The Leo Castelli Gallery records measure 214.7 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and sound and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
Scope and Content Note:
The Leo Castelli Gallery records measure 214.7 linear feet and 0.001 GB and date from circa 1880-2000, with the bulk of the materials dating from the gallery's founding in 1957 through Leo Castelli's death in 1999. The major influence of dealer Leo Castelli and his gallery on the development of mid-to-late twentieth century modern art in America is well-documented through business and scattered personal correspondence, administrative files, exhibition files, extensive artists' files and printed materials, posters, awards and recognitions, photographs, and audio and video recordings. Also included are records for the subsidiary firms of Castelli Graphics and Castelli/Sonnabend Tapes and Films.
The records document the gallery's daily business operations, exhibitions, spaces/buildings, collaborations and joint ventures with other galleries and museums, and its relationship with many artists, dealers, and clients. Artists particularly well-represented throughout the collection include Hanne Darboven, Dan Flavin, Jasper Johns, Donald Judd, Roy Lichtenstein, Robert Morris, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Records pre-dating the gallery's establishment in 1957 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of works of art, and scattered personal business records of Leo Castelli.
General Correspondence is extensive at circa 25 linear feet and consists primarily of the gallery's and Leo Castelli's named and subject correspondence files concerning the gallery's daily operations, exhibitions, artwork installation and fabrication, appraisals, inquiries, loans, sales, consignments, personal and business relationships with artists, and other topics. The general correspondence is arranged either by name of correspondent or topic, and is with museums and galleries, collectors, business associates, artists, employees, and friends. Notes, scattered photographs and slides, and printed materials are often found as enclosures. Leo Castelli's personal correspondence is also found here and consists primarily of solicitations, requests for advice, notes of thanks, congratulations, and invitations.
Letters written by artists in the gallery's stable are somewhat limited. There are scattered letters from artists Christo, Chryssa, Nassos Daphnis, Hanne Darboven, Marisol, Dan Flavin, Jasper Johns, Frederick Kiesler, Robert Morris, Hans Namuth, Bruce Nauman, Nam June Paik, Ray Parker, James Rosenquist, Edward Ruscha, Salvatore Scarpitta, Frank Stella, Cy Twombly, and Jack Tworkov. There are also letters about artists in this series filed under the artists' name.
Collectors and dealers represented within the correspondence include the De Menil family, Mrs. Henry Epstein, Ben Heller, Giuseppe Panza, Alan Power, John and Kimiko Powers, Robert and Carolyn Rowan, Robert and Ethel Scull, and Burton and Emily Tremaine. Museums and galleries for which there is considerable correspondence includes the Dwan Gallery, Ferus Gallery, the Jewish Museum, Museum of Modern Art, Sidney Janis Gallery, Stedelijk Museum, Whitney Museum of American Art, and the Ileana Sonnabend Galerie.
The materials arranged in General Correspondence were originally marked by the gallery as "correspondence" files upon accessioning, and, are thus arranged into their own series. However, in some cases, there appears to be little difference between the General Correspondence and the Administrative Files. Thus, researchers are encouraged to reference both series.
Administrative Files document a wide variety of the gallery's activities and business. Essentially, these are files that were arranged by the gallery according to subject or topic and cover almost all activities except specific exhibitions. These files include records and correspondence about buildings and space, advertising, appraisals, auctions, consignments, loans, miscellaneous business correspondence, index cards, business arrangements with artists, information about artists, interviews with artists (transcripts), history of the gallery, mailings, photograph requests, shipping, and other topics. Few items are in digital format. There are staff notebooks and files and Leo Castelli's notebooks and notes from the late 1950s through the early 1990s. Extensive outgoing chronological correspondence filed in this series dates from 1964-1977. Also found are transcripts of interviews with Leo Castelli, biographical material, some of it in digital format, and scattered photographs.
Researchers should note that the Administrative Files often overlap and complement the General Correspondence. However, they focus slightly more distinctly on gallery business activities and are arranged mostly by subject or topic, except for the chronological business correspondence. Researchers are encouraged to reference both series. For example, correspondence with and about Jasper Johns may be found in both series, but the administrative files most likely focus on a specific loan, consignment, or business activity or transaction.
Exhibition files provide a thorough history of the gallery's exhibitions, as well as the fabrication and installation of artwork for exhibitions. These files include correspondence, exhibition catalogs, guest books, lists of exhibitions by artist and by year, press releases, sketches and notes, and scattered financial records. Photographs document over 650 exhibitions at Leo Castelli Gallery, including The Ninth Street Show organized by Castelli in 1951, and over 200 exhibitions at other galleries.
Extensive artists' files comprise approximately 40% of the records and are a rich resource of printed and compiled information about the careers of over 120 artists and their relationship with Leo Castelli and the gallery. There are exhibition announcements and catalogs, flyers, invitations, magazine articles and clippings, newspaper clippings, posters, press releases, photographs, and a handful of books. Nearly half of the series is comprised of black and white photographs of artwork, presumably handled by the Leo Castelli Gallery.
Additional printed materials include exhibition announcements, flyers, invitations, magazine articles and clippings, newspaper clippings, press releases, and exhibition posters. Exhibition catalogs are filed with the exhibitions files. The general archives files provide a chronological history of the gallery and its exhibitions. There are also files concerning Leo Castelli and numerous art-related topics. Exhibition posters are found here as well.
Artwork is limited and includes a few works of art and signed posters. Artists represented here include photographer Gianfranco Gorgoni, Robert Morris, Bruce Nauman, Richard Serra and Andy Warhol, as well as others.
The records of the subsidiary Castelli Graphics New York consist of correspondence and administrative files relating to general operations and the sale and loan of prints. Also found are exhibition files, sales records, and scattered financial records. The series provides a wealth of information about Castelli Graphics collaborations with Multiples Inc. in the 1970s.
Also found in the collection are records of Castelli/Sonnabend Tapes and Films, a joint business venture between Leo Castelli Gallery and Sonnabend Gallery from 1974-1985. Records include correspondence, administrative files, exhibition files, artists' files, printed materials, sales and rental records, photographs, and financial records.
The importance and stature of Leo Castelli and the Leo Castelli Gallery to the arts community in New York City and beyond is documented by numerous awards and recognitions, such as framed and unframed certificates, plaques, statues, medals, and scattered photographs.
Nearly seven linear feet of photographs include professional black and white original prints, scattered color photographs, color transparencies, slides and negatives, and disassembled photo albums. The photographs primarily depict social and art events and functions; family and friends of Leo Castelli; and portraits of Leo Castelli and artists and of Leo Castelli with artists, including Richard Artschwager, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Robert Rauschenberg, James Rosenquist, Salvatore Scarpitta, Richard Serra, Frank Stella, and Andy Warhol. Photographs of exhibitions and exhibition installations are filed with the exhibition files.
Sound and video recordings include sound and video art, performances, interviews with artists and Leo Castelli, recordings from and of exhibitions, and television publicity recorded on sound cassettes, phonograph records (vinyl and lacquer), videocassettes (U-matic, VHS, Betamax), and videocartridges. Artists represented include Vito Acconci, Robert Barry, Barbara Bloom, Hannah Collins, Hanne Darboven, Dan Flavin, Laura Grisi, Jasper Johns, Jeff Koons, Roy Lichtenstein, Bruce Nauman, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Doug and Mike Starn, and Lawrence Weiner, among others.
See Index for list of Exhibitions at the Leo Castelli Gallery and Castelli Graphics
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Correspondence, 1948-1999, bulk 1957-1997 (24.4 linear feet; Boxes 1-23, 191, OVs 233-236)
Series 2: Administrative Files, 1941-1999, bulk 1970s-1990s (17.3 linear feet; Boxes 24-39, 192-193, OVs 237-238, 0.001 GB; ER01-ER02)
Series 3: Exhibition Files, 1951-1999, bulk 1957-1998 (18.7 linear feet; Boxes 40-56, 192, 194-196, 308-309, OVs 239-241, 280)
Series 4: Artists Files, 1913-1999, bulk 1960s-1990s (80.8 linear feet; Boxes 57-133, 197-208, OVs 242-243)
Series 5: Printed Materials, 1949-1998 (23.5 linear feet; Boxes 134-153, 209-211, OVs 244-274, 276, 300, 304-305, RDs 301-303,306)
Series 6: Artwork, circa 1960s-1990s (1.8 linear feet; Boxes 153, 212-213, OVs 275, 277-278, 307)
Series 7: Castelli Graphics, circa 1950-1999, bulk mid 1970s-early 1990s (16 linear feet; Boxes 154-169)
Series 8: Castelli/Sonnabend Tapes + Films, 1969-1998 (5.6 linear feet; Boxes 170-174, 214, OVs 279-281)
Series 9: Awards and Recognition, 1962-1998 (6.9 linear feet; Boxes 175-176, 215-228, OVs 282)
Series 10: Photographs, circa 1880-1997, bulk 1960s-1990s (6.6 linear feet; Boxes 177-180, 229-231, OVs 283-299)
Series 11: Sound and Video Recordings, 1959-2000 (9.7 linear feet; Boxes 181-190, 232)
Historical Note:
Leo Castelli (1907-1999) was one of America's most noted contemporary art dealers and opened the Leo Castelli Gallery in New York City in 1957. The gallery showcased cutting edge American contemporary art, including Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color Field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.
Leo Castelli was born as Leo Krauss on September 4, 1907 in Trieste, of Italian and Austro-Hungarian Jewish origin. He married art dealer Ileana Sonnabend in 1932 and the couple lived in Paris up until World War II. They had a daughter, Nina Castelli Sundell. In Paris, Castelli opened his first gallery in 1939. At that time, he was interested in the European Surrealists.
For years after Castelli moved to New York, he worked in his father-in-law's garment business. However, he organized his first American exhibition in 1951, the famous Ninth Street Show of 1951, a seminal event of Abstract Expressionism.
In 1957, he opened the Leo Castelli Gallery in his townhome on E. 77th Street between Madison and Fifth Avenues in New York City. Castelli initially featured European Surrealism, but also curated exhibitions of American Abstract painters, including Jackson Pollock, Willem de Kooning, Cy Twombly, Friedel Dzubas, and Norman Bluhm.
In 1958, Castelli discovered Pop artists Robert Rauschenberg and Jasper Johns and forged a life-long nurturing relationship with both artists. The gallery then began focusing more on Pop Art, Minimalism and Conceptual Art. Beginning in the early 1960s, Castelli's stable included Richard Artschwager, Lee Bontecou, Chryssa, John Chamberlain, Ronald Davis, Dan Flavin, Donald Judd, Ellsworth Kelly, Joseph Kosuth, Roy Lichtenstein, Robert Morris, Bruce Nauman, Larry Poons, James Rosenquist, Ed Ruscha, Salvatore Scarpitta, Richard Serra, Frank Stella, Andy Warhol, and Lawrence Weiner.
Leo and Ileana divorced in 1959, and Ileana returned to Europe. She later moved back to New York and opened a gallery close to Castelli's. The two remained close and together they established the joint venture of Castelli-Sonnabend Films and Tapes to accommodate artists interested in new media.
In the 1970s Leo Castelli opened a downtown SoHo branch of the Leo Castelli Gallery at 420 West Broadway. In the 1980s he opened a second larger downtown exhibition space on Greene Street also in SoHo.
Leo Castelli's second wife was Antoinette Castelli, with whom he also opened Castelli Graphics, an art gallery devoted to prints and photographs, mostly those by Castelli artists. The couple also had a son together, Jean-Christophe Castelli. In 1995 Leo Castelli married Italian art historian Barbara Bertozzi Castelli. She directs the Leo Castelli Gallery today, showing many of the same artists of the gallery's past.
Leo Castelli's unparalleled eye for quality, combined with his extraordinary skill for nurturing and promoting new art and artists, secured his position as one of the most respected and influential advocates of contemporary art for nearly five decades.
List of Exhibitions:
Below is a chronological listing of over 850 exhibitions and events held at the Leo Castelli Gallery from 1957 to 1999; included are exhibitions at 4 E 77 St (1957-1989), 65 Thompson (1989-1994), 108th St Warehouse (1968-1970), 142 Greene St (1980-1988), 420 W Broadway (1971-1999), and 578 Broadway (1988-1997). Castelli Graphics exhibitions from 1969-1996 and Castelli/Sonnabend Tapes and Films exhibitions from 1974-1984 are also included and are noted when known.
Note that this list is not comprehensive. In particular, Castelli Graphics exhibitions from the 1980s and early 1990s are incomplete. Sources used to compile this index include exhibition schedules and lists, installation photographs, announcements, clippings, and other printed materials from the Leo Castelli Gallery records, and the Leo Castelli Gallery website (www.castelligallery.com).
Exhibitions are listed in chronological order by title, if known, and gallery address.
1957 SeasonFeb. -- First Exhibition: de Kooning, Delaunay, Dubuffet, Giacometti, Hartley, Leger, Mondrian, Picabia, Pollock, David Smith, van Doesburg; 4 E 77 St
Mar. 4-23, 1957 -- Jon Schueler; 4 E 77 St
Mar. 25 - Apr. 13, 1957 -- Viseux; 4 E 77 St
Apr. 15 - May 4, 1957 -- Paul Brach; 4 E 77 St
May 6-25, 1957 -- New Work: Bluhm, Budd, Dzubas, Johns, Leslie, Louis, Marisol, Ortman, Rauschenberg, Savelli; 4 E 77 St
1957-1958 SeasonOct. 1-26, 1957 -- Norman Bluhm; 4 E 77 St
Oct. 28 - Nov. 16, 1957 -- Horia Damian; 4 E 77 St
Nov. 18 - Dec. 14, 1957 -- Marisol; 4 E 77 St
Dec. 17, 1957 - Jan. 18, 1958 -- Collector's Annual; 4 E 77 St
Jan. 20 - Feb. 8, 1958 -- Jasper Johns; 4 E 77 St
Feb. 10 - Mar. 1, 1958 -- Friedel Dzubas; 4 E 77 St
Mar. 4-29, 1958 -- Robert Rauschenberg; 4 E 77 St
Apr. 1-26, 1958 -- Giuseppe Capogrossi; 4 E 77 St
Apr. 29 - May 31, 1958 -- Pioneers 1910-1950: de Kooning, Delaunay, Domela, Dubuffet, Giacometti, Hartley, Kandinsky, Leger, Miro, Picabia, Pollock, Schwitters, Smith, van Doejburg; 4 E 77 St
1958-1959 SeasonSept. 30 - Oct. 25, 1958 -- Angelo Savelli; 4 E 77 St
Oct. 28 - Nov. 22, 1958 -- Group Exhibition: Bluhm, Brach, Dzubas, Johns, Marisol, Rauschenberg, Schueler; 4 E 77 St
Nov. 25 - Dec. 20, 1958 -- Esteban Vicente, Drawings; 4 E 77 St
Jan. 6-24, 1959 -- Nassos Daphnis; 4 E 77 St
Jan. 27 - Feb. 14, 1959 -- Salvatore Scarpitta, Extramurals; 4 E 77 St
Feb. 17 - Mar. 7, 1959 -- Al Newbill; 4 E 77 St
Mar. 10-28, 1959 -- Gabriel Kohn; 4 E 77 St
Mar. 31 - Apr. 18, 1959 -- Norman Bluhm, Jean Dubuffet, and Robert Rauschenberg; 4 E 77 St
Apr. 21 - May 9, 1959 -- Jon Schueler; 4 E 77 St
May 12-30, 1959 -- Group Exhibition: Brach, Dzubas, Johns, Sander, Twombly; 4 E 77 St
1959-1960 SeasonOct. 6-17, 1959 -- Opening Exhibition of the New Gallery: Bluhm, Brach, Daphnis, Johns, Kohn, Rauschenberg, Sander, Scarpitta, Stella, Twombly; 4 E 77 St
Oct. 20 - Nov. 7, 1959 -- Work in Three Dimensions: Chamberlain, Follet, Giles, Johns, Klein, Kohn, Marisol, Nevelson, Ortman, Rauschenberg, Scarpitta; 4 E 77 St
Nov. 10-28, 1959 -- Ludwig Sander; 4 E 77 St
Dec. 1-26, 1959 -- Paul Brach; 4 E 77 St
Jan. 5-23, 1960 -- William Giles; 4 E 77 St
Jan. 26 - Feb. 13, 1960 -- Norman Bluhm; 4 E 77 St
Feb. 15 - Mar. 5, 1960 -- Jasper Johns; 4 E 77 St
Mar. 8-26, 1960 -- Nassos Daphnis; 4 E 77 St
Mar. 29 - Apr. 16, 1960 -- Robert Rauschenberg; 4 E 77 St
Apr. 19 - May 7, 1960 -- Salvatore Scarpitta; 4 E 77 St
May 10-28, 1960 -- Edward Higgins; 4 E 77 St
May 31 - June 25, 1960 -- Summary 1959-1960: Bluhm, Bontecou, Daphnis, Higgins, Johns, Kohn, Langlais, Rauschenberg, Sander, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1960-1961 SeasonSept. 27 - Oct. 15, 1960 -- Frank Stella; 4 E 77 St
Oct. 18 - Nov. 5, 1960 -- Cy Twombly; 4 E 77 St
Nov. 9 - Dec. 3, 1960 -- Lee Bontecou; 4 E 77 St
Dec. 6, 1960 - Jan. 7, 1961 -- Robert Rauschenberg, 34 Illustrations for Dante's Inferno; 4 E 77 St
Jan. 10-28, 1961 -- Frederick Kiesler; 4 E 77 St
Jan. 31 - Feb. 25, 1961 -- Jasper Johns, Drawings and Sculpture; 4 E 77 St
Feb. 28 - Mar. 18, 1961 -- Jack Tworkov; 4 E 77 St
Mar. 21 - Apr. 8, 1961 -- Bernard Langlais; 4 E 77 St
Apr. 11-29, 1961 -- Yves Klein, Le Monochrome; 4 E 77 St
May 2-20, 1961 -- Ludwig Sander; 4 E 77 St
May 23 - June [10], 1961 -- Sculpture and Relief: Bontecou, Chamberlain, Higgins, Scarpitta; 4 E 77 St
1961-1962 SeasonSept. 22 - Oct. 14, 1961 -- An Exhibition in Progress: Bontecou, Chamberlain, Daphnis, Higgins, Johns, Langlais, Moskowitz, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
Oct. 17 - Nov. 4, 1961 -- Nassos Daphnis; 4 E 77 St
Nov. 7 - Dec. 5, 1961 -- Robert Rauschenberg; 4 E 77 St
Dec. 8, 1961 - Jan. 10, 1962 -- Group Exhibition: Bontecou, Johns, Langlais, [Lichtenstein], Scarpitta, Tworkov; 4 E 77 St
Jan. 13 - Feb. 6, 1962 -- John Chamberlain; 4 E 77 St
Feb. 10 - Mar. 3, 1962 -- Roy Lichtenstein; 4 E 77 St
Mar. 10 - Apr. 5, 1962 -- Robert Moskowitz; 4 E 77 St
Apr. 7-21, 1962 -- Group Exhibition: Bontecou, Chamberlain, Daphnis, Higgins, Rauschenberg, Scarpitta, Stella; 4 E 77 St
Apr. 28 - May 19, 1962 -- Frank Stella; 4 E 77 St
May 26 - June 30, 1962 -- Drawings: Bontecou, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov; 4 E 77 St
1962-1963 SeasonSept. 22 - Oct. 13, 1962 -- Group Exhibition: Chamberlain, Higgins, Johns, Klapheck, Rauschenberg, Scarpitta, Stella, Tinguely, Tworkov; 4 E 77 St
Oct. 16 - Nov. 7, 1962 -- John Chamberlain and Frank Stella; 4 E 77 St
Nov. 10 - Dec. 6, 1962 -- Lee Bontecou; 4 E 77 St
Dec. 8, 1962 - Jan. 9, 1963 -- Gerald van de Wiele; 4 E 77 St
Jan. 12 - Feb. 7, 1963 -- Jasper Johns; 4 E 77 St
Feb. 9 - Mar. 7, 1963 -- Jack Tworkov; 4 E 77 St
Mar. 9-30, 1963 -- Nassos Daphnis; 4 E 77 St
Apr. 2-25, 1963 -- Group Exhibition: Chamberlain, Higgins, Kiesler, Lichtenstein, Moskowitz, Rauschenberg, Stella, Twombly; 4 E 77 St
Apr. 27 - May 16, 1963 -- Salvatore Scarpitta; 4 E 77 St
May 20 - June 30, 1963 -- Group Drawing Exhibition: Bontecou, Daphnis, Johns, Lichtenstein, Moskowitz, Rauschenberg, Stella, Tworkov, van de Wiele; 4 E 77 St
1963-1964 SeasonSept. 28 - Oct. 24, 1963 -- Roy Lichtenstein; 4 E 77 St
Oct. 26 - Nov. 21, 1963 -- Robert Rauschenberg; 4 E 77 St
Nov. 23, 1963 - Jan. 2, 1964 -- Edward Higgins; 4 E 77 St
Jan. 4 - Feb. 6, 1964 -- Frank Stella; 4 E 77 St
Feb. 8 - Mar. 12, 1964 -- Group Exhibition: Chamberlain, Johns, Lichtenstein, Rauschenberg, Stella; 4 E 77 St
Mar. 14 - Apr. 9, 1964 -- Cy Twombly; 4 E 77 St
Apr. 11-30, 1964 -- John Chamberlain; 4 E 77 St
May 2 - June 3, 1964 -- Introducing Artschwager, Christo, Hay, Watts; 4 E 77 St
June 6-30, 1964 -- Group Exhibition: Chamberlain, Lichtenstein, Rauschenberg, Scarpitta, Stella, Twombly, Tworkov; 4 E 77 St
1964-1965 SeasonSept. 26 - Oct. 22, 1964 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Stella, Warhol; 4 E 77 St
Oct. 24 - Nov. 19, 1964 -- Roy Lichtenstein, Landscapes; 4 E 77 St
Nov. 21 - Dec. 28, 1964 -- Andy Warhol, Flower Paintings; 4 E 77 St
Jan. 9-27, 1965 -- John Chamberlain, Paintings; 4 E 77 St
Jan. 30 - Feb. 24, 1965 -- Richard Artschwager; 4 E 77 St
Feb. 27 - Mar. 24, 1965 -- Nassos Daphnis; 4 E 77 St
Mar. 27 - Apr. 14, 1965 -- Salvatore Scarpitta, Racing Cars; 4 E 77 St
Apr. 17 - May 13, 1965 -- James Rosenquist, F-111; 4 E 77 St
May 15 - June 9, 1965 -- Robert Rauschenberg, Oracle; 4 E 77 St
1965-1966 SeasonOct. 2-21, 1965 -- Group Exhibition: [Chamberlain], Johns, Lichtenstein, Poons, Rauschenberg, Stella, [Warhol]; 4 E 77 St
Oct. 23 - Nov. 17, 1965 -- Robert Bart; 4 E 77 St
Nov. 20 - Dec. 11, 1965 -- Roy Lichtenstein, Brushstrokes and Ceramics; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Benefit Drawing Exhibition for the Foundation for the Contemporary Performance Arts; 4 E 77 St
Dec. 14, 1965 - Jan. 5, 1966 -- Group Exhibition; 4 E 77 St
Jan. 8 - Feb. 2, 1966 -- Jasper Johns; 4 E 77 St
Feb. 5 - Mar. 2, 1966 -- Donald Judd; 4 E 77 St
Feb. 12 - Mar. 2, 1966 -- Cy Twombly, Drawings; 4 E 77 St
Mar. 5 - Apr. 2, 1966 -- Frank Stella; 4 E 77 St
Apr. 6-27, 1966 -- Andy Warhol, Wallpaper and Clouds; 4 E 77 St
Apr. 30 - May 25, 1966 -- James Rosenquist; 4 E 77 St
May 28 - June 13, 1966 -- Christo, Storefront; 4 E 77 St
June 14-30, 1966 -- Group Exhibition: Bontecou, Johns, Judd, Lichtenstein, Poons, Rauschenberg, Rosenquist, Stella, Warhol; 4 E 77 St
1966-1967 SeasonOct. 8 - Nov. 8, 1966 -- Lee Bontecou; 4 E 77 St
Nov. 12 - Dec. 3, 1966 -- Edward Higgins; 4 E 77 St
Dec. 6-10, 1966 -- Benefit Group Exhibition for Experiments in Art and Technology, Inc.; 4 E 77 St
Dec. 7, 1966 - Jan. 5, 1967 -- Stanley Landsman; 4 E 77 St
Dec. 14, 1966 - Jan. 5, 1967 -- Group Exhibition: Artschwager, Lichtenstein, Rosenquist, Warhol; 4 E 77 St
Apr. 1967 -- New Work: Chamberlain, Lichtenstein, Stella; 4 E 77 St
May 1967 -- Robert Rauschenberg, Revolvers; 4 E 77 St
1967-1968 SeasonOct. 7-26, 1967 -- Cy Twombly; 4 E 77 St
Oct. 28 - Nov. 18, 1967 -- Roy Lichtenstein; 4 E 77 St
Nov. 25 - Dec. 23, 1967 -- Frank Stella; 4 E 77 St
Dec. 30, 1967 - Jan. 23, 1968 -- Richard Artschwager, Sculptures and Reliefs; 4 E 77 St
Jan. 27 - Feb. 17, 1968 -- Bruce Nauman; 4 E 77 St
Feb. 24 - Mar. 16, 1968 -- Jasper Johns; 4 E 77 St
Mar. 23 - Apr. 11, 1968 -- Ron Davis; 4 E 77 St
Apr. 20 - May 11, 1968 -- Robert Morris; 4 E 77 St
May 18 - June 8, 1968 -- Jack Krueger; 4 E 77 St
1968-1969 SeasonSept. 14-28, 1968 -- Nassos Daphnis; 4 E 77 St
Oct. 12-26, 1968 -- Robert Rauschenberg, White Paintings; 4 E 77 St
Nov. 2-23, 1968 -- Larry Poons; 4 E 77 St
Nov. 30 - Dec. 21, 1968 -- Cy Twombly; 4 E 77 St
Dec. 4-28, 1968 -- 9 at Leo Castelli: Anselmo, Bollinger, Hesse, Kaltenbach, Nauman, Saret, Serra, Sonnier, Zorio; 108th St Warehouse
Jan. 4-25, 1969 -- Donald Judd; 4 E 77 St
Feb. 1-22, 1969 -- John Chamberlain; 108th St Warehouse
Feb. 3-22, 1969 -- David Diao, Richard Pettibone, and Peter Young; 4 E 77 St
Mar. 1-22, 1969 -- Robert Morris; 4 E 77 St
Mar. 1-22, 1969 -- Robert Morris, A Continuous Project Altered Daily; 108th St Warehouse
Mar. 29 - Apr. 19, 1969 -- James Rosenquist, Horseblinders; 4 E 77 St
Mar. 29 - Apr. 19, 1969 -- Salvatore Scarpitta, Racing Cars; 108th St Warehouse
Apr. 26 - May 17, 1969 -- Robert Rauschenberg, Carnal Clocks; 4 E 77 St
Apr. 26 - May 17, 1969 -- Jack Krueger; 108th St Warehouse
May 24 - June 14, 1969 -- Bruce Nauman; 4 E 77 St
May 24 - June 21, 1969 -- 4 Painters for Spring: Bower, Cibula, Kalina, Roth, Yrisarry; 108th St Warehouse
June 21 - July 31, 1969 -- Group Exhibition: Chamberlain, Judd, Lichtenstein, Rauschenberg, Serra, Sonnier, Stella, Young; 4 E 77 St
1969-1970 SeasonSept. 20 - Oct. 11, 1969 -- Group Exhibition: Lichtenstein, Serra, Stella, Warhol; 4 E 77 St
Oct. 18 - Nov. 8, 1969 -- Ron Davis; 4 E 77 St
Oct. 18 - Nov. 8, 1969 -- Ron Davis; 108th St Warehouse
Nov. - Dec., 1969 -- Joseph Kosuth; 4 E 77 St
Nov. 13, 1969 -- Robert Rauschenberg, Moonshot Series (Castelli Graphics); 4 E 77 St
Nov. 18 - Dec. 6, 1969 -- Frank Stella; 4 E 77 St
Dec. 11-13, 1969 -- Benefit Exhibition, Art for the Moratorium; 4 E 77 St
Dec. 16, 1969 - Jan. 10, 1970 -- Richard Serra; 108th St Warehouse
Jan. 10-31, 1970 -- Jasper Johns, Drawings; 4 E 77 St
Jan. 17-24, 1970 -- Rafael Ferrer; 108th St Warehouse
Feb. 7-28, 1970 -- Dan Flavin, Tatlin Monuments; 4 E 77 St
Feb. 7-28, 1970 -- Robert Morris, Earthwork Projects (Castelli Graphics); 4 E 77 St
Mar. 7-28, 1970 -- Keith Sonnier; 4 E 77 St
Mar. 7-28, 1970 -- Keith Sonnier; 108th St Warehouse
Apr. 11 - May 9, 1970 -- Donald Judd; 4 E 77 St
Apr. 11 - May 9, 1970 -- Donald Judd; 108th St Warehouse
May 16-30, 1970 -- James Rosenquist; 4 E 77 St
June 11-27, 1970 -- Benefit Exhibition for the New York Studio School; 4 E 77 St
June 30 - Aug. 28, 1970 -- Group Exhibition: Chamberlain, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St
1970-1971 SeasonSept. 19-26, 1970 -- Benefit Exhibition for Referendum '70: Daphnis, Flavin, Johns, Judd, Lichtenstein, Morris, Rauschenberg, Rosenquist, Stella, Twombly, Warhol; 4 E 77 St
Sept. 26 - Oct. 24, 1970 -- Roy Lichtenstein, New Editions: Lithographs, Sculpture, Reliefs (Castelli Graphics); 4 E 77 St
Oct. 3-18, 1970 -- Group Exhibition: Flavin, Judd, Lichtenstein, Rauschenberg, Stella, Twombly; 4 E 77 St
Oct. 24 - Nov. 14, 1970 -- James Rosenquist; 4 E 77 St
Nov. 21 - Dec. 12, 1970 -- Dan Flavin, Untitled (to Barnett Newman); 4 E 77 St
Sept. 29 - Nov. 16, 1973 -- Stockholm Show (Castelli Graphics); 4 E 77 St
Oct. 18 - Nov. 10, 1973 -- Benefit Exhibition for the Committee to Save Venice: Cornell, Dine, Frankenthaler, Johns, Kelly, Lichtenstein, Louis, Noland, Oldenburg, Olitski, Rauschenberg, Stella; 4 E 77 St
Nov. 1-3, 1973 -- Group Film Exhibition: Chamberlain, Jonas, Ruscha, Weiner; 420 W Broadway
Nov. 1-14, 1973 -- Group Show: Artschwager, Lichtenstein, Rosenquist, Warhol; 420 W Broadway
Nov. 10 - Dec. 1, 1973 -- Douglas Huebler; 420 W Broadway
Nov. 15 - Dec. 1, 1973 -- Hans Namuth, Photographs; 420 W Broadway
Nov. 17 - Dec. 7, 1973 -- Lewis Baltz, Photographs (Castelli Graphics); 4 E 77 St
Nov. 17 - Dec. 15, 1973 -- Richard Artschwager; 4 E 77 St
Dec. 8, 1973 - Jan. 12, 1974 -- Group Show of New Prints: Balog, Petersen, Rauschenberg, Sonnier (Castelli Graphics); 4 E 77 St
Dec. 8, 1973 - Jan. 12, 1974 -- John Chamberlain; 420 W Broadway
Dec. 15, 1973 - Jan. 19, 1974 -- Edward Ruscha, Retrospective Show, Graphics from the Collection of Donald Marron (Castelli Graphics); 4 E 77 St (upstairs)
Jan. 12-26, 1974 -- [García] Uriburu (Castelli Graphics); 4 E 77 St
Jan. 19 - Feb. 9, 1974 -- Robert Barry; 420 W Broadway
Feb. 2-16, 1974 -- James Rosenquist (Castelli Graphics); 4 E 77 St
Nov. 21, 1974 -- Philip Glass, Concert; 420 W Broadway
Dec. 7-21, 1975 -- Robert Rauschenberg, Hoarfrost Series; 420 W Broadway
Dec. 7, 1974 - [Jan. 4], 1974 -- Michelangelo Pistoletto, New Multiples (Castelli Graphics); 4 E 77 St
Dec. 7, 1974 - Jan. 4, 1975 -- Robert Rauschenberg, Hoarfrost Editions (Castelli Graphics); 4 E 77 St
Dec. 14, 1974 - Jan. 11, 1975 -- Andy Warhol, Hand Colored Flowers (Castelli Graphics); 420 W Broadway
Jan. 4-18, 1975 -- Bruce Nauman, Cones/Cojones; 420 W Broadway
Jan. 11-25, 1975 -- Edward Ruscha, Domestic Tranquility, Four New Lithographs (Castelli Graphics); 4 E 77 St
Jan. 11 - Feb. 2, 1975 -- Salvatore Scarpitta, Sleds; 4 E 77 St
Jan. 15-18, 1975 -- Peter Campus and Paul Kos, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Jan. 25 - Feb. 8, 1975 -- Joseph Kosuth, The Tenth Investigation, Proposition Four; 420 W Broadway
Feb. 1-15, 1975 -- Group Show: Huebler, Morris, Nauman, Sonnier (Castelli Graphics); 4 E 77 St
Feb. 8-22, 1975 -- Keith Sonnier, Air to Air; 4 E 77 St
Feb. 15 - Mar. 8, 1975 -- Nassos Daphnis, A Continuous Painting; 420 W Broadway
Feb. 26 - Mar. 1, 1975 -- Benefit Exhibition for the Merce Cunningham Portfolio: Cage, Johns, Morris, Nauman, Rauschenberg, Stella, Warhol; 4 E 77 St
Feb. 26 - Mar. 1, 1975 -- Joan Jonas and Charlemagne Palestine, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Mar. 5-8, 1975 -- Frank Gillette and William Wegman, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Mar. 8 - Apr. 5, 1975 -- Ellsworth Kelly, Sculptures; 4 E 77 St
Mar. 15-29, 1975 -- Richard Artschwager, Drawings; 420 W Broadway
Mar. 15-29, 1975 -- Larry Stark, Silkscreens on Canvas; 420 W Broadway
Mar. 15 - [Apr. 5], 1975 -- Richard Landry, "1, 2, 3, 4" from Videotapes (Castelli Graphics); 4 E 77 St
Apr. 2-5, 1975 -- Benefit Exhibition for the Allen Memorial Art Museum, Oberlin College; 420 W Broadway
Apr. 12-26, 1975 -- Ellsworth Kelly, New Prints (Castelli Graphics); 4 E 77 St
Apr. 12-26, 1975 -- Dan Flavin, Flourescent Light; 420 W Broadway
Apr. 12 - May 3, 1975 -- Ellsworth Kelly, Gray Series Paintings; 4 E 77 St
Apr. 19 - May 3, 1975 -- James Klosty, Around and About Merce Cunningham, Photographs 1968-1972; 420 W Broadway
May 3-17, 1975 -- Richmond Jones, Photographs (Castelli Graphics); 4 E 77 St
May 3-31, 1975 -- Frank Stella, Metal Reliefs; 420 W Broadway
May 10-31, 1975 -- Ron Davis, Paintings; 4 E 77 St
May 10-31, 1975 -- Laura Grisi, Stripes; 420 W Broadway
May 24 - June 7, 1975 -- Laura Grisi, New Graphics (Castelli Graphics); 4 E 77 St
June 7 - Sept. 5, 1975 -- Summer Group Exhibition: Artschwager, Chamberlain, Darboven, Grisi, Huebler, Judd, Kelly, Kosuth, Lichtenstein, Morris, Nauman, Owen, Rauschenberg, Rosenquist, Warhol; 420 W Broadway
June 7 - Sept. 20, 1975 -- Summer Group Exhibition, Black and White: Kelly, Rauschenberg, Ad Reinhardt, Serra, Stella; 4 E 77 St
June 14-28, 1975 -- Bruce Nauman, New Graphics (Castelli Graphics); 4 E 77 St
July 7-25, 1975 -- Group Exhibition (Castelli Graphics); 4 E 77 St
1975-1976 SeasonSept. 13-27, 1975 -- Autumn Group Exhibition: Artschwager, Chamberlain, Davis, Lichtenstein, Nauman, Oldenburg, Rauschenberg, Rosenquist, Scarpitta; 420 W Broadway
Sept. 27 - Oct. 18, 1975 -- James Rosenquist, Drawings; 4 E 77 St
Oct. 4-18, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 4 E 77 St
Oct. 4-25, 1975 -- Jan Dibbets; 420 W Broadway
Oct. 11-25, 1975 -- Frank Owen; 420 W Broadway
Oct. 25 - Nov. 15, 1975 -- Hans Namuth, Photographs (Castelli Graphics); 4 E 77 St
Nov. 1-15, 1975 -- Robert Rauschenberg, Bones and Unions (Castelli Graphics); 420 W Broadway
Nov. 1-22, 1975 -- Roy Lichtenstein, Recent Paintings; 420 W Broadway
Nov. 22 - Dec. 13, 1975 -- Group Exhibition: Flavin, Judd, Kelly, Morris, Stella; 4 E 77 St
Nov. 29 - Dec. 20, 1975 -- Lewis Baltz, The New Industrial Parks Near Irving, CA, 1974 (a portfolio of 51 photographs) (Castelli Graphics); 420 W Broadway
Nov. 29 - Dec. 20, 1975 -- Paul Waldman, Recent Paintings; 420 W Broadway
Jan. 3-17, 1976 -- Ralph Gibson, Photographs (Castelli Graphics); 4 E 77 St
Jan. 10-24, 1976 -- Robert Barry, Recent Drawings; 420 W Broadway
Jan. 10-24, 1976 -- Alan Charlton; 420 W Broadway
Jan. 24 - Feb. 14, 1976 -- Jasper Johns; 4 E 77 St
Jan. 31 - Feb. 14, 1976 -- Peter Campus; 420 W Broadway
Jan. 31 - Feb. 14, 1976 -- Peter Campus and Frank Gillette, Videotapes (Castelli/Sonnabend Tapes + Films); 420 W Broadway
Feb. 10, 1976 -- Lawrence Weiner, Film screening, "A Second Quarter"; 420 W Broadway
Feb. 21 - Mar. 13, 1976 -- Robert Rauschenberg, Jammers; 420 W Broadway
Feb. 21 - Mar. 13, 1976 -- Keith Sonnier, Abaca Code; 420 W Broadway
Feb. 28 - Mar. 20, 1976 -- Joseph Cornell; 4 E 77 St
Mar. 20 - Apr. 10, 1976 -- Dan Flavin, Colored Fluorescent Light; 420 W Broadway
Mar. 20 - Apr. 10, 1976 -- Donald Judd; 420 W Broadway
Mar. 27 - Apr. 17, 1976 -- John Chamberlain; 4 E 77 St
Apr. 17 - May 8, 1976 -- Robert Morris; 420 W Broadway
Apr. 22-24, 1976 -- Benefit Drawing Exhibition for the New York Studio School; 4 E 77 St
Apr. 24 - May 15, 1976 -- Laura Grisi; 420 W Broadway
May 1-22, 1976 -- Hanne Darboven, For Jean-Paul Sartre; 4 E 77 St
May 15 - June 5, 1976 -- Douglas Huebler; 420 W Broadway
May 22 - June 12, 1976 -- Gianfranco Gorgoni, Photographs; 420 W Broadway
May 29 - June 12, 1976 -- Robert Adams, Photographs (Castelli Graphics); 4 E 77 St
June 19 - Sept. 10, 1976 -- Summer Group Exhibition: Artschwager, Chamberlain, Daphnis, Dibbets, Flavin, Judd, Kelly, Lichtenstein, Morris, Nauman, Noland, Oldenburg, Owen, Rauschenberg, Serra, Stella, Weiner; 420 W Broadway
June 26 - Sept. 10, 1976 -- Summer Group Drawing Exhibition: Artschwager, Barry, Bontecou, Darboven, Flavin, Morris, Ruscha; 4 E 77 St
Jan. 17 - Feb. 21, 1981 -- James Rosenquist, Star Thief; 142 Greene St
Feb. 14-28, 1981 -- Lawrence Weiner; 420 W Broadway (front room)
Feb. 14-28, 1981 -- Edward Ruscha, Drawings; 420 W Broadway (middle room)
Feb. 28 - Apr. 4, 1981 -- Richard Serra, Slice; 142 Greene St
Mar. 7-28, 1981 -- Paul Waldman; 420 W Broadway
Mar. 7-28, 1981 -- Laura Grisi; 420 W Broadway (middle room)
Mar. 12 - Apr. 4, 1981 -- Richard Serra, Film screenings, "Railroad Turnbridge" and "Steelmill/Stahlwerk" (Castelli/Sonnabend Tapes + Films); 142 Greene St
Apr. 4 - May 2, 1981 -- Julian Schnabel; 420 W Broadway
Apr. 4 - May 2, 1981 -- Douglas Huebler, Crocodile Tears; 420 W Broadway (middle room)
Apr. 11 - May 9, 1981 -- Ellsworth Kelly; 142 Greene St
Apr. 18 - May 9, 1981 -- Michael Harvey, Film screenings, "Sub Rosa" and "Dead Letter" (Castelli/Sonnabend Tapes + Films); 142 Greene St
May 13, 1981 -- Joan Jonas, Upsidedown and Backwards (Castelli/Sonnabend Tapes + Films); 142 Greene St
May 16-30, 1981 -- Artists' Benefit For the Trisha Brown Dance Company; 142 Greene St
May 16 - Sept. 4, 1981 -- Dan Flavin, Barred Corridors; 420 W Broadway
1981-1982 SeasonSept. 15 - Oct. 31, 1981 -- Donald Judd; 142 Greene St (lower gallery)
Sept. 19 - Oct. 10, 1981 -- Richard Serra (Castelli Graphics); 4 E 77 St
Sept. 19 - Oct. 10, 1981 -- Robert Barry and Carole Gallagher, Collaboration; 420 W Broadway
Oct. 17 - Nov. 7, 1981 -- Charles Gaines, Landscape: Assorted Trees with Regressions; 420 W Broadway
Oct. 17 - Nov. 7, 1981 -- Roy Lichtenstein; 420 W Broadway
Nov. 14 - Dec. 19, 1981 -- Richard Artschwager; 420 W Broadway
Nov. 17-21, 1981 -- Barbaralee Diamonstein, Visions and Images - American Photographers on Photography (Castelli/Sonnabend Tapes + Films); 420 W Broadway (middle room)
Sept. 26 - Nov. 7, 1992 -- Group Architecture Exhibition, Angels and Franciscans: Innovative Architecture from Los Angeles and San Francisco; 65 Thompson
Feb. 10 - Mar. 9, 1996 -- Group Exhibition, New Works by Gallery Artists: Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Rosenquist, Ruscha, Sonnier, Stella, Therrien; 420 W Broadway
Apr. 20 - May 18, 1996 -- James Rosenquist, Horizon Home Sweet Home; 420 W Broadway
Apr. 20 - May 24, 1996 -- Roy Lichtenstein, Eight New Prints; 578 Broadway
May 28 - July 26, 1996 -- Ralph Gibson, Infanta; 420 W Broadway
May 28 - July 26, 1996 -- Group Drawing Exhibition, Works on Paper: Chryssa, Daphnis, Darboven, Johns, Lichtenstein, Morris, Nauman, Rauschenberg, Ruscha, Serra, Stella, Sonnier, Therrien, Weiner; 420 W Broadway
June 1 - July 26, 1996 -- Summer Group Show: Johns, Kosuth, Lichtenstein, Ruscha, Stella, Therrien; 578 Broadway
1996-1997 SeasonSept. 14 - Oct. 12, 1996 -- Gianfranco Gorgoni, 25 Years of Artists Portraits; 578 Broadway
Feb. 15 - Mar. 15, 1997 -- Lawrence Weiner, Then Now + Then; 420 W Broadway
Mar. 1-22, 1997 -- Dan Flavin; 578 Broadway
Mar. 22 - Apr. 26, 1997 -- Keith Sonnier, Alternating Currents; 420 W Broadway
Mar. 29 - Apr. 5, 1997 -- The Printmaking Workshop Benefit Exhibition and Auction; 420 W Broadway
Apr. 17 - May 17, 1997 -- Columbia University MFA Exhibition; 420 W Broadway
May 3 - June 7, 1997 -- Edward Ruscha, Cityscapes and "O" Books; 420 W Broadway
July - Sept., 1997 -- Summer Group Show: Kosuth, Morris, Serra; 420 W Broadway
1997-1998 SeasonSept. 27 - Oct. 18, 1997 -- Joseph Kosuth; 420 W Broadway
Oct. 25 - Nov. 15, 1997 -- 40 Years of Exploration and Innovation Part 1: Bontecou, Chryssa, Cornell, Johns, Lichtenstein, Oldenburg, Rauschenberg, Rosenquist, Ruscha, Twombly, Warhol; 420 W Broadway
Nov. 22 - Dec. 13, 1997 -- 40 Years of Exploration and Innovation Part 2: Daphnis, Flavin, Judd, Kelly, Morris, Serra, Stella, Therrien, Waldman; 420 W Broadway
Jan. 10-31, 1998 -- 40 Years of Exploration and Innovation Part 3: Barry, Darboven, Dibbets, Grisi, Huebler, Kosuth, Nauman, Scarpitta, Sonnier, Starn Twins, Weiner; 420 W Broadway
Feb. 7 - Mar. 14, 1998 -- Dan Flavin, Some Drawings and Installations of Fluorescent Light; 420 W Broadway
Mar. 28 - Apr. 25, 1998 -- Hannah Collins, True Stories; 420 W Broadway
May 2 - June 6, 1998 -- Mike and Doug Starn, Black Hole Sun Burned; 420 W Broadway
June 24 - Aug. 29, 1998 -- Summer Show; 420 W Broadway
1998-1999 SeasonSept. 26 - Oct. 31, 1998 -- Robert Morris, The Rationed Years; 420 W Broadway
Nov. - Dec., 1998 -- Joseph Kosuth, Richard Serra, Keith Sonnier; 420 W Broadway
Jan. - Feb. 1999 -- Robert Rauschenberg, Arcadian Survey; 420 W Broadway
Related Material:
Available in the Archives of America Art are three oral history interviews with Leo Castelli. Paul Cummings interviewed Castelli between May 14, 1969 and June 8, 1973; Barbara Rose in July, 1969; and Andrew Decker on May 22, 1997.
Separated Materials:
The Archives of American Art also holds items lent for microfilming (reel N68) including printed material. Lent material was returned to the lender and is not described in the collection container inventory.
Provenance:
Leo Castelli loaned printed material for microfilming in 1968. Leo Castelli's wife, Barbara Bortuzzo Castelli, and his children, Nina Castelli Sundell and Jean-Christophe Castelli, donated the Leo Castelli Gallery records to the Archives of American Art in 2007.
Restrictions:
Use of original records 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.
Topic:
Art, Modern -- 20th century -- History -- New York (State)New York Search this
Painting, Modern -- 20th century -- History -- New York (State)New York Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Interviews
Video recordings
Sketches
Transcripts
Sound recordings
Notes
Visitors' books
Photographs
Notebooks
Awards
Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
This series contains access-restricted medical records.
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:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by 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.
Quotes and excerpts must be cited as follows: Oral history interview with Edith Gregor Halpert, 1962-1963. Archives of American Art, Smithsonian Institution.
Plan et Elévation d’un Rétable d’Autel en voussure, orné d’un Pilastre de l’ordre Ionique. / Plan et Elévation d’un Rétable d’Autel en voussure, orné d’une Colonne de l’ordre Ionique.
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.
Missing Title
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.
Missing Title
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.
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.
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.
Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.
Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.
Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.
Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.
Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.
Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.
Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Arrangement:
The collection is arranged as 9 series:
Missing Title
Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)
Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)
Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)
Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)
Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)
Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)
Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)
Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)
Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Biographical Note:
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.
A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.
Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.
In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.
During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.
Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.
In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.
Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.
Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.
Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.
Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.
As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.
Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.
Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.
Henry Varnum Poor died at home in New City, New York, December 8, 1970.
Related Material:
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Provenance:
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
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. Use of audiovisual recordings with no duplicate access copy requires advance notice.
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.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Nell Blaine papers, 1879, 1940-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program. Funding for the digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others. The transcript was microfilmed in 1996.
Occupation:
Art dealers -- New York (State) -- New York Search this
Printed text on recto reads: "1. Une pirogue sur le Logone entre Moundou et Laï."
Translated caption reads: "1. A pirogue on the Logone between Moundou and Lai."
Printed text on verso reads: "Braun & Cie, Imp., Editeurs-Concessionnaires / Paris - France."
Additional printed text on verso reads: "Exigez 'Jean Bart' / Cirage Imperméable / Pour le Gros: / Produits d'entretien 'Jean-Bart' / 65, Bd de la République, Roubaix / Cires, Cirages, Encaustiques, Produits pour Métaux." Translation reads: "Demand ' Jean Bart ' / Waterproof Shoe polish / By the Gros: / 'Jean-Bart' cleaning products / 65, Boulevard of the Republic, Roubaix / Wax, Shoe polishes, Furniture polishes, Produced for Metals." Stamp box reads: "Tarif maximum cartes postales."
Braun & Cie, Imp., Editeurs-Concessionnaires / Paris - France
Local Numbers:
EEPA CD-24-02
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Vereshchagin, Vasili Vasilevich, 1842-1904 Search this
Extent:
3.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1880-1936
bulk 1883-1920
Summary:
The scrapbooks of Thomas Benedict Clarke measure 3.6 linear feet and date from 1879-1930. Twelve scrapbooks contain mostly newspaper clippings, but also include correspondence, invitations, exhibition catalogs, programs, magazine articles, art auction catalogs, and other material relating to Clarke's personal art collection and general art patronage. The scrapbooks also include clippings and miscellany relating to the Clarke family and influential society clubs, such as the Union League, Lambs, and New York Athletic clubs.
Scope and Content Note:
The scrapbooks of Thomas Benedict Clarke measure 3.6 linear feet and date from 1879-1930. Twelve scrapbooks contain mostly newspaper clippings, but also include correspondence, invitations, exhibition catalogs, programs, magazine articles, art auction catalogs, and other material relating to Clarke's personal art collection and general art patronage. The scrapbooks also include clippings and miscellany relating to the Clarke family and influential society clubs, such as the Union League, Lambs, and New York Athletic clubs.
Scrapbook 1 dates from 1880-1884 and includes information about the Lincoln Club, the Century Association, Motto Club, Rembrandt Club, Merchants Club, Art Club, and Union League Club. Scrapbook 2 dates from 1883-1884 and includes an index of artists in the Clarke art colletion, as well as information about the artists. Scrapbook 3 dates from 1887-1889 and includes information about artists Vasily Vereshchagin and Antoine Louis-Barye. Scrapbook 5 dates from 1891-1894 and contains clippings about the Clarke Prize, the opening of Clarke's "Art House" in Manhattan, New York, the 1891 Clarke exhibition at the Pennsylvania Academy of Fine Arts, the 1892 Columbian Loan Exhibition, and the 1893 Worlds' Columbian Exhibition. Scrapbook 6 dates from 1891-1902 and includes clippings regarding the art and auction sales of Greek, Continental, Persian, and Oriental antiquities, rugs, and porcelains. Scrapbook 7 dates from 1894-1898 and covers Clarke's support of Justice Frederick Smyth, his parents' 50th anniversary celebration, his daughter's society introduction reception, and events at the Lambs and Union League Clubs. Scrapbook 8 dates from 1894-1920 and houses announcements of the George Inness memorial exhibition, coverage of the Inness 1895 estate auction sale, copies of correspondence between Inness and Clarke, and two original photographs of Inness' studio. Scrapbook 9 is dated 1899-1900 and includes coverage of events at clubs, particularly the Lambs and Union League clubs, the Clarke Prize, Paris Exposition, Dewey Arch, and the private art collection of William T. Evans. Scrapbook 10 dates from 1899-1936 and consists primarily of coverage of the 1899 Clarke art auction to fund the National Academy of Design's Clarke prize. Scrapbook 11 dates from 1900-1902 and covers Clarke's Hampton cottage, his daughter's marriage and divorce suit, the New York School of Design for Women, and the Academy of Design annual exhibition. Scrapbook 12 is dated from 1899-1918 contains clippings regarding William Tilden Evans, a contemporary art collector and friend of Clarke's.
A 670 page annotated index of Books 1-6 and Books 10-12 is available on microfilm reels N598-N599.
Arrangement:
The collection is arranged into 1 series:
Missing Title
Series 1: Scrapbooks, 1880-1936 (Boxes 1-2, 4 BVs; 2.6 linear feet)
Biographical Note:
Thomas Benedict Clarke (1848-1931) was a prominent New York businessman and one of the first major collectors of contemporary American paintings in the 1870s-1880s. He purchased his first painting in 1872 and eventually amassed one of the largest private collections of American art at the turn of the century.
After retiring from the business world, Clarke served as President of the New York School of Applied Design for Women, Treasurer of the National Society of Arts, and Chairman of the House Committee of the Union League Club. He was a founding member of the National Sculpture Society and National Arts Club, and founded the Clarke Prize of the National Academy of Design in 1883. He was also a member of several New York gentlemen's clubs, including the Century, Lotos, Lamb, and Manhattan Clubs.
In 1890, Clarke announced he would no longer officially acquire or deal in works of art, except as an agent for his friend, George Inness. Concentrating his attentions on a new venture, in 1891, he opened "Art House" off of Fifth Avenue in New York City, a showcase for English furniture, Oriental porcelains, and Continental antiquities. In 1899, he announced he would be putting his collection of 375 American paintings up for sale during a landmark, week-long auction at the American Art Association. Included in the sale were 32 works by George Inness and 30 works by Winslow Homer.
In 1912, Clarke returned to active art collecting, this time focusing his energies on building a collection of Colonial American art.
Related Material:
The Archives also has the Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897, which have been digitized and are available online via the Archives of American Art's website.
Also found in the Archives are Letters to Thomas B. Clarke from artists, 1883-1918 and the handwritten catalog Private art collection of Thomas B. Clarke, 1872-1879, both of which have been microfilmed and are available on reels D5 and 2802.
Provenance:
The scrapbooks of Thomas Benedict Clarke were donated by the Whitney Museum of Art director, Lloyd Goodrich, in 1978.
Restrictions:
Use of originals requires an appointment. Patrons must use microfilm copy due to fragility of the original scrapbooks.
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.
Topic:
Collectors and collecting -- New York (State) -- New York Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Thomas Benedict Clarke scrapbooks, 1880-1936, bulk 1883-1920. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
National Portrait Gallery, Smithsonian Institution; gift of the Morris and Gwendolyn Cafritz Foundation and the Regents' Major Acquisitions Fund, Smithsonian Institution
