University of Texas, Harry Ransom Humanities Research Center

E. E. (Edward Estlin) Cummings:

An Inventory of His Art Collection at the Harry Ransom Center



Creator: Cummings, E. E. (Edward Estlin),
Title: E. E. (Edward Estlin) Cummings Art Collection
Dates: 1888-1962, undated (bulk 1905-1962)
Abstract: The collection consists of one hundred and thirty-three original works by E. E. Cummings, including oil paintings, watercolor paintings, drawings, and sketchbooks. Among the original works are self-portraits, as well as portraits of Marion Morehouse, Anne Barton, and his sister, Elizabeth Cummings. Also present are original paintings of New Hampshire and Parisian landscapes, and many anatomical studies of humans and animals.
Call Number: Art Collection AR-00054
Extent: 4 boxes, 1 oversize folder, 9 framed paintings, 2 sculptures (137 items)
Language: English
Repository: The University of Texas at Austin, Harry Ransom Center

Biographical Sketch

Edward Estlin Cummings (1894-1962), son of Edward Cummings and Rebecca Haswell Clarke, was brought up in a conservative Cambridge, Massachusetts home. His father, with degrees in both philosophy and divinity, taught at Harvard University until 1900 when he received ordination by the Unitarian Church and became a pastor at the South Congregational Church of Boston.

According to family diaries, Cummings wanted to be a poet from an early age. He was supported in this ambition by his mother who made up word games and other activities to encourage his creativity. Cummings also drew prolifically, and his childhood drawings were often inspired by literature; his drawings included storyboards. Cummings attended public schools, including the Cambridge High and Latin School, prior to entering Harvard in 1911. While there, he concentrated in the classics, including Latin and Greek literature, and he mastered the various forms of poetry, gaining the foundation he needed in order to begin the experimentation with poetic form and shape that became his trademark.

While at Harvard, Cummings published poetry in the Harvard Monthly and the Harvard Advocate. Through these organizations he became acquainted with S. Foster Damon, Stewart Mitchell, John Dos Passos, Scofield Thayer, and J. Sibley Watson. These friends would encourage and support Cummings through much of his artistic career; many of them also shared his interest in the visual arts as well as poetry and literature. Damon, a music student, introduced Cummings to the works of El Greco, William Blake, Paul Cézanne, James McNeill Whistler, the French Impressionists, and the Fauves. Through Thayer, Cummings became acquainted with the works of Pablo Picasso, Henri de Toulouse-Lautrec, Aubrey Beardsley, the Post Impressionists, and the Cubists. While still in school, Thayer gave Cummings a copy of Willard Huntington Wright's Modern Painting, which Cummings annotated extensively. John Dos Passos also painted and drew. Cummings never had formal art lessons, but he learned new oil painting techniques from his Harvard group of friends.

Cummings earned his B.A. from Harvard in 1915, magna cum laude, like his father before him, and was invited to speak at the commencement ceremony. He presented a term paper on "The New Art". This paper demonstrated Cummings' affinity with the modern artistic sensibility, especially his interest in the overlap between the visual arts and literature, a keystone in his distinctive typographical style.

After finishing his Master's degree in 1916, also from Harvard, Cummings moved to New York City in January of 1917. He worked for the publishing house P. F. Collier & Son for a few weeks, but became bored and quit, deciding instead to pursue the freedom of life as a full-time artist and poet. In April, he volunteered for the Norton-Hajes Ambulance Service and shipped out for France. On the trip he met William Slater Brown and their friendship was cemented by an unexpected five weeks of free time in Paris awaiting the rest of their ambulance unit.

Several months later, events took a defining turn for Cummings when he and Brown were detained by the French military on suspicion of espionage and undesirable activities. As a result of censor-provoking letters home by Brown and a preference for the company of French soldiers over their fellow American ambulance drivers, the two young men were held for three months in a concentration camp at La Ferté Mace. They were kept, along with their fellow detainees, in a large room which was represented in the title of Cummings' book about this experience, The Enormous Room (1922). Cummings' father worked through diplomatic channels and finally wrote a letter to President Wilson to obtain Cummings' release in December 1917. Brown was released two months later. Cummings returned to the United States, first to his parents' home in Massachusetts and then to New York, where he was joined by Brown.

For the next several years, Cummings painted and wrote. His paintings were now inspired by what he had seen in Paris, and a futurist influence started to appear. In 1919, he entered two paintings in the spring show of the New York Society of Independent Artists, and Gaston Lachaise (whom Cummings had met through Lachaise's stepson, Edward Pierce Nagle) reported to Cummings that Albert Gleizes had expressed enthusiasm about Cummings' paintings. In 1920, he again entered two large paintings in the society of Independent Artists exhibition, which were mentioned favorably by S. Jay Kaufman in the The New York Globe and Advertiser. In 1921, he entered his painting Noise Number 10 in the Independent exhibition, but this painting was attacked in a New York newspaper review of the show.

In 1924, he married Elaine Orr Thayer, the mother of his daughter Nancy. They divorced after two months and in 1929, Cummings married Anne Minnerly Barton. They spent much of the next two years living and traveling in Europe.

In May 1931, Cummings left Barton and traveled to the Soviet Union. Pre-disposed to enjoy the trip, Cummings found his personal sense of individualism disturbed by the lack of intellectual and artistic freedom that he found. He published his diary from the trip under the Greek title Eimi (1933), which translates to "I am".

In August 1931, Cummings exhibited 162 works at a show arranged by Philip Kaplan at the Kokoon Arts Club in Cleveland, Ohio. His book CIOPW, a collection of works in charcoal, ink, oil, pastel, and watercolors, was published in 1931.

In 1932, while his divorce from Barton was being settled, Cummings met Marion Morehouse, who was to be his companion and common-law wife for the rest of his life. In 1933, Cummings received the Guggenheim Fellowship for the purpose of writing a book of poems. In 1935, unable to find a publisher for his book, he published No Thanks (1935) with the help of his mother. It was dedicated to the fourteen publishing houses that had turned him down.

E. E. Cummings continued to produce a steady stream of poems and publications throughout the forties and fifties. In 1952, Harvard offered him the Charles Eliot Norton Professorship for the 1952-53 school year. Also during the fifties, Cummings began to tour, reading his poetry across AmeriCirca In 1958, he won the Bollingen Prize for Poetry from Yale University and published his final volume of new poems, 95 Poems.

He died at his family farm on September 3, 1962.

Critics have generally divided Cummings' career as a painter into two stylistic phases. The first phase, about 1915-1928, was represented by his experimental large-scale abstracts and his drawings and caricatures published in The Dial. During the 1920s, Cummings started to drop out of the gallery scene, and he came to view the art establishment as anti-intellectual. The second phase of his art was from about 1928 until his death; this phase was characterized by representational works: still lifes, landscapes, nudes, and portraits.


Scope and Contents

The E. E. Cummings Art Collection is comprised of one hundred and thirty-seven original works by E. E. Cummings, as well as a few other works and items that belonged to the artist. It is organized into two Series: I. Works by E. E. Cummings, and II. Works by Others. Titles are transcribed from the items; titles of published works are from the publications. Cataloger's titles appear in brackets.

Series I. Works by E. E. Cummings, is subdivided into four subseries: A. Oil Paintings, B. Watercolor Paintings, C. Drawings, and D. Sketchbooks and Miscellaneous. Within each subseries, works are organized by accession number. Subseries C. Drawings, is further divided into Portraits and Self-Portraits, Landscapes, Nature Studies, Drawings of People, Animal Drawings, Anatomical Studies of Humans, and Illustrations. Thirty-six anatomical drawings and studies of male and female models was acquired in 2014. Among the original works are: eleven self-portraits, as well as portraits of Marion Morehouse, Anne Barton, and his sister, Elizabeth Cummings; paintings of New Hampshire landscapes, and numerous anatomical studies of humans and various animals; five of the illustrations for By E. E. Cummings.(1930); three works that were published in Cummings' CIOPW(1931); and designs for illustrations for a children's story (apparently unpublished) by Elizabeth Nagle. There are also three sheets with labeled color swatches in oil and watercolor, as well as two small cement and brick sculptures by Cummings.


Restrictions

Access:

Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. Please note that a minimum of 24 hours notice is required to pull art materials to the Ransom Center's Reading and Viewing Room. Some materials may be restricted from viewing. To make an appointment or to reserve art materials, please contact the Center's staff at art@hrc.utexas.edu.

Use Policies:

Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility.

Restrictions on Use:

Authorization for publication is given on behalf of the University of Texas as the owner of the collection and is not intended to include or imply permission of the copyright holder which must be obtained by the researcher. For more information please see the Ransom Centers' Open Access and Use Policies.


Index Terms

People
Cummings, E. E. (Edward Estlin), 1894-1962.
Morehouse, Marion, 1906-1969.
Document Types
Drawings.
Oil paintings.
Pencil works.
Watercolors.

Related Material

The Ransom Center's Art Collection also has a portrait drawing of E. E. Cummings by Robert Sheriffs in its Robert Sheriffs Collection. The Ransom Center also has extensive E. E. Cummings manuscripts and letters in the E.E. Cummings Collection (MS-01009), Cummings's personal library, and photographs in the E.E. Cummings Literary File in the Photography Collection. Among Cummings' manuscripts is Edward E. Cummings Grand Zoological Congress and Trained Wild Animal Arena, produced in 1902 when he was seven, which contains some of Cummings' earliest drawings.


Separated Material

Art supplies, carved wood boxes, and other personal items can be found in the E.E. Cummings Personal Effects Collection.


Administrative Information

Acquisition:

Purchases (R264, R3819, R4114, R4188, R4289, R4488, R4497, R4720, R4731, R4815, R7995, R14887)

Processed by:

Alice Egan, 1997, Helen Young, 2001, and Jill Morena, 2017


Sources:

Dictionary of Literary Biography, Volume 48: American Poets, 1880-1945, Second Series, edited by Peter Quartermain. Detroit: Gale Research, 1986.

Kennedy, Richard S. Dreams in the Mirror: A Biography of E. E. Cummings.New York: Liveright Publishers, 1980.

The Paintings of E. E. Cummings, http://www.eecummingsart.com/cummings.html (accessed online 18 April 2002).


Item List

Series I. Works by E. E. Cummings, 1905-1962, Circa 1920s-1960s

Subseries A. Oil Paintings
Location
Screen storage Self-portrait: Cummings wearing hat, holding notebook and pencil, with pipe in mouth. 1938.
Paintings: oil on canvas; visible 82.1 x 54.1 cm.
 
Location
Screen Storage Self-portrait with palette and beret. 1945.
Paintings: oil on canvas board; visible 39 x 28.8 cm.
Box
1.1 Marion Morehouse in blue blouse. Inscribed on verso: "Merry Christmas to George, M.M.C. 1963". Circa 1920s-1960s.
Paintings: oil on board; 44.4 x 22.2 cm.
Location
Screen Storage Marion in blue kerchief. 1933.
Paintings: oil on canvas board; visible 40.1 x 29.6 cm.
 
Location
Screen Storage Self-portrait. Circa 1920s-1960s.
Paintings: oil on canvas board; visible 39.3 x 31.7 cm.
 
Location
Screen Storage Girl in Grey (Anne Barton Cummings). 1931.
Paintings: oil on board; visible 45 x 37.3 cm.
Box
1.2 Marion Morehouse, 3/4 nude figure. 1941.
Paintings: oil on board; 44.8 x 21.5 cm.
Location
Screen Storage Landscape, New Hampshire (farm of Mrs. James Sibley Watson). 1939.
Paintings: oil on canvas board; 30.2 x 40.5 cm.
 
Location
Screen Storage Seine (landscape with bridge, river, boat). 1920s.
Paintings: oil on board; 23.8 x 34.9 cm.
 
Location
Screen Storage Street Winter (landscape). Circa 1920s.
Paintings: oil on canvas board; 44.5 x 35.4 cm.
Subseries B. Watercolor Paintings
Box
3 Porte Saint Denis (man wearing bowler hat, with arm around woman wearing green). Circa 1920s.
Paintings: watercolor; 34.7 x 28 cm.
Box
1.4 Landscape with mountains, sky and clouds. Circa 1920s-1960s.
Paintings: watercolor; 30.4 x 45.6 cm.
Box
1.5 Danseuse Egyptienne. Circa 1920s.
Paintings: watercolor; 34.7 x 28 cm.
Box
1.6 Paris landscape with church and Eiffel Tower. Circa 1920s-1960s.
Paintings: watercolor; 22.5 x 30 cm.
Box
1.7 Landscape with sun over mountains. Circa 1920s-1960s.
Paintings: watercolor; 30.4 x 45.8 cm.
Box
1.8 Tree, torn off portion of painting. Circa 1920s-1960s.
Paintings: watercolor; 21.5 x 7.5 cm.
Box
1.9 Landscape with building; verso: cube studies. Circa 1920s-1960s.
Paintings: watercolor; 48.9 x 28.5 cm.
Studies of cubes. Circa 1920s-1960s.
Paintings: watercolor; 48.9 x 28.5 cm.
Box
1.10 Landscape with blue mountains, large clouds. Circa 1920s-1960s.
Paintings: watercolor; 30.2 x 45.5 cm.
Subseries C. Drawings
Portraits and Self-Portraits
Box
1.11 Self-portrait, head and shoulders. 1917.
Drawings: pencil; 27.9 x 21.6 cm.
Box
1.12 Elizabeth F. Cummings. 1905.
Drawings: pencil; 27.5 x 21.5 cm.
Box
1.13 Elizabeth Cummings (portrait of child on chair). 1905.
Drawings: pencil; 27.5 x 21.5 cm.
Box
1.14 Self-portrait, study of head proportions. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Location
Screen Storage Self-portrait, head. 1962.
Drawings: charcoal; 45.6 x 35.5 cm.
Box
1.15 Self-portrait, head. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.5 cm.
Box
1.16 Woman's face (Elaine Thayer Cummings?), on verso of envelope. Circa 1924.
Drawings: pencil; 16.5 x 9.2 cm.
Box
1.17 Self portrait with pipe. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Box
1.18 Self portrait. Circa 1920s-1960s.
Drawings: pencil; 27.8 x 21.7 cm.
Box
3 Red-Haired Girl. Circa 1920s-1960s.
Drawings: pastel on paper; 17.9 x 12.1 cm.
Landscapes
Box
1.19 Stream with trees. Circa 1920s-1960s.
Drawings: pencil; 21.6 x 27.8 cm.
Box
1.20 Landscape with mountains, on grid. Circa 1920s-1960s.
Drawings: pencil; 30.1 x 40.5 cm.
Box
1.21 Landscape with mountains, on grid. Circa 1920s-1960s.
Drawings: pencil; 30.5 x 40.6 cm.
Nature Studies
Box
1.22 Yellow Daisy. 21 July 1953.
Drawings: pencil; 40.6 x 30.5 cm.
Box
1.23 Pine trees. Circa 1920s-1960s.
Drawings: watercolor; 37.8 x 27.5 cm.
Box
1.24 Flowers on Stalk. Circa 1920s-1960s.
Drawings: ink; 29.5 x 19.5 cm.
Drawings of People
Location
Flat file Woman, cubist line drawing. Circa 1920s-1960s.
Drawings: pencil; 72.5 x 47 cm.
Box
1.25 Circus performers. Circa 1920s-1960s.
Drawings: pencil; 20.4 x 12.7 cm.
Box
1.26 Couple dancing. Circa 1920s-1960s.
Drawings: pencil; 57 x 36.2 cm.
Box
1.27 Cubist head studies on both sides of sheet. Circa 1920s-1960s.
Drawings: pencil; 28 x 21.5 cm.
Box
1.28 Female nude kneeling on one knee. Circa 1920s-1960s.
Drawings: pencil; 45.6 x 30.3 cm.
Box
1.29 Abstract figures; overlapping sketches on both sides of sheet. Circa 1920s-1960s.
Drawings: pencil; 27.8 x 21.6 cm.
Animal Drawings
Box
1.30 Four beetles, and abstract sketch. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.5 cm.
Box
1.31 Anatomical studies of various animal skeletons. Circa 1920s-1960s.
Drawings: pencil; 35.6 x 25.3 cm.
Box
1.32 Anatomical studies of lemur, flamingo, and other animals. Circa 1920s-1960s.
Drawings: pencil; 35.6 x 25.3 cm.
Box
1.33 Anatomical studies of bat, hare, hornbill, and other animals. Circa 1920s-1960s.
Drawings: pencil; 35.6 x 25.3 cm.
Box
1.34 Studies of gorilla, giant toad, and other animals. Circa 1920s-1960s.
Drawings: pencil; 35.6 x 25.3 cm.
Box
1.35 Studies of various animal heads. Circa 1920s-1960s.
Drawings: pencil; 35.5 x 25.3 cm.
Box
1.36 Studies of totem poles and various animals. Circa 1920s-1960s.
Drawings: pencil; 35.5 x 25.3 cm.
Box
1.37 Penguin. Circa 1920s-1960s.
Drawings: pencil; 15.1 x 9.9 cm.
Box
1.38 "To my valentine", elephant with banner. Circa 1920s-1960s.
Drawings: crayon; 21.6 x 27.9 cm.
Anatomical Studies of Humans
Box
1.39 Anatomical studies of facial features. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Box
1.40 Anatomical studies of head and facial features. Circa 1920s-1960s.
Drawings: pencil; 28 x 21.5 cm.
Box
1.41 Anatomical studies of eyes. Circa 1920s-1960s.
Drawings: pencil; 27.8 x 21.7 cm.
Box
1.42 Anatomical studies of eyes. Circa 1920s-1960s.
Drawings: pencil; 27.7 x 21.5 cm.
Box
1.43 Anatomical studies of arm muscles and bones. Circa 1920s-1960s.
Drawings: pencil, crayon, and ink; 21.8 x 27.9 cm.
Box
1.44 Anatomical studies of bones of forearm, elbow, and hip. Circa 1920s-1960s.
Drawings: pencil; 35.5 x 25.3 cm.
Box
1.45 Anatomical studies of arm muscles. Circa 1920s-1960s.
Drawings: pencil, crayon, and ink; 21.8 x 27.9 cm.
Box
1.46 Anatomical studies of arms, male torso. Circa 1920s-1960s.
Drawings: pencil and crayon; 21.8 x 27.9 cm.
Box
1.47 Anatomical studies of male neck, shoulder, and thorax. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Box
1.48 Anatomical study of pelvis. Circa 1920s-1960s.
Drawings: pencil; 28 x 21.5 cm.
Box
1.49 Anatomical studies of arms. Circa 1920s-1960s.
Drawings: pencil, ink, and crayon; 27.9 x 21.7 cm.
Box
1.50 Anatomical studies of human muscles and skeleton. Circa 1920s-1960s.
Drawings: ink, pencil, and crayon; 42.6 x 21.7 cm.
Box
1.51 Anatomical studies of male torso muscles. Circa 1920s-1960s.
Drawings: crayon and pencil; 27.9 x 21.6 cm.
Box
1.52 Anatomical studies of human skull. Circa 1920s-1960s.
Drawings: crayon and pencil; 27.9 x 21.6 cm.
Box
4 Studies of full body in profile. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of anatomical proportion. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of nude male torso with left arm extended. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of muscles and bones of forarm, pelvis, and thigh. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of human skeleton. Circa 1920s-1960s.
Drawings: pencil; 20.3 x 12.7 cm.
Study of seven figures in motion, with study of lungs and side view of pelvis bones. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of eleven figures in motion, and side view of pelvis bones. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of male nude, with focus on upper torso and arms. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of male upper torso and biceps, triceps. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of male tricep, bicep muscles and elbow. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of side view of male upper torso, reaching forward. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of male head and upper torso. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of male torso and arms. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of bifurcated male torso, arms, and pelvis. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of three males in different poses, one sketch of woman in profile. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of three males in different poses. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of human skulls. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of human skulls. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Studies of facial expressions, female model. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional study of head, chest, and arms. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional studies of female head, neck, and chest. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional study of chest. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Four studies of female model with arms raised, one with arms down. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Five studies of female model with one shoulder forward. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Four studies of female models looking over shoulder. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Three studies of female models in different poses. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Three studies of female models leaning forward with arms outstretched. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Three studies of female models leaning forward with arms outstretched. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Six studies of male and female models with shoulders and arms forward or back. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Five studies of female models with shoulders forward and back. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Two studies of female models with shoulders back. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Four studies of female models lying down with arms at sides or extended back, in profile or 3/4 view. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Three studies of female models lying down in profile view, with arms in various poses. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of female model lying down with arms behind head, upper torso view. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional studies of female model with hand on hip. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional study of female models with hand on hip, one arm extended. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional study of female models with hand on hip, looking over opposite shoulder. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Proportional study of female models with hand on hip, looking over opposite shoulder. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of female model reclining. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of female model with one arm raised, the other lowered, looking over lowered shoulder. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of female model with one arm raised, the other lowered, looking over lowered shoulder. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of female model looking to one side with one arm raised and one knee bent. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of female model with head slightly tilted, both arms raised and one knee bent. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Study of three female models in various poses, two wearing swimwear. Circa 1920s-1960s.
Drawings: pencil; 27.9 x 21.6 cm.
Illustrations
Box
2.3 Two figures holding shield reading, "Cambridge Review". Circa 1910s.
Drawings: pencil; 26.6 x 20.3 cm.
Box
2.4 Design for cover, reading, "Cambridge Review, Vol, No, January". Circa 1910s.
Drawings: ink and pencil; 35.5 x 25.3 cm.
Illustrations for stories by Elizabeth Nagle
Box
2.5 Mouse wearing glasses, holding powder puff to face, standing on chair. 1923.
Drawings: pencil; 45.8 x 28.8 cm.
Box
2.6 Jack-in-the-box and leaping mouse, inscribed: "Episode 16, p. 45, Nibbly & J-I-B". 1923.
Drawings: pencil; 45.7 x 28.8 cm.
Box
2.7 Mouse standing on cat, inscribed: "Episode 36, p. 95". 1923.
Drawings: pencil; 45.7 x 28.8 cm.
Box
2.8 Group of five mice, one wearing glasses. 1923.
Drawings: pencil; 28.8 x 23.1 cm.
Box
2.9 Group of six mice inside wall, and cat outside wall. 1923.
Drawings: pencil; 45.7 x 28.8 cm.
Illustrations for By E.E. Cummings, 1930
Box
2.10 The Garden of Eden (elephant, snake, lizard, and other animals, with nude male and female figures); p. 10. Circa 1920s.
Drawings: pencil; 27.9 x 21.5 cm.
Box
2.11 The Helping Hand (bearded man wearing cap, with small figure sitting on his lap, in flying row boat); p. 46. Circa 1920s.
Drawings: pencil; 27.9 x 21.5 cm.
Box
2.12 The Helping Hand (bearded man wearing cap, with small figure sitting on his lap, in flying row boat); p. 46. Circa 1920s.
Prints: reproduction; 26.7 x 18.9 cm.
Box
2.13 The Death of Abraham Lincoln (bearded man in bed, with arms stretched out forward, other figures); p. 18. Circa 1920s.
Drawings: pencil; 26.7 x 18.9 cm.
Box
2.14 The Swan and Leda (swan chasing girl); p. 26. Circa 1920s.
Drawings: pencil; 26.7 x 18.9 cm.
Box
2.15 The Swan and Leda (swan chasing girl); p. 26. Circa 1920s.
Prints: reproduction; 26.5 x 16.9 cm.
Box
2.16 The Friend in Need (dog with collar reading, "Rover"; caricature of man in foreshortened perspective); p. 32. Circa 1920s.
Drawings: pencil; 27.9 x 21.5 cm.
Box
2.17 The Friend in Need (dog with collar reading, "Rover"; caricature of man in foreshortened perspective); p. 32. Circa 1920s.
Prints: reproduction; 32 x 17 cm.
Box
2.18 The Spinster's Dilemma (woman standing with hands over ears, squawking parrot in cage); p. 38. Circa 1920s.
Drawings: pencil; 27.9 x 21.5 cm.
Box
2.19 The Spinster's Dilemma (woman standing with hands over ears, squawking parrot in cage); p. 38. Circa 1920s.
Prints: reproduction; 32 x 18 cm.
Box
2.20 The Dog in the Manger (dog and horse, figure behind); p. 58. Circa 1920s.
Prints: reproduction; 32 x 16.7 cm.
Box
2.21 The First Robin (man in prison next to window with bars, bird on tree limb outside); p. 58. Circa 1920s.
Prints: reproduction; 32 x 15 cm.
Box
2.22 Prisoner lying on cot in jail cell, bird on tree limb outside (preliminary drawing for The First Robin in By E. E. Cummings?); on verso: anatomical muscle study of human back, caricature of man. Circa 1920s.
Drawings: pencil; 28 x 21.5 cm.
Subseries D. Sketchbooks and Miscellaneous
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2.1 Various figures on trapezes, figures on horses, figures with lassoes. Circa 1920s-1960s.
Sketchbooks (32 leaves); 10.4 x 6.7 cm.
Box
2.24 Angel, Madonna, and Star. Circa 1920s-1960s.
Collages; 30.5 x 22.7 cm.
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3 Three landscapes, two leaves of color swatches, sketch of two heads. Circa 1920s-1960s.
Sketchbooks: watercolor and pencil on paper; 24 x 31.5 cm.
Grumbacher palette with tear-off sheets, with circles drawn on top sheet. Circa 1920s-1960s.
Palette; 29.4 x 39.1 cm.
Box
2.26 Cinema outline of Chaplin-like figure with lettering. Circa 1920s-1960s.
Drawings: pencil; 33.1 x 45.4 cm.
Box
2.27 Twenty-eight color swatches. Circa 1920s-1960s.
Paintings: oil on board; 35.5 x 21.6 cm.
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2.28 Thirty-six color swatches. Circa 1920s-1960s.
Paintings: oil on board; 32.9 x 21.9 cm.
Box
2.29 Twenty-three color swatches. Circa 1920s-1960s.
Paintings: watercolor, 23.6 x 30.9 cm.
Location
Box 5 Bird's nest with eggs, on brick. Circa 1920s-1960s.
Sculptures: cement and brick; 6.1 x 14.7 x 10.7 cm.
 
Location
Box 5 Human figure next to mound with depression, on brick. Circa 1920s-1960s.
Sculptures: cement and brick; 6 x 13.5 x 9.2 cm.
Box
2.2 Figure on elephant; laid in E. E. Cummings: Sketches & Watercolors of the Twenties & Thirties, NYC NY: Gotham Book Mart, 1968. Circa 1920s-1960s.
Drawings: pencil; 12.5 x 20.2 cm.



Series II. Works by Others, 1888, Circa 1920s-1960s

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2.30 J. S. L.[?]. Possibly Edward Cummings, the artist's father, head portrait. 1888.
Drawings: pencil; 34.4 x 26.3 cm.
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2.31 Unidentified. Portion of gold and black gift wrap with design of bird and tree ornaments. Circa 1920s-1960s.
Prints: silkscreen; 34 x 15 cm.
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2.32 Unidentified. Portion of gold and black gift wrap with angel design. Circa 1920s-1960s.
Prints: silkscreen; 12.6 x 13.3 cm.
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2.33 Unidentified. Portion of gold and black gift wrap with duck design. Circa 1920s-1960s.
Prints: silkscreen; 11 x 13.3 cm.