- Abstract
- Fifty-nine letters, one post card and a poem written by Maria Chabot to Irene Zelinski, Aug. 30, 1956 – Oct. 21, 1961, are contained in this box. Six letters, Aug. 30, 1956 – Oct. 13, 1956, the first two of which are written by Chabot from San Francisco to Zelinski who is at Los Luceros, concern Chabot caring for Georgeanna Wight and Zelinski caring for Los Luceros. The last four letters are written after the correspondents have returned to their usual homes, and tell of another visit to Los Luceros by Mary Wheelwright, Oct. 6, 1956 – Oct.13, 1956. The letter of Oct. 11 discusses Wheelwright's will. The letter from Oct. 12 is noted as "Not sent." Seven letters, Oct. 25, 1956 – Nov. 20, 1956, continue to describe Wheelwright's visit and the arrival of Alice Marriot. The letter of Nov. 5 confesses to an indiscretion with Marriott and the psychiatrist's reaction to this. The letters of Nov. 15 & 20, 1956 continue to reflect on these events. Seven letters, Nov. 25, 1956 – Dec. 10-11, 1956, are written from Los Luceros after Wheelwright has left. The letter of Nov. 27 in both a typescript and handwritten form asks Zelinski to make a visit to Los Luceros alone without Georgeana Wight. The letter of Dec. 1 is a response to a wire from Zelinski declining to do so, and an undated draft letter following further reflects on this. Two letters, Oct. 22, 1957 and Oct 27, 1957, discuss the proposed project on Pueblo linguistics and sexual symbols. (See also: Maria Chabot Archives: Native Americans, Southwest – Symbolism & Linguistics – Research Grant.) Two letters, April 24, 1957 and April 30, 1957, discuss the bequest of Dorothy Stewart's Galeria to Chabot. The first letter also discusses Chabot's short story, "The Curtain of Feeling," and the second discusses Wheelwright deeding Los Luceros to Chabot. Two letters, Aug. 29, 1956 and Oct. 17, 1960, concern the sale of Los Luceros. The first letter contains an inventory of Zelinski's possessions still at Los Luceros, and the second details the sale of the property to John Collier and describes the signing of the documents. Four letters and draft of a poem, Jan. 3, 1961 – April 20, 1961, concern Chabot's courtship, marriage and divorce of Dana Bailey. The Jan. 3rd letter describes Bailey's proposal to Chabot. The poem was written on Feb. 24, 1961, ten days after her wedding. The letter of April 20 describes her life in Boulder, Colorado as Bailey's wife and death of her dog Stefka. Five letters, May 4, 1961 – May 29, 1961, written from Boulder describe plans for a "wedding" trip and the growing tensions in Chabot's relationship with Zelinski. The May 28 letter gives an itinerary of the trip and the unusual traveling arrangements. Six letters, June 10, 1961 – Aug. 11, 1961, written from Boulder, described Chabot's married life and her plans for the trip to Asia. The letters also reflect the breakdown in her relationship with Zelinski. Ten letters and one postcard, Sept.18, 1961 – Oct. 21, 1961, written from various Asian cities and telling of Chabot's wedding trip, traveling in Japan, Hong Kong, Thailand, and Cambodia.
DOWNLOAD IMAGE
Terms of use
The Georgia O'Keeffe Museum is dedicated to fostering access to its collections to inspire education, research, and creative engagement. Through Access O'Keeffe, the Museum’s digital catalogue raisonné project, we provide free tools for engaging with Georgia O'Keeffe’s full body of work. As part of this initiative, we encourage the download of low-resolution images for educational and fair use purposes.
Certain works by Georgia O'Keeffe are under the copyright of the Georgia O'Keeffe Museum, while others are managed by different rights holders. For commercial uses, users must seek authorization directly from the respective copyright holder.
By downloading and using these images, users agree to the following terms and conditions of use including the Museum’s reproduction guidelines. Users will play a vital role in preserving the integrity of the artist’s work while supporting broader public access.
Permitted Uses
Fair Use:
Images may be used under fair use principles for purposes such as:
- Educational: Use in teaching materials, presentations, and coursework
- Research and scholarship: Academic research articles, theses, dissertations and noncommercial publications
- Creative projects: Reference or inspiration for personal artwork, such as sketches, paintings, or digital art, if the works are not sold or used commercially.
Conditions of Use
By downloading images of artwork from Access O'Keeffe, users agree to adhere to the Museum’s reproduction guidelines for artwork by Georgia O'Keeffe. Images must not be altered, manipulated, or modified in any way that compromises their integrity or misrepresents the original work. Specifically, artworks may not be cropped, distorted, or subjected to the following alterations:
- Cropping
- Rotation, inversion, or changes to the original proportions
- Color adjustments
- Superimposition of text, graphics, or other elements
- Animation, cartooning, or other forms of reinterpretation
- Removal or modification of blemishes, inscriptions, or other original features
- Printing artwork on 3D materials, including fabrics
Unauthorized Uses
Unauthorized uses of Georgia O'Keeffe’s works include any applications that fall outside the scope of fair use, such as those intended for commercial profit generating purposes.
Examples include, but are not limited to:
- Publications and merchandise that are sold or generate income.
- Reproductions in marketing materials, advertisements, or promotional campaigns.
- Use in exhibitions or displays that charge admission fees.
For any such uses, prior written authorization must be obtained from the appropriate copyright holder noted in Access O'Keeffe.
For any commercial use, prior written permission is required from the copyright holder. Please contact the Digital Experience and Rights Manager at [email protected]
ADD TO LIST
COPY CITATION
Text here