General Correspondence
name: label: Collection Creator
content: Pach, Walter, 1883-1958
setName: label: See more items in
content: Walter Pach papers
label: See more items in
content: Walter Pach papers / Series 2: Correspondence
unitdate: label: Date
content: 1903-1969
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.pachwalt2, Subseries 2.2
objectType: label: Type
content: Archival materials
arrangement: label: Arrangement note
content: Folders are arranged alphabetically by name of correspondent or organization. They are housed in individual named files if there are four or more related items, and in a general files for the appropriate letter of the alphabet, if there are less than four.
altformavail: label: Existence and Location of Copies note
content: This series has been scanned in its entirety.
scopecontent: label: Scope and Contents note
content: This series documents Pach's relationships with artists, writers, collectors, museums and other noted art-world figures throughout his life. Early letters record Pach's role in the 1913 Armory Show and the fate of various artists during World War I. Among artists who corresponded with Pach are Arthur B. Davies, Marcel Duchamp, Raymond Duchamp-Villon, Henri Matisse, Claude Monet, Maurice Prendergast, Diego Rivera, Morton Livingston Schamberg, John Sloan, and Alfred Stieglitz. There are also circa 100 letters from Pach's lifelong friend, Jacques Villon and letters from Thomas Eakins's widow Susan.

Pach's role in the development of the art collections of Walter Arensberg and John Quinn is documented in letters from Marcel Duchamp, Raymond Duchamp-Villon, Raoul Dufy, Jean Le Roy, Georges Roualt, and Frederic C. Torrey. Also of note are letters from Bryson Burroughs, curator of painting at the Metropolitan Museum of Art.

Letters from art historians, critics and writers such as Bernard Berenson, Van Wyck Brooks, Elie Faure and Leo Stein document their responses to Pach's writings on art, and provide insight into the flow of avant-garde ideas from Europe and their reception abroad. These letters also provide documentation of the European and American art markets in the early twentieth century by referencing responses to, and sales of, work by individual artists.