The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Letters to Cassatt, from Cassatt, and from and to Cassatt's family and others; a typescript of a family history written by Cassatt's father, and other genealogical and biographical material; and pages from Paris Salon exhibition catalogs of 1872-1876 referencing Cassatt. The materials were primarily in the possession of Art Institute of Chicago curator Frederick Sweet at the time of microfilming; Sweet coordinated the microfilm project with the then newly formed Archives of American Art. The microfilm also identifies the owner at the time of microfilming (1955) and some of Sweet's correspondence concerning permission to microfilm from the various owners.
Among the recipients of letters from Cassatt are Cecilia Beaux, Electra Havemeyer Webb, Mrs. Potter Palmer, Theodate Pope, Mary Gardner Smith, Carroll S. Tyson, Ambroise Vollard, Harris Whittemore, her nephew Robert Kelso Cassatt and his wife Minnie Drexel Fell Cassatt; her sister-in-law Jennie (Mrs. J. Gardner Cassatt); and others. [Microfilm label: Frederick A. Sweet papers]
Mary Cassatt collection, 1871-1955. Archives of American Art, Smithsonian Institution.
Microfilm reel C1 available for use at Archives of American Art offices and through interlibrary loan.
Location of Originals:
Reel C1 Frames 1-869, Letters from Cassatt's mother, father, brothers; and Cassatt's letters to her family: and Cassatt's will, all lent for microfilming by Mrs. John B. Thayer, Rosemont, Pa. Originals in the Philadelphia Museum of Art.
Reel C1 frames 1188-1410, letters from Cassatt to her nephew Robert Kelso Cassatt and his wife Minnie Drexel Fell Cassatt, lent for microfilming by her great-nephew Alexander: Originals in the Archives of American Art, Smithsonian Institution and are cataloged separately.
Authorization to publish, quote or reproduce must be obtained from: the owners of the letters. [Frames 1-869 owned by Philadelphia Museum of Art]
Lent for microfilming in 1955 by Frederick Sweet, author of the exhibition catalog Sargent, Whistler, and Mary Cassatt (1954) and Miss Mary Cassatt, Impressionist From Pennsylvania (1966). The owners of the letters at the time of microfilming are listed on the microfilm and the inventory. Letters and the typescript family history filmed on CI frames 1-869 were subsequently donated by their owner Mrs. John B. Thayer of Rosemont, Pa. to the Philadelphia Museum of Art, 1967, and letters from Cassatt to her nephew Robert Kelso Cassatt that were lent by Mr. Alexander Cassatt, Robert's brother in 1955, were subsequently donated to the Archives of American Art in 1986 by Alexander's son, also named Alexander Cassatt (microfilm reel 3684).
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
Jeune femme en noir, (painting)Mrs. Gardner Cassatt, (painting)Portrait of Madame J., (painting)Portrait de Madame J., (painting)
Cassatt, Mary 1844-1926
Oil on canvas
On loan to Baltimore Museum of Art Art Museum Drive Baltimore Maryland 21218
Lent by State of Maryland Peabody Art Collection 350 Rowe Boulevard Annapolis Maryland 21401 Accession Number: P.I.10.10
Adler, Kathleen, Erica E. Hirshler and H. Barbara Weinberg, "Americans in Paris, 1860-1900," London : National Gallery, 2006, no. 48.
"Mary Cassatt: Modern Woman," New York: Art Institute of Chicago in association with H.N. Abrams, 1998, pl. 16.
Baltimore Museum of Art, 1989.
"List of Works of Art in the Collection of the Peabody Institute, Baltimore, Maryland," 1949.
Breeskin, Adelyn Dohme, "Mary Cassatt: A Catalogue Raisonne of the Oils, Pastels, Watercolors, and Drawings," Washington, D.C.: Smithsonian Institution Press, 1970.
Baltimore Museum of Art, 1989.
Portrait of a woman seated with her left elbow resting on the arm of an upholstered chair. She wears a black dress (with a pink bow at her throat), black gloves, and black hat with bird wings and veil. She holds a black bag in her lap. Part of a framed fan is seen hanging on the wall behind her head.
Portrait female--Waist length
Art Inventories Catalog, Smithsonian American Art Museums
Negative log book number 8, or "green book," documenting various Smithsonian museums and events. Information includes negative numbers, subjects of the photographs, persons and departments for whom the pictures were taken, dates the pictures were taken, photographers, and dates the information was entered into the log books.
Smithsonian Institution Archives, Accession 10-001, Negative Log Book Number 8, 1976
Negative log book number 9, or "green book," documenting various Smithsonian museums and events. Information includes negative numbers, subjects of the photographs, persons and departments for whom the pictures were taken, dates the pictures were taken, photographers, and dates the information was entered into the log books.
Smithsonian Institution Archives, Accession 10-001, Negative Log Book Number 9, 1977
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974
Jacques Seligmann & Co.
Waegen, Rolf Hans
de Hauke, César
Parker, Theresa D.
Mackay, Clarence Hungerford
Liechtenstein, House of
Schiff, Mortimer L.
La Fresnaye, Roger de
MM. Jacques Seligmann & fils
Eugene Glaenzer & Co
Germain Seligmann & Co
De Hauke & Co., Inc
Place of publication, production, or execution:
203.1 linear feet
Following is an outline of the arrangement of the collection by series and corresponding box numbers and extent. More detailed information for each series and subseries, along with a box and folder inventory, is found in the Series Descriptions/Container Listings, which can be found by following the series links below. Series 1: Correspondence, 1913-1978 (1-174, 80 linear feet); Series 2: Collectors Files, 1875, 1892-1977, undated (Boxes 175-252, 35 linear feet); Series 3: Auction Files, 1948-1975, undated (Boxes 253-259, 2.75 linear feet); Series 4: Exhibition Files, 1925-1977, undated (Boxes 260-272, 5.5 linear feet); Series 5: Reference Files, 1877-1977, undated (Boxes 273-278, 2.25 linear feet); Series 6: Inventory and Stock Files, 1923-1971, undated (Boxes 279-289, 4.5 linear feet); Series 7: Financial Files and Shipping Records, 1910-1977 (Boxes 290-357, 30.5 linear feet); Series 8: Contemporary American Department, 1932-1978 (Boxes 358-381, 10 linear feet); Series 9: De Hauke & Co., Inc., Records, 1925-1949, undated (Boxes 382-416; 16 linear feet); Series 10: Modern Paintings, Inc., Records, 1927-1950 (Boxes 417-420, 1.25 linear feet); Series 11: Gersel Corp. Records, 1946-1969 (Box 421, 0.25 linear feet); Series 12: Germain Seligman's Personal Papers, 1882, circa 1905-1984, undated (Boxes 422-459, OV 460, 17.1 linear feet)
Access Note / Rights:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The Jacques Seligmann & Co., Inc., records measure approximately 203.1 linear feet and date from between 1904 and 1978, with bulk dates of 1913-1974. The records include extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies, including de Hauke & Co., Inc., and Modern Paintings, Inc.
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Series 1 and Series 2 of the collection were digitized in 2010 and are available via the Archives of American Art's website.
Processing of the collection was funded by the Getty Grant Program; digitization of portions of the collection was funded by the Samuel H. Kress Foundation.
Jacques Seligmann & Co. were international art galleries in New York City and Paris, France. Founded in 1880 in Paris, France and closed in 1978. The company's clients included most of the major American and European art collectors of the era, and the art that passed through its galleries often ended up in the collection of prominent American and European museums. Established as Jacques Seligmann & Cie in 1880 on the Rue des Mathurins, Paris. As American clients increased, the firm opened a New York office in 1904. In 1920, Seligmann's son Germain Seligman (who dropped the last 'n' from his name), a writer and scholar, became a partner and appointed president of the New York office. Jacques Seligmann died in 1923, and in 1924, Germain became president of both the New York and Paris offices. In 1937, the company headquarters moved from Paris to New York. The firm was active in antiquities, decorative arts, Renaissance art, and was among the first to foster contemporary European art, primarily through its subsidiary firm De Hauke & Co. (later Modern Paintings, Inc.), managed by César Mange de Hauke. In 1935, its Contemporary American Department was established, headed by longtime gallery employee Theresa D. Parker. During the years following WWII, the firm was involved in the recovery of looted artwork and property, and the sale of several significant collections. The firm ceased operations upon the death of Germain Seligman in 1978.
Donated 1978-1979 by Mrs. Germain Seligman, daughter-in-law of Jacques Seligmann. Additional material was acquired in 1994 through the Estate of Mrs. Seligman. The Paris archives of Jacques Seligmann & Co., Inc., were destroyed by the Seligmann staff in 1940 to prevent them from falling into the hands of the Nazis.
This site provides access to the records of Jacques Seligmann & Co. in the Archives of American Art, which were were digitized in 2010. The bulk of the collection has been scanned, and totals 330,752 images.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
The Smithsonian Institution was created by authority of an Act of Congress approved August 10, 1846. The Act entrusted direction of the Smithsonian to a body called the Establishment, composed of the President; the Vice-President; the Chief Justice of the United States; the Cabinet; the Mayor of Washington; and the Commissioner of the Patent Office. In fact, however, the Establishment last met in 1877; and control of the Smithsonian has always been exercised by its Board of Regents. The membership of the Regents consists of the Vice-President and the Chief Justice of the United States; three members each of the Senate and House of Representatives; two citizens of the District of Columbia; and nine citizens of the several states, no two from the same state. (Prior to 1970 the category of citizen-Regents not residents of Washington consisted of four members). By custom the Chief Justice is Chancellor. The office was at first held by the Vice-President. However, when Millard Fillmore succeeded to the presidency on the death of Zachary Taylor in 1851, Chief Justice Roger Brooke Taney was chosen in his stead; and the office has always been filled by the Chief Justice since that time.
These records are the official, edited minutes of the Board, compiled at the direction of the Secretary of the Smithsonian, who is also secretary to the Board. Manuscript minutes exist for the period from 1846 to 1856, and after 1891. Only printed versions exist for the years from 1857 to 1891.
The administration of the United States National Museum required curators to submit regular reports on the activities of the departments, divisions, and sections. Prior to about 1900 these reports were often made monthly and semi-annually as well as annually. The reports were traditionally submitted to the Director of the National Museum to be used in preparing the published Annual Report of the United States National Museum. The individual reports, however, were not reproduced in their entirety in the published Annual Report and generally contain more information than is to be found in the published version.
Reports were stored by the Division of Correspondence and Documents, and later by the Office of the Registrar.
Includes reports submitted to the Director of the United States National Museum by curators and administrators.
Old masters, new world : America's raid on Europe's great pictures, 1880-World War I / Cynthia Saltzman
x, 336 p.,  p. of plates : ill. (some col.) ; 24 cm
1. THE COLLECTORS. Henry Gurdon Marquand and van Dyck's portrait of James Stuart -- Isabella Stewart Gardner, Bernard Berenson, Otto Gutekunst, and Titian's "Europa" -- J. Pierpont Morgan, Raphael's "Colonna Madonna," Gainsborouogh's "Georgianna," Reynolds's "Lady Elizabeth Delme," and Lawrence's "Elizabeth Farren" -- Mary Cassatt, Harry and Louisine Havemeyer, Spain, and El Greco -- Henry Clay Frick, Charles Carstairs, Otto Gutekunst, and the Ilchester Rembrandt -- 2. THE PAINTING BOOM. Joseph Duveen enters the old master market -- Holbein's "Christina of Denmark," Rembrandt's "Polish Rider," Velazquez's "Philip IV," three Vermeers, and record prices -- Bellini's "St. Francis" and falling prices -- 3. THE GREAT WAR AND THE PICTURE MARKET. Old master spoils -- Bellini and Titian's masterpiece comes on the market