Language of Materials
Conditions Governing Use
Copying. Papers may be copied in accordance with the library's usual procedures.
10 linear feet ((10 cartons) plus 1 roll box, 32 folio folders, 25 folio+ folders, 11 oversize folders)
In general, the papers are arranged in the order in which they appear on the microfilm. The second group of papers to be filmed (in 1977) is the larger, more comprehensive group and thus has been placed first in the collection. The Reel Guide shows the correlation between the AAA microfilm and the boxes and file units of the Pereira papers in the Schlesinger Library. The microfilm is available at the AAA in Washington and at its five regional centers, or from them through interlibrary loan.
The series are those created by the AAA and most series titles are those on the film, except that those appearing in square brackets have been supplied by the processor. There are no folder titles on the film; these have been supplied by the processor.
Series I, Personal Documents and Biographical Information (#1-10), contains printed material about Pereira; awards and citations; lists of publications, exhibitions, and representation in museums; and a biographical notebook probably compiled by Pereira. The main focus is Pereira's creative work, although there is information on other aspects of her life.
Series II, Writings by Others Regarding Pereira (#11-15), consists mainly of typescripts and copies of printed articles, including appreciations, reviews of her paintings and writings, and biographies.
Series III, Statements on Her Art by Pereira (#16-18): mainly typescript statements by Pereira about her visual art, including discussion of techniques used, the philosophy involved, and the relation between the two.
Series IV, Professional Papers (#19-34), was divided by the AAA into the following sections: Address lists of those invited to exhibits; art collectors; the art press; and of boards, committees, and friends' groups of art galleries and museums; Grant applications for funds to support research for, and/or publication of, her philosophical writings; Sale and loan information for Pereira's paintings; Painting inventories, some with Pereira's comments on the paintings; Technical data and formulae, including printed material, notes, correspondence, clippings, and charts relating to painting materials and techniques; Notes: Pratt Institute Design Laboratory, which includes notes with illustrative sketches for lectures Pereira gave at Pratt Institute; ts. course outlines; and biographical information about Pereira.
Series V, Correspondence (#35-136), is divided into three sections, each organized differently. Most of the correspondence is business- and work-related, but some is also personal, for IRP's work and other aspects of her life were (perhaps unusually) integrated. The first section consists of undated correspondence to and from Pereira and some third-party correspondence. Letters that include correspondents' last names are arranged alpha- betically by that name; those that do not are arranged randomly. The second and largest section is arranged chronologically; it contains correspondence to and from Pereira. The third section is arranged by topic and then, where possible, chronologically. Most of this correspondence concerns Pereira's perceived problems relating to the intentional suppression of her work; see also series VI.
Series VI, Papers of the Pereira Foundation (#137-139), contains correspondence, proposals, documents, and notes regarding the establishment of a trust or foundation; the papers discuss the foundation's purposes and goals, the mechanics of establishing it, and possible projects. The correspondence (1966-1970, n.d.) is between Pereira and those involved with setting up the foundation, many of whom were her friends; the letters thus cover other topics as well. This is the period when Pereira was concerned with suppression of her art and writings and with possible tampering with her mail and telephone, including suspected surveillance; the letters discuss these concerns, as do some of those in series V.
Series VII, Poems (#140-150), consists mainly of typescript and published versions of poems by Pereira and others; see also series VIII. Many of the poems by others are accompanied by notes or letters to Pereira. The correspondence between Pereira and Amado Yuzon contains information about United Poets Laureate International and the World Congress of Poets. This series also includes a draft of a review by Ethel Polline of Pereira's Transcendental Formal Logic of the Infinite: The Evolution of Cultural Forms.
Series VIII, Articles (#151-156), consists of published philosophical articles and poems by Pereira.
Series IX, Philosophical Notes, Manuscripts, and Related Papers [Writings, microfilmed] (#157x-241f), is organized by manuscript title. Some but not all of the material in this series was published. In some cases there are several versions of a work; one version may have been published and another not. Besides annotated typescripts, the series includes notes, outlines, diagrams, correspondence, reviews, sketches, clippings, purchase orders, and invoices relating to the writing and publication of literary works by Pereira.
Series X, Clippings (#242-295f+), is divided into three sections. The first consists of clippings on philosophy, some of them annotated. There is particular emphasis on optics, physics in general, and the scientific aspects of light. The second section contains annotated clippings on art, including the work of other artists, philosophy of art, and schools/movements. The third section, arranged chronologically, consists of clippings about Pereira's art.
Series XI, Art Exhibition Catalogs and Announcements (#296-310), is arranged chronologically and covers most of Pereira's career.
Series XII, [Writings] (#311-427), includes annotated typescripts, manuscripts, and notes by Pereira. Many of the writings can be considered works in progress or journals developing Pereira's ideas.
Series XIII, [Publications by Pereira] (#428-439), contains copies of all Pereira's major publications and some of her minor ones. For the most complete list available of her published and unpublished written works, see Herrick Jackson, "I. Rice Pereira" (ts.), vol. I, chapter 8, page 311/187 (the book has two numbering systems), available at the Schlesinger Library. See also series IX.
Series XIV, [Publications sent to Pereira] (#440-451), includes publications inscribed and/or presented to Pereira. Some are about her; most reflect her interest in poetry and literature.
Series XV, Photographs (#452-506), includes both photographs that have been microfilmed and some that have not. The photographs were microfilmed in roughly chronological order, and this order has been approximated in the folders of filmed photographs. Some of the negatives in the collection do not have corresponding prints in the collection. The categories used in microfilming--"Personal Photographs" and "Works of Art"--have been maintained. The personal photographs depict Pereira from her student days in New York to the last years of her life; they portray her at work in her studio, with friends or family, or on vacation. Photographs of her family and friends may have been taken by Pereira. Particularly noteworthy are the photographs of Pereira's trip to North Africa, which she felt was so important, visually and spiritually, to the development of her art. There are also numerous photographs of her art work. For a list of her work see #30 and 31, and Herrick Jackson, "I. Rice Pereira," volume II, Appendix II, pages 414-696, available at the Schlesinger Library. There are also photographs, mainly of her art work, throughout the collection; see the inventory for their locations.
In 1931 Pereira traveled in Europe and North Africa; she later regarded the North Africa trip as influential in the development of her art. She was divorced from Humberto Pereira in 1938, married George Wellington Brown in 1942, and divorced him in 1950. She was married to George Reavey from 1950 to 1959. She continued to use "I. Rice Pereira" as her professional name throughout her life.
Known and written about primarily as a painter, Pereira was also a poet and philosopher. She published several books privately; some were issued or re-issued by art museums. For additional biographical information see Notable American Women, The Modern Period, Cambridge: Harvard University Press, 1980, pp. 534-35. A two-volume typescript, I. Rice Pereira, by Herrick Jackson, is available at the Schlesinger Library; it includes a chronology of events in Pereira's life, a list of exhibitions, a catalog of her art works (listed both alphabetically by title and chronologically by year), biographical information, and a discussion of her art and her philosophy.
- I. Personal Documents and Biographical Information
- II. Writings by Others Regarding Pereira
- III. Statements on Her Art by Pereira
- IV. [Professional papers]
- V. Correspondence
- VI. Papers of the Pereira Foundation
- VII. Poems
- VIII. Articles
- IX. Philosophical Notes, Manuscripts, and Related Papers [Writings, microfilmed]
- X. Clippings
- XI. Art Exhibition Catalogs and Announcements
- XII. [Writings]
- XIII. [Publications by Pereira]
- XIV. [Publications inscribed and/or presented to Pereira]
- XV. Photographs
Immediate Source of Acquisition
The papers of I. Rice Pereira were given to the Schlesinger Library in October 1979 by the I. Rice Pereira Foundation; Djelloul Marbrook, Pereira's nephew, was the Manager-Trustee of the foundation at that time.
MICROFILM OF COLLECTION
Pereira herself loaned one group of papers to the AAA to be filmed in 1965; in 1977, several years after her death, Marbrook loaned another group. There are also Pereira papers at the AAA that were not filmed with either of these two groups, including a few items given by Marbrook after Pereira's death and material in other collections. The latter includes letters from Pereira, photographs, an unpublished typescript, and the transcript of an oral history interview recorded for AAA in 1968.
The Pereira papers at the Schlesinger Library include material that is not on the AAA microfilm: exhibition catalogs; annotated typescripts of published and unpublished works; notes for, and manuscript working drafts of, unpublished writings; and clippings. Such unfilmed material is designated in the inventory by an "x" following the file unit number.
- For a list of the contents of the Archives of American Art (AAA) of the Smithsonian Institution microfilm, see the inventory that follows. The first set of numbers are folder numbers; they are followed by the reel number.
- ___Folders 1-47 (some of folder 34 is also on D222): AAA microfilm reel #1296
- ___Folders 47-76: AAA microfilm reel #1297 (begins with end of May 1950 -- folder 47)
- ___Folders 77-116 (first part): AAA microfilm reel #1298
- ___Folders 116 (second part)-162: AAA microfilm reel #1299 (begins in the middle of folder 116)
- ___Folders 217 (second part)-297: AAA microfilm reel #1301 (begins in the middle of folder 217)
- ___Folders 298-309: AAA microfilm reel #1302
- ___Folders 311-361: AAA microfilm reel #D222
- ___Folders 362-392: AAA microfilm reel #D223
- ___Folders 452-486: AAA microfilm reel #1322
- Carton 1: 1-52
- Carton 2: 53-115
- Carton 3: 116-182
- Carton 4: 183-233
- Carton 5: 234-305
- Carton 6: 306-328
- Carton 7: 329-351
- Carton 8: 352-380
- Carton 9: 381-414
- Carton 10: 415-451
- Roll Box 11: 304+
* indicates recipient only
** indicates writer only
- Barr, Alfred H., Jr. 42**, 43**, 44**
- Baur, John I. H. 35**, 54**, 55, 57**, 58**, 60**, 61, 62**, 63, 77, 94*, 108
- Bear, Donald 39*, 47, 48, 49**, 51**, 52
- Beaton, Cecil 36
- Brown, John L. 35**, 62**, 64**, 68**, 69, 71**, 72**, 73**, 74**, 75**, 76**, 77**, 78**, 79**, 81**, 83**, 98, 99**, 103**, 104, 105**
- Campbell, Joseph 96
- Canaday, John 66, 69*, 79**, 83, 86*
- Crosby, Caresse 69**, 71*, 74*, 76**, 106
- Force, Juliana 40, 42, 43
- Gash, Emily Genauer 36**, 73*, 79**, 81**, 83, 84, 90**, 94, 108**, 115**
- Glueck, Grace 92, 99
- Graves, Robert 86*, 87**
- Guggenheim, Peggy 75*
- Harithas, James 107
- Hirshhorn, J. H. 108**
- Ives, Edward J. 60*, 71**, 83**, 92**, 98**, 104**, 105**
- Jewel, Edward Allen 42, 44**
- Land, Edwin 78*
- Mann, Robert W. 68, 69, 70, 71, 72*, 73, 74, 75, 76, 77, 78, 79**, 82, 83, 84**, 88, 101, 114*
- Marcos, Ferdinand 106
- McCausland, Elizabeth 43**
- Miller, Dorothy C. 35**, 41**, 42**, 43**, 57, 66**, 81*, 88**
- Moholy-Nagy, Laszlo 43, 70**
- Moore, Marianne 96**, 99**
- Murdoch, Iris 37, 71, 74, 78, 79**, 82**, 83, 106, 115**
- Nin, Anais 74*
- Olivieri, Livio 67**, 69, 70, 73*, 75, 77*, 78, 79, 81*, 82, 84, 86, 87, 88**, 90, 92**, 94, 96**, 98, 99, 103**, 114
- Price, Vincent 82*
- Read, Herbert 56*, 57**
- Schlesinger, Arthur, Jr. 77
- Toffler, Alvin 86**
- Wilder, Thornton 98**
By: Elizabeth L. Balcom
- American literature--20th century
- Americans--Great Britain
- Art criticism
- Art galleries, Commercial
- Art museums--United States--Catalogs
- Art, Modern--20th century--United States--Exhibitions
- Art, Modern--Philosophy
- Artists--United States
- Mysticism and art
- Philosophers, Modern
- Pereira, I. Rice (Irene Rice), 1902-1971. Papers of I. Rice Pereira, 1929-1976: A Finding Aid
- Arthur and Elizabeth Schlesinger Library on the History of Women in America
- The collection was processed with the aid of a grant from the Connemara Fund.
- EAD ID
Part of the Schlesinger Library, Radcliffe Institute Repository
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