Search Results

Creator:

Gray, Cleve, 1918-2004  Search this

Subject:

Richter, Hans  Search this

Marin, John  Search this

Lipchitz, Jacques  Search this

Pollock, Jackson  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Duchamp, Marcel  Search this

Dillenberger, Jane  Search this

Gabo, Naum  Search this

Ernst, Jimmy  Search this

Davis, Jim  Search this

Calder, Alexander  Search this

Barzun, Jacques  Search this

Weber, Nicholas Fox  Search this

Smith, David  Search this

Villon, Jacques  Search this

Pratt Institute  Search this

Rhode Island School of Design  Search this

Neuberger Museum of Art  Search this

Jacques Seligmann & Co  Search this

Betty Parsons Gallery  Search this

Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this

Princeton University  Search this

Berry-Hill Galleries  Search this

Type:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- United States  Search this

Vietnam War, 1961-1975 -- Protest movements -- United States  Search this

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9567

(DSI-AAA_SIRISBib)211768

AAA_collcode_grayclev

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211768

Creator:

Gray, Cleve  Search this

Names:

Berry-Hill Galleries  Search this

Betty Parsons Gallery  Search this

Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this

Jacques Seligmann & Co  Search this

Neuberger Museum of Art  Search this

Pratt Institute  Search this

Princeton University  Search this

Rhode Island School of Design  Search this

Barzun, Jacques, 1907-  Search this

Calder, Alexander, 1898-1976  Search this

Davis, Jim, 1901-1974  Search this

Dillenberger, Jane  Search this

Duchamp, Marcel, 1887-1968  Search this

Ernst, Jimmy, 1920-1984  Search this

Gabo, Naum, 1890-1977  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Lipchitz, Jacques, 1891-1973  Search this

Marin, John, 1870-1953  Search this

Pollock, Jackson, 1912-1956  Search this

Richter, Hans, 1888-1976  Search this

Smith, David, 1906-1965  Search this

Villon, Jacques, 1875-1963  Search this

Weber, Nicholas Fox, 1947-  Search this

Extent:

9.2 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Date:

1933-2005

Summary:

The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam protest movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Scope and Content Note:

The Cleve Gray papers, 1933-2005, measure 9.2 linear feet. Papers include biographical material, alphabetical files, writings, artwork, audio/visual records, artifacts, printed material, and photographs. Extensive alphabetical files contain personal and professional correspondence as well as subject files relating to projects and interests. Especially well-documented are: Gray's involvement with the Vietnam movement; and Threnody, his best-known work composed of fourteen large panels lamenting the dead of both sides sides in Vietnam, commissioned by the Neuberger Museum of Art.

Among the biographical material are award and membership certificates, biographical notes, and personal documentation.

The alphabetical files contain Cleve Gray's personal and professional correspondence, as well as subject files relating to projects and interests. Correspondence is with friends and family, colleagues, publishers, museum curators and directors, art dealers, collectors, and fans. Among the correspondents of note are: Jacques Barzun, James E. Davis, Naum Gabo, Louise N. Grace, Hans and Fridel Richter, and Jacques and Gaby Villon. Other substantial correspondence includes: Berry-Hill Galleries, Betty Parsons Gallery, Connecticut Commission on the Arts, Jacques Seligmann and Co., Neuberger Museum of Art, Pratt Institute, Princeton University, and Rhode Island School of Design. Subject files mostly consist of correspondence, but include printed material and some photographs. Among the subject files are: Art Collection of Cleve and Francine Gray, Artist-Dealer Consignments and Visual Artists' Rights Act of 1989, Artists' Tax Equity Act of 1979, Promised Gifts to Museums, Threnody, Vestments, and Vietnam Protest. Of particular interest are files relating to the Estate of Hans Richter (Cleve Gray, executor), and Gray's research correspondence and illustrations for his Cosmopolitan article "Women-Leaders of Modern Art."

Writings are manuscripts and drafts, research materials, notes, and miscellaneous writings by Cleve Gray and other authors. Those by Gray include articles and catalog introductions on a wide range of art-related topics, as well as book and exhibition reviews. Also found are a book proposal, texts and notes for lectures and talks, miscellaneous notes, poems, political statements, and student papers. Of particular interest are autobiographical notes in the form of a chronology that his biographer, Nicholas Fox Weber, cited as an "autochronology."

Among the writings by other authors are pieces about Cleve Gray including Nicholas Fox Weber's manuscript Cleve Gray. A significant amount of material relates to three books edited by Gray: David Smith by David Smith: Sculpture and Writings, Hans Richter, and John Marin. Research material survives for an unpublished volume, Naum Gabo. Also included are notes relating to his translation of A l'Infinitif by Marcel Duchamp. Jane Daggett Dillenberger is represented by a lecture, "The Resurrection in Art." The remaining items by other authors are unsigned; of particular interest is a small notebook of reminiscences and notes about Jackson Pollock.

Artwork by Cleve Gray consists mostly drawings and sketches, and a small number of paintings, prints, and watercolors. Works by other artists consist are an unsigned mobile of paper cut-outs, possibly by Alexander Calder, and a pencil drawing signed Dick (probably Richard Avedon).

Audio recordings are a radio broadcast featuring Cleve Gray, several lectures by Gray on John Marin, and a lecture titled "Meaning in the Visual Arts." Other recordings are of Hans Richter and an interview with Jimmy Ernst conducted by Francine du Plessix Gray. Also found is a videocassette of "Glenville School Students at SUNY (Lincoln Center Activity)."

Artifacts are a Chinese scroll representative of those that hung in Cleve Gray's studio, two of his paintbrushes, Aberdeen-Angus Breeders' Association blue ribbon, and Neuberger Museum of Art Lifetime Achievement Award.

The vast majority of printed material - articles, clippings, exhibition catalogs and announcements, reproductions of art work, etc. - are about or by Cleve Gray. Miscellaneous items and publications mentioning Gray consist of annual reports, brochures, calendars, newsletters, programs, etc. Clippings about Vietnam and Vietnam protest memorabilia reflect his passionate involvement in the anti-war movement; a small number of these items mention Gray or were written by him.

Photographs are of artwork, events, people, places, and miscellaneous subjects. Most of the art work appearing in the photographs is by Cleve Gray and includes images of destroyed paintings. Also found is an original print of Photo Abstraction by Gray, circa 1934. Of particular note are photographs of Threnody, among them preparatory drawings and views of the work in progress. Photographs of artwork by other artists include Louise N. Grace, Jacques Lipchitz, John Marin, Hans Richter, and Jacques Villon.

Photographs of people are mainly portraits of Gray, and views of him with his wife and sons. Other individuals appearing in photographs are Hans Richter and some of Richter's descendants. Pictures of places consist of Gray's studio.

Events are an unidentified exhibition opening. Miscellaneous subjects are mostly exhibition installations. Illustrations consist of photographs published in David Smith by David Smith: Sculpture and Writings. Also found are small number of negatives and color transparencies.

Arrangement:

The collection is organized into 8 series:

Missing Title

Series 1: Biographical Material, 1943-circa 2001 (Box 1; 0.1 linear ft.)

Series 2: Alphabetical Files, 1936-2005 (Boxes 1-5, 9; 4.3 linear ft.)

Series 3: Writings, 1935-2000 (Boxes 5-6; 0.85 linear ft.)

Series 4: Artwork, circa 1933-1987 (Boxes 6, 9, OV 12; 0.45 linear ft.)

Series 5: Audio/Visual Records, 1971-1989 (Box 6; 0.25 linear ft.)

Series 6: Artifacts, 1957-1999 (Box 6, RD 11; 0.45 linear ft.)

Series 7: Printed Material, 1933-2005 (Boxes 7-8; 1.25 linear ft.)

Series 8: Photographs, circa 1934-2002 (Boxes 8-10; 1.15 linear ft.)

Biographical Note:

Abstract Expressionist painter, sculptor, and writer Cleve Gray (1918-2004) lived and worked in Connecticut where he was politically active in the Vietnam protest movement and other liberal causes.

Born Cleve Ginsberg in New York City (the family changed its name to Gray in 1936), he attended the Ethical Culture School and at a young age developed a fascination with color and paint. At the urging of friends, Cleve's parents allowed him to accompany a school friend for lessons with George Bellows' student Antonia Nell. She encouraged and inspired the young artist, and a still life he painted in her class was shown at the National Academy of Design's 1932 annual exhibition. Miss Nell also introduced him to Louise N. Grace, an artist who became a good friend and had a lasting influence on him. While a student at Phillips Academy, Cleve studied painting with Bartlett Hayes and aspired to paint in France. Upon his graduation in 1936, he was awarded the Samuel F. B. Morse Prize for most promising art student.

Gray's mother was always supportive of his career choice. His businessman father, who didn't understand his son's desire to be an artist, insisted on a college education. Cleve chose Princeton, where he majored in art and archaeology, and studied painting with James E. Davis. His senior thesis was on Chinese landscape painting; both Eastern philosophy and art were long-term influences on Gray's work and outlook. He graduated summa cum laude in 1940, and then spent several months painting while living at the farm of a family friend in Mendham, New Jersey.

When a doctor suggeted that a dry climate might relieve sinus and asthma problems, Gray moved to Tucson, Arizona. Once settled in the desert, he contacted Louise N. Grace, whom he had met as a young teenager through his art instructor. Miss Grace, an artist and daughter of the founder of W. R. Grace and Co., was a highly cultured and independent woman older than his parents. The summer before Gray entered Phillips Academy, she had hired him to brush ground color onto canvases for murals she was painting for "Eleven Arches," her home in Tuscon then under construction. Miss Grace invited Gray to visit "Eleven Arches" to see the completed murals, and despite the substantial age difference, their friendship deepened; Gray found in her intellectual and spiritual guidance that was lacking in his own family. He remained in Tucson until enlisting in the U. S. Army in 1942, and they corresponded frequently during the the war. When a stroke in 1948 prevented Miss Grace from participating in the extensive tour of Europe she was arranging for a small group of friends, including Gray, she provided sufficient funds and insisted he make the trip on his own. Another stroke, suffered while Gray was traveling, left her in a coma; he was not permitted to see her again. Upon her death in 1954, Gray inherited "Eleven Arches."

Between 1943 and 1946, Gray was stationed in England, France, and Germany, serving in Army Signal Intelligence. Most of his work was performed at night, and he spent his free time drawing. While in London, Gray produced many colored pencil drawings of buildings that had been bombed. In France, a Red Cross volunteered to introduce him to Jacques Villon; although unfamiliar with the artist, Gray knew of Villon's brother, Marcel Duchamp, and accepted the invitation. Jacques and Gaby Villon lived near Gray's billet and he became a frequent visitor. Their friendship was important to his development as an artist. After being discharged from the Army in 1946, Gray remained in France to work with Villon who introduced him to the study of color and the concept of intellectual quality in painting. Gray also studied informally with André Lhote, Villon's former teacher. "American Painters in Paris," an exhibition presented in 1946 at Galerie Durand-Ruel, included work by Cleve Gray.

He returned to New York City in 1946. In the tight post-war rental market Gray managed to find a small room upstairs from a grocery store on East 106th Street for use as a studio. He commenced painting the London Ruins series based on drawings he had made during the war, and began thinking about exhibiting in New York. Gray secured introductions to Pierre Matisse, Curt Valentin, and Dorothy Miller. They encouraged him, but no opportunities came his way until Germain Seligmann, whose gallery was expanding its scope to include contemporary art, followed the advice of Curt Valentin and looked at Gray's work. Gary's first solo exhibition, held at Jacques Seligmann and Co., included selections from the London Ruins series, paintings done in Maine and Arizona, and a few portraits. The New York Times called it "an auspicious first," and one of the London Ruins series was selected by Edward Alden Jewell for the "Critic's Exhibition" at Grand Central Gallery.

Gray found New York City too frenetic. In 1949 he bought a large, old house in Warren, Connecticut, and lived and worked at "Graystones" for the remainder of his life. Half of a 6-car garage was converted to a studio; many years later, his studio moved to a barn, its renovation and design planned by sculptor and architect Tony Smith.

He married Francine du Plessix in 1957. Always interested in literature and philosophy, in the 1960s Francine du Plessix Gray began contributing articles to The New Yorker and is still affiliated with the magazine. Her reviews and articles appeared in prominent publications, and she wrote several award-winning novels and biographies. Their sons, Thaddeus and Luke (now a painter), were born in 1959 and 1961. Francine's mother, Tatiana du Plessix (the hat designer Tatiana of Saks), and step-father, the sculptor Alexander Liberman (also former art director of Vogue and later editorial director of Condé Nast publications) became Cleve Gray's closest friends.

The paintings and drawings of Cleve Gray - first consisting of figures and portraits, and then abstract compositions - were often produced in series. The earliest series, London Ruins, grew from the colored pencil drawings made while stationed in London during World War II. Travels to France, Italy, Greece, Morocco, Hawaii, Spain, Egypt, Japan, and Czechoslovakia, inspired many series, among them: Etruscan, Augury, Ceres, Demeter Landscape, Hera, Morocco, Hawaii, Ramses, Perne, Hatshepsut, Roman Walls, Zen, and Prague. His hometown, the Holocaust, and musicians inspired other series: Warren, Sleepers Awake!, Bela Bartok, and Four Heads of Anton Bruckner. Some series were works on paper, others were collage canvases, and a few series later spawned prints. Gray began using acrylics in the 1940s. Although the medium offered many benefits, he did not always like its appearance and frequently returned to oils. Around 1966 Gray was painting almost exclusively with acrylic, and eventually developed a technique of thinning the paint and applying successive layers of color (sometimes by pouring or with a sponge) on cotton duck rather than traditional canvas.

Gray was attracted to sculpture, too, working in that medium at different points in his career. His first sculpture, in plaster, was completed in 1959. In the early 1960s he visited a commercial sand-casting foundry and became excited about learning to cast in bronze. He made about a dozen sculptures to cast in sand, but due to too much undercutting, their casting became too difficult a problem. Lava flows seen while in Hawaii during 1970 and 1971 inspired a return to sculpture. This time, he used wood, papier maché, and metal. Gray then decided these pieces should be cast in bronze, and he was determined to do it himself. Friends taught him the lost wax process and he began working at the Tallix Foundry in Peekskill, New York where, over the next year, he cast about forty bronzes.

Gray's best known work is Threnody, a lament for the dead of both sides in Vietnam. In 1972, Gray received a commission to fill a very large gallery of the soon-to-open Neuberger Museum of Art (State University of New York, College at Purchase) designed by Philip Johnson. Friends of the Neuberger Museum paid his expenses and Gray, who was enormously excited about the project he considered a once-in-a-lifetime opportunity, donated his time. Developing plans for the execution of Threnody consumed most of his time during 1972 and 1973. Composed of a series of fourteen panels, each approximately twenty feet square, the piece presented a number of technical challenges. It was constructed and painted in situ during the summer and early fall of 1973. Since then, Threnody has been reinstalled at the Neuberger Museum of Art on several occasions.

Gray was commissioned to design liturgical vestments for two Episcopal churches in Connecticut in the 1970s. A chasuble, stoles, and a mitre were commissioned by the Episcopal Diocese of Connecticut in 1984.

He won the "Outdoor Art at the Station Competition," for Union Station, Hartford, Connecticut. His very large porcelain enamel tile mural, Movement in Space, was installed on the façade of the transportation center in 1988.

Gray began writing occasional articles and exhibition reviews in the late 1940s. His concern with rational structure in art led him to question Abstract Expressionism and write "Narcissus in Chaos." This article, published in 1959 by The American Scholar, drew considerable attention. In 1960, Cosmopolitan published "Women - Leaders of Modern Art" that featured Nell Blaine, Joan Brown, Elaine de Kooning, Helen Frankenthaler, Sonia Gretchoff, Grace Hartigan, Ethel Magafan, Louise Nevelson, and Georgia O'Keeffe. Between 1960 and 1970, Gray was a contributing editor of Art In America, producing numerous articles (a few co-authored with Francine) and reviews for the periodical. He edited three books, David Smith by David Smith: Scupture and Writings, Hans Richter, and John Marin, all published by Holt, Rinehart, and Winston, and translated Marcel Duchamp's A l'Infinitif.

During the early 1960s, Gray became intensely focused on the situation in Vietnam. His first artistic response came in 1963 with Reverend Quan Duc, painted to commemorate a Buddhist monk who had immolated himself. Francine, too, felt strongly about the issue and over time the couple became increasingly active in the anti-war movement. They joined a number of organizations and helped to found a local chapter of Clergy and Laymen Concerned about Vietnam. The years 1968 and 1969 were an especially intense and active period for the Grays. They protested, wrote and spoke out against the war, raised funds to support anti-war political candidates, and on a few occasions were arrested and jailed. Writing for Art in America, editing the book series, and anti-war activities left little time for his art. In 1970 Gray refocused his attention on painting.

Beginning in 1947, Gray was always represented by a New York Gallery: Jacques Seligmann and Co. (1947-1959), Staempfli Gallery (1960-1965), Saidenberg Gallery (1965-1968), Betty Parsons Gallery (1968-1983), Armstrong Gallery (1984-1987), and Berry-Hill Galleries (1988-2003). He was represented by galleries in other cities, as well, but not as consistently or for such long periods.

He exhibited extensively in group and solo exhibitions throughout the United States and internationally. In addition to numerous solo exhibitions presented by the dealers who represented Gray, there were retrospective exhibitions at: Albright-Knox Art Gallery, Brooklyn Museum, Columbus Museum of Art, Krannert Art Museum (University of Illinois, Champaign), Princeton University Art Museum, Rhode Island School of Design, and Wadsworth Atheneum.

Many museums' permanent collections include the work of Cleve Gray, among them: Albright-Knox Art Gallery, Butler Institute of American Art, Columbus Museum of Art, Neuberger Museum of Art (SUNY, College at Purchase), the Museum of Modern Art (New York), Newark Museum, Oklahoma City Museum of Art, Phillips Collection, Sheldon Memorial Art Gallery (University of Nebraska, Lincoln), Smithsonian Institution, Solomon R. Guggenheim Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Cleve Gray served as artist-in-residence at the Oklahoma City Museum of Art in 1963 and at the Honolulu Academy of Arts in 1970, both sponsored by Ford Foundation programs. In 1980, he was appointed an artist-in-residence at the American Academy in Rome, where Francine concurrently served as a writer-in-residence; they returned for shorter periods during each of the subsequent seven years. Cleve Gray was presented the Connecticut Arts Award in 1987, and the Neuberger Museum of Art Lifetime Achievement Award in 1999. He was awarded an honorary degree by the University of Hartford in 1992, and was elected a member of The American Academy of Arts and Letters in 1998. In addition, he was a trustee of the Neuberger Museum of Art, New York Studio School, Rhode Island School of Design, and Wadsworth Atheneum.

Cleve Gray hit his head and suffered a massive subdural hematoma after falling on ice outside of his home. He died the following day, December 8, 2004.

Separated Material:

Exhibition catalogs and announcements and two scrapbooks donated to the Archives in 1967 and 1968 were microfilmed on reels D314-D315. Items on reel D315, transferred to the Smithsonian American Art Museum Library in 1975, are not described in this finding aid.

Provenance:

The Cleve Gray papers were donated to the Archives of American Art by Mr. Gray in 1967 and 1968. The bulk of the collection was given by his widow, Francine du Plessix Gray, in 2007 and 2008.

Restrictions:

Use of original material requires an appointment. Use of archival audiovisual recordigs 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.

Occupation:

Sculptors -- Connecticut  Search this

Painters -- Connecticut  Search this

Topic:

Art, Modern -- 20th century -- United States  Search this

Vietnam War, 1961-1975 -- Protest Movements -- United States  Search this

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.grayclev

See more items in:

Cleve Gray papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92d3d47d0-baa3-4085-80f2-9b5d1730c052

EDAN-URL:

ead_collection:sova-aaa-grayclev

Creator:

Rolick, Esther G., 1922-  Search this

Names:

Cinque Gallery  Search this

Alston, Charles Henry, 1907-1977  Search this

Bearden, Romare, 1911-1988  Search this

Lawrence, Jacob, 1917-2000  Search this

Woodruff, Hale, 1900-1980  Search this

Extent:

3.7 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Scrapbooks

Sound recordings

Date:

1940-1985

Summary:

The papers of painter and educator Esther Rolick measure 3.7 linear feet and date from 1940 to 1985. The papers document Rolick's career through correspondence with friends and colleagues; writings, including unpublished illustrated books for children; business records; printed material and scrapbooks of clippings and exhibition catalogs; artwork including a sketchbook; photographs of artwork, travels around the world, and personal photographs; and sound recordings of interviews with prominent African American artists.

Scope and Contents:

The papers of painter and educator Esther Rolick measure 3.7 linear feet and date from 1940 to 1985. The papers document Rolick's career through correspondence with friends and colleagues; writings, including unpublished illustrated books for children; business records; printed material and scrapbooks of clippings and exhibition catalogs; artwork including a sketchbook; photographs of artwork, travels around the world, and personal photographs; and sound recordings of interviews with prominent African American artists.

Correspondence includes personal letters from friends and letters related to Rolick's exhibitions. Some of the letters are in Spanish. Writings include poems by Rolick and two unpublished books for children, primarily of illustrations.

Personal business records and professional activity files include financial materials related to Rolick's travels around the world, statements, promissory notes, certificates, and exhibition guestbooks.

Printed material consists mainly of exhibition announcements and catalogs, with some newspaper clippings. Additional printed material can be found in Series 6: Scrapbooks.

Photographs consist primarily of personal photographs, photographs of travels to Bogota, Colombia and Palermo, Italy, and photographs of artwork. Artwork includes oversized sketches by classmates and one small sketchbook of drawings.

Of note are untranscribed interviews conducted by Rolick for her class "Black Music and Art," at Mercy College, circa 1970-1971. Interviewees include Charles Alston, Romare Bearden, Jean Hutson, Jacob Lawrence, Norman Lewis, Hale Woodruff, and artists affiliated with the Cinque Gallery, Weusi Gallery, and SPIRAL artist's group.

Arrangement:

The collection is arranged chronologically into eight series.

Series 1: Correspondence, 1946-1985 (1.3 linear feet; Box 1-2)

Series 2: Writings, 1947-1971 (0.1 linear feet; Box 2)

Series 3: Personal Business Records and Professional Activity, 1968-1974 (0.2 linear feet: Box 2)

Series 4: Printed Material, 1944-1980 (0.3 linear feet: Box 2)

Series 5: Photographs, circa 1940-1985 (0.6 linear feet: Box 2-3, 5)

Series 6: Scrapbooks, circa 1944-1972 (0.7 linear feet; Box 3, 5)

Series 7: Artwork, circa 1944-1985 (0.1 linear feet; Box 3, 5, OV)

Series 8: Interviews 1970-1971 (0.4 linear feet; Box 3-4)

Biographical / Historical:

New York realist painter and educator Esther G. Rolick (1922-2008) taught art for two decades at Mercy College, where she helped to develop programs including a class, "Black Music and Art," for which she interviewed prominent Harlem artists and musicians.

Rolick studied at the Art Students League and had her first solo exhibition of drawings at Jacques Seligmann & Co. in 1947. She subsequently participated in exhibitions around the country and internationally in Haiti. In the 1960s she began teaching at Mercy College and helped to develop several innovative programs there. Rolick also traveled extensively and painted in places such as Bogota, Colombia and Palermo, Italy.

Provenance:

The Esther G. Rolick papers were donated to the Archives of American Art by Esther Rolick in a series of installments between 1970 and 1985.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Educators -- New York (State)  Search this

Painters -- New York (State)  Search this

Topic:

African American artists  Search this

Women artists  Search this

Women painters  Search this

Women art teachers  Search this

Genre/Form:

Interviews

Scrapbooks

Sound recordings

Citation:

Esther G. Rolick papers, 1940-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.roliesth

See more items in:

Esther G. Rolick papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90d83b0fb-7b48-4edf-b01f-969bfa325aed

EDAN-URL:

ead_collection:sova-aaa-roliesth

Collection Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Container:

Box 4, Folder 14

Type:

Archival materials

Date:

1968

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art / Series 2: Artist Files / General

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99a6e8526-3255-40cd-8475-1988e9e9bd93

EDAN-URL:

ead_component:sova-aaa-finccoll-ref295

Collection Creator:

Storrs, John Henry Bradley, 1885-1956  Search this

Type:

Archival materials

Date:

1900-1956

Scope and Contents:

John Storrs' extensive correspondence spans over fifty years and documents his personal and professional life. There are extensive letters to his wife Marguerite Storrs, including love letters written before they were married and letters written to her during his visits to the United States. Letters written by Marguerite to John are located series 2.2. John Storrs' love letters to other women, including Yolande de Manziarly, are found within his general correspondence.

General correspondence primarily consists of Storrs' correspondence with friends, colleagues, art critics and historians, patrons, art organizations, and galleries. Where they exist, Storrs' drafts of outgoing letters are interfiled with letters he received in a chronological arrangement. Storrs was friends with many artists, architects, performers, and writers in both the US and Europe. Among the artists he corresponded with are Berenice Abbott, Hendrick Andersen, George Biddle, Jerome Blum, Arthur Bock, Louis Bouche, Georges Braque, Alexander Calder, Walter Cole, Arthur Davies, Jessica Dismorr, Katherine Dreier, Marcel Duchamp, Leo Friedlander, Marsden Hartley, Jean Helion, Gertrude Lambert, Fernand Leger, Jacques Lipchitz, Man Ray, Richard Recchia, Edwin Scott, Charles Sheeler, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, Jacques Villon, and William and Marguerite Zorach. Other notable correspondents include architects Edward Bennett, Paul Phillippe Cret, R. Buckminster Fuller, and Alfonso Iannelli; writers and publishers Sherwood Anderson, Louise Bryant, William Bullitt, Max Eastman, Jane Heap, Paul Scott Mowrer, and Gertrude Stein; art critics Phyllis Ackerman, Frank Crowninshield, and Maurice Raynal; art patrons Arthur Aldis, Mildred Bliss, and Charles Worcester; friend and curator Alice Roullier; and dancer Maud Allan. A portion of the general correspondence is in French.

A small amount of correspondence with galleries, museums, and curators concerns exhibitions and sales of Storrs' artwork. Also found is correspondence concerning his participation in art organizations. Researchers should note a portion of Storrs' business correspondence, especially regarding his major sculpture commissions and his dealings with Downtown Gallery, are found in Series 3: Personal Business Records.

See Appendix for a list of correspondents from Series 2.1.

Appendix: Correspondents from Series 2.1:

Abbott, Berenice, 1921, 1922, undated

Ackerman, Phyllis, 1924, 1925, 1926, 1927, 1928, undated

Adams, Cyrus H., 1944

Adler, Alfred, 1926

Adler, David, 1939, 1945

Adrien, Rouet, 1924

Alby, Leony, undated

Aldis, Arthur T., 1922, 1923, 1924, 1925, 1926, undated

Aldis, Graham, 1934

Allan, Maud, 1907, 1913, 1925, 1928, undated

American Art Association, 1926, undated

American Art Bronze Foundry, 1935, 1936

American Designers Gallery, Inc., 1928

American Express Company, 1907, 1933

American Hospital of Paris, 1913

American Library in Paris, 1945, 1946, 1947

American Red Cross, 1918

American Union of Decorative Artists and Craftsmen, 1928, 1929

American University Union in Europe, 1923

American Women's Club of Paris, inc., 1932, undated

Andersen, Mrs. A. O., 1928

Andersen, Hendrick, 1912, 1913, 1914, 1918

Anderson, Margaret, 1924

Anderson, Sherwood, 1917, 1925, undated

Antheil, George, 1924, 1926, 1927

A.O. Smith Coporation, 1934

Apex Smelting Co., 1930

Arden, Elizabeth, 1935, 1936, undated

Arens, Egmont, 1919, 1920, 1921

Arnhem, Edward, 1925

Art Institute of Chicago, 1920, 1921, 1922, 1925, 1927, 1929, 1930, 1931, 1933, 1934, 1935, 1939, 1940, 1945

Artists and Writers Dinner Club, 1934

Arts Club of Chicago, 1920, 1922, 1927, 1928, 1932, 1934, 1937

Artwork, 1924

Ateliers D'Art du Clos De Joye, 1955

B., Simone, 1924, 1926, 1928, undated

Babcock, Ella, 1912, undated

Babcock, James L., 1904, 1905, 1906, 1907, 1908, 1909, 1910, undated

Bailey, C. Foster, 1928

Ballard, George S., 1935

Barbarin, Georges, 1942

Barbier, H., 1925

Barbusse, Leevri, 1919

Barrett, Ida C., 1939

Bartholomew, Marshall, 1937

Bartlett, Paul W., 1914

Beach, John & Lucy, 1909, 1911, 1912, 1913, 1914, 1916, 1918, 1919, 1923, 1925, 1926, 1945, undated

Benard, Maddy, undated

Benington, Walter, 1918

Benjamin, Elizabeth, undated

Bennett, Edward H., 1934, 1935, 1937, 1938, 1940, 1944, 1945, 1948, 1951

Berger, Paul, 1920

Berlin Photographic Company, 1915

Biddle, George, 1923, 1924, 1925, 1946, undated

Biddle, Katherine Garrison, 1928

Jane Biddle, 1925, 1926

Birdsall, Lucy Storrs, 1950, undated

Birnbaum, Martin, 1916

Blanquet-Pernot, Mrs., 1928

Bliss, Mildred, 1929, 1948, undated

Blinstrub, Ben, 1937, 1945

Blum, Frank, 1929

Blum, Jerome, 1907, undated

Bock, Arthur, 1906

Bon, Jacques, 1923

Booz, Helen, 1946, 1947, undated

Bonney, M. Therese, 1926

Bosley, Frederick A., 1907, 1909, undated

Bouche, G. Louis (Folsom Galleries), 1920, 1921, undated

Boulenger, Jacques, 1942

Boyce, Sydney, 1911

Boyd, Jim, 1906

Bragdon, Marston S., 1914

Brandt, Edgar, 1926

Braque, G., 1939, 1955

Breck, George W., 1907

Bretano's, 1913

Brewster, Kate Lancaster, 1929, undated

Brewster, Walter, 1928

Brooklyn Museums, 1930, 1934

Brorby, Melvin, 1924

Brown, A. Spenser, 1907, 1912, 1913, 1914, undated

Brown, Slater, 1921

Brummer, Joseph, 1928, 1929, 1930

Bryant, Louise, 1917, 1918, 1920, 1922, 1923, 1924, 1925, 1929, 1930, undated

Bucher, Jeanne, 1937, undated

Bulliet, C. J., 1949

Bullitt, Orville H., undated

Bullitt, William C., 1937, 1939, 1940, undated

Butcher, Fanny, 1931

Byrne, Barry, 1928, 1930

Caffery, Jefferson, 1944, 1945

Cahiers de L'Etoile, 1929

Calder, Alexander (Illustrated Letter), 1932, 1935

California Museum of Art, Palace of the Legion of Honor, 1923, 1924, 1933

Calton, Constance, 1948

Campbell, Elisa, undated

Carnegie Institute, 1938

Caro-Delvaille, Aline, 1923

Carpenter, Genevieve, 1928, 1929

Carpenter, Rue, 1927

Cartarin, A., 1924

Carter, Helen B., 1921, 1922

Cecile, Paul, 1929

Centre Immobilier et Forestier, 1923

Chambers, Christine, undated

Chandler, George M., 1921

Chapman, C., 1912, undated

Charles Fiore Nurseries, 1930

Charpentier, Jean, 1926

Chase Bank, 1946

Cheney, Sheldon (Theatre Arts Magazine), 1921

Chicago Academy of Fine Arts, 1933, 1934, 1935

Chicago Daily News, 1918

Chicago Sculptors Association, 1935, 1936

Chicago Society of Etchers, 1916, 1918

Child, Paul Cushing & Julia, 1929, 1950

Childs, Newell, 1940, 1945, undated

Christy, Bill, 1946

Chrysler, Walter P., 1939

Civil Affairs Office, Orleans, France, 1944

Clarke, Dora, undated

Cliff Dwellers, 1928

Cline, Jared, 1927, 1928

Clow, Isabelle, 1927, 1928

Cohalan, Daniel, 1930

Colbert, F. Overton, 1933

Cole, Timothy, 1917

Cole, Walter, 1907, 1908, 1909, 1910, 1911, 1912, 1919, undated

Coleville, Ruth, 1912

College of St. Scholastica, 1939

Combes Favard, Berthe des, 1921, undated

Compagnie Generale Transatlantique, 1916, 1923, 1927

Commission de la Renaissance d'Orleans, 1945

Consulate-General of the United States of America, 1914

Corcoran Gallery of Art, 1935

Coules, Edith V., 1926, undated

Cowles, Genevieve, 1927

Crane, Jacob, 1933

Creative Art, 1928

Cret, Paul Philippe & Marguerite, 1925, 1926, 1930, 1945, undated

Cross, Louise, 1932

Crowninshield, Frank, 1929

Cummings, Nathan, 1955, 1956

Cummings, Walter, undated

Cunningham, John, 1933, 1938, 1955

Cuttoli, Marie, undated

Dallies, Jeanne, 1917

Dashiell, Juliet A., 1905, 1906, 1907

Davies, Arthur, 1923

Davis, Garry, 1949

Dell, Floyd (The Liberator), undated

Department du Loiret, Republique Francaise, 1944

Deregnancourt, Alphonse, 1914, 1915, 1918

Devambez, 1918, 1919

Deville-Chabrol, Emma, undated

Diaz, Luis, 1936

Diaz de Recchia, Ana, 1911, 1913

Dismorr, Jessica, 1918

Doubleday Page & Company, 1920

Dougherty, Paul, 1925

Dreier, Ethel E., 1923, 1926

Dreier, Katherine (Societe Anonyme Inc.), 1921, 1922, 1923, 1924, 1926, 1928, undated

Drury, Holden, 1953

Dubowsky, Henry, 1945

Duchamp, Marcel, 1927, undated

Dudensing Galleries, Inc., 1929

Duval, Jack H., 1907, 1918, undated

Duval, L. & L. Janier, 1916

Eastman, Max (The Liberator), 1918, 1919

Eckridge, Bob, undated

Eddy, Arthur J., 1916,undated

Editions Savoir Vivre, 1919

Eggimann, L. H., 1918

Elliott, Lucretia M., 1906

Embassy of the United States of America, Paris, 1940, 1945, 1946, 1947

Emmett, Beulah, 1937, undated

Enterprises Morlon & Fils, 1923

Espy, John, 1915

Ewing, Mary H., 1909

Ewing, Mary James, 1930

Ewing, W. A., 1916

Eyskens, A. Mary, 1909

Eyskens, Felix, 1912

Fagotat, G., 1922

Fairmount Park Art Association, 1933, 1948

Farre, William, 1922, 1923, 1925

Faucauld, Isabelle de Comtess, undated

Fauche, E., 1927

Fenton, P., 1943

Fio Rito, Madelyn, 1954, 1955

Fournier, F., 1932

Franks, Sara, 1909

Freelander, Ronald, 1945, 1946

Freneuse, Marie Louise Landry de, 1944, 1945, 1946, 1947, 1948

Freres, Brunschwig, 1925, 1927, 1928

Friedlander, Leo, 1936

Fry, Edith M., 1917, 1918

Fry, William E., 1909, 1921, 1923, undated

Fuller, R. Buckminster, 1929, 1930, 1932, undated

Galerie Briant-Robert, 1924

Galerie des feuillets d'art, 1919, 1920, undated

Galerie "L'Effort Moderne" (Leonce Rosenberg), 1919, 1924, 1926, 1928, 1930, 1931

Galerie Zak, 1925, 1934

General Alloys Company, 1935

Geret, Lucien, 1946, 1951

Germain, Mr. & Mrs., 1925

Gibson, Sidney, undated

Golejewski, General, 1945, 1946

Goodale, Hazel, 1906

Grafly, Charles & Martha, 1911

Graphic Institute of Lithography, 1937

Greeley, Martha, undated

Green, Gretchen, 1954

Gros, Gabriel, 1919

Grossman, Edward, undated

Gutheim, Frederick, 1946

H., Edna R., 1921, 1922

H. W. Croxton & Co., 1933

Hadley, Louise, 1937, 1940, undated

Haines, Grace (Mrs. L. Emerson Matter), 1906, 1907, 1908, 1909

Hammond, Madelyn, 1933

Hannen, Jos. H., 1909

Harrington, James (Jimmie), 1900, 1905, 1906, 1907, 1921, 1922, 1937

Hartley, Marsden, 1926, 1927, 1928, 1930, undated

Harvey, Fred, 1918

Heap, Jane, 1923, 1924, 1925, 1927, 1929, undated

Hecht, Zoltan, 1928

Heitkamp, Irving & Eleanor M., 1907, 1909, 1911, 1912, 1913, undated

Helion, Jean, 1937, 1938

Heyman, Katherine, undated

Hoeckner, Carl, 1921

Holabird, John A. (Holabird & Root), 1930

Holley, Bertha, 1913, undated

Holmes, Frederick, 1905, undated

Hoskins, W., 1930

Houfe, Eric, 1954

Houston, William, undated

Hoyt, Henry M. & Anne, 1911, 1912, 1918, 1920, 1921, undated

Hubert, M. de la Montaigne, 1933, 1935, 1936, undated

Hubert, Loyou, 1926

Huddleston, Sisley, 1924, 1927, 1929, 1930, undated

Hugon, Paul D., 1938

Hunt, Dorothy, undated

Iannelli, Alfonso, 1924, 1926, 1927, 1929

Industrial Fireproofing Corp., 1935

Jacques Seligmann & Co., Inc., 1934

Jaines, Louise, 1921

James, R. Howard, 1911, 1912, 1929, undated

Jaques, Bertha, 1917, 1918, 1919, 1920, 1921

Jenkins, Julia, 1905, undated

John H. Vanderpoel Art Association, 1939

Joy, Bill, 1922, 1923, undated

Junior League of Chicago, 1932, 1935

Kahn, Albert, 1934

Kayser, Jos., 1947

Kennedy, Herbert H., 1922, 1923, 1924, 1925

Kramer, Frank, 1905

Kunst Art Foundries, 1931

Lacomme, Risette, 1919, 1920, 1924, 1926, undated

Lafargue, Henry, 1925, 1926, 1927, 1928, 1931

Laing, Alice S., 1921

Lambert, Gertrude, 1911, 1912, 1913, 1914, 1917, 1929, undated

Laurens, E., 1911

La Verite, 1919

Lavolley, I.?, 1926, 1929, undated

Layrault?, 1923, 1924, 1925

Lazari, Paul, 1946

Le Bosse, R., 1938

Lecomte, Mr., 1928

Lecomte du Nouy, Mrs., 1948

Lecornu, G., 1927

Lee, G. Ambrose, 1905

Lee, Henry C., 1927

Lee, Robert M., 1931

Leger, Fernand, 1936, undated

Leight, Mrs. Edward, 1921, undated

Les Muses Francaises, 1920, 1921, 1922

Lewis, Elizabeth, 1935

Lewis, Helen, 1946, 1947, undated

Lipchitz, Jacques & Berthe, undated

Long, Mason, 1953

Loring?, Gustave, 1919

Loyson, 1913

Luntz, Charles, 1946

Lyons, Philip, 1929, 1932, undated

MacBurney, T. N., 1930

Magnin, A. de, 1918

Malye, T., 1927

Mannheimer, Frank, undated

Manziarly, Yolande de, 1923, 1925, 1926, 1927, 1928, 1929

Martre, Charles, 1927

Masclary, Bernard de, 1923, 1924, 1925, 1942, 1955, undated

Masclary, P. de, 1942

Marmet, L. J., 1906

Mazau, F., 1923

McClelland, Nancy, 1937

McCormick, Elsie Rockefeller, 1950

McCormick, Robert H., 1949

McIntyre, Margaret, 1924, 1926

McManus, Blanche, 1918

Medallic Art Company, 1931

Meeker, Arthur, 1930

Metropolitan Museum of Art, 1916

Meunier, Maurice, 1926, 1927

Miller, Edgar, undated

Miller, John O'Fallon & Caroline, 1923, 1926, undated

Miller, Joseph Gilman, 1929

Milman, Ralph & Helen, 1937, 1938, 1955

Monnette, Orra Eugene, 1921

Montellier, J., 1930

Moody, Harriet, 1925

Moore, Grace, 1936

Morgan, Charles, 1933

Morley, R., 1908, 1918

Morse, Howard K., 1927

Morris Book Shop, 1921

Mowrer, Edgar, 1914, undated

Mowrer, Paul Scott & Winifred, 1912, 1913, 1914, 1915, 1916, 1917, 1918, 1922, undated

Museum of Fine Arts, Boston, 1923

Museum of Modern Art, 1930, 1933, 1934

"Nadja", 1926

Nagel, Elizabeth, undated

Nashville Art Club, 1909

National Sculpture Society, 1928

National Soap Sculpture Committee, 1931

Navez, P., 1914

Needham, Louis & Brorby, Inc., 1930, 1935, 1936, 1945, 1946, 1948, 1949, undated

Nelson, Paul, undated

Neological Foundation, 1940, 1945

The Neoterics, 1935

Neue Gallerie, 1925

Neumann, A., 1940, 1945

Newark Museum, 1935

New Masses, 1925

The New Orient, 1930

Noel, Georges, 1945

Norton, John, 1929, undated

Oakley, Horace, 1921

Office of War Information, 1945

Olds, Abbie Storrs, 1950

O'Toole, James St. L, 1935, 1936, undated

Paas, Emily Anita, 1928

Packard, Mary Storrs, 1921

Palmer, Pauline, undated

Panama-Pacific International Exposition, 1913, 1916

Paris-Midi, 1925, undated

Paris Post, 1946

Parker, Eleanor Wayne, 1912, 1913

Parker, Kineton, 1922, 1930

Partridge, Charlotte Russell, undated

Pascal, Pietro, 1946

Pasquier, Gustave, 1924

Passani, F., 1930

Pearson, Ralph M., 1928, 1929

Peignin, Marius, 1925

Pelzer, Mildred W., 1936

Pennsylvania Academy of Fine Arts, 1910, 1911, 1933

Perry, Ruth T., 1907

Phillips, S. G., (illustrated) 1911, 1914

Pichon, Leon, 1920

Pierron, M., 1920

Playboy, 1919

Polasek, Albin, 1926

Ponce, J., 1927

Post, Mary, 1906, 1907, undated

Potin, O., 1953

Provincetown Print Gallery, 1921

Putnam, Samuel, undated

Quattrocchi, Edmondo, 1929

Ray, Man, undated

Raynal, Maurice, 1928, 1929, undated

Reboul, Jacques, 1907

Recchia, Richard H., 1912, 1913, 1920, undated

Reed, John, 1917

Rendu, A., undated

Republique Francaise, Mairie D'Orleans, 1945, 1946, 1947, 1948

Rerolle, Gervaise, undated

Richard, E., 1932

Richard, Paul, 1923, 1927, 1928

Ritman, Louis, 1909

Roberts, Webb, 1936, 1938

Roche, Henri Pierre, 1924, 1927

Rockwell, 1920

Roger, Maurice, 1927

Roosevelt, Theodore, 1916

Root, Ellen, undated

Roseman, T., 1922

Rosenberg, Paul, 1939

Rotil, J., 1924

Roullier, Alice, 1920, 1922, 1923, 1924, 1927, 1928, 1931, 1935, 1936, 1937, 1938, 1939, 1940, 1945, 1946, 1947, 1948, 1949, 1950, 1955, undated

Rowdon, J. T., 1905

Royer, Jean, 1945

Ruhlmann & Laurent, 1919, 1920

Russell, Ann, 1904, 1906

Safalgette, L., 1919, 1920, undated

Salmon, Andre, 1921, 1923, undated

Salon du Franc, 1926

Salons of America, 1923, 1924

Saltino, Andy, 1925

Schoenfeld, Flora, undated

School of the Museum of Fine Arts, Boston, 1909

Schulberg, Stuart and Barbara, undated

Schutze, M., 1934, undated

Schwartz, Andrew T., 1910

Scott, Edwin & Josephine, 1907, 1909, 1911, 1912, 1914, undated

Segur, Adrienne, 1927

Senior, John L., 1935, 1936, undated

Seymour, Ruth, 1922

Shanlow?, Alexandra, 1914

Sheeler, Charles, 1923

Shenker, Harry, 1919

Slaiman, M. & Ruth, 1950

Smith, C. Powers, 1923

Smith, Howard E., 1912, 1913, 1914, 1914, 1915, 1916, 1917, 1918, 1920, 1925, 1926, undated

Societe de Saint-Jean, 1917

Sowerby, Leo, 1918

Spaulding, W. B., 1910

Sprague, Albert A., 1921

Stearns, Harold E., 1932

Stein, Gertrude, undated

Stein, Rita, undated

Stella, Joseph, 1929

Stephens, E. A., 1949

Stephens, Lucille Chandler, 1925

Sterne, Maurice, 1925

Sterner, Carl John, undated

Stieglitz, Alfred, 1930

Stinson, Roxie R., 1905, 1906, 1907, 1908, undated

Stora, M. & R., 1926

Storgo Laboratories (David Goldsmith), 1936, 1937

Storrs, Frank Herbert, 1924, 1926

Storrs, John W., 1918

Storrs, Louis, 1939

Storrs, Ronald, 1925, 1927, 1928

Sueur, G., 1926

Survage, Leopold & Germaine, 1930, 1931, 1932, 1937, 1945, undated

Tancrede, Robert, 1945

Tartarin, A., 1930

The Tavern, 1928

Taylor, Catherine, 1911, 1912

Texas Centennial Exposition, 1936

Thanlow, Ch. L. & Ingrid, 1919, undated

The Seven Arts Magazine, 1918

Thomas, Maxime, 1930

Tillson, Rex, 1923

Toledo Museum of Art, 1938

Tooker, Marion F., 1911

Toulouse, Roger, 1949, 1955, undated

The Transatlantic Review, 1924

Truman, Harry S., 1945 (letter to)

Turnbull, Yale, 1925, 1926

Tyson, Russell, 1922, 1927

Vallette, S., 1920

Valsuani, Claude, 1919, 1922, 1933, 1951, 1955

Vestal, Donald B., 1931

Villon, Jacques, undated

Vinton, Warren Jay & Helen Augur, 1924

Voccia, Luigi, 1914

Vogelgesang, Shepard, 1935

Wacker, Fred, 1955

Walpone, Marguerite, 1918

Ware, Mary, undated

Waring, P. A., 1921

Warwick, Katherine Murray, 1916

Webster, H. A., 1920

White, Charles E., 1932, 1933

Whitney Museum of American Art, 1933

Williams, Frederick, 1924

Williams, Walter R., 1909, 1911, 1912, undated

Wilson, A. J., 1935

Wolf, Walter, 1923

Worcester, Charles H., 1928, 1929, 1945, undated

Wright, Alan, 1910

Wright, Katherine, 1921

Zamoyski, August, 1921

Zorach, William & Marguerite, 1922, 1924

Restrictions:

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.

Identifier:

AAA.storjohn, Subseries 2.1

See more items in:

John Henry Bradley Storrs papers

John Henry Bradley Storrs papers / Series 2: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw962d3f96b-eb8b-415a-8c58-31b50909e4d5

EDAN-URL:

ead_component:sova-aaa-storjohn-ref45

Creator:

Lebrun, Rico, 1900-1964  Search this

Names:

Jacques Seligmann & Co  Search this

Extent:

5.3 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Photographs

Date:

1935-1975

Summary:

The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.

Scope and Contents:

The papers of painter, muralist, and educator Rico Lebrun measure 5.3 linear feet and date from 1935 to 1975. Found within the papers are biographical materials; personal and business correspondence, including extensive correspondence between Lebrun and his gallery, Jacques Seligmann and Co.; writings, including illustrated notebooks; personal business records; printed material; 3 sketchbooks; and photographs of Lebrun, travels in Mexico, and his work.

Arrangement:

The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Materials, 1948-1962 (4 folders; Box 1, OV 10)

Series 2: Correspondence, 1935-1973 (1.7 linear feet; Boxes 1-2, OV 10)

Series 3: Writings, 1938-1964 (0.7 linear feet; Boxes 2-3)

Series 4: Personal Business Records, 1940-1964 (0.3 linear feet; Box 3, BV 7)

Series 5: Printed Material, circa 1940-1975 (0.8 linear feet; Box 3, BV 8-9)

Series 6: Artwork, circa 1950-1965 (3 folders; Box 3)

Series 7: Photographic Materials, 1950-1965 (1.6 linear feet; Boxes 4-6)

Biographical / Historical:

Painter, muralist, and educator Rico (Frederico) Lebrun (1900-1964) lived and worked in New York City and Los Angeles, California, and his modernist works were primarily influenced by traditional religious iconography and human suffering.

Born in Naples, Italy, Lebrun attended the Naples Academy of Beaux Arts after his military service in the Italian Army during WWI. He began his career as a stained glass designer and was offered a one year contract to work in Springfield, Illinois, for the Pittsburgh Plate Glass Company in 1924. At the end of the contract, Lebrun moved to New York City where he found work as a commercial illustrator for magazines such as Vogue, Fortune, and The New Yorker. After a return to Italy in the early 1930s to continue his art studies, Lebrun moved to New York City in 1936 where he taught at the Art Students League, painted his first mural commission for the Fogg Art Museum with Lewis Rubenstein, and found work as an artist for the WPA.

In 1938, Lebrun moved to Southern California and accepted a position at the Chouinard Art Institute, where his students would include Disney studio animators for Bambi. Lebrun continued to produce paintings while teaching, and his first solo exhibition was organized by Donald Bear, then director of the Santa Barbara Museum of Art. Beginning in 1947, Lebrun spent three years working on over 200 drawings and paintings for the Crucifixion series, which culminated in an exhibition at the Los Angeles County Museum of Art.

In the late 1940s and 1950s, he continued to teach at the Jepson Institute in Los Angeles and at other institutions, including the Instituto Allende in San Miguel, Mexico from 1952 to 1954. In 1958, while teaching at Yale, Lebrun was invited by professor and art critic Peter Selz to create a mural for Pomona College. He completed his plans for the mural during his year-long teaching residency at the American Academy of Rome in 1959, and completed Genesis in 1960. Lebrun died from cancer in 1964.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Constance Lebrun Crown and David Lebrun conducted by Paul Karlstrom, November 23, 1974. Syracuse University also holds papers of Rico Lebrun.

Provenance:

The papers were donated in 1974 by Lebrun's wife, Constance Lebrun Crown. Additional materials were donated by Crown in 1976.

Restrictions:

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

Rights:

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

Occupation:

Educators -- California -- Los Angeles  Search this

Muralists -- California -- Los Angeles  Search this

Painters -- California -- Los Angeles  Search this

Topic:

Painting, American  Search this

Genre/Form:

Sketchbooks

Photographs

Citation:

Rico Lebrun papers, 1935-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.lebrrico

See more items in:

Rico Lebrun papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bbea8115-bede-4a75-b0f2-b467871aa449

EDAN-URL:

ead_collection:sova-aaa-lebrrico

Creator:

Jacques Seligmann & Co  Search this

Names:

De Hauke & Co., Inc.  Search this

Eugene Glaenzer & Co.  Search this

Germain Seligmann & Co.  Search this

Gersel  Search this

Jacques Seligmann & Co  Search this

Glaenzer, Eugene  Search this

Haardt, Georges  Search this

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

Parker, Theresa D.  Search this

Seligman, Germain  Search this

Seligmann, Arnold, 1870-1932  Search this

Seligmann, Jacques, 1858-1923  Search this

Seligmann, René  Search this

Trevor, Clyfford  Search this

Waegen, Rolf Hans  Search this

Extent:

203.1 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Date:

1904-1978

bulk 1913-1974

Summary:

The records of Jacques Seligmann & Co. measure approximately 203.1 linear feet and date from 1904 to 1978, with bulk dates from 1913 to 1974. The collection includes extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies. The collection is an invaluable resource in tracing the provenance of particular works of art and provides a comprehensive view of the activities of collectors and art dealers in the years leading up to and following World War II.

Scope and Contents note:

The Jacques Seligmann & Co., Inc., records measure approximately 203.1 linear feet and date from between 1904 and 1978, with bulk dates of 1913-1974. The records include extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies, including de Hauke & Co., Inc., and Modern Paintings, Inc.

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

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

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

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

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

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

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

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

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

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

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

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

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

Arrangement note:

Following is an outline of the arrangement of the collection by series and corresponding box numbers and extent. More detailed information for each series and subseries, along with a box and folder inventory, is found in the Series Descriptions/Container Listings, which can be found by following the series links below. Glass plate negatives are housed separately and closed to researchers.

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.

Occupation:

Art dealers -- France -- Paris  Search this

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

Topic:

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

Schiff, Mortimer L. -- Art collections  Search this

Arenberg, duc d' -- Art collections  Search this

Liechtenstein, House of -- Art collections  Search this

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

Art -- Collectors and collecting  Search this

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

La Fresnaye, Roger de, 1885-1925  Search this

Art, Renaissance  Search this

Decorative arts  Search this

Art treasures in war  Search this

Art, European  Search this

Function:

Art galleries, Commercial -- New York (State)

Art galleries, Commercial -- France

Genre/Form:

Gallery records

Citation:

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

Sponsor:

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

Identifier:

AAA.jacqself

See more items in:

Jacques Seligmann & Co. records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9967799ef-d6d8-4390-819b-3d9300dcf1d3

EDAN-URL:

ead_collection:sova-aaa-jacqself

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 8

Type:

Archival materials

Date:

1938-1943

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9246508a2-ab71-432a-ad87-987a35cc9f6e

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10000

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 9

Type:

Archival materials

Date:

1932-1938

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9361aa958-9bd3-4a2b-810a-fe7339a47b12

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10001

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 10

Type:

Archival materials

Date:

1925-1939

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97f7bf13d-c5f4-49cd-8c63-97c71c49b2a7

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10002

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 11

Type:

Archival materials

Date:

1914-1934

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d0396051-cbfc-49c8-bc77-18fe8f7d7df5

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10003

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 12

Type:

Archival materials

Date:

1924-1926

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97288b7dd-1c75-4587-8cfc-f8bc41712a3d

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10004

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 13

Type:

Archival materials

Date:

1924-1946

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fa8c4309-688a-4e67-b42c-3144879399aa

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10005

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 14

Type:

Archival materials

Date:

1935-1936

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9813f0a1f-3bda-49eb-a575-5ba6f919c596

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10006

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 15

Type:

Archival materials

Date:

1936-1937

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96d3eaba6-aed7-477d-8ebc-a995ab35748b

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10007

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 16

Type:

Archival materials

Date:

1949-1972

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91f2caada-d66d-4835-853e-b784a0662604

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10008

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 17

Type:

Archival materials

Date:

1929-1958

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9865843ef-8587-4874-863a-6350fcbe798f

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10009

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 18

Type:

Archival materials

Date:

1959-1960

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9763865a2-e02f-4349-b34f-c1a9199af3aa

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10010

Collection Creator:

Jacques Seligmann & Co  Search this

Container:

Box 45, Folder 19

Type:

Archival materials

Date:

1926-1931

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f6d08fc1-8d89-4a33-80fd-5be2db369666

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10011

Collection Creator:

Jacques Seligmann & Co  Search this

Type:

Archival materials

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

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

Collection Citation:

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

Sponsor:

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

See more items in:

Jacques Seligmann & Co. records

Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b6088817-8470-4617-a67a-e7864769c47b

EDAN-URL:

ead_component:sova-aaa-jacqself-ref10012