Search Results

Creator:

Freer, Charles Lang, 1856-1919  Search this

Extent:

131 Linear feet (29 architectural drawings)

Type:

Collection descriptions

Archival materials

Diaries

Financial records

Correspondence

Photographs

Place:

China

Syria

Egypt

India

London (England)

Japan

Boston (Mass.)

Detroit (Mich.)

Washington (D.C.)

Kandy (Sri Lanka)

Sri Lanka

Anuradhapura (Sri Lanka)

Date:

1876-1931

Summary:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.

Scope Content:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.

Organization of the Papers:

This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs

Biographical Note:

1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Karin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.

Index:

Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company

Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts

Related Material:

The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.

Provenance:

Gift of the estate of Charles Lang Freer.

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Art, American -- Collectors and collecting  Search this

Art, Asian -- Collectors and collecting  Search this

Art -- Collectors and collecting  Search this

Architecture -- Asia  Search this

Genre/Form:

Diaries

Financial records

Correspondence

Photographs

Citation:

Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

Identifier:

FSA.A.01

See more items in:

Charles Lang Freer Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

EDAN-URL:

ead_collection:sova-fsa-a-01

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance, 1905-  Search this

Names:

Archives of American Art  Search this

Castano Galleries (Boston, Mass.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

White House (Washington, D.C.)  Search this

Peale family  Search this

Allen, Joseph  Search this

Allston, Washington, 1779-1843  Search this

Andrews, Wayne  Search this

Aram, Siegfried F.  Search this

Bishop, Isabel, 1902-1988  Search this

Bostick, William A.  Search this

Bouché, Louis, 1896-1969  Search this

Boyd, Julian P. (Julian Parks), 1903-  Search this

Castano, Giovanni, 1896-1978  Search this

Cohn, Harold  Search this

Copeland, Lammot du Pont  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Flexner, James Thomas, 1908-2003  Search this

Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this

Fredericks, Marshall M., 1908-1998  Search this

Freeman, Michael W.  Search this

Garrison, Eve Josephson, 1903-2003  Search this

Groce, George C., 1899-  Search this

Hardy, Jeremiah Pearson, 1800-1889  Search this

Heil, Walter, 1890-1973  Search this

Hopper, Edward, 1882-1967  Search this

Jungwirth, Irene G. (Irene Gayas), 1913-  Search this

Krentzin, Earl, 1929-  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lee-Smith, Hughie  Search this

Lewis, W. S. (Wilmarth Sheldon), 1895-1979  Search this

Lynes, Russell, 1910-1991  Search this

Marsh, Reginald, 1898-1954  Search this

Mast, Gerald, 1908-1971  Search this

McDermott, John Francis, 1902-  Search this

Middeldorf, Ulrich Alexander, 1901-  Search this

Morse, John D., 1906-  Search this

Moser, Liselotte, 1906-1983  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Oliver, Andrew, 1906-  Search this

Peale, Charles Willson, 1741-1827  Search this

Pleasants, J. Hall (Jacob Hall), 1873-1957  Search this

Ripley, Sidney Dillon, 1913-2001  Search this

Rockefeller, John D., 1906-  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Rutledge, Anna Wells  Search this

Sellers, Charles Coleman, 1903-  Search this

Sheeler, Charles, 1883-1965  Search this

Simper, Fred, 1914-  Search this

Simpson, Corelli C. W.  Search this

Soria, Regina, 1911-  Search this

Spark, Victor D. (Victor David), 1898-1991  Search this

Speck, Walter, 1895-  Search this

Stevens, William B.  Search this

Valentiner, Wilhelm Reinhold, 1880-1958  Search this

Vose, Robert C. (Robert Churchill), 1911-1998  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Wedda, John  Search this

Woolfenden, William E. (William Edward), 1918-1995  Search this

Wyeth, Andrew, 1917-2009  Search this

Extent:

28.7 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Date:

1814-1996

bulk 1921-1996

Summary:

The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Scope and Contents:

The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.

Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.

There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.

Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keefe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.

E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.

Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.

Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.

Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.

Biographical / Historical:

Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.

E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966. Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.

While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).

Related Materials:

Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.

Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.

Provenance:

Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.

Restrictions:

Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Authors -- Michigan -- Detroit  Search this

Art historians -- United States  Search this

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism in art  Search this

Art -- History -- Study and teaching  Search this

Genre/Form:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Citation:

Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.

Identifier:

AAA.richedga

See more items in:

E.P. (Edgar Preston) and Constance Richardson papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-richedga

Creator:

Burton, Irving F. (Irving Frederick), 1918-  Search this

Names:

Gropper, William, 1897-1977  Search this

James McNeill Whistler, 1834-1903  Search this

Johnson, Eastman, 1824-1906  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Sargent, John Singer, 1856-1925  Search this

Sloan, John, 1871-1951  Search this

West, Benjamin, 1738-1820  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1816-1967

Scope and Contents:

Files on artists in Burton's collection; and letters, documents and printed material collected by him.

Files: 58 files on artists in Burton's collection primarily containing a few photographs of works of art. Also found in the files are photocopies of notes, letters from curators and dealers, and printed material. Artists include Thomas Anshutz, Claude Bentley, Albert Bierstadt, Albert Blakelock, Warren Brandy, Charles Burchfield, Rosalba Carriera, William M. Chase, Thomas Cole, Jasper F. Cropsey, Charles Culver, Stuart Davis, Charles Demuth, Roelof De Vries, Thomas W. Dewing, Asher B. Durand, George H. Durrie, Thomas Eakins, Lyonel Feininger, Morris Graves, William Harnett, Childe Hassam, Marsden Hartley, Martin Johnson Heade, Winslow Homer, Edward Hopper, Thomas Hovenden, George Inness, Eastman Johnson, James Kearns, John F. Kensett, Earl Krentzin, Le Gendre, John Marin, Reginald Marsh, Gari Melchers, Jerome Myers, George L. K. Morris, Guy Pène du Bois, John F. Peto, Maurice Prendergast, Constance Richardson, Theodore Robinson, John Singer Sargent, Sarkis Sarkisian, Ben Shahn, Charles Sheeler, Everett Shinn, Adam Silo, John Sloan, Tintoretto, Mark Tobey, John Vanderlyn, Elihu Vedder, Robert Vickery, Franklin Watkins, Max Weber, and James McNeill Whistler. These files are unmicrofilmed.

Letters and other manuscript materials include: a letter from William Gropper to Burton (1964) discussing a museum's purchase of Yasuo Kuniyoshi's portrait of Gropper, and mentioning Gropper's spatter technique; a letter from Eastman Johnson, dated June 8, 1985 to an unknown recipient; a document certifying an artist's shipment, signed by Benjamin West, July 20, 1819; and 3 letters written by John Singer Sargent to: S.H. Church, July 3, 1906, to Mr. Lull, June 15, 1922, and to Mrs. Winthrop Chandler, June 12, 1924. The letter to Church declines an invitation to the dedication of the new Carnegie Institute in spring 1907.

Printed materials include: a book REPORT OF THE SUPERINTENDENT OF THE U.S. COAST SURVEY FOR 1854 (published in 1855) with an engraving "View of the Eastern Extremity of Anacapa Island - From the Southward" by James McNeill Whistler in the margin of a map in the appendix; a book GIST OF ART by John Sloan (1944) inscribed "To an old friend J. K. Hulliung / John Sloan, Hotel Chelsea, April 1951," decoratively bound by Hulliung and held in a fur-covered box and containing 3 clippings about Sloan (1949-1951); a book AN ISLAND GARDEN by Celia Thaxter with illustrations by Childe Hassam (1894); a calendar, AMERICAN BLOCK PRINT CALENDAR with a print by a different artist for every week of the year (1937).

Biographical / Historical:

Art collector; Detroit, Mich. Dr. Burton's collection consisted of mainly 19th and 20th century American paintings. He started his collection in 1957. The first purchases were two paintings by Edward Hopper and Morris Graves, through a show sponsored by the Friends of Modern Art at the Detroit Institute of Arts. By 1966, the collection consisted of over 60 paintings, drawings and etchings, and over 100 objects such as pottery, bronzes, glass, etc.

Other Title:

John Singer Sargent papers (microfilm title)

Benjamin West papers (microfilm title)

Provenance:

Donated by Irving Burton, 1962-1997. Three books were placed in AAA's library.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters  Search this

Topic:

Art -- Collectors and collecting -- United States  Search this

Art, American  Search this

Identifier:

AAA.burtirvi

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-burtirvi

Creator:

Catlin, Stanton L. , 1915-1997  Search this

Names:

Columbia Records, Inc.  Search this

Hunter College -- Faculty  Search this

Syracuse University -- Faculty  Search this

Universidad de Chile -- Faculty  Search this

Ades, Dawn  Search this

Ashton, Dore  Search this

Boulton, Alfredo  Search this

Motherwell, Robert  Search this

Obregón, Alejandro, 1920-  Search this

Paternosto, César, 1931-  Search this

Paz, Octavio, 1914-  Search this

Rasmussen, Waldo  Search this

Rockefeller, David, 1915-  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Sandoval, Judith Hancock de  Search this

Sebastián, Santiago  Search this

Torruella Leval, Susana  Search this

Williams, Amancio  Search this

Extent:

56.4 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Interviews

Transcripts

Diaries

Place:

Czech Republic -- Description and Travel

Date:

1911-1998

bulk 1930-1994

Summary:

The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.

Scope and Contents:

The papers of curator, gallery director, educator, and Latin American art historian Stanton L. Catlin (1915-1997) measure 56.4 linear feet and date from 1911 to 1998 with the bulk of the material dating from 1930 to 1994. The papers are comprised of biographical material, correspondence, writings and notes, teaching and project files, professional files, research files, exhibition and subject files, printed material, and photographs.

Biographical material includes six address books, two annotated calendars, four day books, curriculum vitae, interview transcripts, records of Catlin's personal book collection, and his work as a student. Correspondence is with Catlin's family and prominent artists and colleagues, such as Dawn Ades, Dore Ashton, Alfredo Boulton, Robert Motherwell, Alejandro Obregon, César Paternosto, Octavio Paz, Waldo Rasmussen, David and Nelson Rockefeller, Susana Torruella Leval, Judith Sandoval, Santiago Sebastian, and Amancio Williams. Correspondence with Columbia Records concerns Catlin's Grammy Award for best album.

There are writings and notes by Catlin and others on Latin American art, and three journals kept by Catlin during his time in the Czech Republic and Minnesota.

Teaching files document some of Catlin's work as an art history professor at Hunter College, Syracuse University, and the University of Chile. The project files document his work as a consultant or contributor on various projects abd the professional files include records of Catlin's positions as art gallery curator and director, professional memberships, conference participation, and other professional activities. Research and subject files consist of annotated material related to Latin American art, European art, and various artforms and artists.

Exhibition files are found for Art of Latin America Since Independence (1966) and other exhibitions of Latin American art. Printed materials include books with an inscription, clippings, exhibition announcements and catalogs, magazines, and publications. There are photographs of Catlin, family and friends, colleagues, and artwork.

Arrangement:

The collection is arranged as 10 series.

Series 1: Biographical material , 1933-1989 (1 linear foot; Box 1)

Series 2: Correspondence, 1914-1994 (4.5 linear feet; Box 2-6)

Series 3: Writings and Notes, 1930-1993 (4.5 linear feet; Box 6-10, OV 57)

Series 4: Teaching Files, 1941-1991 (1.5 linear feet; Box 10-12)

Series 5: Project Files, 1940-1993 (3.5 linear feet; Box 12-16)

Series 6: Professional Files, 1939-1994 (13.1 linear feet; Box 16-28, OV 58, 60)

Series 7: Research and Subject Files, 1938-1998 (8.0 linear feet; Box 28-36)

Series 8: Exhibition Files, 1941-1993 (15.6 linear feet; Box 37-51, OV 58-60)

Series 9: Printed Material, 1944-1993 (4.2 linear feet; Box 52-56)

Series 10: Photographs, 1911-1991 (0.5 linear feet; Box 56)

Biographical / Historical:

Stanton L. Catlin (1915-1997) was a curator, gallery director, educator, art historian, and expert on Latin American Art.

Catlin studied art history at Oberlin College and graduated in 1937. After graduation, he studied painting and art history at the Academy of Arts in Prague, Czech Republic for two years. Catlin received a Fogg Museum Fellowship in Modern Art at Harvard University to survey collections of art in Europe. However, the project was canceled because of World War II.

During the war, Catlin served as a Cultural Relations Representative for the Coordinator of Inter-American Affairs where he assisted with exhibition arrangements throughout Latin America. In 1942, he also began teaching the history of art in the United States at the University of Chile. After the war, Catlin served in the Field Operations Division of the United Nations Relief and Rehabilitation Administration, working in the Displaced Persons Operation from 1945-1946.

From 1947 to 1950, Catlin served as the executive director of the American Institute of Graphic Arts. He received his graduate degree in art history from New York University in 1952, and shortly thereafter became editor and curator of American art at the Minneapolis Institute of Arts. From 1958 to 1967, Catlin was the assistant director of the Yale University Art Gallery. While there, he curated the landmark exhibition Art of Latin America Since Independence in 1966, the first exhibition to include only Latin American art and the accompanying catalog remains a standard reference source. That same year, Catlin won a Grammy Award for best album notes for an essay on Mexican mural painting.

In 1967, Catlin left Yale to take a position as director of the Art Gallery at the Center for Inter-American Relations before joining the faculty of Syracuse University in 1971 and becoming director of the university's Art Gallery. He remained at Syracuse for the rest of his career.

Catlin was a consultant on the major retrospective exhibition of the work of Diego Rivera at the Detroit Institute of Arts in 1986. He also worked on a project to document Mexican murals in the United States. Catlin died in Fayetteville, New York in 1997.

Related Materials:

Also found at the Archives of American Art is an oral history interview conducted by Francis V. O'Connor with Stanton L. Catlin from July 1 to September 14, 1989.

The University of Texas at Austin holds a significant collection of Stanton Loomis Catlin's papers, some of which are duplicates of the papers held by the Archives of American Art.

Provenance:

The collection was donated from 1992 to 1995 to by Stanton L. Catlin.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art historians -- New York (State)  Search this

Minnesota -- Description and travel  Search this

Gallery directors -- New York (State)  Search this

Curators -- New York (State)  Search this

Topic:

Art, European  Search this

Latino and Latin American artists  Search this

Educators -- New York (State)  Search this

Art, Latin American  Search this

Art -- History -- Study and teaching  Search this

Genre/Form:

Photographs

Interviews

Transcripts

Diaries

Citation:

Stanton L. Catlin papers, 1911-1998, bulk 1930-1994. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.catlstan

See more items in:

Stanton L. Catlin papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-catlstan

Creator:

Catherine Viviano Gallery  Search this

Names:

American Academy of Arts and Letters  Search this

American Federation of Arts  Search this

Art Club of Chicago  Search this

Art Institute of Chicago  Search this

Barnes Foundation  Search this

Brooklyn Museum  Search this

Carnegie Institute  Search this

City Art Museum of St. Louis  Search this

Colorado Springs Fine Arts Center  Search this

Dallas Museum of Fine Arts  Search this

Des Moines Art Center  Search this

Detroit Institute of Arts  Search this

Fogg Art Museum  Search this

Harvard University  Search this

Hirshhorn Museum and Sculpture Garden  Search this

Los Angeles County Museum  Search this

Mary Washington College  Search this

Massachusetts Institute of Technology  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Museum of Fine Arts, Boston  Search this

Museum of Fine Arts, Houston  Search this

Museum of Modern Art (New York, N.Y.)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Art Alliance  Search this

Santa Barbara Museum of Art  Search this

University of Virginia  Search this

Wadsworth Atheneum  Search this

Walker Art Center  Search this

William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts  Search this

World House Galleries  Search this

Yale University. Art & Architecture Library  Search this

Afro, 1912-1976  Search this

Ashton, Dore  Search this

Baker, Richard Brown  Search this

Bareiss, Walter  Search this

Barker, Walter  Search this

Birolli, Renato, 1905?-1959  Search this

Bishop, Elizabeth, 1911-1979  Search this

Broderson, Robert M, 1920-  Search this

Callery, Mary, 1903-1977  Search this

Chaet, Bernard  Search this

Cox, Jan, 1919-1980  Search this

Dorazio, Piero, 1927-  Search this

Dorazio, Virginia Dortch  Search this

Dubuffet, Jean, 1901-  Search this

Dudensing, F. Valentine, 1892-1967  Search this

Eisendrath, William N., 1903-  Search this

Ernst, Dallas  Search this

Faison, S. Lane (Samson Lane), 1907-2006  Search this

Fleischman, Barbara  Search this

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Genauer, Emily, 1910-2002  Search this

Giacometti, Alberto, 1901-1966  Search this

Glasco, Joseph, 1925-  Search this

Goodhue, Bertram Grosvenor, 1869-1924  Search this

Graves, Morris, 1910-  Search this

Guerrero, José, 1914-  Search this

Göpel, Barbara  Search this

Göpel, Erhard  Search this

Hirschhorn, Joseph  Search this

Lerner, Abe, 1908-  Search this

Ludgin, Earle, 1898-1981  Search this

Mabe, Manabu  Search this

Manrique, César, 1920-  Search this

McCray, Porter A., 1908-2000  Search this

Meltzer, Doris, 1908-1977  Search this

Menil, Dominique de  Search this

Miller, Stephen Robeson  Search this

Minguzzi, Luciano, 1911-  Search this

Miró, Joan, 1893-  Search this

Morlotti, Ennio, 1910-1992  Search this

Moyens, H. Marc  Search this

Myers, John Bernard  Search this

Ossorio, Alfonso, 1916-1990  Search this

Perlin, Bernard, 1918-  Search this

Price, Vincent, 1911-1993  Search this

Pulitzer, Joseph, 1913-1993  Search this

Rathbone, Perry Townsend, 1911-2000  Search this

Ribicoff, Belle Krasne, 1924-  Search this

Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979  Search this

Rosenthal, Bernard M.  Search this

Sage, Kay  Search this

Seeger, Stanley J.  Search this

Shapiro, Meyer  Search this

Stout, George L. (George Leslie)  Search this

Tanning, Dorothea, 1910-2012  Search this

Valentin, Curt, 1902-1954  Search this

Van Veen, Stuyvesant  Search this

Viviano, Catherine, 1899-1992  Search this

Wakabayashi, Kazuo  Search this

Yunkers, Adja, 1900-1983  Search this

Extent:

11.6 Linear feet

Type:

Collection descriptions

Archival materials

Notes

Photographs

Date:

1930-1990

bulk 1949-1978

Summary:

The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.

Scope and Contents note:

The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.

Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.

Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.

General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.

Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.

Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.

Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.

Photographs include three images of miscellaneous artwork used for art reference.

Arrangement note:

Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically

The collection is arranged as 5 series:

Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)

Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)

Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)

Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)

Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)

Biographical/Historical note:

Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.

Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.

In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.

Related Archival Materials note:

Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.

Provenance:

The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art dealers  Search this

Topic:

Sculpture  Search this

Art galleries, Commercial -- New York (State) -- New York  Search this

Painting  Search this

Art -- Collectors and collecting  Search this

Genre/Form:

Notes

Photographs

Citation:

Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cathvivi

See more items in:

Catherine Viviano Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cathvivi

Creator:

Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this

Names:

American Federation of Arts  Search this

Archives of American Art  Search this

Corcoran Gallery of Art  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Kennedy Galleries  Search this

Kraushaar Galleries  Search this

M. Knoedler & Co.  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Midtown Galleries (New York, N.Y.)  Search this

Milwaukee Art Center  Search this

Museum of Modern Art (New York, N.Y.)  Search this

National Gallery of Art (U.S.)  Search this

Pennsylvania Academy of the Fine Arts  Search this

Philadelphia Museum of Art  Search this

United States Information Agency  Search this

University of Michigan. Museum of Art  Search this

Whitney Museum of American Art  Search this

Allston, Washington, 1779-1843  Search this

Arms, John Taylor, 1887-1953  Search this

Bailey, Grace  Search this

Bailey, Truman E., 1902?-1959  Search this

Bohrod, Aaron  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Culver, Charles B. (Charles Beach), 1908-1967  Search this

Eakins, Thomas, 1844-1916  Search this

Evergood, Philip, 1901-1973  Search this

Fleischman, Barbara  Search this

Gentle, Esther, 1900-  Search this

Krentzin, Earl, 1929-  Search this

Marin, John, 1870-1953  Search this

Pollack, Peter, 1909-1978  Search this

Rattner, Abraham  Search this

Richardson, Constance, 1905-  Search this

Richardson, Edgar Preston, 1902-1985  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Sellers, Charles Coleman, 1903-  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Typescripts

Photographs

Date:

1837-1984

bulk 1935-1979

Summary:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

Scope and Contents:

The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

One folder of biographical material includes a biographical account and a certificate of appreciation from the Common Council for the City of Detroit.

The bulk of the collection is comprised of correspondence documenting the Fleischman's art related activities and interests primarily during the 1950s and 1960s. Individual correspondents include Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentle, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.

Arts organizations and galleries represented in the correspondence include the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.

Autograph letters purchased by the Fleischmans include letters written by artists Washington Allston (addressed to Thomas Sully), Albert Pinkham Ryder, and John Taylor Arms.

Exhibition files document the various exhibitions of art work from the Lawrence and Barbara Fleischman Collection at the University of Michigan Museum of Art; the Detroit Institute of Art; in Central and South America; in Greece, Israel and Russia; and at the Milwaukee Art Center. The files contain letters, notes, printed material, and photographs.

Three folders of notes and writings include "Introduction to Earl Krentzin Catalog" by Lawrence Fleischman and "Selection of Excerpts from the Soviet Press and Radio Attacking U. S. Culture" by unidentified authors.

Scattered printed material includes miscellaneous clippings and catalogs not connected with the Exhibition Files series. There is also a book John Marin: The Man and his Work by E. M. Benson that was autographed by Marin to the Fleischmans in 1953.

Photographs include portrait photographs of Lawrence Fleischman, photographs of Lawrence and Barbara Fleischman with colleagues, of art work from the Fleischman Collection, of Truman and Grace Bailey in their studio, and a copy photograph of Thomas Eakins as a boy.

Arrangement:

The collection is arranged as 7 series:

Series 1: Biographical Material, 1958 (Box 1; 1 folder)

Series 2: Correspondence, 1949-1984 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Autograph Letters, 1837-1942 (Box 4; 4 folders)

Series 4: Exhibition Files, 1953-1960 (Boxes 4-5, 7; 0.5 linear feet)

Series 5: Notes and Writings, 1957-1962 (Box 5; 3 folders)

Series 6: Printed Material, 1935-1969 (Box 5-6; 6 folders)

Series 7: Photographs, 1953-1965 (Box 6; 13 folders)

Biographical / Historical:

Lawrence Fleischman (1925-1997) of New York City was an American art collector, patron, philanthropist, and benefactor. He and his wife, Barbara Greenberg Fleischman, assembled an impressive collection of art and artifacts that they shared with the public as part of their philanthropic activities aimed at fostering a wider appreciation of the arts around the world.

Lawrence Fleischman was born on February 14, 1925 in Detroit, Michigan, the son of Stella and Arthur Fleischman, the owner of a large carpet business. He attended the Western Military Academy in Alton, Illinois, and studied engineering at Purdue University. In 1942, he interrupted his studies to volunteer for service in the U.S. Army during World War II. While serving in France, he met a doctor who further fostered Fleischman's ever growing interest in American art. Following the war, he graduated with a degree in physics from the University of Detroit. Fleischman met Barbara Greenberg in Detroit and they were married in 1948.

Beginning in the late 1940s, Fleischman established a fledgling television station, developed holdings in real estate, and began purchasing art work. Initially the Fleischmans collected undervalued 20th century American art and were friends with several artists, including John Marin, Charles Burchfield, Stuart Davis, and Ben Shahn. They also expanded the scope of their collection to include 19th century American works.

During the 1950s, Lawrence Fleischman realized how there were few American art historians and college departments, as well as a lack of primary source material. Fleischman worked with Edgar P. Richardson, then director of the Detroit Institute of Art, to raise funds and they founded the Archives of American Art at the Detroit Institute of Art in 1954. The Archives of American Art was, and still is, dedicated to the collection, preservation, and study of primary source records that document the history of the visual arts in the United States. Lawrence A. Fleischman is a founding Trustee of the AAA and served as the Chairman of the Board from 1958 to 1966. His wife, Barbara joined the Board of Trustees in 1997 and served as Chair from 2003 to 2007. She is a Trustee Emerita.

Lawrence Fleischman's business and philanthropic interests included the Arthur Fleischman Carpet Company, the Lee Plaza Hotel-Motel in Detroit, Art Adventurers, the Art School of the Society of Arts and Crafts in Detroit, the Friends of the Whitney Museum of American Art in New York, the Cultural Committee of the United States Information Agency, and the Art Commission of Detroit, which governed the Detroit Institute of Art. He also served as an officer of the Board for many of the arts-related organizations.

In 1996, the Fleischmans moved their family from Detroit to New York City, where Lawrence Fleischman became a partner in the Kennedy Galleries.

The Fleischmans philanthropic activities include generous support of the Metropolitan Museum of Art, the Detroit Institute of Art, the Cleveland Museum, the British Museum, the Vatican Museum, and lifelong support of the Archives of American Art.

Lawrence Fleischman died on January 31, 1997 in London, England. Barbara Fleischman lives in New York City and continues to be an active supporter of the visual arts.

Related Materials:

Among the Archives holdings are two oral history interviews with Lawrence A. Fleischman. The first was conducted by Paul Cummings in 1970 and the second conducted by Gail Stavitsky in 1994 . Both interviews have transcripts available.

Separated Materials:

The Archives of Art also holds microfilm of material lent for microfilming, the majority of which was later donated, except for five letters on reel D197. These include one postcard from Constance Richardson, 1956; one letter from Constance Richardson, 1957; one letter from Franklin Watkins, 1955; one letter from Lawrence Fleischman to Wilbur H. Hunter, 1960; and one letter from Richard D. Tucker, 1960. This material remains with lender and is not described in the collection container inventory.

Provenance:

The Lawrence and Barbara Fleischman papers were donated in several accretions by Lawrence and Barbara Fleischman from 1954 to 2007. Letters were also loaned for microfilming in 1965, but nearly all of them were subsequently donated.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- United States  Search this

Topic:

Painting, American  Search this

Art patrons Michigan Detroit  Search this

Artists' studios -- Photographs  Search this

Philanthropists  Search this

Art -- Collectors and collecting -- United States  Search this

Genre/Form:

Typescripts

Photographs

Citation:

Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.fleilawr

See more items in:

Lawrence and Barbara Fleischman papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-fleilawr

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-04-20T13:59:25.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_D-p96np-Pw4

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2015-11-10T18:58:03.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_JF_1jCRT28M

Creator:

Richardson, Edgar Preston, 1902-1985  Search this

Richardson, Constance Coleman, 1905-2002  Search this

Subject:

Rutledge, Anna Wells  Search this

Simper, Fred  Search this

McDermott, John Francis  Search this

Speck, Walter  Search this

Stevens, William B.  Search this

Fredericks, Marshall M.  Search this

Castano, Giovanni  Search this

Soria, Regina  Search this

Lynes, Russell  Search this

Frankenstein, Alfred V. (Alfred Victor)  Search this

Hardy, Jeremiah Pearson  Search this

Pleasants, J. Hall (Jacob Hall)  Search this

Garrison, Eve Josephson  Search this

Bishop, Isabel  Search this

Allston, Washington  Search this

Woolfenden, William E. (William Edward)  Search this

Ripley, Sidney Dillon  Search this

Morse, John D.  Search this

Watkins, Franklin Chenault  Search this

Lewis, W. S. (Wilmarth Sheldon)  Search this

Marsh, Reginald  Search this

Sheeler, Charles  Search this

Kuniyoshi, Yasuo  Search this

Bostick, William A.  Search this

Jungwirth, Irene G. (Irene Gayas)  Search this

Oliver, Andrew  Search this

Simpson, Corelli C. W.  Search this

Andrews, Wayne  Search this

Valentiner, Wilhelm Reinhold  Search this

Middeldorf, Ulrich Alexander  Search this

Spark, Victor D. (Victor David)  Search this

Fleischman, Lawrence A. (Lawrence Arthur)  Search this

Sellers, Charles Coleman  Search this

Heil, Walter  Search this

Lee-Smith, Hughie  Search this

Bouché, Louis  Search this

Moser, Liselotte  Search this

Flexner, James Thomas  Search this

Vose, Robert C. (Robert Churchill)  Search this

Cohn, Harold  Search this

Aram, Siegfried F.  Search this

Mast, Gerald  Search this

Krentzin, Earl  Search this

Groce, George C.  Search this

Peale, Charles Willson  Search this

Culver, Charles B. (Charles Beach)  Search this

Wedda, John  Search this

Boyd, Julian P. (Julian Parks)  Search this

O'Keeffe, Georgia  Search this

Wyeth, Andrew  Search this

Hopper, Edward  Search this

Rockefeller, Nelson A. (Nelson Aldrich)  Search this

Rockefeller, John D.  Search this

Copeland, Lammot du Pont  Search this

Freeman, Michael W.  Search this

Allen, Joseph  Search this

Peale family  Search this

Castano Galleries  Search this

Historical Society of Pennsylvania  Search this

Macbeth Gallery  Search this

Archives of American Art  Search this

Philadelphia Museum of Art  Search this

National Collection of Fine Arts (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Pennsylvania Academy of the Fine Arts  Search this

White House (Washington, D.C.)  Search this

Detroit Institute of Arts  Search this

Henry Francis du Pont Winterthur Museum  Search this

Type:

Photographs

Manuscripts

Interviews

Diaries

Transcripts

Sketches

Lectures

Place:

Detroit (Mich.)

Topic:

Art -- Collectors and collecting  Search this

Painting, American  Search this

Art, American  Search this

Romanticism in art  Search this

Art -- History -- Study and teaching  Search this

Record number:

(DSI-AAA_CollID)10104

(DSI-AAA_SIRISBib)212990

AAA_collcode_richedga

Theme:

Diaries

Art Theory and Historiography

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212990

Artist:

Giacomo Balla, Italian, b. Turin, 1871–1958  Search this

Medium:

Aluminum and steel on painted wood mount

Dimensions:

40 1/8 x 46 1/2 x 7 7/8 in. (101.8 x 118 x 20 cm)

Type:

Sculpture

Date:

(1914-1915)/(reconstructed 1968)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1972

Accession Number:

72.21

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Futurism

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py24faf0051-9b61-419d-930f-f692b39716fa

EDAN-URL:

edanmdm:hmsg_72.21

Collection Creator:

Taylor, Prentiss, 1907-1991  Search this

Container:

Box 7

Reel 5919, Frame 426

Type:

Archival materials

Date:

1949

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Prentiss Taylor papers, 1885-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art. Funding for the conservation of Prentiss Taylor's photograph album, 1929-1939, was provided by the Smithsonian Women's Committee.

See more items in:

Prentiss Taylor papers

Prentiss Taylor papers / Series 10: Subject Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-taylpren-ref538

Creator:

Jacques Seligmann & Co  Search this

Names:

De Hauke & Co., Inc.  Search this

Eugene Glaenzer & Co.  Search this

Germain Seligmann & Co.  Search this

Gersel  Search this

Jacques Seligmann & Co  Search this

Glaenzer, Eugene  Search this

Haardt, Georges  Search this

Hauke, Cesar M. de (Cesar Mange), d. 1965  Search this

Parker, Theresa D.  Search this

Seligman, Germain  Search this

Seligmann, Arnold, 1870-1932  Search this

Seligmann, Jacques, 1858-1923  Search this

Seligmann, René  Search this

Trevor, Clyfford  Search this

Waegen, Rolf Hans  Search this

Extent:

203.1 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Date:

1904-1978

bulk 1913-1974

Summary:

The records of Jacques Seligmann & Co. measure approximately 203.1 linear feet and date from 1904 to 1978, with bulk dates from 1913 to 1974. The collection includes 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. The collection is an invaluable resource in tracing the provenance of particular works of art and provides a comprehensive view of the activities of collectors and art dealers in the years leading up to and following World War II.

Scope and Contents note:

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.

Historians and researchers will find the collection an invaluable resource in tracing the provenance of particular works of art. Although in the early 1940s many records in the Paris office were destroyed by Seligmann staff to keep them from falling into the hands of the occupying German military forces, many records survive, as much of the firm's business had previously come to center in the New York office. In all, the remaining records provide a comprehensive view of the activities and transactions of collectors and art dealers in the years leading up to and following World War II.

Correspondence (Series 1) is the largest series of the collection (80 linear feet) and is comprised of extensive correspondence files, primarily between Germain Seligman and his New York office staff with domestic and foreign private clients, collectors, dealers, individuals representing public museums and collections, and international scholars. The New York Office Correspondence (Series 1.1) concerns a wide variety of topics, including routine business matters, but focuses primarily on potential and realized sales and purchases and provenance documentation. Also found is detailed information on financial transactions, commissions, stock inventory, and the travel of Germain Seligman and other staff. Paris Office Correspondence (Series 1.2) is separated into a small subseries and contains correspondence written primarily by Jacques Seligmann from Paris. The subseries General Correspondence (Series 1.3) is the largest subsection of the Correspondence series and contains letters written to and received from clients and other business associates concerning business transactions and inquiries. The subseries Museum Correspondence (Series 1.4) contains letters between the firm and art institutions and museums. The subseries Germain Seligman's Correspondence (Series 1.5), contains not only personal letters but a wealth of information concerning the affairs of the firm. Much personal correspondence was marked "private."

Also of note in the Correspondence series are the Legal Correspondence Files (Series 1.6) and the Inter-Office Correspondence (Series 1.9) and Inter-Office Memoranda (Series 1.13). The Legal Correspondence Files subseries houses correspondence with both U.S. and Paris attorneys and concerns legal affairs and specific lawsuits. Of particular interest are Germain Seligman's attempts to recover Seligmann family and Paris gallery artwork and other assets stolen or confiscated by the Germans in World War II. This small subseries also contains limited information on the stock and inventory holdings of several of the firm's and Germain Seligman's subsidiary corporations, family legal affairs and lawsuits, and other related legal matters. The subseries Inter-Office Correspondence and Inter-Office Memoranda (called fiches by Seligmann staff) include memos between Germain Seligman and his staff about clients, collectors, sales, acquisitions, and other matters. These offer interesting commentary clearly intended to be read by staff only.

Also prominent is Collectors Files (Series 2), which contains numerous reference files documenting the collections of existing and potential clients with whom Seligmann & Co. maintained contacts. The files are arranged by either individual name or institution and reflect the wide scope of collector references maintained by the firm throughout its operating years. The files contain a variety of reference materials, such as photographs, provenance notes, and sales, purchase, and inventory information in cases where the collector purchased from the firm or the firm purchased from the collector. Researchers will find that many of the private and public names that appear in General Correspondence (Series 1.3) appear in the Collectors Files as well. Also found in this series are specific files relating to the Duc d'Arenberg Collection, the Clarence H. Mackay Collection, the Mortimer L. Schiff Collection, and the Prince of Liechtenstein Collection. The firm either handled substantial estate sales for these collections or purchased and sold important pieces from these collections.

Auction Files (Series 3) and Exhibition files (Series 4) trace the sales and exhibition activities undertaken by Jacques Seligmann & Co., Inc. In the Auction files, researchers will find documentation of auctions of individual works of art owned by the firm and handled by Christie's, Parke-Bernet, and other auction houses. Of particular interest is the 1948-1949 Parke-Bernet auction of the C. S. Wadsworth Trust, a "dummy" trust set up by the firm to dispose of a portion of its unsold inventory. The Exhibition Files house a variety of documentation, such as catalogs and correspondence, concerning the firm's active exhibition history. Many of the exhibitions featured works of art recently acquired by the firm, such as the 1937 exhibition, Twenty Years in the Evolution of Picasso, which included a number of Picassos the firm acquired from Madame Jacques Doucet that year.

Reference Files (Series 5) includes a card catalog to books and catalogs in the library maintained by Jacques Seligmann & Co., Inc., and a photograph reference index of works of art. Inventory and Stock Files (Series 6) tracks the firm's inventory through a series of stock books and supporting documentation that include sales and provenance information.

Financial Files and Shipping Records (Series 7) consists primarily of records of the New York office, but some Paris office documents can be found scattered throughout. Found in this series is a wide variety of financial records including purchase receipt files, credit notes, invoices, consignment invoices and books, invoices, consular invoices, sales and purchase account books, ledgers, and tax records. The records appear to be quite complete and date from 1910 to 1977. Of particular interest are the purchase receipts and credit notes and memoranda that contain detailed documentation on acquisitions and sales. The consignment invoices provide information about works of art sold on behalf of other galleries and dealers, as well as which galleries and dealers were handling works of art for Jacques Seligmann & Co., Inc. Although quite large and complex, the financial records offer a comprehensive overview of the firm's business and financial transactions.

The records of subsidiary companies that were part of Jacques Seligmann & Co., Inc., such as Contemporary American Department, de Hauke & Co., Inc., Modern Paintings, Inc., and Gersel Corp. are arranged in their own series. In 1935, the firm established the Contemporary American Department to represent young American artists. Under the direction of Theresa D. Parker, a longtime gallery employee, the department initiated an exhibition and loan program. Contemporary American Department (Series 8) includes mostly correspondence files and exhibition files.

The largest subsidiary company to operate under Jacques Seligmann & Co., Inc., was de Hauke & Co., Inc. De Hauke & Co., Inc., Records (Series 9) dates from 1925 through 1949 and contains domestic and foreign correspondence with clients, collectors, and dealers; inter-office correspondence and memoranda with Jacques Seligmann & Co., Inc.; administrative and legal files; and financial records. Modern Paintings, Inc., records (Series 10) contains the legal and financial files of this subsidiary company, which was established in 1930 to incorporate most of the stock of the liquidated de Hauke & Co., Inc. Gersel Corp. Records (Series 11) contains a small amount of material from this company.

Researchers should note that a scattering of records from most of the subsidiary companies may also be found throughout additional series, particularly Inventory and Stock Files (Series 6) and Financial Files and Shipping Records (Series 7). Records for the firms Tessa Corp. and Georges Haardt & Co., which were also owned by Germain Seligman, are not part of the Jacques Seligmann & Co., Inc., Records, although scattered references to these two firms may be encountered throughout the collection.

German Seligman's Personal papers (Series 12) includes scattered family and biographical materials, his research and writings files, and documentation of his personal art collection. Found in Family and Biographical Material (Series 12.1) are photographs of family members, including Jacques Seligmann, and of the Paris gallery. Also found is a limited amount of correspondence concerning Germain Seligman's residency status and his desire to obtain an army commission during World War II. Germain Seligman's research and writing files are found in this series and include material for his books: Roger de La Fresnaye, with a Catalogue Raisonné (1969); Merchants of Art, 1880-1960: Eighty Years of Professional Collecting (1961); The Drawings of Georges Seurat (1947); and Oh! Fickle Taste; or, Objectivity in Art (1952). Documentation of Germain Seligman's private art collection is arranged in this series and includes provenance and research files and correspondence concerning his art collection.

Overall, the historical records of Jacques Seligmann & Co., Inc., offer researchers a comprehensive and detailed resource for studying one of the most active dealers in decorative arts, Renaissance, and European contemporary art. The records clearly document the firm's numerous acquisitions and sales of important works of art to well-known European and American collectors and museums as well as Germain Seligman's extensive client contacts and references. The collection offers an insightful, intriguing, and often fascinating view into the complex field of art sales, trading, and acquisition during the first half of the twentieth century, when many major collections in the United States were formed.

Researchers interested in tracing the provenance of individual works of art should carefully check each series of the collection for information to obtain a complete history for any work. Jacques Seligmann & Co., Inc., staff set up many different files to cross-reference works of art from various angles, such as artist or creator; collector or collection; most recent owner or repository location; stock inventory number, if owned by Seligmann & Co.; and photographic reference files. The task is made somewhat more difficult by the number of commission sales and joint ownership of works of art, often documented solely in the Inventory and Stock Files (Series 6) or the Financial Files and Shipping Records (Series 7). Only by tracing a name or date through the various series can one find all of the information relating to a particular work of art and its provenance.

Arrangement note:

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. Glass plate negatives are housed separately and closed to researchers.

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 linear feet)

Biographical/Historical note:

Jacques Seligmann & Co., Inc., was counted among the foremost French and American art dealers in antiquities and decorative arts and was among the first to foster and support the growth and appreciation for collecting in the field of contemporary European art. 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 collections of prominent American and European museums through the donations of the wealthy benefactors who purchased them from the company. Jacques Seligmann & Co., Inc., took an active part in promoting such donations as well as providing its own donations and selling paintings, sculpture, and decorative arts directly to many museums.

The company was first established as Jacques Seligmann & Cie. in 1880 on the Rue des Mathurins in Paris by Jacques Seligmann (1858-1923), a German émigré who came to France in 1874 and soon thereafter became a French citizen. The company experienced so much success that in 1900 a new, larger Galerie Seligmann was opened on the Place Vendôme, and Jacques's two brothers, Simon and Arnold, joined the business as partners. Simon served as the company's accountant, and Arnold was in charge of correspondence with the firm's many clients. Jacques remained as the manager and was in charge of all purchases for the firm.

Prominent clients of the company included Baron Edmond de Rothschild of France, the Stroganoff family of Russia, Sir Philip Sassoon of England, and American collectors Benjamin Altman, William Randolph Hearst, J. P. Morgan, Henry Walters, and Joseph Widener. As American clients increasingly came to dominate the company's sales activities, a New York office at 7 West Thirty-sixth Street was opened in 1904. Five years later, Jacques purchased the Hôtel de Sagan (also called the Palais de Sagan by the Seligmann family) in Paris as a location where Jacques Seligmann & Cie. could stage larger exhibitions and receive its most distinguished clients.

In 1912 a family quarrel resulted in a lawsuit that split the company. Arnold remained at the Place Vendôme location, reorganized under the name Arnold Seligmann & Cie., while Jacques consolidated his operations and moved the headquarters for Jacques Seligmann & Cie. to the Hôtel de Sagan. Jacques also opened an additional gallery at 17 Place Vendôme to retain a presence near the company's original location, but this branch soon relocated to 9 Rue de la Paix. The New York office, which formerly had operated out of a single room, was upgraded to larger office space and a gallery at 705 Fifth Avenue.

Jacques's son, Germain Seligman (1893-1978), showed an interest in art connoisseurship from his early years and often accompanied his father to work in the galleries. (In 1943, when Germain Seligman became an American citizen, he dropped the second "n" from his surname, and for clarity his name appears with this spelling throughout this finding aid.) His father taught him how to deal with clients and often assigned him tasks to help in the completion of sales. Germain accompanied Jacques on many business trips and in 1910 was sent to St. Peterburg, Russia, to secure information about the selling price of the Swenigorodskoi enamels owned by the Russian collector M. P. Botkine.

Germain continued to work informally in the firm's galleries until the outbreak of World War I. Within hours of the mobilization order in 1914, Germain joined the French army as a second lieutenant in the 132nd Infantry Regiment of Rheims. By 1916 he was promoted to first lieutenant in the Twenty-fourth Infantry Brigade and in the following year achieved the rank of captain in the Fifty-sixth Infantry Division. Also in the same year, he was assigned as the first French liaison officer to the First Division of the American Expeditionary Force in France, serving as translator for Major George C. Marshall. Seligman was discharged from the French army in 1919 and was awarded the French Croix de Guerre with six citations. (In 1938 Seligman also was awarded the Office of the Legion of Honor from France, and in 1939 he was decorated by General John Joseph Pershing with the Distinguished Service Medal of the United States, in recognition for his service during World War I.)

After his discharge from military service, Germain Seligman actively joined his father's company as a partner in 1920. Jacques Seligmann & Cie. was changed to Jacques Seligmann et Fils, and Germain was placed in charge as the president of the New York office. The strong American art market necessitated Germain's making numerous cross-Atlantic trips each year. Upon the death of his father in 1923, Germain took over as president of both the Paris and New York offices, and the company was once again renamed Jacques Seligmann & Cie.

In the early years of Jacques Seligmann & Co., Inc., the firm carried few paintings, as collectors focused their interest mostly on small objects, enamels, ivories, and other decorative pieces from the Byzantine to the Renaissance eras. Stone and bronze sculptures, medieval and Renaissance tapestries, and eighteenth-century French furniture were the most avidly collected pieces of the era. The galleries of Jacques Seligmann & Co., Inc., reflected its clients' tastes, but soon after the turn of the century art trends began to change.

The 1913 Armory Show introduced many Americans to contemporary European art, and collectors in the United States began to show marked interest in it. The advent of World War I brought much of the art market to a standstill in Europe, but interest in the Impressionists continued in the United States, and it quickly resumed in Europe, as well, after the war. Both collectors and dealers began buying modern art, led by such progressive American collectors as Walter Arensberg, Albert C. Barnes, A. E. Gallatin, Mrs. Horace O. Havemeyer, Mrs. Potter Palmer, Duncan Phillips, and John Quinn, among others.

Under Germain's leadership, Jacques Seligmann & Co., Inc., began acquiring works by Pierre Bonnard, Paul Cézanne, Honoré Daumier, Edgar Degas, Pablo Picasso, Henri Rousseau, and Vincent van Gogh. While Germain promoted this trend for modern art in the New York gallery, other family partners did not approve as this was a new direction for the firm. For this reason Germain Seligman looked to establish a new, independent business venture in the evolving field of modern art. He selected as his partner César Mange de Hauke.

César Mange de Hauke was born on March 8, 1900, the son of a French engineer and a Polish mother. After completing academic and art studies in England and France in the years following World War I, de Hauke arrived in the United States in 1926. While in New York City, he was introduced to Germain Seligman by Germain's cousin, René Seligmann, and by 1927 de Hauke had joined Jacques Seligmann & Co., Inc., as a sales representative.

With their shared interest in modern French painting, Seligman and de Hauke decided to explore the feasibility of sales in this area by forming a subsidiary to Jacques Seligmann & Co., Inc., that would specialize in contemporary European artists. In 1926 Seligman personally financed the fledgling company, first called International Contemporary Art Company, Inc., and he appointed de Hauke its director, but even before the legal documents setting up the company were completed the name was changed to de Hauke & Co., Inc. Although the bulk of the new company's art purchases took place in Paris and London, the majority of its sales occurred in the United States.

Seligman and de Hauke worked out an agreement allowing de Hauke to purchase works of art that could then be sold as stock inventory of Jacques Seligmann & Co., Inc., or privately under de Hauke's own name. Ownership of paintings was often shared among various art dealers, involving complicated commission transactions upon completion of sale. Seligman provided display space for de Hauke & Co., Inc., at the new, larger gallery of Jacques Seligmann & Co., Inc., now located at 3 East Fifty-first Street. The two businesses were deeply intertwined, as evidenced by the facts that Seligman's financial records include a great deal of de Hauke material and many of de Hauke's records are written on the stationery of Jacques Seligmann Co., Inc.

During the second half of the 1920s, de Hauke showed the work of modern French School artists in New York City. He exhibited works by Pierre Bonnard, Amedeo Modigliani, Odilon Redon, Ker-Xavier Roussel, Edouard Vuillard, and many others. De Hauke was equally interested in French School drawings and watercolors, and the scope of his exhibitions also included works by nineteenth-century masters such as Paul Cézanne, Jacques-Louis David, Eugè00E8;ne Delacroix, Jean Ingres, Pierre-Auguste Renoir, and Georges Seurat.

Among the exhibitions held at the New York gallery were two highly successful shows featuring the works of Pablo Picasso. The first one, held in 1936, displayed paintings from the Blue and Rose Periods and was soon followed by the 1937 exhibition, Twenty Years in the Evolution of Picasso. The star of this exhibition was Les Demoiselles d'Avignon which Germain had recently acquired from the Jacques Doucet Estate sale.

Despite the bleak economic conditions of the 1930s, the new business venture proved so successful that the other family members of Jacques Seligmann & Co., Inc., withdrew their opposition to expanding into the field of modern art, and de Hauke & Co., Inc., was dissolved and re-formed under the new name, Modern Paintings, Inc. César M. de Hauke was appointed its director, but tensions had crept into the relationship between the former partners, and by 1931, de Hauke had resigned and returned to Paris.

The mid-1930s appear to have been a period of reorganization for the company. By 1934 Modern Paintings, Inc., was also dissolved, and it assets were assumed by Jacques Seligmann & Co., Inc., and by Tessa Corp., another subsidiary of the firm. In 1935, however, the firm established a new subsidiary, the Contemporary American Department, to represent young American artists. Theresa D. Parker, a longtime gallery employee, was selected to head the department, and she initiated an exhibition and loan program. Soon thereafter, the City of Paris offered to buy the company's building at the Hôtel de Sagan as part of a complicated negotiation for a site for the Exposition Internationale des Arts et Techniques dans la vie Modern 1937. The Paris office of Jacques Seligmann & Co., Inc., reestablished itself at 9 Rue de la Paix, but Germain selected the New York office as the headquarters for Jacques Seligmann & Co., Inc. Subsequently he filed his legal residence as New York City. Germain's half-brother, François-Gerard, was left in charge of the Paris office operations, although Germain continued to commute between the two offices until the summer of 1939.

During the New York World's Fair of 1939, Germain served as a member of the Exhibition Committee, which coordinated the art section. When the fair was extended for an additional year, Seligman was asked to take responsibility for planning the French art section. World political events intruded, however, and rumors of impending war affected both the European and American economies as well as the international art world. Speculative sales, particularly in Europe, made for a chaotic and unpredictable market. In June 1940 German forces invaded France and occupied Paris. Business for Jacques Seligmann & Co., Inc., took a dramatic downturn. In the summer of 1940 the Seligmann galleries and family holdings were seized by the Vichy government, along with Germain's private art collection. The family house and its contents, along with almost the entire stock of the Paris firm, was sold at public auction. Jacques Seligmann & Co., Inc., staff burned the Paris office archives in an effort to keep the records relating to works of art from falling into the hands of the Nazi occupiers, who were looting and shipping art to Germany.

Family members also experienced the pains and changes brought on by the war. Jean Seligmann, a cousin of Germain and the head of Arnold Seligmann & Cie., was captured and shot in Vincennes, France. François-Gerard, a half-brother, was drafted into the army and subsequently joined the French Resistance. Another brother, André, fled France in September 1940 and arrived in New York City, where he opened his own gallery. (He would later return to Paris after the war, but died shortly thereafter from a heart attack.)

Germain applied for a commission in the United States Army in 1942, but his application was initially turned down due to his noncitizen status. Soon thereafter, however, President Franklin D. Roosevelt signed the second War Power Act, which stipulated that naturalization could be expedited if the individual served in the military during the war. This act prompted Germain to further press his application for a post overseas, citing his citizenship status as fairly inconsequential or at least no longer a grave hindrance. Despite numerous letters exchanged with the War Department, however, his application was eventually rejected due to changes in military personnel policy.

During the war years, the Seligmann company in New York moved from its 3 East Fifty-first Street location to smaller quarters at 5 East Fifty-seventh Street. The first exhibition in this space was held in the spring of 1944. By 1945 the Contemporary American Department was reactivated, with Theresa D. Parker as its head.

In the years following the war, a rapprochement occurred among the family members who had been split since the family quarrel between Jacques and Arnold Seligmann. With the death of Jean Seligmann during the war, Arnold Seligmann & Co. had been left without a director. Germain consolidated the two family businesses, but made separate financial and administrative entities of the Paris and New York offices. Henceforth they were affiliated "only by ties of affection."

During the early to mid-1950s, many of the activities involving Jacques Seligmann & Co., Inc., centered upon the recovery of looted artwork and property as well as resolving outstanding issues from the consolidation of the various family businesses. The firm was also involved in the sale of several significant collections.

In 1951 Germain was commissioned by the family of the Duc d'Arenberg to sell the family's collection of important illuminated manuscripts, engravings, and select paintings. Jan Vermeer's Portrait of a Young Girl was purchased for over a quarter million dollars.

Jacques Seligmann & Co., Inc., also handled the 1953 sale of works from the Prince of Liechtenstein's collection and negotiated the purchase of seven Italian marble sculptures that were eventually sold to the Samuel H. Kress Foundation in 1954. From the late 1950s up until the closing of the company in 1977-1978, the exhibitions mounted by the firm seem to indicate a gradual focus back toward drawings and more traditional art. Contemporary American artists continued to be shown as well, but the firm no longer maintained its leading edge in the art market.

Germain, who during the 1940s had written several works, among them a monograph on Roger de La Fresnaye in 1945 and The Drawings of Georges Seurat in 1947, devoted himself more and more to writing. In Oh! Fickle Taste; or, Objectivity in Art, published in 1952, Seligman addressed the importance of political and social climates in understanding the evolution of art collecting in the United States. He followed this book with the 1961 publication of Merchants of Art, 1880-1960: Eighty Years of Professional Collecting which memorialized his father and traced the history of Jacques Seligmann & Co., Inc. Germain's most significant work, Roger de La Fresnaye, with a Catalogue Raisonné (1969), was lauded by art critics and listed among the 1969 "Best Ten Books of the Year" by the New York Times.

With the death of Germain Seligman in 1978, the firm doors closed, leaving behind a legacy of collecting that helped to establish American collectors and museums in the forefront of the international art world. A survey of the major art museums and collections in the United States reveals the significant number of works that were acquired either by sales or through donation from Jacques Seligmann & Co., Inc. The influence the company wielded is also demonstrated through the network of relationships it built with collectors, art museums and institutions, and other dealers, such as Dr. Albert C. Barnes, Bernheim-Jeune, George Blumenthal, Sen. William A. Clark, the Detroit Institute of Arts, M. Knoedler & Co., Inc., the Metropolitan Museum of Art, the Museum of Modern Art in New York, the National Gallery of Art, Marjorie Merriweather Post, Henry Walters, and Wildenstein & Co., among others.

1858, September 18 -- Jacques Seligmann born in Frankfurt, Germany.

1874 -- Jacques Seligmann leaves Germany to work in Paris, France, as an assistant at Maître Paul Chevallier, a leading Paris auctioneer. Soon after he leaves to work for Charles Mannheim, an expert in medieval art.

1880 -- Jacques Seligmann opens his own shop at the Rue des Mathurins. An early client is Baron Edmond de Rothschild.

1893, February 25 -- Germain Seligman is born in Paris, France. His mother's maiden name is Blanche Falkenberg (d. 1902).

1900 -- Jacques Seligmann & Cie. is formed when Jacques's brothers, Arnold and Simon, join him as partners and the business moves to the Place Vendôme.

1904 -- The New York City office of Jacques Seligmann & Co., Inc., is established, with Eugene Glaenzer as the manager. Beginning in 1905, Seligmann begins yearly visits to the New York office.

1907 -- Jacques Seligmann is elected a Fellow for Life of the Metropolitan Museum of Art.

1909 -- Jacques Seligmann & Cie. acquires the Hôtel de Sagan on the Rue Saint Dominique. Jacques moves the headquarters for the company to this location and reserves its use for the most exclusive and important clients, but his brother Arnold continues to oversee the general operations of the company at the Place Vendôme.

1912 -- A lawsuit between Jacques Seligmann and his brother, Arnold, results in a split in the family company. Arnold remains at Place Vendôme under the name Arnold Seligmann & Cie. Jacques consolidates his activities at the Hôtel de Sagan. He also opens another gallery at 17 Place Vendôme, but this is soon moved to 9 Rue de la Paix.

1914 -- As a result of the split in the family business, a new office and gallery are opened at 705 Fifth Avenue, and Jacques Seligmann & Co., Inc., is incorporated within the State of New York.

1914-1919 -- Germain Seligmann serves in the French army as a second lieutenant in the 132nd Infantry Regiment of Rheims. Later he is assigned as the first French liaison officer to the First Division of the American Expeditionary Force in France. He is discharged from active service in 1919.

1920 -- Germain Seligman becomes a partner with his father and formally joins Jacques Seligmann & Fils as the president of the New York office.

1923, October -- Jacques Seligman dies.

1924 -- Germain Seligman becomes the president of both the Paris and New York offices. Several of his brothers and sisters become partners in the firm. Theresa D. Parker joins the New York office.

1926 -- The New York office moves to 3 East Fifty-first Street. Germain Seligman, with César Mange de Hauke, sets up de Hauke & Co., Inc., to sell modern European paintings to American clients.

1930 -- De Hauke & Co., Inc., becomes Modern Paintings, Inc.

1931 -- De Hauke resigns as head of Modern Paintings, Inc., and returns to Paris.

1934 -- Modern Paintings, Inc., is dissolved, and its assets are assumed by Jacques Seligmann & Co., Inc., and by Tessa Corp., another subsidiary of the parent company.

1935 -- The Contemporary American Department is created as a part of Jacques Seligmann & Co., Inc., and Theresa D. Parker directs its operations.

1936-1937 -- Jacques Seligmann et Fils moves out of its gallery space at the Hôtel de Sagan and briefly reestablishes its headquarters at 9 Rue de la Paix. By 1937, however, the company headquarters moves to New York City. Germain Seligman establishes his legal residence there.

1939 -- World War II begins.

1940 -- During the summer, the Seligmann family house and its contents (at Rue de Constantine) are seized and sold by order of the Vichy government, along with Germain's private art collection and the gallery's stock. The Paris archives of Jacques Seligmann & Co., Inc., is destroyed by the Seligmann staff in order to keep the records from falling into the hands of the Nazis. René Seligmann dies in a New York hospital in June; François-Gerard, Germain's half-brother, is called up to serve in the army and joins the French Resistance. Another brother, André, escapes to the United States and opens a gallery in New York. Jean Seligmann, a cousin of Germain and the head of Arnold Seligmann & Cie., is captured and shot at Vincennes, France.

1943 -- Germain Seligman becomes an American citizen (and drops the second "n" from his original surname).

1944, Spring -- The New York gallery holds its first exhibition in the new 5 East Fifty-seventh Street location in New York City. During the war years, the firm had moved from its Fifty-first Street location to smaller quarters.

1945 -- The Contemporary American Department is reactivated.

1946 -- After the war, Arnold Seligmann & Cie. is left without a director, although it remains at the Rue de la Paix location. Germain consolidates the two firms but organizes the Paris and New York offices as separate financial and administrative entities.

1969 -- Germain Seligman publishes Roger de La Fresnaye, with a Catalogue Raisonné. The book receives acclaim and is listed on the 1969 New York Times "Ten Best Books of the Year."

1978, March 27 -- Germain Seligman dies.

Provenance:

The records of the Paris and New York art dealer Jacques Seligmann & Co., Inc., were donated to the Archives of American Art in 1978 by Mrs. Ethlyne Seligman, widow of Germain Seligman. A small addition of 19 linear feet was donated in 1994.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Art dealers -- France -- Paris  Search this

Topic:

Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this

Schiff, Mortimer L. -- Art collections  Search this

Arenberg, duc d' -- Art collections  Search this

Liechtenstein, House of -- Art collections  Search this

Art -- Collectors and collecting -- France -- Paris  Search this

Art -- Collectors and collecting  Search this

Art galleries, Commercial -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

World War, 1939-1945 -- Art and the war  Search this

La Fresnaye, Roger de, 1885-1925  Search this

Art, Renaissance  Search this

Decorative arts  Search this

Art treasures in war  Search this

Art, European  Search this

Art galleries, Commercial -- France -- Paris  Search this

Genre/Form:

Gallery records

Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.jacqself

See more items in:

Jacques Seligmann & Co. records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-jacqself

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 400, Folder 2

Type:

Archival materials

Date:

undated

1926-1930

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 9: De Hauke & Co., Inc., Records / 9.1: Correspondence / 9.1.4: Museum Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref16550

Collection Creator:

Jacques Seligmann & Co  Search this

Type:

Archival materials

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref14209

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 219, Folder 7

Type:

Archival materials

Date:

1961-1966

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Detroit, Michigan, Detroit Institute of Arts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref14210

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 219, Folder 8

Type:

Archival materials

Date:

1933-1934

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Detroit, Michigan, Detroit Institute of Arts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref14211

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 219, Folder 9

Type:

Archival materials

Date:

1956-1966

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Detroit, Michigan, Detroit Institute of Arts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref14212

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 219, Folder 10

Type:

Archival materials

Date:

1926

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Detroit, Michigan, Detroit Institute of Arts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref14213

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 219, Folder 11

Type:

Archival materials

Date:

1958-1964

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 2: Collectors Files / 2.2: Museum Files / Detroit, Michigan, Detroit Institute of Arts

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref14214

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 113, Folder 7

Type:

Archival materials

Date:

1923-1926

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-jacqself-ref11843