniels (1892–1946) with whom Burchfield was rooming at the time. Burchfield was in New York from October 10 to November 21, during which time he met Mary Mowbray-Clarke, who would sell his work on commission through 1927. The date when Mary initially decided to display his work at the shop isn’t recorded, and she likely retained some work after he had left New York.
Elmer Livingston MacRae (1875–1953) — Dates unknown. “2 Stork Panels” ($200 each), “2 Delphinium Panels” ($150 & $125), “1 Tiger Lily [Panel]”($125, 70. Sold). An April 1, 1920 consignment slip notes “all faded and worn but still at Brocken Dec. 1927.”[3]
Signed E.L. MacRae and dated 1915 (lr), inscribed as titled and with artist’s name on the stretcher. Oil on canvas
32 3/8 x 51 inches. Source: art.net.
Bror Julius Olsson Nordfeldt (1878–1955) — Dates unknown. “Wood-blockcuts,” “1 Framed Nudes” ($30).[4]
Edith Lawrence King (1884–1975) — Dates unknown, listed along with the descriptor “Modern Art School.” “1 Color Sketch Public Gardens Boston” ($25). In a Jan. 1 1920 inventory list a note is made: “can’t find.”[5]
Herbert Crowley (1873–1937) — Dates and number/title of works unknown.[6]
Anne Troop Craig (? — ?) — Bookplate designs. Exact date consigned and further details unknown.[7]
1917
Amy Lowell (1874–1925) — January 22. Poetry recital. Several attendees also read selections from Lowell’s work, including Beatrice Wood (1893–1998).[8]
Beatrice Wood — March 1 — ? Drawings.[9]
Ananda Coomaraswamy (1877–1947) — September 24, 9 PM. Lecture titled “Young India.”[10]
Vorticists Edward Wadsworth (1889–1949) and Jessie Dismorr (1885–1939) — June 7 — ?. It is unknown how many works were displayed, or if they were indeed displayed on the walls at all. No work was sold, and the pieces were returned to the respective artists in May of 1919. An inventory of the works by Wadsworth lists the paintings “Blackpool” “Dry Dock” and “Isle of Dogs” Works described as drawings: “Centrifuge” and “Enclosure.” Also included were 27 unidentified woodcuts. Jessie Dismorr’s work consisted of three unidentified drawings. Prices aren’t recorded but it was suggested that the shop sell Dismorr’s drawings with the aim of netting her $15 — $20 minus the shop’s commission, and for Wadsworth “$40 or $50” after commission.[11]
Women’s National Book Association — Tuesday November 13, twenty one women “connected with the book and publishing trade” met at the Sunwise Turn to form the “Women’s National Association of Booksellers and Publishers,” which would become the Women’s National Book Association.[12]
Riichiro Kawashima (1886–1971) December 8–22, but held over until “after the holidays.” A press mention in American Art News of Dec. 29, 1917 notes that he is “exhibiting 25 of his lacquer panels, oil paintings and watercolors. […] The exhibition shows the influence of Occidentalism upon Oriental art, and the modernistic trend is intensely reflected.” Works mentioned in the article: “Struggle,” “Light and Space,” “Coming of Spring (oil),” “Coast” (watercolor), and “Woman.”[13]
1918
“Conferences on Libertarian Education” — Organized by Carl Zigrosser under the auspices of The Modern School, a variety of speakers were engaged for a series of five lectures, held weekly, spanning January 18 — March 22.
Padraic Colum (1881–1972) — March 2 — beginning of a six-part series of “curated” “Conferences on Modern Poetry,” at which Colum lectured on poetry and read selections from his own work as well as that of others. The series was presumably held at weekly intervals.[14]
Charles Burchfield — Burchfield sent a “box of sketches” for exhibition at the shop sometime in May. In a letter Burchfield mentions sending a list of titles and prices, including a list without prices intended for display in the shop, with the price list being for Mary, “in case anyone should become interested in that direction. Altho the probability of selling any is small […]” The lists are lost, but reference is made to at least 25 works. Mentioned by title are: “№1, Childhood’s Sunlit Garden,” “№15, Sunday Morning at Eleven O’Clock,” “№12, The Insect Chorus,” “№25, The Yellow Spider.”[15]
Maxwell Armfield (1881–1972) — June 1 — ? The year is uncertain — these works could also have been placed on commission on the same date in 1917. Information is from a 1920 inventory of work that had been placed at the shop on earlier dates, and the listing includes the note “June 1–1917 or 18.” Four prints, three copies of each — no sales or prices included — “Goat,” “Leopard,” “Stag,” “Guinea Fowl.”[16] An April 1, 1920 inventory list records the same prints, with a note that three of each are available, priced at $5 per, along with “Sheet of samples for book plates Hanging Garden — 25% off — All still here 1927.”[17]
1919
Women’s National Book Association — Monthly meeting. March 27, 7 PM. Featured speaker was “Miss Smith of the Equitable Life Company” speaking on “The Psychology of Salesmanship.” Miss Smith offered up sales techniques drawing from theories of warfare and phrenology, among other approaches. [18]
Women’s National Book Association — Monthly meeting. April 15, 7:30 PM. … speakers for the evening will be Mrs. F.L. Akermann, a leading interior decorator and lecturer at Columbia University, who will have as her subject “Window Decoration,” and Miss Sally Lewis of Portland, Me.[19]
(September 1, Sunwise Turn is relocated to Yale Club Building, 51 E. 44 St.)
Women’s National Book Association — Monthly meeting. October 16. Featured guests were author Gilbert Cannan (1884–1955) and author/activist Dorothy Canfield Fisher (1879 — 1958). Meeting minutes record that Cannan “addressed the meeting from the viewpoint of the author’s part in the making of books.” Canfield “spoke on the development of the story and how it takes shape in the author’s mind.” [20]
Charles Burchfield — November — a “sketch” purchased from Sunwise Turn by Gilbert Cannan. [21]
Frances D. Jones (? — ?) — Received November 15, 18 and 19 — “Oriental Jades” — 12 total, priced at $5, $15 and $30. Jones’ address on letterhead detailing delivery is given as “Springside, Chestnut Hill, Philadelphia.” A small scrap of paper notes “8 Oriental Jades come Dec. 11.”[22] A May 1920 catalogue describes the work as “[…] for elders who still have a mind for play, a most engaging ‘Oriental Jade,’ a marionette designed and made by Frances Jones at $3.50”[23]
Henry Varnum Poor (1887–1970) — December 3 — ? (many listed as ”Boston” — “taken Nov. 19” or Nov. 22) — “Drawings” — “Nude №1” ($20), “Nude Kneeling” ($25), “Trees” ($20, sold, paid) “Trees in Spring” ($40), “St. Mihiel” ($25), “Garden of the Gods” ($25), “Eucalyptus Trees” ($15, checkmark), “Rocks Colorado” ($35), “Study for White [?] ($40).[24]
Nancy Shostac (1895–1939) — Inventory slip dated December 14, 1919, on Nancy Shostac’s letterhead: “NANCY SHOSTAC — Broideries Russes et Orientales, 291 FIFTH AVENUE.” Listed on commission: “Geometric Plum Color Sash” ($22, sold), “Short ‘Mujik’ Blouse” ($32, sold, paid Jan. 23) “Cerise Flower Sash” ($22, sold). Notes: “Jan 2 1920 paid $91.50. 1 Olive Green sash withdrawn Jan. 5 — “ A second slip dated Dec. 17 lists: “1 long blue ‘Tolstoi’ Blouse” ($38, taken by [Percy] Feb. 3), “1 Red Wool Scarf” ($17, sold, “paid?”), “1 Olive Green Hat Band” ($10), “1 Red ‘geometric’ Bag” ($14). Note: “Pd. Also for 2 older scarfs [sic] at 28 & 22 — O.K.”[25]
Alfred Francis Kreymborg (1883–1966) — Thursday December 18. “poem-mimes with mandalute accompaniment.” This was to be a “sort of housewarming and introduction to the course” of the continued series of poetry evenings held at the new location. An announcement dated December 20 notes that this performance is “to be followed later by weekly recitals by such artists as Robert Frost, Carl Sandburg, Vachel Lindsay, Witter Bynner and others. The course is to include fifteen lectures, for which season tickets may be purchased for $12.00. Single tickets are $1.00.”[26] Dates and details of the other recitals in the series are only intermittently known.
1920
The existence of a group of consignment and inventory slips dated April 1 1920, as well as a detailed illustrated catalogue dated May 1920 give deeper insight into the specifics of this year, but it should be noted that many of the objects mentioned remained at the shop for years, or had been placed on commission at unknown earlier dates. Many of the artists and authors had a prior relationship with the shop, some beginning in 1916.
“Association of American Painters & Sculptors in association with Sunwise Turn” — An inventory list of prints and postcards, listed as “photos” with the note “April 1916 to January 1, 1920. 1/3 discount allowed S.T.” “Sunwise Turn received — “Cezanne photos — 211 –On hand Jan. 1 88, sold 123.” Priced from 75 cents to $3.50. “Van Gogh photos — 189 –On hand 145 — sold 42.” Priced from 75 cents to $2. “Gauguin photos — 95 — On hand 42 — sold 53.” Priced from $ to $3.50. “Manet photos — 57 — On hand 42 — sold 15.” Priced at $1.25 and $2. “Renoir photos — 149 — On hand 98 — sold 51.” Priced from 75 cents to $3.50. “Redon photos — 65 — On hand 41 — sold 24.” Priced from $1 to $2.50. “Maillol photos — 7 — On hand none, sold 7 @ $1.50.” “Picasso — 5 — On hand 1, sold 4 @ $1.50.” “Roualt — 1 @ $1.25. Zak — 1 @ $1.25. Matisse — 1 @ $1.25.” Note: “Less 1/3 due Ass. $296.67”[27]
Edith Louise Mary King (1871–1962) — From an inventory list dated January 1, but with the note that this was inclusive of work “here since 1916,” so the date of consignment is unknown. Listed as being on commission of “Modern Art School” — “1 Color Sketch Public Gardens Boston” ($25) — with note “can’t find.” [28]
Myra Musselman-Carr (1871, ’72 or ’80–1929) — From an inventory list dated January 1, but with the note that this was inclusive of work “here since 1916,” so the date of consignment is unknown. “1 Mask of Schumacher[29] (concrete)” ($25) “entered.”[30] An April 1, 1920 consignment slip records “1 Concrete Mask” ($25), with a note: “At the Brocken Dec. 1927.”[31]
Nancy Shostac — Sales receipt recording sales of January 2 and 23. Listed as “Sold” — “1 Plum Color geometric sash” ($22), “1 Cerise flower sash” ($22), “I Navy Blue Flannel Scarf” ($17), “I Short Mey’jik [sic] blouse” ($32). Note: “We paid her — Jan 2. $91.50, Jan. 23 $21.00. Taken — “1 Red flannel Scarf” ($17), “1 Blue Flannel” ($17), “1 Olive Green Sash” ($23), “1 bag ([…?] geometric)” ($19), “1 Mustard Yellow Sash” ($15), “1 Purple Bag” ($19), “1 Linen Tea Cloth” ($22), “1 Long Blue Tolstoi Blouse” ($38) “1 Olive Green Hat Band” ($10), “1 Red Geometric Bag” ($14). Listed as Missing: “1 Red Wool Scarf” ($17), “1 Brick Red Silk Scarf” ($27), “1 bag ([…] wool […]) ($19), “1 Violet Bag (with little house)” ($19), “1 Linen Runner” ($18) Notes: “$100.00, $19.50 overpaid — $80.50 — pd. Feb. 10–50–30.50 by MMC.”[32] The May 1920 catalogue also mentions the shop carrying “EMBROIDERIES BY Zoltan Hecht, and Nancy Shostac, Helen Read, and others at times.”[33]
Henry Varnum Poor — January 7 — ? (slip lists many as “Boston” “taken Nov. 19” or Nov. 22). Under heading “drawings” — “Nude” ($20), “Nude Stooping” ($20), “Nude” ($25), “Nude Standing” ($25), “Man Crouching” ($25), “Nude” ($25), “Bridge in Paris” ($15), “Troops” ($15).
Women’s National Book Association — Monthly meeting, January 8, 7:30 PM. Minutes are scant, noting only that “The Secretary, Miss Martha A. Kramer having resigned, the President suggested Miss Esther G. Ogden be elected as Secretary in her place. The proposal was carried unanimously.” [34]
Gilbert Cannan (1884–1955) — Tues. February 3. Lecture at Tuesday night poetry evening, 8:30 PM.[35]
Women’s National Book Association — Monthly meeting, February 5, 7 PM — 9:20 PM. “Present were: Miss Jenison, Miss Lone, Mrs. Sherwood, Miss Ogden [Esther Gracie Ogen (1866–1956)].” Planning underway for March 18 fundraising dinner at the Park Avenue Hotel.[36]
Women’s National Book Association — Monthly meeting, February 19. 53 members present. “Miss Madge Jenison, the President, called attention to the coming March banquet, for which they are to have as guests of honor Madame Yvette Guilbert and other people of note.” Speakers included Hendrik Willem van Loon (1882–1944), Edmund Lester Pearson (1880–1937), and Frederic Gershom Melcher (1879–1963).[37]
Women’s National Book Association — Monthly meeting, March 4, 7:30–9 PM. Aside fron continued planning for the dinner, “Miss Ogden presented a rough outline for a new Constitution for the Association and asked for criticism and suggestion.” [38]
Lola Ridge (1873–1941) — Tues. March 16. Reading the work of Robert Frost, who had to cancel a scheduled reading on this date due to illness.[39]
Helena Van Brugh de Kay (1891–1987) — Tues. March 23 — Lecture, “Romain Rolland and the War.”[40]
Ridgeley Torrance (1874–1950) — Tues. March 30 — “Will read some of his Negro Plays.”[41]
Women’s National Book Association — Monthly meeting, Thursday, April 15, 8 PM. The Publisher’s Weekly of April 10 noted “The April meeting of the Women’s National Book Association and the last of their important winter series on books and publishing […]” “Miss Fanny Dudley will speak for the Hand Binder; Lathrop [Colgate] Harper as Old and Rare Bookman; Heywood Bround of the New York Tribune as representing The Reader.” [42] Minutes record that “Fifty-five were present at this meeting which was one of the most interesting we have had.” Fanny Dudley showed examples of her bookbinding work, and Lathrop Harper displayed rare books. Dudley described a visit with T.J. Cobden-Sanderson and Doves Bindery in England, “Having taught myself in the general methods of Mr. Cobden-Sanderson and, so to speak, under the shadow of his name […]” [43]
Laurence Housman (1865–1959) — Tues. April 27, 8:30 PM. “Lawrence [sic] Housman will give a reading at the Sunwise Turn […]”[44]
Siegfried Sassoon (1886–1967) — Mon. May 10, 8:30 PM. “Siegfried Sassoon will read from his own poems.”[45]
Jeannette Augustus Marks (1875–1964) — Tues. May 11 — “[…] Jeanette Marks will speak on ‘Disaster and the Poet.’ ”[46]
Marsden Hartley (1877–1943) — Tues. May 18 — “Marsden Hartley will talk on ‘Modern Poets.’ “[47]
Henry Varnum Poor — March 30 — Nov. 22 (majority, some works retained) — “Oils” — “Violinist” ($300, “Boston May 12”) “Barn Under Ridge” ($300), “Valley” ($250, “Boston”), “Mt. Orchard Country” ($400). “Watercolors” [All include note “Boston” with some “taken Nov. 19” and most “taken Nov. 22”] — “Street in St. Mihiel” ($25), “Les Deux [Etays]” ($40, checkmark), “Bridge” ($50), “Street in [Blewod]” ($30), “St. Mihiel” ($40), “Autumn” ($35), “Port-a-Mousson” ($35), “Canal” ($25, checkmark) “Port Neuf” ($40, checkmark). “St. Mihiel” ($30), “Avenue” ($40), “Garden-on-Seine” ($30, checkmark), “Nude Lying Down” ($40), “Trees” ($75), “Courtyard at St. Cloud” ($100), “Ville d’Avray” ($75), “House at St. Cloud” ($75), “Port Neuf” ($75), “Sevres” ($75), “Red Roof” ($75), “Litho of Soldiers” ($25). “Etchings” (eight, untitled, @ $8 per) “Drawings” “№1 and №2 @ $15 per.” [Seven numbered drawings at $25 per. One with checkmark.] [Three numbered drawings @ $20, two @ $30, one @ $35, one @ $40.][48]
Women’s National Book Association — Monthly meeting, April 1. Minutes record that “The President asked that Mrs. Yvette Guilbert be made an Honorary member of this Association, which was unanimously voted. There was informal discussion of the very successful annual dinner held at the Park Avenue Hotel on the evening of March 18th., 1920 and suggestions made for an even more successful dinner next year.” [49]
American Association of Painters and Sculptors [sic] — April 1 inventory list records a large amount of prints and postcards which presumably were remainders left unsold after the 1913 Armory Show organized by the Association of American Painters and Sculptors. Described as “photos” the list encompasses Cezanne — 119, prices from 75 cents to $3.50. Van Gogh — 42 from 75 cents to $2. Gauguin — 53 from $1 — $3.50. Manet — 15, $1.25 and $2. Renoir — 51, from 75 cents to $3.50. Redon — 24, $1 to $2.50. Picasso — 1 at $1.50. Rouault — 1 at $1.25. Zak — 1 at $1.50. Matisse — 1 at $1.50. Note: “Cleared.”[50]
Ellen Graham Anderson (1885–1970) — April 1 inventory list: “1 Dancer from the […?]” (no price), “[…?]” ($50), “Harlequin” ($50), “Isadora Duncan” ($40). “25 % off.” Note: “Returned” Address listed at 39 Charles Street, City.[51]
Miss Irene Brown (? — ?) — April 1 inventory list “1 Plaster Statuette” ($10) Note: “25% off. Broken.” Address listed at 172 Prospect St., East Orange N.J.[52]
Remo Bufano (1894–1948) — April 1 inventory list “2 Punch & Judy @ $10 (sold & pd.)” “1 Punch & Judy” ($10, sold). Note: “closed by returns & payments.”[53]
Howard Kretz Coluzzi (1877–1942) — April 1 inventory list: “1 Drawing 1883” (not for sale), “1 Chariot” ($200) “1 Pastel with Two Moons” ($150), “1 Pastel of Ship & Siren” ($1.50), “1 Fish Cast” ($6.00).[54] Another receipt notes that all the work was returned unsold at an unspecified date.[55]
Joanna “Jo” LaTourette Mairs (1891–1983) — April 1 inventory list: “The Tor” ($75), “The Bank” ($75). Note “at Brocken Dec. 1927.”[56]
John Mowbray-Clarke — April 1 inventory list: “1 Wilson Plaque” ($25), “1 Reverse” ($25) (returned), “1 Joanna Mairs” ($15). Notes: “25% off. At Brocken Dec, 1927.”[57]
Martha Ryther (1896–1981) — April 1 inventory list: “”1 Watercolor ‘Swanboats’ (framed)” ($25) [Notes: “25% off” “Returned.][58] The May catalogue notes that her “extraordinary batiks decorate THE SUNWISE TURN.”[59]
Walter Pach (1883 –1958) — April 1 inventory list: “1 Framed Etching, [‘Renoir’s] Leisure’ “ ($20 — sold & paid), “4 etchings @ 15” ($60 — sold 2 — pd.) “3 Framed Oils @ 25” ($75 — returned) “3 Unframed [oils] @ 25” ($75, June 30/20)
Stella Bloch (1897–1999) — April 1 inventory list: “1 Colored Crayon (Framed)” ($50), “Pen & Ink Sketch” ($50), “Pen & Ink Sketch w/ Wash” ($50), “Head (framed)” ($100). List includes note “25% off” and an address of 121 Madison Ave., as well as a mention that all of the works aside from “1 Colored Crayon (framed)” were returned March 4, either 1922 or 1927 (the year somewhat illegible). Another slip, with the heading “returned March 4” notes that along with her own drawings were “Turning by Dr. Coomaraswamy, Stretching, Figure with hair ‘hanging,’ [Standing], 2 [Seductions] (1 colored), Reclining, […?].” Further, under a heading of “Nov. 24,” are “Face on Pillow,” “Attention,” “Seated” and “1 Painting by A.E.”[60]
Frank Applegate (1881–1931) — April 1 inventory list: “1 Seals (Pottery)” ($10, returned), “1 Green [Gr…?]” ($15, returned), “3 Small Sample Tiles” ($3.50 each, returned), “3 Plates” (@ $3.50, $2.50, $2.00 — sold 1 to Rollo Peters. Returned), “1 Jar with Cover” ($10, returned). Note: “25% off” “Closed.”[61] The May catalogue notes that “In addition to the small figures and interesting experiments in glazes of Frank Applegate (including his somewhat famous ‘Mouse’ and the great sign in tiles on our own facade), we have some specimens of his new Country Pottery, agreeably rustic in appearance and practically unbreakable. Orders taken for this, it being understood that Mr. Applegate does not repeat designs nor execute large quantities.”[62]
Warren Earle Cox (1895–1977) — April 1 inventory list: “1 Persian Lamp (see Cox for shade) withdrawn by Earle Cox October 30, 1920.” Another inventory list, with the same date, records “1 Lamp Shade (See Kevorkian for Lamp),” “1 Dunsany Lamp,” “1 Japanese Lantern.” All of these are crossed out, and a note is added — “removed by Mr. Cox.” Further notes: “1 Lantern here, $10. Returned March 1927 by […?]”[63] The “Persian Lamp” from the first slip is listed as being placed on commission by Hagop Kevorkian (1872–1962). A Sunwise Turn catalogue dated May 1920 notes that “Lamp-Shades when good are an intimate value in an interior. Our SUNWISE TURN lanterns and the other lamps we show are by Earle Cox, whose sense of line and perfection of craftsmanship are evident here. His Dunsany lamp shows him capable of treating even the impossible picturesque with dignity.”[64]
Riichiro Kawashima — April 1 inventory list: “2 Watercolors [numbers] 7 and 13” ($50 each) “1 Oil” ($50). Note: “At Brocken Dec. 1927. On the April 1 inventory list of Ananda Coomaraswany, under the heading “miscellaneous” are “2 Lacquer Panels by Kawashima (Tentative price $500 each)” with a further note that they were “sent to Brown.” (Reference to Sunwise Turn associate George M.L. Brown (? — ?), who began a bookshop called Orientalia in 1920 with assistance from Coomaraswamy.) Note: “If sold report to Coomaraswamy as to […?].” The May catalogue mentions that “RIICHIRO KAWASHIMA is one of the few artists in the United States working in the old traditional painstaking way of lacquer making. His superb lacquers, ‘Coming and Going,’ 5 by 9 ft. in size, grace our walls while awaiting a permanent home.”[65]
Eric Gill (1882–1940) — April 1 inventory list: Work placed on commission by Ananda Coomaraswamy, all under the heading “ERIC GILL WOODCUTS.” “1 Framed Pax Hominibus” ($6) “2 Crucifix with Arms” ($1.50 per), “2 Christmas 1914” ($1), “2 Emblems” ($12 per), “2 Hampshire House” ($2 per), “2 Rumps” ($1.50 per), “1 Crucifix with Chalice” ($2.50), “1 [Innocence]” ($1.50).
Rajput Indian folk art paintings — April 1 inventory list: Work placed on commission by Ananda Coomaraswamy. “Princess [….?]” ($75, sold Dec. 15) “Goddess with White Cow” ($25), “Washing of Feet” ($150, sold Dec. 15). The remainder are beneath a note: “1921 March 29” — “[…] with Deer” ($150, sold Dec. 13), “Unfinished Picture ([…?])” ($25), “[…?] (Rainy Season)” ($35), “№305” ($50), “№336” ($250). May 1: Under the heading “MISCELLANEOUS” are listed “Indian Paintings” — “Lady Between 2 Peacocks” ($30), “Rajah of Kovvada” ($20), “[…?] Washing Feet” ($25), “Horseman Falling from Steed” ($25), “[Nohain Badshak]” ($20), “Woman Standing on Cushion” ($30), “Rajah of […?]” ($25), “Lady in Terror! With Bird on […?] (why? — […])” ($60), “Red Bordered Kneeling Figure in Lotus” ($30). “Three Figures on [Terrace] (Much Gold)” ($25), “Kangra Period (Torn at Bottom)” ($35).
Ananda Coomaraswamy — Under heading “DRAWINGS” — April 3: “2 Framed Drawings” ($20 per). April 5: “1 of Above Drawings sent to Kevorkian, withdrawn from […?]” April 19: “[Hanging] Hair” ($60), “Beloved” ($50), “Sleeping” ($40), “Peace” ($40), “Affection” ($40), “Bending Grief” ($40, sold & credited), “Stretching” ($40), “Abandon” ($30), “Back” ($25), “Reclining (Red)” ($30), “Seduction (Color)” ($30) “Seduction (Uncolored)” ($25), “In the Bath” ($30), “Sleeping (Colored)” ($30), “Looking Away (Red)” ($30), “Invitation” ($30). June 12: “Nude ‘X X’ “ ($25), “Turning” ($35).
Maurice Sterne (1877–1957) — April 1 inventory list: “3 Paintings (Nudes)” ($150 each). Note: “Sent to E. Weyhe 1925. 1 sold & credited to us. We credited it to Mr. Sterne. Still due here $100, Sept. 1926. Paid — Feb. & April 1927.”[66]
Amy Murray (1865–1947) — Tues. April 6 — “will give her Hebrides songs and folk tales.”[67]
Ananda Coomaraswamy — Wed. April 7 — “April 7. Dr. Amanda [sic] Coomaraswamy will lecture on Indian poetry.”[68]
Lola Ridge — Tues. April 13 — Lecture titled “Woman and the Creative Will.”[69]
Herbert Crowley — April 1 inventory lists: (much of the work was presumably placed on commission at earlier dates) — “Beethoven Sonata” ($100), “Sweet Memories” ($30), “Surprise” ($7), “Bribery” ($7), “Perseverance” ($15), “Prince’s Promenade” ($75) These works are all marked as “returned.” Work marked as “here” — “Butterflies” (from $75 to $60) Temples (photographs [i.e. prints] ) “Temple of Silence” (3 large size, @ $8, 4 middle @ $5, 5 small @ $2), “Temple of Mysteries” (3 large @ $8, 4 middle @$5, 4 small @ $2), “Temple of Dreams” (2 large @ $8, 1 middle @ $5.) One slip mentions “Butterflies” as being “here June 15 1925.” The other notes “all returned or paid for except Butterflies at Brocken 1927.”[70]
Robert Frost (1874–1963) — Tues. April 20 — “Lecture.” [71]
Ananda Coomaraswamy — [Tues. April 27] — “Lecture on Indian poetry.”[72]
John Cowper Powys (1872–1963) and Stephen Graham (1884–1975) are included in a list of past speakers at the Sunwise Turn in a May 1920 catalogue, though not dates are given. This catalogue also mentions several artists not otherwise referenced in inventory slips: “Two young Americans, now dead, have interested us strongly. Rex Slinkard [1887–1918], whose work was shown by Mrs. Sterner last winter, and a young unknown painter who died in Sicily, named Shaler.” “Shaler” is probably Frederick R. Shaler (1880–1916).[73]
Charles Burchfield — June 18, Ananda Coomaraswmay placed a Burchfield painting titled “Blacksmith Shop” on commission. No price recorded.[74]
Henry Varnum Poor — Dates unknown, work advertised in a Sunwise Turn catalogue dated May, 1920. The catalog mentions that “Mentalities strongly contrasted appear in the work (in water-color) of CHARLES BURCHFIELD and (in oils) of VARNUM POOR.”[75] A consignment slip recording Varnum Poor’s work includes a note in a 1920 column: “received May 1 for exhibit at Junior Art Patrons Exhibit — 1 Landscape ($200), 1 Figure ($200). May 3 sent to 215 W. 57. May 23 received back from 215 W. 57.”[76]
Irene Bogart Chubb Robus (1886–1958) and Hugo Robus (1885 — January 14, 1964) — Batiks. Further details and dates unknown, mentioned in May 1920 Sunwise Turn catalogue.[77]
Lectures announced in the May 1920 Sunwise Turn catalogue as upcoming, but without mention of dates. Descriptions transcribed from the catalogue:
ALFRED KREYMBORG, author of “Poem-Mimes,” “Mushrooms,” “Plays for Merry Andrews,” etc. and editor of “Others,” will speak on special aspects of modern poetry, and will also exhibit his “Puppet-Theatre.” His recital of his own poems to his own accompaniment on the Madalute were a feature of his talks in 1919–1920 […]. He may do some work in Synthetic drama in collaboration with the Armfields next season.
HELENA DE KAY will speak on Romain Rolland, reading unpublished letters and extracts from his journal during the War. Miss de Kay, who is presently in Russia, will doubtless have new matter of importance next season.
PADRAIC COLUM brings a rich warm Irish movement to us.
AMY MURRAY, singing the Gaelic songs orally collected in the outer Hebrides, to her accompaniment on the Clarsach, the ancient Celtic harp. These are incidental to a talk on life, folk-lore, and customs in Eriskay.
JOHN MOWBRAY-CLARKE [1869–1953], sculptor, on that kind of artist’s little understood field.
ROLLO PETERS, scenic artist, actor, and sometime Director of the Theatre Guild, on Scene Designing and perhaps on the theatre of the present in England, France and Italy — countries he is now visiting.
HENRIK WILLEM VAN LOON [1882–1944], DHAN GOPAL MUKERJI [1890–1936], and others, especially visitors from abroad, may be available for occasional dates.”
Mary Mowbray-Clarke (1874–1962) — “will speak on Modern Guilds in their relation to the Arts.”
Madge Jenison (1874–1960) — “who is now president of the Woman’s National Book Association, [will speak] on various phases of the extension of the buying and reading of books in this country.”[78]
Women’s National Book Association — meeting, Thursday evening, May 20th. Meeting notes record that “It was scheduled as Publisher’s Night, but owing to illness and absence the invited publishers were unable to attend.” In lieu of Publisher’s Night, there was a presentation and question and answer session with author, journalist and activist MARY WHITE OVINGTON(1865–1951), who was also a WNBA member. Madge Jenison introduced Ovington: “One of our members has written a book. […] Miss Mary White Ovington has been Secretary of the National Association of Colored People for a number of years and her book, “The Shadow,” which came out this Spring, is the book to which I refer. Miss Ovington will tell us about it.” [79]
Women’s National Book Association — meeting, Thursday evening, September 16, 8 PM — 10 PM. Meeting minutes detail debate about articles in the constitution, and making inroads into the American Booksellers Association, which had formerly excluded women. Madge Jension tells the group that “I want it known that there is a group of people opening a book shop in Cincinnatti, somewhat on the lines of The Sunwise Turn, and they have written to ask for a manager of that shop. If there is anyone who wants to risk four years of her life and energy, I will be glad to put her in touch with the Committee.” A later conversation shows the group’s ambitions growing: “MISS JENISON: We will have two women members on the Committee of the American Booksellers Association Convention at Atlantic City. Next year I think we certainly ought to put on three and the next, four, and the next year a woman President. MEMBER: Why have any men at all? MISS JENISON: Yes, why have any men at all?” [80]
1921
Women’s National Book Association — monthly meeting, January 20. Minutes record a conversation largely revolving around obtaining and publicizing lists of women involved bookselling and publishing. Madge Jenison notes that “Our membership is now about about 75” and that these women could be enlisted in building and maintaining such a database. She is interested in compliling the list as “We are to have a montly page in The Bookseller, Newsdealer & Stationer and The Publishers’ Weekly.” [81]
Heinrich Tischler (1892–1938) — Inventory list of Feb. 7. “10 Woodcuts by Tischler @ $1.50. On Consignment. Returned. Note: “Sent Feb. 7th.” Address is given as “United Arts & Crafts Inc. 145 West 45 St. (City).”[82]
Miss Villa Faulkner Page (1862 — ?) — Inventory list of February 16 recording items returned — prices not recorded; “Red Violet Irises — [r.g.] background,” “Yellow Flowers — Blue Background,” “Study in Shades of Red — (Peonies & Chrysanthemums),” “Cubist Arrangement Reds, Y.O., Blues etc.,” “Yellow Rose,” “Red Peony,” “Study of a Nude Kneeling,” “Study of a Nude in Abjection,” “Sicilian Donkey Cart,” “Sicilian Peasant House,” “Cubist Dancers,” “Water Colour Flower Study” [Notes: “Sent Feb. 26/21” Address is listed as 34 Gramercy Park.][83]
Zoltan Hecht (1890–1969) — Inventory list of March 23, 1921: 5 woodblock prints; “The Church” ($3.00), “Cow & Calf” ($3.00), “Figures” ($5.00), “Dancer” ($10.00), “The Birth” ($5.00) [Notes: 25% off. Returned][84]
Zoltan Hecht — Date unknown but sometime after March 5, 1921, as Ruth McCall is listed as Vice President of Sunwise Turn on the stationary heading. A price list records “14 watercolors” and “11 drawings.” Watercolors: “Flower Study” ($90), “Maine Shore” ($50), “The Brook” ($50), “Village Church” ($90), “Blue Ridge Mountains” ($35), “Apple Tree” ($50), “Farm House” ($35), “Maine Island” ($75), “Blue Ridge Mountain” ($50), “Blue ‘ ‘ “ ($40), “Trees & Hills” ($40), “Farm House in Maine” ($75), “Boat” ($25), “Maine” ($35). Drawings: “ — — “ ($25), “Cat” ($10), “Orchard” ($25), “Figure” ($25), “Mrs. [?] House [?]” ($25), “7. Trees” ($25), “8. Trees” ($25), “ 9. Trees” ($25), “Flowers” ($20), “House” ($25).[85]
Sherwood Anderson (1876–1941) — Exhibit of paintings (most approximately 18 x 12 in. according to contemporary press accounts); April 10 — May 31. A newspaper article of April 10 1921 notes that There were originally fourteen paintings on exhibition at the Sunwise Turn but four of the pictures have been sold. Among the titles are “God’s Flyswatter,” “Conception,” “A Tired Sea,” “Family Pride,” “An American City,” “The Queen Walked by the Sea,” “Alabama” […][86] An inventory list prepared May 31, as the paintings were being readied to be shipped for another exhibit at Wayfarers’ Bookshop in Washington DC, records “18 pictures by Sherwood Anderson” though only 9 are listed, along with prices: “God’s Flyswatter” ($100), “Conception” ($150), “A Tired Sea” ($100), “[Mullens & Birches]” ($125), “Family Pride” ($50) “Sunset” ($250) — a piece with no recorded title listed as “sold” — “An American City” ($85) and “Mommy” ($100). The inventory list notes that the works were “Sent June 4.”
Grace Storey [Putnam] (1877–1947) — Consignment slip dated July 6, 1921 — “Poor Folksy,” “Moon Fairy.” Received from W.S. Matthews (? — ?). Note — “Sale price $25.00.” A second slip dated “July 6th & 8th 1921” and “received from W.S. Matthews for Mrs. Arthur Putnam — Consigned to Earle Cox — “ “Peter,” “Fairies,” “Poor Folksy,” “Moon Fairies” Note: “All Returned. To be sold at not less than $20.00, 25% commission. — Mary Mowbray-Clarke.”
Claire Dana Mumford (1873–1944) — Consignment slip dated September 20, 1921 — “Paintings — The Fingers of the Gods ($500), [Plume of the City] ($500).” Notes: “File in consignment book. Returned on Jan. 1922.” Mumford’s address is given as 1 Lexington Ave.[87]
Irene M. Brown (1882–1943), John Mowbray-Clarke, Maurice Sterne and Charles Burchfield — Slip dated October 19 records a group of works “on loan” to “Mrs. Sterne” at Junior Art Patrons of America, 22 West 49: “Sculpture, by Irene Brown. Plaster.” ($10), “Commerce, Mowbray-Clarke. Bronze.” ($150). These include a note stating they were “not returned.” Works by Charles Burchfield: “February Floods” ($75), “Winter Sun” ($75), “The Trees & Pool” ($65), “Street Storm” ($125), “After the Ice Storm” ($200), “The Thaw” ($200, sold). Also included, at the end of the list, are two items identified as “Sterne Pastel” at $150 and $200. The bottom of this slip is marked “Returned.”[88]
“Mr. R.A. [Swinson?]” (? -?) — November 18: “3 Framed War Sketches” (No’s 1- 2- 3 — net $8 to him). “All returned March 2.” A second slip for the same artist, with an address given at 12 South Street, Port Chester NY records three more works at “net $12” — titles illegible, note “All Returned […]”[89]
1922
Padraic Colum — Author’s reading/lecture, February 15. “Very small audience.”[90]
Edward McKnight Kauffer (1890–1954) — February 15 — [?] 12 paintings and 11 drawings. Inventory list records “oils” as — “Sunflowers” (sold), “[?] and House” (returned), “Three Little Red Houses” (returned), “Landscape” (sold), “White Lilies,” “Backyards,” (returned), “[?]” (returned), “Landscape” (with notation “M.M.C.”), “Still Life Three Pots” (returned), “Small Landscape” (returned), “[?] Homes” (returned), “Thatched [?]” (returned). “Drawings” — “3 Eagle [Lofts],” “Cubic Buildings,” “Two Men on Street,” “Herald Birds Grey,” “Herald Birds Red & White,” “Crayon Landscape,” “Man on Bridge X,” “Rain,” “Pen & Ink,” “Sunflowers” (sold), “Man with Pipe,””[Angler Boats],” “Watercolor [Homes],” “Factory.”[91]
Charles Burchfield — February 15 — March 23[?][92] Number of works and titles unknown aside from “Horses in March.”[93]
Amy Murray — “An Evening with Amy Murray,” April 19. Mary Mowbray-Clarke’s diary notes “[…] Preparations for Amy’s concert etc. Very rainy day, poor audience at night but Amy looked handsome in her new old frock and read “The Shepherd from Outby” very well.”[94]
Lewis Hine (1874–1940) “Work Portraits of Men as They Are,” April 5 — April 20
J.J. Lankes (1884–1960) — September — ? In a letter to Mary Mowbray-Clarke dated September 24, Lankes mentions having sent a print titled “Autumn,” and plans to send a folder of “Christmas greetings” priced from 10 to 35 cents. He mentions pricing for commissioned bookplates — “$50 is about average I should say” and that “I shall be glad at any time to send you more prints.”[95]
Ambrose McCarthy Patterson (1877–1966) — Sales receipt dated Dec. 13: ¾ of 50.00 received from Mrs. Webster for 2 woodblock prints $37.50 [note: Pd July 7–1923] A later slip dated January 23 1923 clarifies the titles and sales — from Mary Mowbray-Clarke “to Ambrose Patterson on 917 Seneca St. Seattle, Wash.” For payment and/or return of woodblock prints — “Ranier №18 ($25, sold), Volcano .24 ($25, sold), Palms A8 ($15) Volcano №27 $25.” Note next to “Volcano №27” — “Sent direct to Mrs. Webster in April.”[96]
1923
Henry Varnum Pooor, Charles Burchfield — Inventory slip dated January 8 notes “lent to Sallie Lewis” — “copy of Henry Poor’s cat. [catalogue],” “Orchard in Snow,” “Barn on Martha’s Hillside,” “Bumper Clarke” — “Burchfield — Black-Eyed Shed.” Note: “Returned to us.”[97] Mary Mowbray-Clarke wrote in her diary of Monday January 8 that she had “[…] helped Sallie Lewis plan for her travelling show.”[98] Evidence for this travelling show is elusive, but it was ongoing as of March 8, when Mary wrote to Charles Burchfield that “Miss Lewis has ‘Burnt Forest’ and the ‘Safety Valve’ on tour. They have been in Minneapolis, & are now in Portland and will probably be in Denver & Kansas City on the return journey. She has catalogues & will explain to people. So far I’ve heard nothing from her.”[99]
“Miss [Yungrich]” (? — ?) — March 3. “2 Paintings to be sold at $400. 25% commission. Returned.”[100]
Ivan Opffer (1897–1980) — March 17. “Received from Carl Sprinchorn[101] 6000 Madison Ave.” “1 Potfolio of Lithographs by Ivan Opffer.” “June 27 […] Returned”[102] An undated sales slip notes “Prints taken away. 6 Sandburys 1 Cannan […?] Hartleys — Ivan Opffer.” The reverse of this slip reads “On consignment. 5 lithographs of Walpole selling at $10 each. 5 lithographs of Marsden Hartley selling at $10 each (returned) — 5 lithographs of Gilbert Cannan selling at $10, returned 1. Discount 25 each from Ivan Opffer.”[103]
Hugh Lofting (1886–1947) — Inventory receipt, November 5 “Charge Mrs. Mabel Ulrich. 71 S. 12th St. Minneapolis Minn.”[104] Note: “send express direct” — 4 pastels by Hugh Lofting. Value $450.00. A telegram of Nov. 4 ,1923: “MUST HAVE LOFTING PICTURES WITHIN WEEK IF NOT YET SHIPPED PLEASE SEND IMMEDIATELY — MABLE [sic] ULRICHS BOOKSHOP 71 SOUTH 12 ST.” A receipt dated March 10 notes “Received from Mrs. Hugh Lofting the following: Moonlight in the Jungle, Daybreak under the Sea, […?] to his […?], Lavender Land — sent to Mrs. Ulrich Nov. 6”[105]
1924
A.R. Orage (1873–1934) — Wednesday January 9. Lecture on the occult/philosophical system of G.I. Gurdjieff (1872? — 1949). “About 85 people” in attendance.[106]
G.I. Gurdjieff — Sunday March 2. Lecture and possibly a “movement class.” Moved to the Sunwise Turn at the last minute after the key couldn’t be found for the 746 Madison Avenue dance studio of Rosetta O’Neill (1882–1966). Approximately 40 attendees.[107]
Charles Burchfield — ? — May 9. An inventory slip records seven “paintings by Burchfield” “sent 5/9/24.” Titles: “Old Houses at Camden,” “Entrance to Coal Mine,” “Hot Summer Afternoon,” “Old Broken Barn,” “Sun Going into a Cloud Bank,” “Freight Car Dwellings,” “The Little Shed.”[108]
Charles Esposito (? — ?) — October 1–15 (precise dates unknown, but the work was displayed for “three weeks” beginning October 1.) Wood carvings “of Charles Esposito, who is now serving a life sentence for murder in the Connecticut State Prison.” Included two large ships, one 24 inches long and another 26 inches, three small ships, several woven bags and a wooden jewelry box. The exhibit was arranged with Genevieve Cowles, an advocate for art programs for prisoners and Sunwise Turn associate.[109]
Jennings (Yehuda) Tofel (1891–1959) — December 10. ”1 Torso Drawing (Arm Up)” (no price), “Three Nudes” ($75), “Fire” ($100), “Bridge” ($100), “Job” ($75), “Black [Pot]” (no price). Note: “Returned May 13 to […?]” An address is listed as “108 E. 179.”[110]
“Santos” folk art paintings from New Mexico, curated/placed on commission by Frank Applegate — December 21 — ? Applegate, who was living in Santa Fe at this time, curated an exhibit of 40 folk art “Santos paintings” from New Mexico at Sunwise Turn. “They were done, he says, from 100 to 300 years ago, on hand-made pine boards. The medium is gesso made by mixing native calcined gypsum with a gum from the pinon pine tree. […] The pictures are small and selected to represent different painters and subjects, and there is as much variety as in any small, modern exhibition.”[111] Applegate wrote, in a press statement about the exhibit that “These paintings are not to be seen in any museum or gallery that I know of and there are only a few that have collected any. They are quite different from any from Old Mexico. They show less European influence and sophistication. It is usually only the more modern painter who drift in here who show any real appreciation for them. The old Mexican life here is being spoilt rapidly by Fords, cheap lithographs, jazz, etc.”[112] An inventory list records pieces priced from $8 — $180, which had arrived “in small box, consigned by Frank G. Applegate Santa Fe NM.” Some of these paintings were later loaned by Sunwise Turn/Applegate to Weyhe Gallery and Newman Gallery. An inventory records a selection of 14 at Newman Gallery (19 E. 57) dated April 10 1925.[113]
1925
Charles Esposito — February 26 “Consigned to Mrs. Milton Chamberlain, Curiosity Shop. 83rd. St. Jackson Heights” — “Esposito Ship in Bottle” ($10), “Esposito Ship in Case” ($15, sold & pd.). Note: “She is to sell at 25% commission. Money to go Esposito. Hold ship.”[114]
J.J. Lankes — April 13 “Send [Am… ghty] Galleries 17 W 50” “Cedar Mill,” “Winter,” “Autumn,” “[…?],” “Spring,” “Mill Race Road,” “Crucifixion.” Note: “All woodcuts by J.J. Lankes Sent 4/13/25.”
Edwin L. Howard (? — ?) — June 3. “2 drawings. 1 Holy Gate. 1 The […] Lantern.” “Sent […] 4 25 Nobody home. Sent 6 5 25. Address recorded at 18 E. 41. [115]”
Dewitt Clinton III Peters (1902–1966) — Nov. — Dec. A notice in the New York Times of November 8 notes that “The Sunwise Turn, the proud discoverer of Burchfield, has made a new discovery — Dewitt Peters — and is showing his work in the bookshop. […].”[116] A typed inventory list is titled “Dewitt Peters First Exhibition, December 1925”; Under the heading “pictures” — Still Life ($25), Town of B ($30.00), Fishing Boats ($25), R.C. ($25), St. Tropez ($25), Panel ($75), Breton Girl ($60), Young French ($40, sold), Self Portrait (no price), Dead Chestnut Tree in Brook House Garden ($60), Little Girl ($35). Under the heading “Water Colors” — Villa ($30), Bather ($20, sold), Picnic ($10), Young American (no price, sold), Southern France ($30), Gravel Loader ($30), Mrs. B. Looking at a book ($50), Southern Town ($25), Above the Lake of Garda ($35), R.C. ($25), Sanary ($75, sold), Italian House ($35), The Dinner Porch ($50, sold), Adria ($30, sold), The Potted Plant ($35, sold), Colored Promenade. (French) ($25), Italian Factory ($15, sold), Anticeli ($15, sold), French Corner ($20). [Note: “Drawings ten dollars each.”][117]
Angelica Patterson (1865? — 1952) — Inventory list dated December 2, with a note “Returned Jan. 13” — “Leaf in the Air” ($135), “The Annunciation” ($135), “At the Threshold” ($200), “Elijah” ($135), “Jacob’s Dream” ($135), “Moses & the Burning Bush” ($15), “Messenger” ($10), “no name” ($10), “no name” ($10). Patterson’s address is given as 40 Wright Place, Scarsdale.[118]
1926
Charles Burchfield — Four Woodcuts. January 28 — ?[119]
Maurice Sterne — Inventory slip stamped “credit” dated March 31: “1 painting sold by E. Weyhe $150.” Presumably this was a work lent by Sunwise Turn to Weyhe Gallery.[120]
1927
Richard Bruce Nugent (1906–1987) — Exhibit of unspecified drawings. January 13 — ?[121]
Stella Bloch — A very hastily scrawled note on a scrap of paper reads “Miss Stella Bloch 121 Madison Ave. Return 16 Pictures. Sent 3/4/27.”[122]
1928
(March 31: the end, Sunwise Turn is sold to Doubeday.)
FOOTNOTES/CITATIONS:
The majority of this information is drawn from two sources, and unless further clarified, AAA = Archives of American Art, Smithsonian Institution, John Frederick and Mary Mowbray-Clarke papers (folders 35–38) and HRC = The Sunwise Turn/Mary Mowbray-Clarke Papers, Harry Ransom Center, University of Texas at Austin (most material drawn from folders 1.2 and 1.3, “consignment register,” and 9.5, “sales slips and general records.”)
[1] AAA, Beatrice Wood papers, (Box 17, folder 1, diaries. Entry for April 12 1916; “hear coomeraswami [sic] lovely.”) For further evidence of Ratan Devi (wife at the time of Ananda Coomaraswamy) giving a musical performance at Sunwise Turn see Carl Zigrosser, My Own Shall Come to Me. (Enschede en zonen; Haarlem, The Netherlands: 1971.) p. 298
[2] AAA, Beatrice Wood papers, (Box 17, folder 1, diaries.) Diary entry for April 30, 1916: “Hear Clara Marden read Theodore Dreiser ‘Laughing Gas’ [one of Dreiser’s plays] at Sunwise Turn. Very remarkable.”
[3] AAA. From a slip titled “Jan 1, 1920 — Consignments of various objects here since 1916.” April 1 1920 slip from HRC.
[4] Ibid. A note of “Herbert Crowley” is followed by a wide blank space, as if there was an unrealized intention to fill in details at a later date.
[5] Ibid.
[6] Ibid.
[7] Ibid. On this slip Craig’s address is given as 1114 Carnegie Hall, and as of Jan. 1 1920 her bookplate designs are noted as being “in a folder in Mrs. Clarke’s bottom drawer.”
[8] Beatrice Wood papers, Archives of American Art, Smithsonian Institution. (Box 17, folder 1, diaries.) Entry of Jan. 22, 1917: “Amy Lowell reads at Sunwise Turn. I recite ‘Patterns.’ Evening not marvelous.”
[9] AAA Beatrice Wood papers, (Box 17, folder 1, diaries. Entry for March 1 1917; “Sunwise Turn. Show my drawings. […]”)
[10] Theodore Dreiser papers, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania. (Ms. Coll. 30, Box 104) A business card invitation from Mary Mowbray-Clarke to Dreiser informs him of the lecture and date.
[11] John Quinn to Mary Mowbray-Clarke, June 6, 1917. (John Quinn Papers, Manuscripts and Archives Division, The New York Public Library. Letterbook “1917 April 14-July 5.”)
[12] The Publishers’ Weekly, November 24, 1917. “Women of Trade Organize Women’s National Association of Booksellers and Publishers” p. 1825
[13] American Art News, “Japanese Artist at Sunwise Turn,” Dec. 29, 1917, p. 2
[14] Louise Townsend Nicholl, “A Poet on Poetry,” The Evening Post (New York), Sat. March 2, 1918. Book Section, p. 4
[15] Burchfield Penney Art Center, Charles Burchfield archive. Charles Burchfield to Mary Mowbray-Clarke, c. May 1918.
[16] AAA
[17] HRC
[18] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[19] The Publishers’ Weekly, April 12, 1919, p. 1010.
[20] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[21] Burchfield Penney Art Center, Charles Burchfield archive. Charles Burchfield to Mary Mowbray-Clarke, letter dated Nov. 18, 1919.
[22] AAA
[23] HRC (“A First and Most Curious Catalogue of Books Art-Objects and Activities from The Sunwise Turn Inc. Yale Club Building 51 E. 44th. St. N York.”) p. 8.
[24] HRC. This consignment slip also includes inventory for Jan. 7 and March 30, 1920.
[25] AAA
[26] Ibid., December 20, 1919, “Poetry Evenings at the Sunwise Turn.” p. 1620.
[27] AAA
[28] Ibid.
[29] Likely, but not definitely, referring to William E. Schumacher (1870–1931), an artist represented in the 1913 Armory Show by two works.
[30] Ibid.
[31] HRC
[32] AAA
[33] HRC (“A First and Most Curious Catalogue of Books Art-Objects and Activities from The Sunwise Turn Inc. Yale Club Building 51 E. 44th. St. N York.”) p. 8.
[34] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[35] The Sun and New York Herald, Tuesday February 3, 1920. “Events To-Day.” p. 10
[36] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[37] Ibid., and The Publishers’ Weekly, February 28, 1920. p. 623
[38] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[39] The Publishers’ Weekly, March 20, 1920 (“Lectures at the Sunwise Turn,” p. 945). A May 1920 Sunwise Turn catalog mentions, in a listing of upcoming readings that LOLA RIDGE, author of the “Ghetto,” reads her own poetry, and this year gave a most enlightening reading of Robert Frost, whose illness prevented his own appearance with us. (A First and Most Curious Catalogue of Books Art-Objects and Activities from the Sunwise Turn Inc. p. 5)
[40] Ibid.
[41] Ibid.
[42] Ibid., April 10, 1920, “Women’s Lecture Series,” p. 1147
[43] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[44] The Sun and New York Herald, Tuesday April 27, 1920. “Events To-Day,” p. 8.
[45] The Publishers’ Weekly, May 8, 1920 (“Readings at the Sunwise Turn,” p. 1442)
[46] Ibid.
[47] Ibid.
[48] HRC (sheet one of a two page inventory)
[49] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[50] HRC (sheet one of a two page inventory)
[51] Ibid.
[52] Ibid.
[53] Ibid.
[54] AAA
[55] HRC
[56] Ibid.
[57] Ibid.
[58] Ibid, and AAA.
[59] Ibid. (“A First and Most Curious Catalogue of Books Art-Objects and Activities from The Sunwise Turn Inc. Yale Club Building 51 E. 44th. St. N York.”) p. 8.
[60] AAA
[61] Ibid.
[62] HRC (“A First and Most Curious Catalogue of Books Art-Objects and Activities from The Sunwise Turn Inc. Yale Club Building 51 E. 44th. St. N York.”) p. 8.
[63] Ibid.
[64] Ibid. (“A First and Most Curious Catalogue”) p. 6.
[65] Ibid. (“A First and Most Curious Catalogue…”) p. 6.
[66] Ibid.
[67] The Publishers’ Weekly, March 20, 1920 (“Lectures at the Sunwise Turn,” p. 945)
[68] Ibid.
[69] Ibid.
[70] HRC and AAA.
[71]The Publishers’ Weekly, March 20, 1920 (“Lectures at the Sunwise Turn,” p. 945) .
[72] Ibid. Date inferred. The listed date is “April 7” but as this comes at the end of a chronological list of Tuesday evening lectures etc. which spans March 16 — April 13, it seems safe to assume that April 7 was a typo. Not only would April 7 be out of chronological order, but it was a Wednesday. April 27 was the Tuesday following April 13.
[73] HRC (“A First and Most Curious Catalogue of Books Art-Objects and Activities from The Sunwise Turn Inc. Yale Club Building 51 E. 44th. St. N York.”) p. 6.
[74] HRC (From commission inventory slips for Ananda Coomaraswamy.)
[75] HRC (“A First and Most Curious Catalogue of Books Art-Objects and Activities from The Sunwise Turn Inc. Yale Club Building 51 E. 44th. St. N York.”) p. 6.
[76] HRC
[77] Ibid.
[78] Ibid.
[79] Women’s National Book Association records; Box 93, W.N.B.A. scrapbook, Volume I: Nov. 1917 — Dec. 1924; Rare Book and Manuscript Library, Columbia University Library
[80] Ibid.
[81] Ibid.
[82] AAA
[83] Ibid.
[84] Ibid.
[85] Ibid.
[86] The Dayton Daily News, Sunday April 10, 1921. Second News Section 3.
[87] AAA
[88] Ibid.
[89] Ibid.
[90] Mary Mowbray-Clarke’s daily diary, collection of Jethro Nisson, entry of Feb. 15 1922.
[91] AAA
[92] Henry McBride, “Burchfield’s Admirable Drawings Are Shown,” The New York Herald, Sunday February 26, 1922 p. 5 The date of Feb. 15 for the opening of this exhibit is drawn from context found in Mary Mowbray-Clarke’s correspondence to Burchfield held at the Burchfield Penney Arts Center, Buffalo NY. On March 23 Mary recorded in her diary that she had begun packing Burchfield’s paintings for shipment to London; “Ted [Edward McKnight Kauffer] and I made the selection of the Burchfields to go to London and began packing them. He gave Ruth [McCall, Mary’s business partner] and me each a painting for ourselves.” (Mary Mowbray-Clarke’s daily diary, collection of Jethro Nisson, entry of Thursday March 23, 1922.)
[93] The New York Times, Sunday Feb. 26, 1922 p. 8, under column “museum activities.”
[94] Mary Mowbray-Clarke’s daily diary, collection of Jethro Nisson, entry of April 19, 1922.
[95] HRC, folder 15.5
[96] AAA
[97] Ibid.
[98] Mary Mowbray-Clarke’s daily diary, collection of Jethro Nisson, entry of Mon. Jan. 8 1923.
[99] Burchfield Penney Art Center, Charles Burchfield archive. Charles Burchfield to Mary Mowbray-Clarke, March 8 [1923].
[100] AAA
[101] 1887–1971, Armory Show exhibitor and student of Robert Henri.
[102] Ibid.
[103] HRC
[104] Mabel Simis Ulrich (1876–1945), Minneapolis-based bookshop owner, doctor and educator.
[105] AAA
[106] Mary Mowbray-Clarke’s daily diary, collection of Jethro Nisson, entry of Wed. Jan. 8 1924.
[107] Ibid. Entry of Sunday March 2, 1924. “[…] At the O’Neill studio the key couldn’t be found so forty people came with me to the Sunwise Turn & we had the lecture till 12.30 there.”
[108] AAA
[109] The Brooklyn Daily Eagle, Thursday October 2, 1924, “Convicts Carvings now on Exhibition” p. 20
[110] AAA
[111] The Philadelphia Inquirer, Sunday December 21, 1924.
[112] AAA
[113] Ibid.
[114] Ibid.
[115] Ibid.
[116] The New York Times, Sunday, November 8, 1925, p. x.
[117] AAA.
[118] Ibid.
[119] Ibid. Consignment receipt notes a date of January 28, and “Here on consignment file in […] book. post 8 cents, returned sent 1 29 26,” indicating this was likely a record of the works being returned to Burchfield, with the date of their consignment being a mystery.
[120] Ibid.
[121] Mary Mowbray-Clarke’s daily diary, collection of Jethro Nisson, entry of Thursday Jan. 13 1927. Mary Mowbray-Clarke mentions the artist sending a package of drawings to the shop, and on this date she wrote “At the shop talked to the young negro artist and writer Richard Bruce Nugent. Put up his drawings.”
[122] AAA.
