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Research material on Amedeo Modigliani

Creator:
d'Atri, Alberto G.  Search this
Names:
Modigliani, Amedeo, 1884-1920  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drafts (documents)
Notes
Manuscripts
Photographs
Date:
circa 1920-1962
bulk 1950-1959
Summary:
Research material on Amedeo Modigliani, circa 1920-1962, measures 2.1 linear feet and was compiled by art critic Alberto G. d'Atri for his unpublished work, "La Vie et l'Oeuvre de Modigliani Amedeo, 12 Juillet 1884 - 24 Janvier 1920 par Alberto G. d'Atri," circa 1950-1956. Found is Modigliani's death certificate, correspondence, writings, notes, printed material, reproductions, extensive photographs of artwork, and a register of Modigliani's works of art.
Scope and Content Note:
Research material on Amedeo Modigliani, circa 1920-1962, measures 2.1 linear feet and was compiled by art critic Alberto G. d'Atri for his unpublished work, "La Vie et l'Oeuvre de Modigliani Amedeo, 12 Juillet 1884 - 24 Janvier 1920 par Alberto G. d'Atri," circa 1950-1956. Found is Modigliani's death certificate, correspondence, writings, notes, printed material, reproductions, extensive photographs of artwork, and a register of Modigliani's works of art.

Correspondence includes letters to and from Alberto d'Atri with European and American museums and galleries, and scholars. A significant portion of the correspondence is in French, and to a lesser extent, Italian. Writings consist of typed manuscripts, drafts, and research notes, primarily in French. Notes include lists of Modigliani's works of art in the collections of museums, galleries, and private owners, and notes for an exhibition catalog of the artist's works.

Printed Material includes a handful of photocopied clippings, two exhibition announcements, and scattered articles and essays on Modigliani. Found among the reproductions are facsimiles of letters from Modigliani, prints, postcards and various printed material of Modigliani's artwork. Much of the research material consists of photographs of works of arts by Modigliani, many of which have provenance-related information written on the back of the photograph. Also found are a handful of reproduced photographs of Modigliani and his artist friends and models, and d'Atri's oversized one-volume register of Modigliani's works of art which contains 329 entries indicating titles, dimensions, dates, descriptions, ownership, provenance, and exhibition history for each work.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, circa 1950s (Box 1; 1 folder)

Series 2: Correspondence, circa 1948-1962 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1950-1956 (Box 1; 0.4 linear feet)

Series 4: Notes, circa 1950s-1960 (Box 1; 8 folders)

Series 5: Printed Material, circa 1920-1959 (Box 1; 3 folders)

Series 6: Reproductions of Modigliani's Works of Art, circa 1937-1957 (Box 1; 4 folders)

Series 7: Photographs, circa 1950s-1960s (Box 1-3; 0.9 linear feet)

Series 8: Register of Modigliani's Works of Art, 1908-1920 (Box 4; 0.3 linear feet)

Other than the photographs, the materials in each series likely reflect the original arrangement by d'Atri. The bulk of d'Atri's research and writing appears to have been conducted during the 1950s; therefore, many undated materials have been given the circa date 1950s.
Biographical Note:
Alberto G. d'Atri was an art critic based in Paris, France. His subject was the Italian painter Amedeo Modigliani (1884-1920).
Provenance:
The research material on Amedeo Modigliani was donated to the Archives of American Art by Alberto G. d'Atri's daughter, Lisa Claire Martin, in 1995.
Restrictions:
The collection is open for research. Use 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 critics -- France  Search this
Genre/Form:
Drafts (documents)
Notes
Manuscripts
Photographs
Citation:
Research material on Amedeo Modigliani, circa 1920-1962, bulk circa 1950s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.datralbe
See more items in:
Research material on Amedeo Modigliani
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-datralbe
Online Media:

Pierre Matisse Gallery records

Creator:
Pierre Matisse Gallery (New York, N.Y.)  Search this
Names:
Artigas, Francisco, 1916-  Search this
Balthus, 1908-  Search this
Berman, Eugene, 1899-1972  Search this
Biederman, Charles Joseph, 1906-2004  Search this
Blatas, Arbit  Search this
Bonnard, Pierre, 1867-1947  Search this
Borès, Francisco, 1898-1972  Search this
Brancusi, Constantin, 1876-1957  Search this
Braque, Georges, 1882-1963  Search this
Breton, André, 1896-1966  Search this
Butler, Reg, 1913-1981  Search this
Calder, Alexander, 1898-1976  Search this
Calliyannis, Manolis, 1926-  Search this
Canogar, Rafael, 1935-  Search this
Chagall, Marc, 1887-1985  Search this
Cézanne, Paul, 1839-1906  Search this
Dalí, Salvador, 1904-  Search this
De Chirico, Giorgio, 1888-  Search this
Degas, Edgar, 1834-1917  Search this
Derain, André, 1880-1954  Search this
Despiau, Charles, 1874-1946  Search this
Dos Passos, John, 1896-1970  Search this
Dubuffet, Jean, 1901-1985  Search this
Duchamp, Marcel, 1887-1968  Search this
Dufy, Raoul, 1877-1953  Search this
Dunoyer de Segonzac, André, 1884-1974  Search this
Ernst, Max, 1891-1976  Search this
Etrog, Sorel, 1933-  Search this
Faucher, Serge  Search this
Fellini, Federico  Search this
Ferren, John, 1905-1970  Search this
Francis, Sam, 1923-1994  Search this
Giacometti, Alberto, 1901-1966  Search this
Gleizes, Albert, 1881-1953  Search this
Gogh, Vincent van, 1853-1890  Search this
Gris, Juan, 1887-1927  Search this
Gromaire, Marcel, 1892-1971  Search this
Hantaï, Simon  Search this
Hélion, Jean, 1904-1987  Search this
Katz, Mané, 1894-1962  Search this
Kisling, Moïse, 1891-1953  Search this
Knapp, Stefan, 1921-  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Lam, Wifredo  Search this
Laurencin, Marie, 1883-1956  Search this
Lipchitz, Jacques, 1891-1973  Search this
Lurçat, Jean, 1892-1966  Search this
Lynes, George Platt, 1907-1955  Search this
Léger, Fernand, 1881-1955  Search this
MacIver, Loren, 1909-1998  Search this
Maillol, Aristide, 1861-1944  Search this
Mason, Raymond, 1922-  Search this
Masson, André, 1896-1987  Search this
Matisse, Henri, 1869-1954  Search this
Matisse, Pierre, 1900-1989  Search this
Matta, 1912-2002  Search this
Matter, Herbert, 1907-1984  Search this
Menkes, Sigmund, 1896-1986  Search this
Millares, Manolo, 1926-1972  Search this
Miró, Joan, 1893-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Mondrian, Piet, 1872-1944  Search this
Nelson, Paul, 1895-  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pascin, Jules, 1885-1930  Search this
Picasso, Pablo, 1881-1973  Search this
Quintanilla, Luis, 1900-1980  Search this
Rattner, Abraham  Search this
Renoir, Auguste, 1841-1919  Search this
Riopelle, Jean Paul  Search this
Rivera, Manuel, 1927-  Search this
Roszak, Theodore, 1907-1981  Search this
Rouan, François, 1943-  Search this
Ruckstull, F. W. (Fred Wellington), 1853-1942  Search this
Sage, Kay  Search this
Saura, Antonio, 1930-  Search this
Seligmann, Kurt, 1900-1962  Search this
Seurat, Georges, 1859-1891  Search this
Siqueiros, David Alfaro  Search this
Soutine, Chaim, 1893-1943  Search this
Tamayo, Rufino, 1899-  Search this
Tanguy, Yves, 1900-1955  Search this
Tchelitchew, Pavel, 1898-1957  Search this
Utrillo, Maurice, 1883-1955  Search this
Viallat, Claude, 1936-  Search this
Zadkine, Ossip  Search this
Zao, Wou-ki, 1920-2013  Search this
Extent:
300 Items (Reel NPM1: (on partial microfilm reel))
1.25 Linear feet (Unmicrofilmed)
Type:
Collection descriptions
Archival materials
Date:
1925-1989
Scope and Contents:
REEL NPM1: Catalogs of Pierre Matisse Gallery exhibitions, 1931-1945; photographs of exhibitions interspersed among the catalogs; and a scrapbook containing clippings and reviews of shows at the gallery.
Artists represented among the catalogs, photographs, or scrapbook include Balthus, Eugene Berman, Charles Biederman, Arbit Blatas, Pierre Bonnard, Francisco Bores, Constantin Brancusi, Georges Braque, André Breton, Alexander Calder, Paul Cézanne, Marc Chagall, Salvador Dalí, Giorgio De Chirico,Edgar Degas, André Derain, Charles Despiau, John Dos Passos, Marcel Duchamp, Raoul Dufy, André de Segonzac Dunoyer, Max Ernst, John Ferren, Alberto Giacometti, Albert Gleizes, Vincent van Gogh, Juan Gris, Marcel Gromaire, Jean Hélion, Mane Katz, Moise Kisling, Roger de La Fresnaye, Wifredo Lam, Marie Laurencin, Fernand Léger, Jacques Lipchitz, Jean Lurçat, George Platt Lynes, Loren MacIver, Aristide Maillol, André Masson, Henri Matisse, Roberto Sebastián Matta Echaurren, Herbert Matter, Sigmund Menkes, Joan Miró, Amedeo Modigliani, Piet Mondrian, Paul Nelson, Amédée Ozenfant, Jules Pascin, Pablo Picasso, Luis Quintanilla, Abraham Rattner, Auguste Renoir, Georges Rouault, Kay Sage, Kurt Seligmann, Georges Seurat, David Alfaro Siqueiros, Chaim Soutine, Rufino Tamayo, Yves Tanguy, Pavel Tchelitchew, Maurice Utrillo, and Ossip Zadkine.
UNMICROFILMED: Catalogs of Pierre Matisse Gallery exhibitions of the work of: Francisco Artigas, Balthus, Reg Butler, Manolis Calliyannis, Rafael Canogar, Marc Chagall, Jean Dubuffet, Sorel Etrog, Serge Faucher, Federico Fellini, Sam Francis, Alberto Giacometti, Simon Hantaï, Stefan Knapp, Wilfredo Lam, Loren MacIver, Raymond Mason, Manolo Millares, Joan Miró, Jean-Paul Riopelle, Manuel Rivera, François Rouan, Georges Rouault, Theodore Roszak, Antonio Saura, Yves Tanguy, Claude Viallat, Wou-Ki Zao, and the Dogon and Tellem peoples of Africa.
Biographical / Historical:
Art gallery; New York, N.Y. Founded 1931 by Pierre Matisse, son of Henri Matisse; operated until his death in 1989, handling mainly 20th century European art.
Related Materials:
Pierre Matisse Gallery records also located at Pierpont Morgan Library, New York, N.Y.
Provenance:
Records on reel NPM1 were lent for microfilming 1967 by the Pierre Matisse Gallery. The unmicrofilmed catalogs were donated in 1996. The Gallery donated its records to the Pierpont Morgan Library in New York in 1997.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Topic:
Art, Modern -- 20th century -- United States  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Identifier:
AAA.piermati
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-piermati

Henry and Rose Pearlman papers

Creator:
Pearlman, Henry, b. 1895  Search this
Names:
The Henry and Rose Pearlman Foundation  Search this
Cézanne, Paul, 1839-1906  Search this
Degas, Edgar, 1834-1917  Search this
Gogh, Vincent van, 1853-1890  Search this
Kokoschka, Oskar, 1886-  Search this
Lipchitz, Jacques, 1891-1973  Search this
Modigliani, Amedeo, 1884-1920  Search this
Pearlman, Rose, b. 1901  Search this
Soutine, Chaim, 1893-1943  Search this
Extent:
4.38 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1893-1995
bulk 1950-1980
Summary:
The records of the Henry and Rose Pearlman papers measure 4.38 linear feet and date from 1893 to 1995 (bulk 1950-1980). The collection documents the activities of Post-Impressionist and Modern art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs, and clippings.
Scope and Content Note:
The Henry and Rose Pearlman papers measure 4.38 linear feet and document the activities of art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs of artwork and exhibitions, and clippings ranging from 1909 to 1995 (bulk 1950-1980). Most of the materials relate to artists and pieces represented in the Pearlmans' collection, although a small amount of material concerns works considered or researched by Pearlman, but not purchased.

The bulk of the collection concerns the lending, reproduction, and exhibition of works of art owned by the Pearlmans and their foundation. Supplemental research material such as exhibition catalogs, photographs of artworks, and articles and clippings on artists, artworks or other private collections, make up most of the remainder. Oversized materials include a catalogue of the Pearlman Collection, a portfolio of reproductions of the Cezanne watercolors belonging to the Pearlmans, and photographs comparing Toulouse-Lautrec's Parody of the Bois Sacre aux Arts et Muses to the original.
Arrangement:
The collection has been arranged into four series. Glass plate negatives are housed separately and closed to researchers.

Series 1: General Collection Files, 1950-1995 (Box 1, 5; 8 folders)

Series 2: Artists' Files, 1909-1995 (Boxes 1-5, MGP 5; 3.2 linear feet)

Series 3: Museum Files, 1951-1994 (Box 4; 20 folders)

Series 4: Personal Files, 1966-1993 (Box 4; 5 folders)
Biographical Note:
Henry Pearlman (1895-1974), a lifelong resident of New York City, rose through the ranks of the business world to found his own company, Eastern Cold Storage, in 1919. In 1925, Henry married Rose. In the early 1940s, Pearlman purchased a few realist paintings, but it wasn't until his 1943 purchase of Chaim Soutine's Village Square that he was inspired to build what would become a noted collection of Post-Impressionist works. Over the next three decades, Pearlman acquired numerous works by such well-known artists as Soutine, Modigliani, Cezanne, Van Gogh, Renoir, Manet, Matisse, and Toulouse-Lautrec, in addition to those of lesser-known artists. In the early 1950s, Pearlman began collecting Cezanne watercolors. These paintings would become the cornerstone of his collection and would be exhibited around the world. Pearlman died in 1974, leaving his wife, Rose, to manage his collection until her death in 1994. From the mid-1970s, the Pearlman Collection has been on long-term loan to the Art Museum of Princeton.

The Pearlmans founded the Henry and Rose Pearlman Foundation in the 1950s. Much of the Pearlmans' artwork is now officially owned by the Foundation.
Provenance:
The Henry and Rose Pearlman papers were donated to the Archives of American Art in 2004 by Dorothy Edelman and Marge Scheuer, daughters of Henry and Rose Pearlman, care of the Henry and Rose Pearlman Foundation.
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.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pearhenr
See more items in:
Henry and Rose Pearlman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pearhenr
Online Media:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
Bassett, Bruce W.  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Rapoport, Nathan, 1911-  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Extent:
52.8 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Sketches
Designs
Date:
circa 1910-2001
bulk 1941-2001
Summary:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Scope and Contents note:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Arrangement note:
The collection is arranged as 2 series:

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)
Biographical/Historical note:
Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.
Related Archival Materials note:
Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.
Provenance:
Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials 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.
Topic:
Artists' studios -- Photographs  Search this
Genre/Form:
Diaries
Scrapbooks
Sketches
Designs
Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lipcjacq2
Online Media:

Jacques Lipchitz papers

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Bassett, Bruce W.  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
International Business Machines Corporation  Search this
Marlborough Gallery  Search this
Storm King Art Center  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Noguchi, Isamu, 1904-1988  Search this
Rapoport, Nathan, 1911-  Search this
Rodin, Auguste, 1840-1917  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Stott, Deborah  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Collection Creator:
Lipchitz, Jacques, 1891-1973  Search this
Extent:
9.5 Linear feet (Boxes 1-10, OV 11-12)
Type:
Archival materials
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Date:
circa 1910-1999
bulk 1941-1999
Scope and Contents note:
The papers of sculptor Jacques Lipchitz measure 9.5 linear feet and are dated circa 1910-1999, with the bulk of the material from the period 1941-1999. Personal and professional correspondence comprises nearly half of the collection. It, along with biographical material, writings by and about Lipchitz, printed material, and photographs document Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson.

Biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Among those with whom Lipchtz corresponded regarding commissions are: The Brazilian Embassy ( Prometheus Strangling the Vulture, Ministry of Health and Education, Rio de Janeiro), Vicomte Charles de Noailles ( The Joy of Life) [photocopies of letters from Lipchitz], Jean Devémy (Nôtre Dame de Liesse, Nôtre Dame de Toute Grace at Assy, France), Jane Blaffer Owen (ornamental gates and a cast of Nôtre Dame de Liesse for Philip Johnson's Roofless Church in New Harmony, IN), and the University of Minnesota, Duluth ( Daniel Greysolon, Sieur du Luth). There are numerous letters from Fairmount Park Art Association, Philadelphia Museum of Art, and R. Sturgis Ingersoll regarding multiple projects in Philadelphia; from the Emory Memorial and Robert Taft, Jr. about a memorial to Senator Taft; and from Eloise Spaeth concerning a bust of John F. Kennedy. Also documenting commissions are letters from architects, among them: Eero Saarinen and Associates, Kenneth Franzheim, Philip L. Goodwin, I. M. Pei and Associates, Philip L. Goodwin, and Vincent G. Kling and Associates.

Art dealers, galleries, and museums were frequent correspondents. They include: The Baltimore Museum of Art, The Bezalel Museum, Brussels Universal and International Exposition, Buchholz Gallery, Cincinnati Art Museum, Corcoran Gallery of Art, Curt Valentin Gallery, Fine Arts Associates (later Otto Gerson Gallery, Inc.), Marlborough-Gerson Gallery, Inc., Museé Bourdelle, Museé National d'Arte Moderne (Paris), Museum of Modern Art (New York), The Museum of Primitive Art, The Pennsylvania Academy of the Fine Arts, Philadelphia Museum of Art, Portland Art Museum (Oregon), Rijksmuseum Kröller Muller Otterlo, Stedelijk Museum (Amsterdam), Walker Art Center, Whitney Museum of American Art, and Worcester Art Museum.

Max N. Benoff, Bernard and Becky Reis, and Alan and Janet Wurtzburger were among the collectors who corresponded with Lipchitz. French artist Pierre Dubaut wrote over an extended period about his collection of Géricault paintings and plans for its eventual disposition. Other individuals who wrote frequently include: critic and writer, Waldemar George; Irene Patai, author of Encounters: The Life of Jacques Lipchitz; and Bert Van Bork, documentary filmmaker and author of Jacques Lipchitz, The Artist at Work; and art historian, Henry R. Hope, a professor active in the College Art Association. The America-Israel Cultural Foundation, Inc. and the International Rescue Committee were also frequent correspondents.

Of particular note is a lengthy letter (with drafts) to Daniel-Henry Kahnweiler in which Lipchitz explained in detail how the art dealer's writings about Cubist sculpture failed to adequately recognize his contributions to the genre. Extensive correspondence with Rabbi Schneerson includes thoughts about "graven images" in sculpture and contains lengthy religious discussions. Letters from Juan Gris and Josette Gris consist mainly of general news and pleasantries; they do, however, mention Juan Gris's health, and in one letter Gris states he is afraid of working too much and tiring himself out. While basically illegible, Gertrude Stein's letters seem to be short, quick notes about meetings.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculpture destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio at Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.
Collection Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials 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.
Topic:
Artists' studios -- Photographs  Search this
Sculptors -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Diaries
Motion pictures (visual works)
Sound recordings
Scrapbooks
Sketches
Photographs
Video recordings
Collection Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2, Series 1
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-lipcjacq2-ref14

Christ on the Cross [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Topic:
New Gallery  Search this
Religion--New Testament--Christ  Search this
Religion--New Testament--Crucifixion  Search this
Image number:
ROS R0004310
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133746

Charles Guérin [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Guerin, Charles  Search this
Type:
Photograph
Date:
1919
Topic:
New Gallery  Search this
Portrait male--Waist length  Search this
Occupation--Art--Painter  Search this
Recreation--Leisure--Smoking  Search this
Dress--Accessory--Hat  Search this
Dress--Accessory--Cane  Search this
Object--Other--Smoking Material  Search this
Image number:
ROS R0004716
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_134152

Oscar Miestchaninoff [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Miestchaninoff, Oscar  Search this
Type:
Photograph
Date:
1918
Topic:
New Gallery  Search this
Portrait male--Waist length  Search this
Occupation--Art--Sculptor  Search this
Object--Furniture--Chair  Search this
Image number:
ROS R0004768
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_134204

Seated Nude [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Topic:
E. V. Thaw & Co., Inc  Search this
Figure female--Full length  Search this
Figure female--Nude  Search this
Image number:
ROS R0004975
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_134411

Elvira Resting at a Table [painting] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Date:
1919
Topic:
E. V. Thaw & Co., Inc  Search this
Portrait female--Elvira  Search this
Portrait female--Waist length  Search this
State of Being--Other--Sleep  Search this
Object--Furniture--Table  Search this
Object--Other--Dish  Search this
Image number:
ROS R0005325
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_134756

Seated Woman [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Date:
Ca. 1917
Topic:
E. V. Thaw & Co., Inc  Search this
Figure female--Knee length  Search this
Image number:
ROS R0005530
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_134956

Portrait of a Woman [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Topic:
E. V. Thaw & Co., Inc  Search this
Portrait female--Bust  Search this
Image number:
ROS R0005566
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_134992

Head of a Girl [painting] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Topic:
Portrait female--Bust  Search this
Image number:
ROS R0003642
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133089

Portrait of a Young Woman [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Date:
1915
Topic:
Figure female--Bust  Search this
Image number:
ROS R0003670
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133117

Portrait of a Man [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Topic:
New Gallery  Search this
Portrait male--Bust  Search this
Image number:
ROS R0004178
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133624

Head [sculpture] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Date:
1914
Topic:
New Gallery  Search this
Figure female--Head  Search this
Image number:
ROS R0004193
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133639

Torero, Espana [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Topic:
New Gallery  Search this
Figure male--Knee length  Search this
Occupation--Sport--Bullfighting  Search this
Image number:
ROS R0004210
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133656

Head of a Woman [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Date:
Ca. 1919
Topic:
New Gallery  Search this
Figure female--Head  Search this
Image number:
ROS R0004260
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133706

Portrait of a Woman [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Subject:
Unidentified  Search this
Type:
Photograph
Topic:
New Gallery  Search this
Portrait female--Bust  Search this
Image number:
ROS R0004262
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_133708

Woman with Hat [drawing] / (photographed by Walter Rosenblum)

Artist:
Modigliani, Amedeo 1884-1920  Search this
Photographer:
Rosenblum, Walter 1919-2006  Search this
Type:
Photograph
Topic:
Contemporaries (New York, NY)  Search this
Figure female--Waist length  Search this
Dress--Accessory--Hat  Search this
Image number:
ROS R0002286
See more items in:
Photograph Archives
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_131738

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