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Chipman, Fanny S The Association for Diplomatic Studies and Training Foreign Affairs Oral History Program Foreign Service Spouse Series FANNY S. CHIPMAN Interviewed by: Hope Meyers Initial interview date: July 22, 1987 TABLE OF CONTENTS Mrs. Chipman was born and raised in France. In 1935 she married United States Foreign Service Officer Norris Chipman, and accompanied him on his various assignments in Washington, DC and abroad Early years in France Born Fanny Bunand-Sevastos, 1905 in Asniéres, France Raised in France Bourdelle family Bourdelle’s :”La France” Early life in France French artists and writers Early education in France Alice Pike Barney and family Mademoiselle Laprévotte Anatole France Sir James Fraser Musée Bourdelle Career as artist (painter) Marcel Poncet Queen of Belgium Palais des Beaux Arts in Brussels The Dying Centaur Posing for sculpture Gift of the head of “France” sculpture Visit to the United States c1928 New York banking society Friend Irene Millet Chandler Bragdcon Georgia O’Keefe Theodor Gréppo 1 Return to Paris La Revue de la Femme Doris Stevens Malone Kellogg-Briand Peace Pact Mrs. O.H.P. Belmont Rambouillet Chateau Women’s Rights meeting Return to U.S. New Orleans carnival Angela Gregory Rodin Inter-American Commission of Women: Staff member The Hague Doris Stevens Malone National Women’s Party Dr. James Brown Scott Lobbying activities Senator Cooper Bernita Matthews Montevideo Conference Haiti Appointed Haiti delegate Mrs. Eleanor Roosevelt opposition Protective legislation for women Commission financing Lima Conference Painting career Frau Conrad Husband Norris Chipman Accompanying Foreign Service Officer Norris Chipman 1936-1957 Husband’s background Marriage, 1935 Washington, D.C. 1935-1936 Moscow 1936-1939 Chip and Avis Bohlen William A. Crawford Ambassador (German) von Schulenburg’ German/Soviet Accord Johnnie von Herwarth Daughter Claudette Ambassador Joseph E. Davies Marjorie Merriweathr Post Bears in the Caviar Moscow atmosphere 2 Embassy atmosphere Security and surveillance Shortages Mr. & Mrs. Charles Lindbergh Famous visitors Diplomatic Corps Staff housing Ambassador William C. Bullitt Embassy staff Germans and Russians invade Poland Embassy wives Mrs. (Avis) Chip Bohlen Van Gogh copy Ambassador Alan G. Kirk Eventful trip to Paris Prokofievs Russian friends Art Galleries and museums Kingston,Canada: Accompanying husband 1940 Cairo, Egypt 1940-1942 Ambassador Alexander Kirk Wartime evacuation to US Jimmie Doolittle British surround palace Mr. Chipman’s official responsibilities Leon Blum Richard Wright Social life Washington, D.C. 1943-1944 Paris, France 1944-1950 Accommodations Birth of daughter Claudette Ambassador Jefferson Caffery Rome, Italy 1950-1952 Bonn, Germany 1952-1954 Economy Environment John and Patricia Davies London, England 1954-1956- Husband’s responsibilities Andrew Foster Rebecca West Ambassador and Mrs. Winthrop Aldrich Princess Margaret Ball for the Queen 3 Comments on Foreign Service pay and allowances Carmel Offie Chip Bohlen Ambassador Bullitt Ambassador Alexander Kirk Doris Stevens General comments; Friends and contacts McCarthy Roy Cohn John Davies Doris Stevens Barbara Foster Ambassador and Mrs. Hartman Monsieur Labeyruie Claude Reymond Lépine Mme Caillaux Mme Calmette André de La Boulayes Guy La Chambre Heywood Broun Death of husband Norris Chipman (1957) Career after death of Norris Chipman Receptionist, US Embassy, Paris 1958-1968 Assistant Librarian and Protocol Officer at the Organization for Economic Cooperation and Development (OECD) INTERVIEW (Mrs. Chipman has also been known in the Service by her Greek name, Théophanie or Théophania) Q: You were talking just now about your father and the influence that he had on your life even though he and your mother were divorced rather early in your life. CHIPMAN: Yes. My father came from a family in Lyon that were dyers of silk. But this did not interest him. He wanted to come to Paris and he wanted to write. So he did what the French call son droit . (I don’t know what that corresponds to in America.) And then he started writing and meeting artists and writers. I know he told me that they had a regular lunch with Paul Claudel - you know, a whole group of them. He told me this because Claudel was then the ambassador here. I was in America. Q: That was when you were in America the first time - about 1928, wasn’t it? 4 CHIPMAN: That’s right. Yes. Q: But this is well before that, of course. CHIPMAN: Yes. This is when I was a child. I don’t know. We were ten, twelve, my brother and myself. And my father was also very much interested in the arts. He wrote criticisms on artists and their works. In fact, that’s how he knew Bourdelle. So it had a big impact on our lives later on. Q: You said that it was really his interest in painting that sparked yours. CHIPMAN: Yes. When I was a child, I used to see him mostly on Thursdays and Sundays, my brother and myself, that is. He often took us to galleries. Particularly later on, when my brother had finished his studies (I was a bit younger than he was), he went on with me. Every Thursday we used to go and look at galleries. At that point, I got so that I could tell you - oh, this is a Picasso, this is a Matisse. I used to know my painters, which I don’t any more for the more modern painters. But it was an education in itself. Later on I lived a lot with the Bourdelle family due to the war. And we, you know how children are, we used to see Bourdelle draw. He used to get up every morning at about 5 o’clock and go into the dining room, [sit at the] table and draw all these - things like I have here on the walls. And we’d come for breakfast because of course we didn’t get up at 5 o’clock (laughs) and we saw dozens of water colors. Either ideas that he had or things that he was thinking of later on turning into sculptures or things that hurt him very much like when the Germans started bombarding Rheims. And he felt so sick about it (you mustn’t forget that he was sensitive as an artist) that his wife and, I suppose my mother too, said, “Well, he’d better leave Paris. It’s too close [to the war].” So we went down to Montauban. He was a native of Montauban. And there we got influenced by this uncle and we too started painting and drawing and all that. And later on that’s how he told my mother, “Well I think Fanny has a certain talent for color, at any rate.” He also said, “You can’t teach color. You either have it or you don’t. You can teach the rest. Drawing, naturally. But color you can’t. So I think she’d better come and study at the studios.” That’s how I happened to [go there] after my classes were over with and I had my bachot and I was at loose ends, I went and studied in his private studio in Paris. Q: This was when he was back in Paris after the war? CHIPMAN: Yes. I was then seventeen. And when I’m telling you about Montauban, it was the war. I was nine when the war broke out, I must have been nine or ten. I don’t remember now if my brother was one or two years older. Well, we were monkeys. You know how children are. Q: Yes, of course. (laughter) But with you the monkey’s paws became very talented. 5 CHIPMAN: Well, I was very influenced by my uncle and aunt because I was very fond of them. And I must truthfully say that perhaps I was fonder of them and closer to them than I was to my own immediate family. My mother was more of a business person. Not that she did so brilliantly in business, but she had more that mind. Her sister, Madame Bourdelle, who was her younger sister, had been brought up by a Greek lady who was very much of an intellectual and made her read Shakespeare [and Scottish] authors when she was very young. And she took to it. The two other sisters, my mother and her second sister [preferred music and singing]. I felt closer to [Madame Bourdelle]. Q: I can understand that very well. Was she also a painter or a sculptor in her own right? CHIPMAN: Actually, before meeting Bourdelle she had sculpted, but without guidance. As she became Bourdelle’s student, she really sculpted seriously. She modeled a head of her father and one of Madame Petrici. They were excellent. Bourdelle said she had great talent and finesse. However, when her daughter was born, she gave up sculpture to take care of her. And when my father - now I’m skipping a little bit. When my father married my mother, since he was very knowledgeable as I told you about artists in Paris he said, “If Cleo wants to sculpt, there’s only one person in Paris, it’s Bourdelle.” And he was the one that introduced them subsequently. My father, since I am on this subject, was that rare specimen in those days, a Frenchman that travels. And he had traveled a good bit. And he was working with Madame Petrici who was not really a regular governess. My grandmother died when Madame Bourdelle was born. You know in those days it unfortunately happened frequently. [Grandfather] wanted somebody with his three daughters who was a lady. He didn’t want just anybody. So Madame Petrici (who was of a very good Greek family - she was a Lascaris as it comes back to me now: Her father had been once ambassador to London) was sort of there acting as mother.
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