Personal Papers
Smithsonian Institution Archives, Record Unit 7473, Alice Pike Barney Papers and Related Material
Alice Pike Barney (1857-1931) is best remembered for her efforts to transform Washington, D.C., into the nation's cultural capital during the first quarter of the twentieth century. Barney's interest in art began in her childhood, under the influence of her father, Samuel Nathan Pike, a multimillionaire businessman and active patron of the arts in Cincinnati, Ohio.
Alice married Albert Clifford Barney in 1876, after a short-lived engagement to celebrated African explorer Sir Henry Morton Stanley. Although her husband did not approve of her art interests, Alice went to Paris to study with John Singer Sargent's teacher, Carolus-Duran, and with the French pre-Raphaelite painter, Jean Jacques Henner in the fall of 1896-1897. A year later, she returned to Paris to study with expatriate American painter James MacNeill Whistler. Barney returned from her experience in Parisian salons intent on building a thriving arts center in the District that would cater to every member of society, not just the social elite. At the time, Washington, D.C., lacked an indigenous arts community or sufficient galleries to sponsor artists' work. Barney began to show her paintings in exhibitions with other prominent or up-and-coming Washington painters, including James Henry Mosher, Richard Norris Brooke, William Henry Holmes, and Hobart Nichols. In November 1901, she presented her first solo exhibition at the Corcoran Gallery of Art's new Hemicycle gallery. Her unique, individual style moved her rapidly to a position of leadership in local art circles. Within a week of the Corcoran exhibition opening, she was elected vice-president of the Society of Washington Artists.
Barney also earned a reputation in Washington, D.C., for her lavishly detailed, artistically rendered ballets, mimes, tableaux, plays, and other theatrical productions. During World War I, Barney pushed for and convinced Congress to fund the building of the National Sylvan Theater on the grounds of the Washington Monument. The theater, dedicated on April 4, 1917, was the nation's first federally supported outdoor theater.
One of Barney's most important contributions to the Washington art scene was Studio House, located at Sheridan Circle and designed by architect Waddy B. Wood in 1902. During Barney's residence in Washington, D.C., the house functioned as her home, her art studio, and the District's cultural center. Elaborately decorated by Barney herself, the house hosted countless theatrical productions, art exhibitions, and visiting avant-garde artists. Her guest list included the Franklin Roosevelts and Cabot Lodges; Sarah Bernhardt and G. K. Chesterton; Admiral Dewey and the Levi Leiters; Emma Calve and Anna Pavlova; Alice Roosevelt and Chief Justice Harlan; President William H. Taft and Countess Cassini.
Barney also devoted her time and her gift for fund raising to Neighborhood House, a settlement house in southwest Washington, and to the women's suffrage cause. In 1914,
she was elected president of the Washington branch of the newly founded Women's Peace Party, established by settlement house founder Jane Addams. In 1927, at age 70, Barney
moved to Hollywood, California, to be near her oldest sister. There she continued her painting, opened a small theater called Theatre Mart, and wrote plays, including a rewrite
of her daughter Natalie's play
Alice's daughters, with whom she remained close, lived most of their lives in Paris. Natalie became an author of books of poetry and aphorisms in French. An outspoken lesbian, Natalie was a longtime lover of expatriate American artist Romaine Brooks. Laura married French lawyer Hippolyte Dreyfuss, was an early proponent of Bahaism, and an active campaigner for women's rights and world peace. She was made a chevalier and then an officier of the French Legion of Honor for her service to France during both World Wars. Both sisters died in Paris in their nineties.
In 1960, Natalie and Laura gave Studio House to the Smithsonian Institution for use as an arts and cultural center. The building initially housed offices and visiting scholars and guests. After renovation in 1980, Studio House was opened to the public for tours and entertainment events, including restagings of several of Alice Pike Barney's plays. In March 1995, the Smithsonian approved the pending sale of Barney Studio House, the proceeds to go toward the endowment fund for its National Museum of American Art.
For more biographical information, see Jean L. Kling's
This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.
The strength of the Alice Pike Barney Papers lies in its extensive holdings of Alice Pike Barney's plays, mime dramas, ballets, short stories, and novel-length works. Some of the manuscripts are present in multiple copies, in varied stages of editing. They span Barney's life from circa 1904 to 1931. Also included are selected scenes and roles from her plays, known as sides and parts, and accompanying musical scores. Many of the theatrical works were performed at various public theaters in Washington, D.C., or at Barney Studio House, and at Theatre Mart in Hollywood.
Also included are manuscripts of plays by other authors, sent to Barney for review and for possible production at Theatre Mart. Theatre Mart contracts between playwrights and Barney are arranged in alphabetical order by playwright.
Autobiographical information for Alice Pike Barney consists of her fictionalized, unpublished autobiography, which focuses on her romance with British explorer Sir Henry Morton Stanley, a date book covering the year 1926 in Hollywood, California, and Barney family lineage information compiled in 1921 by a relative.
Laura Clifford Dreyfuss-Barney's records consist of a childhood autograph book, diaries recording her correspondents from 1931-1939, 1951, and 1953-1963, and a travel journal in manuscript form. Her papers also contain a collection of her short stories and one play, Legion of Honor awards for her service in both World Wars, and a monogrammed handkerchief belonging to her father, Albert Clifford Barney.
Finally, the Barney collection includes records of Barney Studio House and other Barney residences, including blueprints, architectural drawings, visitors' register, and newspaper clippings regarding the divestment of the Barney Studio House by the Smithsonian Institution.
This record series is indexed under the following controlled access subject terms.
This series includes Alice Pike Barney's fictionalized, unpublished autobiography, covering the years of her childhood to circa 1904. The manuscript, in two bound volumes, mainly documents the period when Barney was romantically involved with Sir Henry Morton Stanley (1841-1904), whom she was engaged to marry in 1874. Barney's 1926 date book lists appointments, providing insight into Barney's daily activities in Hollywood. Also included is extensive Barney family lineage information compiled by James Perrine Barney in 1921 and sent to Natalie and Laura Barney in 1948. The documents trace the Barney name back as early as the 13th century. A letter of explanation from James Perrine Barney to the two sisters is included with the lineage information.
This series consists of manuscripts by Alice P. Barney for plays, mime dramas, ballets, and musical productions at various stages of editing. The scripts are arranged
alphabetically by title. Most of the scripts were written between 1904 and 1931, although some are not dated. Some of the scripts are co-written with her daughters or with
other writers. Barney often signed her manuscripts using the name Mrs. Christian Hemmick and the pseudonyms "Alfred Clifford" and "L[aura]. A[lice]. Pike." Most of the performances
took place at Barney Studio House or at the following theaters in Washington: Belasco Theater, Lafayette Square Theater, Oaks Estate, National Theater, and National Sylvan
Theater. Some were performed at Theatre Mart in Hollywood. Productions of particular note include
This series consists of segments of plays used for auditions and memorization work, known in theater circles as "sides" or "parts." Only a small number of Barney's many plays and other works are represented. The series is arranged alphabetically by title.
This series consists of manuscripts for novels, short stories, and movie scenarios written by Alice P. Barney in various stages of editing. Included is an earlier
version of her autobiography entitled,
This series consists of orchestral scores, sheet music, and individual instrumental scores written as accompaniment to several of Alice P. Barney's theatrical productions. Composers include Henry Cowell, Eugene Goossens, L. M. Rogowski, Sol Cohen, Louis von Gaertner, Gustav Holst, and Chaminade, with Barney often appearing as lyricist.
This series consists of contracts between Alice P. Barney and the playwrights producing their plays at Barney's Theatre Mart in Hollywood. The contracts, spanning the years 1928-1930, are arranged alphabetically by playwright.
This series includes manuscripts of playwrights who produced their plays at Alice P. Barney's Theatre Mart in Hollywood. Barney handwrote comments regarding the quality of the plays on a select number of works. The scripts, spanning the years 1919-1930, are arranged alphabetically by playwright.
This series contains materials documenting the life of one of Barney's daughters, Laura Clifford Dreyfuss-Barney, from 1890 to her death in 1963. An autograph book
contains quotes and signatures of friends and family, including notes from her sister Natalie and mother Alice. Laura's manuscript,
This series consists of a set of undated floorplans of Barney Studio House, drawings of Barney Studio House created for renovation and exhibition use in the 1970s and 1980s, and original floorplans of the Barneys' vacation home in Bar Harbor, Maine, dating circa 1889. The Barney Studio House visitors' register spans the years from 1981 to 1991. Newspaper clippings cover the events surrounding the divestment of the Barney Studio House by the Smithsonian Institution.