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Guide to the Pierre Matisse Gallery Archives, 1903–1990
Table of Contents
Summary of Archives
Administrative Information
Biographical and Gallery History
Description of Archives
Box and Folder List
Summary of Archives
| Creator: | | Pierre Matisse Gallery (New York, N.Y.) |
| Title: | | Pierre Matisse Gallery Archives |
| Dates: | | 1903–1992 (bulk 1931–1990) |
| Extent: | | 227 cubic feet |
| Accession number: | | MA 5020 |
| Repository: | | The Morgan Library & Museum
Department of Literary and Historical Manuscripts |
| Abstract: | | The Pierre Matisse Gallery Archives chronicles the emergence of modern art in twentieth century New York and Europe. Pierre Matisse, gallerist and son of painter Henri Matisse, traveled between Europe and the United States throughout his career. The Archives contains the complete records of the Pierre Matisse Gallery in New York from 1931 to 1990. Familial correspondence dates from 1903. |
| Language of materials: | | Materials are in English and French, some items in Spanish, German, and Italian, with printed material in additional foreign languages. Efforts have been made to indicate the presence of foriegn language material on the file level. |
Administrative Information
Provenance
Gift of The Pierre Matisse Foundation, 1997
Processing History
Beginning in 1993, the staff of the Pierre Matisse Foundation began to arrange and describe the archival materials identified at the Pierre Matisse Gallery. All work was handled under the supervision of a consulting archivist who met frequently with staff to outline a processing program, to review archival techniques of arrangement and description, and to address technical and philosophical concerns that arose in the course of the project.
All materials identified as archival were placed in acid‐free folders, with fragile documents in archival‐approved enclosures, rusty paper clips and staples removed. Brittle and discolored papers have been isolated between sheets of acid‐free bond paper or photocopied onto acid‐free bond papers.
Original artists' correspondence was removed from the Artists record series and placed in special boxes in keeping with Mr. Matisse's wishes. Copies of all such correspondence were made and placed in the Artists files. Original artwork was removed from files, replaced with photocopies where feasible, or notes where the artwork could not be copied. Contained in archival boxes, they now make up the Original artwork series of the Pierre Matisse Foundation record group.
The inventory for the entire collection was originally housed in loose‐leaf binders, a binder for each record series. The binder for a record series contains the data‐entry forms describing the contents of each file folder in the archive. A second copy of the form has been placed in the individual file folder.
The loose‐leaf binders containing data entry forms are still available in paper form in the Sherman Fairchild Reading Room of the Morgan Library. This online finding aid reproduces the paper finding aid but also incorporates updates and corrections.
Notes on Arrangement and Use
The gallery filing order has been retained whenever possible, generally by decade, then alphabetically. The researcher should be aware that the arrangement requires, however, close attention to the interrelationships of the various subject headings.
It is recommended that provenance research occur alongside a catalogue raisonné. From the Artists series, a good initial point of inquiry, information can be found in correspondence, exhibition records (of Pierre Matisse Gallery and also loans of works to others), and in publicity folders consisting of articles. In the Exhibitions series, there is additional information in the Scrapbook subseries, ordered by year. Also, the Pierre Matisse Gallery often rotated works in stock into its group shows, so it may be of use to examine the Group show subseries as well. Also in the Exhibitions series are hardbound books of review clippings. In the Administration series, it might be helpful to investigate invoices and stock books. Research may also lead to the Clients series, as many works were discussed with and sent to Pierre Matisse Gallery clients. Finally, many exhibition catalogues have been collected and ordered in the Pierre Matisse Foundation record group, in the Pierre Matisse Gallery exhibitions subseries.
While the scope notes on the file level are extensive, there is no guarantee of their comprehensiveness. "See also" references as included by the original processing team have been maintained but not expanded. Links are provided to outside pdf documents that may give a researcher a better idea of the contents, when available and appropriate.
How to Access Collection
The Pierre Matisse Gallery Archives is available for consultation by researchers in The Morgan Library & Museum Sherman Fairchild Reading Room. For an application to do research on accessible materials in the Archives, please contact the Reading Room of The Morgan Library & Museum by mail, telephone (212)590-0315 or email readingroom@morganlibrary.org. More information and an online access form is available on The Morgan website under Research Services. Please include the Box and Folder numbers that appear at the beginning of the brief descriptions of material (e.g. Box X.Folder X)when making a request to consult materials.
Access is by application and appointments are required. Letters of reference may be requested, and photo identification must be presented at the time of visit. While much of the material has been previously restricted, all material is currently accessible with the exception of financial records from 1981–1990, which will become available January 1, 2020.
Records related to Yves Tanguy and Kay Sage Tanguy (including their estates) are restricted and will become accessible upon publication of a new edition of the Yves Tanguy catalogue raisonné (completing a work published by Pierre Matisse in 1963, Yves Tanguy: A summary of his works). Researchers desiring access to this material before it becomes available may inquire in writing to The Pierre and Maria‐Gaetana Matisse Foundation, 1 East 53rd Street, New York, N.Y. 10022.
Permissions
Access to original material in the The Morgan Library & Museum (or possession of photocopies, photographs, or other reproductions of material in the Library) does not constitute permission to publish. Permission to quote from or publish material in the Pierre Matisse Gallery Archives must be obtained from The Morgan Library & Museum (as owner of the physical originals) and from the appropriate copyright holder. The Morgan Library & Museum takes no responsibility for possible copyright infringement in publication of its material. Copyright for records of the Pierre Matisse Gallery has been assigned to The Morgan Library & Museum by the donor, but copyright for letters, photographs, artwork, et cetera, created by others is not held by The Morgan. Researchers wishing to publish or quote from letters and documents of others must obtain permission from the appropriate copyright holder. Many artists' copyrights are handled by Artists Rights Society (ARS), New York (212)420-9160).
Researchers wishing to publish or quote from Matisse family correspondence must obtain
consent from the following:
Letters written by Henri Matisse: Les Hâtiers Matisse, 61 Quai de la Tournelle, 75005 Paris FRANCE
Letters written by Pierre Matisse: Mr. Paul Matisse, 264 Main Street, P.O. Box 60 Groton, MA 01450
Preferred Citation
Pierre Matisse Gallery Archives. MA 5020: Box X, Folder X. Department of Literary and Historical Manuscripts, The Morgan Library & Museum. New York, N.Y.
Biographical and Gallery History
Pierre Matisse (1900–1989)
The younger son of the French painter Henri Matisse, Pierre Matisse opened the art gallery that bore his name in November 1931, in the recently‐completed Fuller Building in New York, at the corner of Madison Avenue and Fifty‐Seventh Street. Between the time of his first arrival in New York from Paris in 1924 and the opening of his gallery, Pierre Matisse acted as European agent in partnership with the New York art dealer Valentine Dudensing. The works of art he acquired during extensive travels throughout Europe, including those from his father, were exhibited in Dudensing's gallery. During the same period, in small group shows in Chicago and other cities across the United States, Pierre Matisse introduced modern European art to American collectors. When the partnership came to an end, during one of the most severe economic depressions in American history, Matisse took the risky step of opening his gallery. Until his death fifty-eight years later, his life and frequent travels between America and France revolved around the operation of the gallery.
Family members were helpful from the beginning: his father, and sister Marguerite (Mrs. Georges Duthuit) located works of art in Europe and helped financially, as did his brother Jean Matisse. His first wife and mother of their three children, Alexina (Teeny) Sattler Matisse, assisted in the gallery during his buying trips. After their divorce he married Patricia Kane Matta, who was not only helpful in the business but became a friend of many gallery artists and clients until her sudden death in 1972. Later Pierre Matisse married Maria‐Gaetana (Tana) von Spreti, whose experience in European and New York galleries made it possible for her to relieve her husband of many duties in his later years. The gallery closed not long after Mr. Matisse's death in 1989.
Pierre Matisse Gallery (1931–1989)
Beginning in two small rooms on the seventeenth floor of the Art Deco Fuller Building, the gallery occupied ever‐larger areas on several lower floors until, in 1947, the final move was made to the large quarters on the southwest portion of the fourth floor. Throughout his long and sometimes economically precarious career, particularly in the early period, Pierre Matisse never wavered in his belief in his artists: exhibitions were arranged to show their work to the best advantage; catalogues reveal his skills and artistry in choosing colors, typefaces, paper. His often eloquent letters brought the gallery artists to the attention of the most prestigious collectors and art institutions in the country. The painters and sculptors who were the mainstay of the gallery — Miró, Chagall, Balthus, Dubuffet, Giacometti, and his childhood friend Yves Tanguy — were joined by many others as diverse as Calder and Brancusi, Leonora Carrington and John Dos Passos, Jean Ipousteguy and Zao Wou‐ki.
Scope and Content
Recording the history of the Pierre Matisse Gallery, as well as aspects of Mr. Matisse's own life, the archives covers nearly nine decades. World history and art history provide the framework. Pierre Matisse experienced two world wars, was keenly aware of the relationship of French and American mores, and played a major role in the art world, particularly in his introduction of modern European artists to the American public. Mr. Matisse's correspondence covers such major events as the opening of the Museum of Modern Art in New York in 1929, the arrival of European artists in the United States to escape the Nazi purge, the effect of Surrealism, and the Abstract Expressionist movement in New York.
The records amount to 227 cubic feet. Many are contained in cubic foot boxes, although some items are housed in boxes with larger dimensions and others have been migrated to flip‐top boxes.
The first record group, 1 cubic foot, is the Pre‐Pierre Matisse Gallery collection (circa 1924–1931), which documents Pierre Matisse's activities in the art world before the founding of his gallery. It is divided into two series and largely dedicated to his partnership with Valentine Dudensing.
The second record group, composing the bulk of the collection, is the Pierre Matisse Gallery collection (circa 1926–1989), divided into ten series. The Administration series (22 cubic feet) consists of several subseries and deal with financial transactions. The Artists series consists of 76 cubic feet, providing a comprehensive record of each artist's relationship with the gallery from the time of his or her initial contact with Pierre Matisse, arranged alphabetically. The Clients series measures 12 cubic feet and elucidates the relationship between client and gallery over time. The next series are Dealers and galleries, United States (3 cubic feet) and Dealers and galleries, international (4 cubic feet). The Exhibitions series, 17 cubic feet, deals with exhibitions and loans, including international fairs. This series includes scrapbooks and review clippings collected by Pierre Matisse Gallery staff. The next series are Museums and art institutions, United States (7 cubic feet) and Museums and art institutions, international (2 cubic feet), which deal largely with circulating exhibitions, sales to art institutions, and loans. The Alphabetical series (2 cubic feet) are assorted records dating to 1959, when the gallery adopted a more nuanced filing system. The final series is comprised of forty boxes of Visual records, which are divided by type and largely of works of art that came through the gallery or of artists in their studios.
The third record group, 28 file folders, is the Pierre Matisse Gallery Editions collection. This was the publishing arm of Pierre Matisse Gallery in 1943 and 1944, and the records relate to the two published works, one regarding Marc Chagall with text by Lionello Venturi, and the other a collaboration between Yves Tanguy and André Breton.
The fourth record group is the Henri and Pierre Matisse and Matisse Family papers (circa 1903–1992). Largely restricted until 2008, these documents consist of correspondence, visual records, and printed material. A significant portion of the Henri and Pierre Matisse and Matisse Family papers is comprised of 833 manuscript letters between Henri Matisse and his son Pierre, dating from 1919 to the death of the former in 1954. The subjects covered in the correspondence are broad in scope and intimate in detail. The record group is divided into 16 series, and largely focus on Pierre Matisse's relationship to his father on a personal level as well as in his role as representative of Henri Matisse's work in the United States.
The fifth record group is the Pierre Matisse Foundation collection. The Pierre Matisse Foundation was founded in 1992 by the heirs of Pierre Matisse: Maria‐Gaetana Matisse, Jacqueline Matisse Monnier, Paul Matisse, and Pierre‐Noel Matisse. The Foundation was founded for the purpose of creating the Pierre Matisse Gallery Archives. The records consist of two series. The first, Supplement to the Pierre Matisse Gallery Archives, contains inquiries fielded by the Foundation and resources they gathered in regards to Pierre Matisse Gallery exhibitions. The second series, Original artwork, consists of a number of works of art, all on paper, removed from the gallery files as they were processed.
Correspondence with artists and the Matisse family members is frequently in French, with no translations, and consists of varying numbers of files for individual artists, from a few papers to more than two hundred file folders for Joan Miró. Much of the time the presence of foreign language materials has been noted on the folder level, but it is possible this notation is not comprehensive.
Secondary Resources
Very few records appear in the Archives relating to published material on Pierre Matisse and the gallery except for exhibition reviews. Raymond Mason, an artist represented by the Gallery, published an article directly after Mr. Matisse's death: "Pierre Matisse," The Independent (August 14, 1989). A film for television was produced by Gero von Boehm, Portrait de Pierre: Pierre Matisse, une vie, Interscience Film GmbH, 1996.
A resource depicting the relationship between Henri and Pierre Matisse is John Russell's Matisse: Father & Son (New York: H.N. Abrams, 1999), which includes material from the Archives. Additionally, an exhibition related to the Pierre Matisse Gallery was mounted at The Morgan Library & Museum (then The Pierpont Morgan Library) in spring of 2002. Included in the exhibition catalogue, Pierre Matisse and his Artists (New York: The Pierpont Morgan Library, 2001), is a comprehensive exhibition history and biography that could assist a researcher in navigating the Archives.
Box and Folder Lists
- Record Group 1: Pre‐Pierre Matisse Gallery Records, 1925–1931
Between 1925 and the opening of his gallery in New York in November 1931, Pierre Matisse,
son of the French painter Henri Matisse, acted as European agent for the New York art dealer
Valentine Dudensing. He traveled extensively in Europe, locating and — with Dudensing's
approval — buying works of art that were then shown and sold in New York, sometimes in
exhibitions arranged by Matisse. Pierre Matisse made frequent trips between Europe and the
United States, including visits to cities in the Midwest and California, where he held
specially‐arranged brief showings of European works of art.
Although not extensive, material in this record group consists of letters to Matisse from
Dudensing, with copies of a few from Matisse; contractual and financial arrangements between
the principals; diaries, travel, and banking records for the period.
Additional information for these years is available in certain of the correspondence in the
Henri and Pierre Matisse and Matisse Family Record Group, and isolated papers
exist in a few files in the Dealers International Record Series. - Series: Administration
- Subseries: Calendars and notebooks
- 89.01 Address and notebooks, undated
- 89.02 Diaries, 1925
- 89.03 Diaries, 1926
- 89.04 Diary, 1927
- 89.05 Diary, 1928
- 89.06 Diaries, 1929
- 89.07 Agenda, 1930
- Subseries: Accounting
- 89.08 Bank checkbooks, 1924–1925
- 89.09 Bank checkbook, 1925–1926
- 89.10 Bank checkbook, 1926
- 89.11 Bank checkbooks, 1926–1927
- 89.12 Bank checkbook, 1927–1930
- 89.13 Bank checkbook, 1928
- 89.14 Financial reports, 1928
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse including: Statement of joint sales (1926–1928), statement of joint purchases, consignment purchases, joint expenses paid by Dudensing and joint expenses paid by Pierre Matisse, and withdrawals by Pierre Matisse.
- 89.15 Financial reports, 1928–1929
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse for period 28 February 1928 to 28 February 1929, including: Statement of joint account, statement of joint sales and purchases, statement of joint expenses, and refunds. Also includes a handwritten statement from F. Valentine Dudensing dated 6 June 1928 and stock list.
- 89.16 Financial reports, 1929 April 15–1929 October 31
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse for period 15 April 1929 to 31 October 1929, including: Statement of joint account, statement of joint sales and purchases, statement of joint expenses, and schedule of inventory.
- 89.17 Financial reports, 1929 November 1–1929 December 31
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse for period 1 November 1929 to 31 December 1929, including: Statement of joint account, statement of joint sales and purchases, statement of joint expenses.
- 89.18 Bank checkbooks, 1929–1931
- 89.19 Financial reports, 1930 January 1–1930 October 31
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse for period 1 January 1930 to 31 October 1930, including: Statement of joint account, statement of joint sales and purchases, statement of joint expenses, and joint inventory.
- 89.20 Financial reports, 1930 November 1–1930 December 31
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse for period 1 November 1930 to 31 December 1930, including: Statement of joint account, statement of joint sales and purchases, statement of joint expenses.
- 89.21 Financial reports, 1931 January 1–28 February 1931
Report from George Muhlstock, Accountant, re joint account of F. Valentine Dudensing and Pierre Matisse for period 1 January 1931 to 28 February 1931, including: Statement of joint account, statement of joint sales and purchases, statement of joint expenses.
- Series: Dealers
- Subseries: Valentine Dudensing
- 89.22 Accounts, 1928
Dudensing accounting of period 20 April 1927 to 23 February 1928, gross profits, expenses, net income. Undated Pierre Matisse list of expenses: travel and supporting papers, book purchases. Undated Pierre Matisse document labeled "Année 1928" expenses, commission, et cetera. Papers re transactions: invoices from Paris dealers, sometimes copies to both Valentine Dudensing and Pierre Matisse, shippers, brokers, et cetera. "To Whom" letter from Valentine Dudensing dated 5 December 1928 outlining Pierre Matisse's duties. See also Administration, Accounting, Financial reports for Valentine Dudensing's statement of 6 June 1928 (89.15)
- 89.23 Accounts, 1929
Pierre Matisse travel booklets, ticket stubs, hotel bill, Stockholm in January. Pierre Matisse itinerary 1929. Pierre Matisse travel papers between Paris and New York, Paris and Nice. Pierre Matisse receipt for Valentine Dudensing payment of 4 April, insurance papers, French tax papers. Bills from New York and Paris dealers (to Valentine Dudensing), auction receipts. Valentine Dudensing list of 1929 purchases from Paris dealers. Pierre Matisse notes and lists of "achats 1929."
- 89.24 Correspondence, 1925
Fifth Avenue Bank statement to Dudensing Galleries dated 19 May 1925. Bill to Pierre Matisse from Galerie Percier (November), five handwritten letters from Valentine Dudensing to Pierre Matisse re financial arrangements, Valentine Dudensing sales (Henri Matisse and Derain), exhibitions (Vlaminck and Utrillo, Foujita), Valentine Dudensing arrangements with family to leave father's gallery to open his own in 57th Street space; his visit to see collection of T. Catesby Jones; his conversations with Mr. [George] Acheson re financial matters. Mention of payments to Henri Matisse for pictures.
- 89.25 Correspondence, 1926
Correspondence from Valentine Dudensing to Pierre Matisse re their transactions: Pierre Matisse as European agent, paintings discussed, bought or not, prices; Valentine Dudensing re his exhibitions, clients, business deals. Modern‐style letterhead, "F. Valentine Dudensing Modern Art," with New York and Paris addresses. April to May, Pierre Matisse in California, La Jolla and San Francisco. Valentine Dudensing exhibitions mentioned are Merida, Stella [Joseph], Henri Matisse, Dufy, Pajot and Foujita Dealers: Bernheim, Van Leer Clients: Mrs. Garrett, Jones, Mrs. Davis (an Henri Matisse), Mr. Weeks, Duncan Phillips, (Paine?) Artists: Bonnard and Guys sales; Bonnard, Segonzac, Vuillard, Derain, Maillol, Laurencin Names: Youki
- 89.26 Correspondence, 1927 April–September
Letters from Valentine Dudensing to Pierre Matisse, concerning works of art considered for purchase and/or purchased, arrangements with European dealers for same; possibilities of Valentine Dudensing sales in United States; dollars, francs, shared costs and profits. Undated draft of Valentine Dudensing promissory note to Henri Matisse, and handwritten [final?] note of August 4. Dudensings in Touquet, with brief trip to London. Artists: Henri Matisse, Derain, Dufy, Pajot, Segonzac, Maillol, Braque Dealers: Guillaume, Art Contemporain, Charreton, Halvorsen, Van Leer, Galerie Montaigne, Bignou, Rosenberg Collectors: [Duncan] Phillips, [Stephen] Clark Names: Acheson, Bernheim
- 89.27 Correspondence, 1927 October–December
Letters and cables from Valentine Dudensing to Pierre Matisse re works of art considered, purchased, sold, prices, arrangements with dealers, et cetera. October 21, mention of Henri Matisse winning Pittsburgh prize [Carnegie International?], "we must get all the Matisse we can." Kraushaar had an exhibition with four Henri Matisses, three sold. Later letter refers to Bernheim price of $14,000 on Pittsburgh prize painting. Suggests that Pierre Matisse try to buy Henri Matisse's Chess Players [La famille du peintre (1911)] in Germany, as they would get $8–10,000 in New York for it. Two mentions of hopes for de Chiricos from Guillaume for March exhibition, and for Mirós from Galerie Pierre. Description of negotiations with [Duncan] Phillips, [Stephen] Clark, and [A. Conger] Goodyear, Buffalo. Valentine Dudensing complains that American collectors are buying from Henri Matisse studio, he wants to have an understanding with the artist to be exclusive dealer in United States. December, Valentine Dudensing changes name of gallery to Valentine in order not to be confused with his family's Dudensing gallery. Artists: Henri Matisse, Bonnard ("a slow‐selling painter here"), Segonzac, Derain, Dufy, Laurencin, Miró, de Chirico, Cézanne, Vlaminck, Despiau, Gromaire, Picasso, Rousseau, et cetera Dealers: Kraushaar, Bignou, Knoedler, Bernheim, Van Leer, Guillaume, Brummer, Stransky, Reinhardt, Hessel, Galerie Pierre, et cetera Collectors: Clark, Goodyear, Wertheimer (sale), Phillips, Stransky, Gallatin Photocopies of cables are filed in sequence with correspondence; originals in acid‐free paper at end of file
- 89.28 Correspondence, 1928 February–September
Letters from Valentine Dudensing to Pierre Matisse; cables both ways, content as before. Stock list dated February 29. Arrangements and accounting between Dudensing and Matisse re acquisitions, sales, works on consignment from other dealers, et cetera. Reference to loan from Henri Matisse. Dudensing to see Dufy at Deauville (August?). Valentine Dudensing continues to emphasize need for Henri Matisse works from studio. Artists: Henri Matisse, Dufy, Segonzac, Pajot (not including those on stock list), Picasso, Rousseau, Laurencin, Maillol, Gromaire, Bonnard, Pascin Dealers: Guillaume, Ebstein, (Gieules?), Kraushaar, Bignou, Percier, Flechtheim, Rosenberg, De Hauke, Bernheim, Galerie Montaigne Collectors: Phillips, Clark Names: Poiret, Mrs. Chauncey Blair, Toplis Harding, R.F. Downing & Co.
- 89.29 Correspondence, 1928 October–December
October 12, Valentine Dudensing re Derain winning prize at Carnegie, Pittsburgh. Valentine Dudensing suggests advertising campaign to attract new clients and advises care in making new acquisitions ("We cannot afford to buy pictures purely for their appreciation artistically but must get the kind we can sell quick"). Describes how busy he is, and includes a list of works sold. Competition becoming stronger, otherwise topics as usual: finances, prices, et cetera. November 2, Pierre Matisse handwritten (draft?) to Valentine Dudensing expressing concern that Dudensing is not satisfied with partnership. Valentine Dudensing replies re his knowledge of American taste and reassures Pierre Matisse of latter's importance in arrangement. Valentine Dudensing's somewhat reassuring response includes the point that his experience gives him an edge in choosing works suitable for American taste, "to know what Americans like, is one hell of a job." Valentine Dudensing continues pressure on Pierre Matisse to get pictures from Henri Matisse studio. Discusses Lurçat, Rouault (proposed), Derain exhibitions. Artists: Henri Matisse, Rousseau, Derain (won big prize at Pittsburgh), Picasso, Seurat, Soutine, Dufy, de Chirico, Pajot, Miró ("must get, or at least a good group of sur‐realists...good publicity"), Fautrier ("let him make a reputation first"), Segonzac, Lurçat, Bonnard, Laurencin Dealers: Bignou, Kraushaar, Halvorsen, Percier, Flechtheim, Vollard, Guillaume, Rosenberg, Stransky, Bernheim, De Hauke, Ebstein and additionally Mme Myrbor Gallery and Galerie Bucher Collectors: Mme Blois (Vincennes), Mrs. Carpenter (Chicago), Phillips, Clark, additionally [Chester] Dale, Gold, Miss Bliss Names: Cervos [sic, Zervos] Cables: photocopies with correspondence, originals in acid‐free paper at end of folder
- 89.30 Correspondence, 1929 January–September
Letters are from Valentine Dudensing to Pierre Matisse, cables to and from both. January letter from New York, other Dudensings from Touquet. June 17, Valentine Dudensing suggests Pierre Matisse take pictures of paintings with his camera. September 23, Pierre Matisse to Valentine Dudensing (copy) re sailing date (New York then Cincinnati) and divorce. Dudensing mentions his exhibition of Henri Matisse [from Bignou after Paris showing? shipment late September]. Dudensing writes generally regarding works of art for purchase or exhibition, dealers and collectors for Pierre Matisse to negotiate with. Emphasis on attempts to get Henri Matisse paintings from studio, and (January) from Dr. Gold in Stockholm, to whom they had made an offer. Dudensings sometimes go to Paris, Pierre Matisse to Touquet or Nice. September correspondence covers shipping and travel arrangements. Pierre Matisse to sail for New York late October or November, and to Cincinnati [where he married Teeny December 28 (Duchamp, Alexina, 1906–1995)] Artists: Henri Matisse, Rousseau, Segonzac, Chirico, Picasso, Derain, Van Gogh, Laurencin, additionally Amedeo Modigliani, Kisling, Degas, Dufresne Dealers: Bernheim, Rosenberg, Van Leer, Charreton, Keller, Guillaume, L'Art Moderne (Lucerne), additionally with Bourgeois and Girardin Collectors: Gallatin Names: Downing, Lenars, Roche, as before, Thorndike, de la Faille and Zervos added Bound Pierre Matisse cables dated January 25–October 21
- 89.31 Correspondence, 1929 October–December
Letters and cables from Valentine Dudensing reporting on sales, clients, profits, prices other dealers asking. Mentions Gromaire exhibition. Dudensing describes New York art scene, exhibitions at other galleries (Kraushaar very poor quality pictures, et cetera). Financial arrangements, notes due, Dudensing asks Pierre Matisse to send several notes signed. One letter from Pierre Matisse to Dudensing, in which he mentions bad Wall Street situation (October), also that he had visited Picasso, other artists and dealers. Usual extensive details re buying, selling, consignment, and borrowing arrangements, Paris and New York. One undated Dudensing letter from Paris hotel. Reference on December 5 to "sur‐realists" and Rouault/Vollard arrangements, and to finances re Acheson. December 19, Valentine Dudensing cannot attend Pierre Matisse wedding. Undated handwritten stock lists with prices, one‐page price list. Photocopies of cables with correspondence; originals in acid‐free paper, with bound copies of others in back of folder Artists: Derain, Henri Matisse, Modigliani, Picasso, Dufy, Lurçat, de Chirico, Utrillo, Rousseau, Dufresne, Miró, Rouault, Segonzac Dealers: Kraushaar, De Hauke, Percier, Bignou, Reinhardt, Guita, Bernheim, Gromaire, Danthon, Guillaume, Vollard, Van Leer Names: Tabarant at L'Oeuvre, Acheson Collectors: Clark, Lewisohn, Sullivan, Cleveland Museum
- 89.32 Accounts, 1930 January–July
Slips for cables and wires, French and United States, included here for the year. Hotel bills, train tickets for Mr. and Mrs. Pierre Matisse, January and February. February, bills to Valentine Dudensing from Guillaume and Percier. March, Berlin hotel bills for Pierre Matisse alone. Papers re automobile accident. Correspondence and forms re Pierre Matisse taxes, France and United States dealers' and insurers' bills and papers.
- 89.33 Accounts, 1930 August–December
August, hotel, restaurant, travel papers re Mr. and Mrs. Pierre Matisse travel in Spain, Pierre Matisse to Marseilles and Toulouse. September to December, further re automobile accidents. Listing Pierre Matisse travel, expenses, et cetera, 1930. Listings purchases from Paris galleries by Dudensing, 1930. French import duties sheet. Paintings price list. Draft copies Power of Attorney — George Muhlstock to represent Pierre Matisse before United States Treasury Department.
- 89.34 Accounts, 1931 January–June
January, final paper re automobile accident (Jeanjean); re insurance on Henri Matisse painting to London and group to U.S. February, Galerie Percier invoice, two Picassos. Pierre Matisse in London February 11 and 12 re French and United States taxes. May, automobile insurance (French) for Model A 1929 Ford. May 23, handwritten receipt for Pierre Matisse purchase of Henri Matisse Nu assis and BraqueNature morte, s/ Keiko Fukushima. List of twelve de Chiricos Valentine Dudensing from Leonce Rosenberg for export. Other gallery receipts (Pierre Matisse).
- 89.35 Accounts, 1931 July–December
Correspondence, papers re accounting, insurance (including Pierre Matisse's Bugatti). September 17, Pierre Matisse to accountants re differences with Valentine Dudensing being settled, "in a final contract of dissolution of partnership..." Pierre Matisse travel and expenses, 1931. Undated, handwritten paintings price list.
- 89.36 Accounts, 1932–1933
- 89.37 Correspondence, 1930
Correspondence and cables (from other dealers also) regarding negotiations re works of art from European dealers, many in Germany. February 19 and March 15 from Valentine Dudensing re Henri Matisse trip to South Seas and New York experiences. July 1, Dudensing mentions agreement, entirely agreeable. July 19, Pierre Matisse re Henri Matisse arrival Marseilles. July 11, Valentine Dudensing stock list. November 13, Pierre Matisse to Brummer New York re Henri Matisse sculpture exhibition. Correspondence between Dudensing and Pierre Matisse (latter now making carbon copies) regarding works of art proposed, on consignment, bought, sold, returned, et cetera. Mr. Clark turned back a Picasso "due to Mrs. Clark's absolute refusal to hang the picture in the house." Financial arrangements, mention of depressed economic situation Europe and New York. Pierre Matisse refers to trip to Spain from around July 9 to early September, also that Brummer is having Henri Matisse sculpture exhibition that Pierre Matisse had hoped to put on in New York. Final letter for 1930 is August 11 from Valentine Dudensing, including stock list, and re Muhlstock sending agreement soon. of cables filed with letters, originals back of file folder Two bound books of copies of Pierre Matisse cables
- 89.38 Correspondence, 1931 January–March
Letters and cables between Valentine Dudensing and Pierre Matisse about bringing to a close their agreement and working arrangement. Financial papers, schedules, plus letters to Pierre Matisse from lawyers and accountants. Four undated, unsigned handwritten notes and lists of works of art. of cables filed with correspondence; some originals in back of folder Conservation needed: letter and envelope of 5 January 1931 stuck together; some rust stains from paper clips
- 89.39 Correspondence, 1931 April–August
Pierre Matisse cables Stephen Clark, Purrmann, et cetera. July–August, letters between Pierre Matisse and Valentine Dudensing further re ending partnership, re finances. Undated handwritten notes and lists. Photocopies of cables filed with correspondence, some originals at end of folder
- 89.40 Correspondence, 1932 February–1933 March
1932: one piece, 1933: nine pieces. Correspondence between Pierre Matisse and Valentine Dudensing, sometimes direct and sometimes through Pierre Matisse's lawyer, regarding the separation of the two dealers, especially the disposition of the works of art jointly owned. Names: Arthur B. Spingarn (Pierre Matisse's lawyer)
- 89.41 Correspondence, 1933 October–December
Copies of Pierre Matisse letters to lawyer Spingarn, Valentine Dudensing, Charles Dahmer at Fifth Avenue Bank, attempting to conclude the arrangements between Pierre Matisse and Valentine Dudensing.
- 89.42 Correspondence, 1934
Copies of Pierre Matisse's letters to Valentine Dudensing (with one reply), to the lawyer Spingarn, and copies of letters from auditors to Valentine Dudensing, to conclude the agreement between the two dealers. Conservation needed: rust stains from paper clips
- 89.43 Papers, 1935 March–April
Correspondence between Pierre Matisse, Valentine Dudensing and lawyer, concluding the agreements between them. Penciled notes regarding outstanding accounts "at March 1931" on back of poster for a Dinner‐Dance Auction (April 26, no year). Possible restoration of poster needed (rust stains from paper clips)
- 89.44 Documents, 1930, 1931, 1935
Documents relating to dissolution of agreements between Pierre Matisse and Valentine Dudensing: "Agreement of Joint Adventure...1930" unsigned, 9 pages, "Memorandum of Items to be enclosed in Letter to Mr. Dudensing," undated, unsigned, 2 pages. Various bills and letters from lawyers and accountants. "Agreement of Dissolution," 5 March 1931, signed and initialed by Pierre Matisse and Valentine Dudensing and witnesses, 6 pages. Copy (not identical) of same, with additional schedules. Two release forms, each dated 8 April 1935, from and to Pierre Matisse and Valentine Dudensing. Possible restoration: rust stains from previous paper clips and staples
- 89.45 Lists, undated
Undated price lists, envelope, card with notes Conservation needed: envelope stuck to price list
- Subseries: France
- 89.46 Galerie Pierre (Loeb), 1926–1930
All papers on Galerie Pierre Tableaux letterheads, including accounting notes, receipts, and bills to Pierre Matisse and Valentine Dudensing for works of art. One letter ostensibly to Pierre Matisse (addressed to "Mon chere ami"). 30 juillet 1930 to Pierre Matisse (10 rue Cesar Frank, Paris) list of nine Mirós being shipped to Valentine Gallery, New York for and exhibition ("que vous pretons pour l'exposition que vous comptez faire cet hiver a New‐York"). Pierre Matisse biographical note in a missive from Loeb, 6 Mai 30: "Tous mes bons souvenirs a votre femme..." Pierre Matisse arranging for coming winter. Artists: Gromaire (1928 and 1930), Braque and Modigliani (1929), Miró, Picasso and Derain (1930)
- Subseries: Leonce Rosenberg
- 89.47 Leonce Rosenberg correspondence, 1928–1932
Correspondence re sale of de Chirico to Valentine Dudensing, May 28. Requests for receipt for same. June 28, Leonce Rosenberg has sold several paintings to George Acheson and would like to send them to New York with Pierre Matisse's things. December 8, 1932, from Pierre Matisse re shipment of Masson works for exhibition. Correspondence is in French Some copies of letters to Valentine Dudensing
- Record Group 2: Pierre Matisse Gallery, 1931–1990
- Series: Administration
In this series, the financial aspects of the gallery operation are recorded, as well as transactions regarding works of art: correspondence, notebooks and ledgers, card files on artists and clients. Records were kept occasionally by Mr. Matisse himself, but generally were created and maintained by gallery staff. This series (22 cubic‐foot boxes) consists of several subseries of records dating from approximately 1931 to 1990. - Subseries: Accounting
- 163.01 Bank checkbook, 1932 February 4–1933 February 3
- 163.02 Bank checkbooks, 1932 February 5–1933 November 18
- 163.03 Bank payable book, 1932 January–1943 May
- 163.04 Bank checkbook, 1933 November 20–1934 April 21
- 163.05 Bank checkbook, 1934 April 25–1935 January 30
- 163.06 Bank checkbook, 1935 January 31–1935 October 16
- 163.07 Bank checkbooks, 1935 October 17–1936 October 26
- 163.08 Bank checkbook, 1937 December 10–1939 February 8
- 163.09 Bank checkbook, 1939 February 9–1940 March 14
- 163.10 Financial report, 1931–1931
Report preliminary to opening of gallery from Frederic Francis & Co., Accountants, re opening and writing up a set of books for the year 1931, including Balance Sheet as of December 31, 1931, and Profit and Loss Statement for year ending December 31, 1931.
- 163.11 Financial reports, 1933
Report on examination of books and records of the Pierre Matisse Gallery by McKeon & Strong, Certified Public Accountants, including: Balance sheet as of April 30, 1933, Statement of Profit and Loss January 1, 1933 to April 30, 1933, Capital Investment Account, Statement of revised net worth as of December 31, 1933.
- 163.12 Financial reports, 1934–1937
Report of audit on Pierre Matisse Gallery for the fiscal years ended April 30, 1934, 1935, 1936 and 1937 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year.
- 163.13 Financial reports, 1938–1939
Report of audit on Pierre Matisse Gallery for the fiscal years ended in April 30, 1938 and 1939 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year.
- 163.14 Petty cash book, 1935 May–1937 May
- 163.15 Petty cash book, 1937 May–1940 March
- 163.16 Taxes, 1934, 1959–1960
- 163.17 Account notebook, 1940 October 14–1947 February 19
Ringbook with account notations for Bignou, Guillaume, Henri Matisse, Amelie Matisse, Ratton, Simon.
- 163.18 Bank checkbook, 1940 March 14–1941 January 8
- 163.19 Bank checkbook, 1946 February 13–1946 November 26
- 163.20 Business census, 1948
- 163.21 Financial reports, 1940–1943
Report of audit on Pierre Matisse Gallery for the fiscal years ended in April 30, 1940, 1941, 1942 and 1943 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year. Also includes inventory and value of paintings and sculpture as of year end. In 1940 — earnings reduced due to discovery that certain Mexican art items in stock were forgeries In 1941 — earnings reduced due to losses from occupation of Paris in June 1940
- 164.01 Financial reports, 1944–1946
Report of audit on Pierre Matisse Gallery for the fiscal years ended April 30, 1944, 1945 and 1946 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year. Also includes inventory and value of paintings and sculptures as of year end. In 1945 — Reference made to additions to the new gallery and to investments in Pierre Matisse Editions
- 164.02 Financial reports, 1945–1948
Report of audit on Pierre Matisse Editions, Inc., organized on August 10, 1944 under the laws of the State of New York by McKeon & Strong. Reports cover fiscal years ending April 30, 1945, 1946, 1947, 1948. Bound reports include: assets and capital, liabilities, comparative statement of profit and loss, balance sheet.
- 164.03 Financial reports, 1947–1949
Report of audit on Pierre Matisse Gallery for the fiscal years ended February 28, 1947, 1948 and 1949 by McKeon & Strong. Bound reports showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year. Also includes inventory and value of paintings and sculptures as of year end. Corporation organized February 27, 1947, under Laws of the State of New York Costs of moving gallery to fourth floor noted
- 164.04 Financial reports, 1949
- 164.05 Journal, 1944 May–1947 February
- 164.06 Journal, 1945 March–1946 December
- 164.07 Ledger sheets, 1947–1953
- 164.08 Petty cash book, 1940 April–1944 July
- 164.09 Financial reports, 1950–1953
Report of audit on Pierre Matisse Gallery for the fiscal years ended February 28, 1950, 1951, 1952 and 1953 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year.
- 164.10 Richard Lounsbery special account, 1952
Report of audit by McKeon & Strong of Richard Lounsbery Special Account for the year ended December 31, 1952. Bound report showing: assets, liabilities and capital, fund operations statement.
- 164.11 Financial reports, 1954–1956
Report of audit on Pierre Matisse Gallery for the fiscal years ended February 28, 1954, 1955 and 1956 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year.
- 164.12 Financial reports, 1957, 1959
Report of audit on Pierre Matisse Gallery for the fiscal years ended February 28, 1957 and 1959 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year.
- 164.13 Accounting, 1956
Handwritten unbound accounting pages (not all months). Accounts payable and receivable, debit and credit columns. Some use of scotch tape, now dried and yellow
- 164.14 Accounting, 1957–1959, 1963
Handwritten unbound accounting sheets (assorted months). Accounts payable and receivable, debit and credit columns. Some use of scotch tape, now dried and yellow
- 164.15 Accounting, 1958
Handwritten unbound accounting sheets (not all months). Accounts payable and receivable, debit and credit columns. Some use of scotch tape, now dried and yellow
- 164.16 Audits, 1962–1965
McKeon & Strong reports re audits of the Pierre Matisse Gallery Corporation, years ending February 28, 1963, February 29, 1964 (2 copies), February 28, 1965 (2 copies). Balance sheet, profit and loss, surplus account, Operation Pierre Matisse Gallery. Assets, including advances to artists and dealers; records of Pierre Matisse Editions (February 28, 1963). Liabilities, including loans payable to family members and to Irving Trust.
- 164.17 Audits, 1966–1967
McKeon & Strong reports of audits of Pierre Matisse Gallery Corporation, years ending February 28 1966 (2 copies) and February 28, 1967. Exhibit A: assets, liabilities, stockholders' equity. Exhibit B: statement of income and retained earnings.
- 164.18 Audits, 1968–1968
McKeon & Strong reports on examination for fiscal year ending February 29, 1968 (accompanying letter form Joseph R. Coulon), and for seven months ended September 30, 1968 (2 copies). Exhibit A: balance sheet, assets, liabilities, stockholders' equity. Exhibit B: statement of income and retained earnings.
- 164.19 Audits, 1969–1970
McKeon & Strong reports on examination for years ending February 28, 1969 and February 28, 1970 (2 copies). Exhibit A: balance sheet, assets, liabilities, stockholders' equity. Exhibit B: statement of income and retained earnings.
- 164.20 Financial reports, 1960–1963
Report of audit on Pierre Matisse Gallery for the fiscal years ended in February 28, 1960, 1961, 1962 and 1963 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, accounts payable and receivable, net sales, selling and general expenses, net profit for year.
- 164.21 Financial reports, 1967–1969
Report of audit on Pierre Matisse Gallery for the fiscal years ended February 28, 1967 and 1969 and for the seven months ended September 30, 1968 by McKeon & Strong. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.22 Audits, 1971–1972
Main Lafrentz & Co., Certified Public Accountants, reports on examination of Pierre Matisse Gallery Corporation, with supplementary information for years ended February 28, 1971 and February 29, 1972. Assets, liabilities, stockholders' equity.
- 164.23 Audits, 1973–1974
Main Lafrentz & Co. reports on examination of Pierre Matisse Gallery Corporation, with supplementary information for years ended February 28, 1973 and February 28, 1974. Assets, liabilities, stockholders' equity.
- 164.24 Audits, 1975–1976
Main Lafrentz & Co. reports on examination of Pierre Matisse Gallery Corporation, with supplementary information for years ended February 28, 1975 and February 29, 1976. Assets, liabilities, stockholders' equity.
- 164.25 Audits, 1977–1978
Main Lafrentz & Co. reports on examination of Pierre Matisse Gallery Corporation, with supplementary information for years ended February 28, 1977 and February 28, 1978. Assets, liabilities, stockholders' equity.
- 164.26 Financial reports, 1970–1973
Report of audit on Pierre Matisse Gallery for the fiscal year ended February 28, 1970 by McKeon & Strong and for the fiscal years ended February 28, 1971, 1972 and 1973 by Main Lafrentz & Co. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.27 Financial reports, 1974–1977
Reports of audits on Pierre Matisse Gallery for the fiscal years ended February 28, 1974, 1975, 1976, and 1977 by Main Lafrentz & Co. Bound report showing: assets and
liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings. Cost of leasehold improvements to refurbish gallery in 1974
- 164.28 Financial reports, 1977–1980
Reports of audit on Pierre Matisse Gallery for the fiscals years ended February 28, 1977 and 1978 by Main Lafrentz & Co. and February 28, 1978, 1979, 1980 by Main Hurdman & Cranstoun. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.29 Financial reports, 1980–1983
Reports of audits on Pierre Matisse Gallery for the fiscal years ended February 28, 1980, 1981, 1982 and 1983 by Main Hurdman. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.30 Financial reports, 1983–1986
Reports of audits on Pierre Matisse Gallery for the fiscal years ended February 28, 1983, 1984, 1985 and 1986 by Main Hurdman. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.31 Financial reports, 1986–1989
Reports of audits on Pierre Matisse Gallery for the fiscal years ended February 28, 1986, 1987 and 1988 by KPMG Peat Marwick [Peat Marwick Main & Co.] and February 28, 1988 and 1989 by Davies & Davies, Certified Public Accountants. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.32 Financial reports, 1989–1990
Reports of audits on Pierre Matisse Gallery for the period March 1, 1989 to August 9, 1989 (date of death of Pierre Matisse) and the years ended February 28, 1989 and 1990 and the period March 1, 1990 to May 22, 1990 (date of sale of Pierre Matisse Gallery stock) by Davies & Davies. Bound report showing: assets and liabilities, value of inventory, selling and general expenses, gross profit on sales and retained earnings.
- 164.33 Work papers, 1930–1934
Profit loss statement December 21, 1932. Pierre Matisse drawing account statement. Some papers quite fragile and beginning to disintegrate
- 164.34 Work papers, 1935–1939
Various handwritten accounting work papers, notes, et cetera. Correspondence with McKeon & Strong. Analysis of French accounts: French and American unpaid bills from 1938. Analysis of expenses of Mexican trip, list of purchases, May 1939. Some papers fragile and disintegrating
- 164.35 Work papers, 1940–1945
Various handwritten accounting work papers. Expenses lists, balance sheet. Routine correspondence with McKeon & Strong. Pierre Matisse drawing account analyses, accounts payable and receivable. Accounting of Jean Matisse loan. Analysis of Joan Miró account (1949–1951).
- 164.36 Work papers, 1945–1949
- 164.37 Work papers, 1952
- 164.38 Work papers, 1953
- 164.39 Work papers, 1954
- 164.40 Work papers, 1950–1954
Various handwritten accounting work papers: analysis of travel, accounts payable and receivable, correspondence with bank and McKeon & Strong, final trial balances.
- 164.41 Work papers, 1955–1956
- 164.42 Work papers, 1959
- 164.43 Work papers, undated
Various undated handwritten ledger sheers and accounting papers. Bank receipts. Handwritten notes, calculations, et cetera. Some papers fragile and beginning to disintegrate
- 164.44 Work papers, 1951–1955
- 164.45 Accounting, undated
Handwritten unbound accounting sheets, months given but no years. Accounts payable and receivable, debit and credit columns. Some use of scotch tape, now dried and yellow
- Subseries: Advertising
- 165.01 ARTnews, 1935–1959
Correspondence re advertising, articles, color reproductions, et cetera, between Pierre Matisse and the succession of editors and staff members of the magazine. Included (May 1, 1957) is Pierre Matisse's listing of what he considered the most important works of art he had sold to American museums, for an article by Alfred Frankfurter.
- 165.02 Cahiers d'Art (Christian Zervos), 1932–1939
Correspondence between Pierre Matisse and Christian Zervos about issues of the magazine, especially special ones on Miró, et cetera, as well as about Pierre Matisse Gallery advertising. Most of the letters deal almost entirely with bills unpaid, too slowly paid, inadequately paid on account, et cetera. Zervos obviously operates the magazine always on the edge, and Pierre Matisse is in not much better a situation. Henri Matisse, Mary Callery, Alfred and Marga Barr are among the names mentioned.
- 165.03 Condé Nast, 1932–1938
Correspondence between Pierre Matisse and editors of Vanity Fair magazine, re the publication of a Pierre Matisse Gallery calendar of exhibitions. Requests for photos and information, suggestions from Pierre Matisse for articles, reproductions, and covers are included. Frank Crowninshield, editor, also a collector and connoisseur.
- 165.04 Cahiers d'Art (Christian Zervos), 1940–1955
Correspondence between Christian Zervos, Yvonne Zervos, other Cahiers d'Art staff members, and Pierre Matisse. Carbon copies of two long 1945 letters, January 8 and 13, addressed to "Mary" and unsigned (Zervos to Mary Callery?) describing war experiences and news of mutual friends. Other correspondence is both personal and business. Includes advertising sheet for the first and second volumes of Zervos's Picasso catalogue raisonné.
- 165.05 Condé Nast, 1942–1944
- 165.06 Fortune, 1941–1953
- 165.07 Art Digest, 1951–1954
Correspondence between Pierre Matisse and the editors, first withdrawing Pierre Matisse Gallery advertising because of poor editorial policy then, with the advent of Belle Krasne as editor, Pierre Matisse cooperates in placing ads, and in general.
- 165.08 ARTS magazine, 1950s and 1960s
- 165.09 Art Quarterly, 1958
- 165.10 Canadian Art, 1958–1959, 1965
- 165.11 Condé Nast, 1950–1968
Correspondence between Pierre Matisse and especially Allene Talmey, features editor of Vogue (which had absorbed Vanity Fair in 1936), including his letter of February 17, 1950 that he had sold a Giacometti bronze to a Vogue reader as a result of its being reproduced in a recent issue. Small black‐and‐white photograph of Miró and friend taken by Cecil Beaton in the Matisse's living room.
- 165.12 Museum News, 1959–1962, 1968
Correspondence, advertising rates, order, proofs, cancellation of order (1962), renewal of advertising in 1968.
- 165.13 L'Oeil, 1955–1958
- 165.14 Offin, 1955–1966
- 165.15 Pictures on Exhibit, 1950–1969
- 165.16 Apollo, 1961–1967
Correspondence, including form letters, re Pierre Matisse Gallery advertising; proofs, tear sheets, et cetera.
- 165.17 Art in America, 1960–1966, 1974
Correspondence, announcements, advertising rates, rough proofs for approval. Proofs. One letter dated April 10, 1974 from Paul Shanley, new publisher of the magazine.
- 165.18 Art Gallery Magazine, 1963'1969, 1974, 1989
- 165.19 Art International, 1960–1965
- 165.20 Art International, 1966–1968
Correspondence between Pierre Matisse and James Fitzsimmons re ads, magazine plans, articles, the reviewer James Mellow, et cetera. Proofs, et cetera.
- 165.21 ARTnews, 1960s
- 165.22 Art Quarterly, 1963–1969
- 165.23 Venice Biennale, 1964, 1978
1964 — Correspondence, Pierre Matisse Gallery order for full page advertisement in official catalogue, proof. 1978 — Request from Biennale Archives for some Pierre Matisse Gallery catalogues, and sending Biennale publications of past exhibitions. One newspaper clipping.
- 165.24 Cimaise, 1960–1961
Cimaise, Paris. Correspondence re advertising, invoices and payments, proofs, and one tear sheet.
- 165.25 Connoisseur, 1961–1967
Almost entirely orders, confirmations of orders, and proofs, including advertising for a ten‐gallery exhibition benefit for Public Education Association (1965). See also Exhibitions, Loans, Public Education Association in folders 98.04–.09
- 165.26 France‐Amérique, 1960s
- 165.27 La Galerie des Arts, 1960s
- 165.28 Institute of Contemporary Arts, Living Arts Magazine, 1960s
- 165.29 International Directory of Arts, 1960–1961
- 165.30 Metro, 1960–1963
Correspondence re special features of magazine, orders for placement of Pierre Matisse Gallery half‐page ads, rate sheet, proofs.
- 165.31 Unsorted papers, 1960–1969
Various publications and organizations, correspondence, proofs, tear sheets, including American Association of Museums, Second Biennale de Paris, Harvard Art Review, Village Voice, et cetera.
- 165.32 Non‐profit organizations, 1961–1963
Correspondence, contract, arrangements for Pierre Matisse Gallery ads re Hospitalized Veterans Service, New York, Lyce–e Français de New York. Brochure for a benefit for Child Development Center, New York.
- 165.33 L'Oeil, 1960–1965
Correspondence by Pierre Matisse with Rosamund and Georges Bernier and various staff members re advertising, articles, requests by L'Oeil for photos, et cetera. Two proofs.
- 165.34 L'Oeil, 1966–1968
Cables, few letters, between Pierre Matisse and magazine staff members re advertising, et cetera. Proofs.
- 165.35 L'Oeil ads, undated
- 165.36 Quadrum, 1961–1963
- 165.37 Salon de Mai, 1962–1969, undated
Correspondence between Pierre Matisse and Jacqueline Selz. Orders for Pierre Matisse Gallery full‐page ads, text, proofs, prices.
- 165.38 Samples, 1960–1969
Hand‐lettered tissue layouts and some photocopies, proofs, tear sheets, et cetera for various publications. Profile Press brochure with samples.
- 165.39 Vie des Arts (Canada), 1961–1973
- 165.40 Visitor's East [formerly New York Visitor's Reporter], 1962–1967
- 165.41 Artegúa (Madrid, Spain), 1974–1980
Correspondence re [Millares] ad, invoices, payments, price list. Mrs. Joy White for magazine, with Maria‐Gaetana Matisse. Proof.
- 165.42 Art International (Lugano, Switzerland), 1970–1979
Correspondence between Pierre Matisse and James Fitzsimmons re format of magazine, Pierre Matisse requests for issues to be sent to Marguerite Duthuit, Balthus, and others. Requests for transparencies, color separations, invoices, payments. Correspondence to James Fitzsimmons re use of Thomas Hess introduction to Pierre Matisse Gallery's Riopelle catalogue. Okayed, James Fitzsimmons to see to translation. December 1977 issue, John Russell on Balthus. As of October 12, 1978, magazine to be printed and mailed in Venice.
- 165.43 Unsorted papers, 1972–1989
Correspondence, orders, rates, deadlines, various publications.
- 165.44 Samples, 1970–1971
Lists of artists and periodicals. Layouts, proofs, tear sheets, et cetera, various publications.
- 165.45 Art International, 1980–1984
- 165.46 Lists, undated
Two lists of magazines, national and foreign, with columns for representatives, number of issues, et cetera re placing advertisements.
- 165.47 Sample and typefaces, undated
- 181.01 Clippings of advertisements, 1959–1970
- 181.02 Clippings of advertisements, 1969–1985
- 181.03 Clippings of advertisements, 1986–1990
- Subseries: Calendars and notebooks
- 166.01 Agendas and diary, 1931
- 166.02 Diaries, 1933
- 166.03 Diaries, 1934
- 166.04 Diaries and address book, 1935
- 166.05 Diaries, 1936
- 166.06 Diaries, 1937
- 166.07 Diaries, 1938
- 166.08 Almanach, 1938
- 166.09 Agendas and desk calendar, 1939
- 166.10 Calendar and notebook, 1939
- 166.11 Notebooks, undated
- 166.12 Agenda, 1940
- 166.13 Diary, 1941
- 166.14 Year book, 1942
- 167.01 Diary and appointment book, 1943
- 167.02 Diary, 1944
- 167.03 Diaries, 1945
- 167.04 Diary, 1946
- 167.05 Diary, 1948
- 167.06 Agenda, 1949
- 167.07 Notebooks, circa 1950
- 167.08 Agenda, 1951
- 167.09 Agendas, 1952
- 167.10 Agendas, 1953
- 167.11 Agendas, 1954
- 167.12 Agendas, 1955
- 167.13 Agendas, 1956
- 167.14 Agendas, 1957
- 167.15 Agendas, 1958
- 167.16 Agenda, 1959
- 167.17 Agenda, 1960
- 167.18 Agenda, 1961
- 167.19 Agenda, 1962
- 167.20 Agenda, 1963
- 168.01 Agenda, 1964
- 168.02 Agendas, 1965
- 168.03 Agendas, 1966
- 168.04 Agendas, 1967
- 168.05 Agendas, 1968
- 168.06 Agendas, 1969
- 168.07 Agendas, 1970
- 168.08 Agendas, 1971
- 168.09 Agenda, 1972
- 168.10 Agendas, 1973
- 168.11 Agenda, 1974
- 168.12 Agenda, 1975
- 168.13 Agenda, 1976
- 168.14 Agenda, 1977
- 168.15 Agenda, 1978
- 168.16 Agenda, 1979
- 168.17 Agenda, 1980
- 168.18 Agenda, 1981
- 168.19 Agenda, 1982
- 169.01 Agenda, 1983
- 169.02 Agenda, 1984
- 169.03 Agenda, 1985
- 169.04 Agenda, 1986
- 169.05 Agenda, 1987
- 169.06 Agenda, 1988
- Subseries: Conservation
- 169.07 Berger Art Conservation, Inc., 1972–1979
Correspondence, condition reports and photographs re paintings conserved. Also includes articles by Gustav Berger. Conserved paintings by Balthus (Japanese Figure with Red Table, La Toilette de Cathy), Gottleib (The Seer), and Miró (Head of Man).
- 169.08 Berger Art Conservation, Inc., 1980–1987
Correspondence, condition reports, photographs, insurance and shipping records re paintings conserved. Worked on three Balthus paintings (Landscape, Girl with Cat), Girl Asleep), Tanguy (L'Athée on la Religieuse), and Rouan (Saisons l'Inverno).
- 169.09 S.J. Fishburne, 1957
Correspondence, condition reports and photographs re paintings conserved. Works by de Chirico, Henri Matisse, Bonnard, Gris, and Miró.
- 169.10 S.J. Fishburne, 1958–1965
Correspondence, condition reports and photographs re paintings conserved. Paintings by Courbet, Miró, Severini, and Tanguy.
- 169.11 Sheldon and Caroline Keck, 1952–1971
- 169.12 Louis Pomerantz, 1953–1956
Correspondence, condition reports and photographs re paintings conserved. Paintings were by Picasso (Still Life, 1923), Degas (Répétition au foyer de la danse), Rousseau (Man's Portrait, Woman's Portrait), and Henri Matisse (La jetée de Colloire, Woman Seated at Table with Vase of Flowers).
- 169.13 Mrs. M.K. Weidner, 1961
- 169.14 Conservators, Europe, "A" to "Z", 1970–1989
Correspondence, photographs, and printed material. Conservators include Jeane Amoore (Paris), Michael Warner (British Museum), and Istituto Centrale per il Restauro (Rome).
- 169.15 Conservators, United States, "A" to "Z", 1960s–1980s
Correspondence, photographs, and printed material. Conservators include Stephanie Ewing (1971 Miró pastel, watercolor), Francesca Fleming (1971 tribal art), Daniel Goldreyer, Ltd. (1967 Miró, Tanguy), Antoinette King (1970 Chagall Lovers drawing), Metropolitan Museum of Art (Miró Pomme de terre, 1928), Bernard Rabin (1976 Riopelle), Martina Yamin (1978 Balthus Poet, four drawings by Henri Matisse), and Alexander Yow (1983 Henri Matisse, 14 drawings).
- 169.16 Matisse family private collection, Henri Matisse paintings, 1957–1962
Correspondence, condition reports, and photographs re Henri Matisse works (Geraniums, Lorette er Aicha, La pianiste, Landscape with Telephone Pole, The Bay of Nice, Nude on a Yellow Couch, Lorette, Marguerite, Portrait of the Artist's Son).
- Subseries: Correspondence, chronological
- 169.17 Catherine Viviano, 1945–1948
Correspondence between Pierre Matisse and his gallery assistant, Catherine Viviano, during Pierre Matisse's absences from New York, including one letter from Mrs. Pierre Matisse (Teeny) to Viviano. Formal agreement for gallery compensation to Viviano beyond her salary with letter from lawyer. Viviano's letters give clear descriptions of the gallery operation.
- 169.18 B. Mayor, 1968–1969
Correspondence between Pierre Matisse and his gallery assistant during Pierre Matisse's absence from New York, December 1968 through January 1969. Group of papers found with documents from the J. Ducrocq Tanguy files, Kay Sage Tanguy estate: Legal papers, same year
- 169.19 1979–1980 Winter
- 169.20 1980 May–July
- 169.21 1980 August
Includes correspondence to and from Mrs. Matisse and staff, telephone messages, bills and gallery activity summaries. Typed letter signed by Mrs. Matisse to Margaret Loudon re Loren MacIver finances, dated August 1.
- 169.22 1980 September‐October
- 169.23 1980 November–1981 May
- 169.24 1981 June–July
Includes correspondence to and from Mrs. Matisse and staff, telephone messages, bills and gallery activity summaries. Pierre Matisse visited with Miró in Barcelona, noted in a letter from Mrs. Matisse to Margaret Loudon, dated July 17, 1981.
- 169.25 1981 August–October
- 169.26 1981 December
- 169.27 1982 March–April
- 169.28 1982 June–July
Correspondence to and from Mrs. Matisse and staff, telephone messages, bills and gallery activity summaries. Memos to staff re anticipated summer activities and exhibition loans. Includes unsorted papers re gallery renovation. See also files on gallery renovation
- 169.29 1982 August
- 169.30 1982 September–November
- 169.31 1982 December–1983 January, 1983 April
- 169.32 1983 June–July
- 169.33 1983 August
- 169.34 1983 September
- 169.35 R 1984 July–August
Correspondence to and from Mrs. Matisse and staff, telephone messages, bills and gallery activity summaries. Item dated July 8 re sale of Miró work to Beaubourg ($500,000). Mention on July 24 of Riopelle authentication question. Pierre Matisse cataract operation, August 16.
- 169.36 1983 November–1984 January, 1984 April
- 169.37 Contact information sheets, 1984
Information sheets prepared by and left for staff at the beginning of summer, 1984. Includes record of Pierre Matisse Gallery loans to exhibitions, spring and summer 1984, 1985.
- 170.01 1984 September, 1984 December–1985 January
- 170.02 1985 June–July
- 170.03 1985 August
- 170.04 1985 September, 1985 December–1986 January
- 170.05 1986 April, July
- 170.06 1986 August
- 170.07 1986 September, 1986 December–1987 January
- 170.08 1987 June–August
Correspondence to and from Mrs. Matisse and staff, telephone messages, bills and gallery activity summaries. Includes Mrs. Matisse's summer advance memo to staff. Mr. and Mrs. Matisse go on a trip to Leningrad and Moscow (August 29 through September 4) with Mrs. Matisse's mother, Jackie Monnier, and the Russells, for the Chagall show at the Pushkin Museum
- 170.09 1987 September
- 170.10 1988 June–August
- 170.11 1989 June–July
- 170.12 1989 August–September
- 170.13 1990 September
- 170.14 1991 July
- Subseries: Correspondence, alphabetical
- 170.15 "A", 1984–1990
Catalogue requests, unsorted artists' inquiries, photograph requests, solicitations and inquiries re available gallery art.
- 170.16 "B", 1984–1990
- 170.17 "C" to "D", 1984–1990
- 170.18 "E" to "F", 1984–1990
- 170.19 "G" to "H", 1984–1990
Catalogue and photograph requests, artists' inquiries and solicitations, and inquiries re works available for sale. Julia Herzberg correspondence re 1990 Wifredo Lam exhibition. See also Artists, Wifredo Lam in folders 14.01–.30
- 170.20 "I" to "K", 1984–1990
- 170.21 "L", 1984–1990
- 170.22 "M", 1984–1990
- 170.23 "N" to "P", 1984–1990
- 170.24 "R", 1984–1990
- 170.25 "S", 1984–1990
- 170.26 "T" to "V", 1984–1990
- 170.27 "W" to "Z", 1984–1990
- Subseries: Financial records
- 170.28 Lounsbery accounts, 1951–1956
- 170.29 Lounsbery accounts, 1952
Invoices: insurance, shipping, conservation, framing, photography. Accountants' reports, IRS form, bank transfers, receipts, et cetera. The name of J. Harlin O'Connell, Patricia Matisse's father, appears.
- 170.30 Lounsbery accounts, 1952–1953
35 loose journal pages for the accounting to do with the Pierre Matisse Gallery financial arrangement with Richard Lounsbery. Columns contain information such as inventory, sales, profit and loss, accounts payable and receivable, et cetera.
- 170.31 Lounsbery accounts, 1952–1957
- 170.32 Lounsbery accounts, 1953
Invoices: framing, insurance, shipping. Revision of provision in agreement between Pierre Matisse and Lounsbery. List of paintings, accountant's letter with Lounsbery, Paris hotel bills for 1952.
- 170.33 Lounsbery accounts, 1954
- 170.34 Lounsbery accounts, 1956–1958
Correspondence, accounting reports, lists, re Lounsbery Special Account and termination of agreement as of December 31, 1957.
- 170.35 Lounsbery agreement drafts, 1951
- 170.36 Lounsbery agreement, 1951
Number of drafts, revisions, et cetera, of proposed agreement with a Mr. "X" re his investment in the Pierre Matisse Gallery Corporation.
- 170.37 Lounsbery agreement, 1951
- 170.38 Lounsbery correspondence, 1951
Three page memorandum outlining possible financial arrangement between Pierre Matisse Gallery and Mr. "X," the latter advancing $100,000 for the purchase of works by Pierre Matisse Gallery and promise to share in the profit of the sales. Correspondence between Pierre Matisse and J. Harlin O'Connell, O'Connell and Richard Lounsbery, Alan McHenry and Lounsbery, Spingarn (Pierre Matisse's lawyer) and O'Connell. See also Lounsbery agreement, 1951 (folder 170.37)
- 170.39 Lounsbery correspondence, 1952
Correspondence re works of art and conservation, between Pierre Matisse and Alan McHenry re trust receipt forms, payments to Lounsbery, and copies of correspondence between McHenry and Lounsbery. Correspondence with J. Harlin O'Connell re payment to his firm. Letter dated September 6, but no year, from "Dick" to Pierre Matisse from Vichy; mention of "Vera" indicates probably from Richard Lounsbery.
- 170.40 Lounsbery correspondence, 1953
Correspondence between Pierre Matisse and Alan McHenry re Pierre Matisse Gallery's acquisitions and sales of works of art through a special fund; payments to Lounsbery of his percentage of profits. Copies of O'Connell's letter to a law firm in Los Angeles re Mrs. Ruth Maitland's situation, and the reply giving full report. In a piece of correspondence dated May 7, 1953 O'Connell mentions receiving the marriage certificates, which he encloses. See also Clients, Maitland (folders 117.32–.35)
- 170.41 Lounsbery correspondence, 1954
Copies of correspondence among J. Harlin O'Connell and Richard Lounsbery and banks, and between Pierre Matisse and O'Connell re acquisition and sale of works purchased under trust agreement. Payments to Lounsbery of his percentage of profits and to his expense account. Correspondence re Pierre Matisse Gallery's search for new quarters, farther uptown than 57th street, however to no success.
- 170.42 Lounsbery receipt, 1951
Drafts and copies of receipt for deposit of $50,000 by Richard Lounsbery, dated December 5, 1951, as per agreement.
- 170.43 Lounsbery trust receipts, 1951–1952
- Subseries: Framing
- 170.44 Samuel Luloff, 1956
- 170.45 Serge Roche (Cadres anciens), 1930–1946
Serge Roche (Cadres anciens, Paris) was a decorator and framer from whom Pierre Matisse bought antique frames. Contains invoices and letters from Roche, usually urging for payments of outstanding bills and Pierre Matisse's apologetic responses.
- 170.46 Advertising materials, undated
- Subseries: Gallery alterations
- 170.47 Expenses, 1973 December–1974 April
- 170.48 H. Marks Construction Corp., 1973 December–1974 May
- 170.49 Vendors, 1973–1974
- 170.50 Materials regarding Alan Sayles, architect, 1982
- 170.51 Work done, 1982
- 171.01 Samples and swatches, 1982
- Subseries: Insurance claims
- 171.02 Damage in transit to Miró's Femme ceramic, 1979–1980
- 171.03 Damage in transit to Miró's Project pour un monument, 1984
- 171.04 Damage in transit to an untitled glazed ceramic by Miró, 1985–1986
- 171.05 1971–1976
- 171.06 Legal matters, 1958–1960
- 171.07 Theft of the Giacometti [Buste de] Diego with Wide Shoulders, 1967 October
Correspondence with Frenkel & Co. General Insurance related to the theft from Pierre Matisse Gallery of Buste de Diego, wide shoulders on October 14th, 1967, during the 1967 group exhibition, Selections. Letter to and notice from Art Dealer Association of America. Black‐and‐white photographs of the piece, front and profile, and photocopies of the same. Black‐and‐white installation photograph.
- 171.08 Theft of twelve Miró paintings stolen from APF truck in warehouse, 1967–1969
Correspondence, claims, legal material, visual material and press. List of paintings stolen, signed by Miró, dated December 20, 1967.
- 171.09 Theft of Riopelle's Ecran stolen from gallery, 1979 June
Correspondence with police precinct, Art Dealers Association of America, and the International Foundation for Art Research, Inc.
- 171.10 1970, 1971, 1980
Letter dated December 1, 1970 to Pierre Matisse from Max Granick, Inc., giving dimensions of a number of drawings with handwritten notes. Item dated October 27, 1971 containing "To Whom It May Concern" valuations from Frank Perls of a number of works of art, at the request of Mr. and Mrs. Pierre Matisse. Two copies of "To Whom It May Concern" letter dated April 11, 1980 from Eric Pollitzer, the photographer, regarding Giacometti's drawing The Palace at 4:00 am. Three copies of a black‐and‐white photograph of the Giacometti drawing (8 x 10 inches). Christie's auction catalogue Impressionist and Modern Watercolours and Drawings, March 25 1980.
- 171.11 Theft of Miró drawing femme a la chevelure defaite, oiseaux, constellations from gallery, 1980 February 19
Correspondence with police precinct, International Foundation of Art Research, Art Dealers Association of America, insurance company (Frankel & Co.). Claim settled.
- 171.12 Theft of Henri Matisse bronze Petit torse accroupe, 1990
- Subseries: Inventories
- 171.13 Paintings and sculpture lists, 1933–1940
Typewritten inventory listings: April 30, 1933–1937 and 1940. Lists, including one dated April 10, 1939 of "Pictures covered by outside insurance" and undated handwritten lists including "Paid by Cash — by Pierre Matisse."
- 171.14 Paintings and sculpture lists, 1937, undated
Four page handwritten list of works of art, consecutively number 37.1 through 37.99, with various information; an undated handwritten sheet with artists' names and some titles that duplicate the mentioned information. Undated handwritten list of titles (Rouault?). four pages of undated, handwritten lists containing artists, titles, prices, some dealers' names and some duplication. This file was brought to the Pierre Matisse Foundation by Maria‐Gaetana Matisse on December 11, 1995
- 171.15 Pictures and sculpture list, 1949 January 1
- 171.16 Pictures and sculpture list, 1950 February 28
- 171.17 Pictures and sculpture, 1951 February 28
- 171.18 Pictures and sculpture list, 1952 February 29
- 171.19 Pictures and sculpture list, 1953 February 28
- 171.20 Pictures and sculpture list, 1954 February 27
- 171.21 Paintings and sculpture list, 1955 February 28
- 171.22 Paintings and sculpture list, 1956 February 29
- 171.23 Paintings and sculpture list, 1957 February
- 171.24 Paintings and sculpture list, 1958 February 28
- 171.25 Paintings and sculpture list, 1960 February 29
- 171.26 Paintings and sculpture list, 1961 February 28
- 171.27 Paintings and sculpture list, 1962 February 28
- 171.28 Paintings and sculpture list, 1969
- 171.29 Consignment stock book, 1938–1969
Hard‐bound ledger book indicating consignment number, artist, owner, title, date, medium, size, cost, date received, and comments as to whether returned or sold.
- 171.30 Sales stock book, 1947–1969
Hard‐bound ledger book indicating date, to whom sold, stock number, artist, title, medium, sales price, cost, tax, date paid.
- 171.31 Stock book, 1931–1969
Hard‐bound ledger book indicating number, artist, photo number, title, medium, date, size, cost, date purchased, date paid, date sold, purchaser.
- 171.32 Sales stock book, 1969–1972
Hard‐bound ledger book indicating date, to whom sold, stock number, artist, title, medium, sales price, cost, tax, account record.
- 171.33 Purchases stock book, 1932–1947
Hard‐bound ledger book indicating date, from whom purchased, stock number, artist, title, medium, cost, returns, date paid.
- 171.34 Stock book, 1931–1942
Hard‐bound ledger book indicating stock number, artist, title, medium, size, cost, date bought, date paid, date sold, purchaser.
- 172.01 Stock book, 1931–1946
Hard‐bound ledger book indicating stock number, artist, title, medium, date, size, cost, date purchased, date paid, date sold, purchaser.
- 172.02 Stock book, 1931–1969
Hard‐bound ledger book indicating number, artist, photo number, title, medium, date, size, cost, date purchased, date paid, date sold, purchaser.
- 172.03 Stock book, 1969–1979
Hard‐bound ledger book indicating date, artist, title, stock number, medium, date, size, cost, date sold, purchaser.
- 172.04 Stock book, 1947–1969
Hard‐bound ledger book indicating date, purchased from, stock number, artist, title, cost.
- 172.05 Sales stock book, 1932–1946
Hard‐bound ledger book indicating date, to whom sold, stock number, artist, title, selling price, cost, date paid.
- 172.06 Consignment stock book, 1931–1946
Hard‐bound ledger book indicating consignment number, artist, owner, title, medium, cost, date received, date returned or sold, purchaser, cost, sale.
- 172.07 Consignment stock book, 1969–1972
Hard‐bound ledger book indicating consignment number, artist, owner, title, date, medium, size, cost, date received.
- 172.08 Consignment stock book, 1933–1948
Hard‐bound ledger book indicating consignment number, artist, owner, title, size, medium, cost, date received, date sold or returned, selling price, purchaser.
- 172.09 Miró etchings and lithographs stock book, 1940–1944
- 172.10 Half‐share stock book, 1965–1972
Hard‐bound ledger book showing portion of shares, artist, owner, title, size, cost, date received, date returned or sold.
- 172.11 Consignments stock book, 1938–1969
Hard‐bound ledger book showing consignment number, artist, owner, title, medium, size, cost, date received, date returned or sold.
- 172.12 Sales stock book, 1952–1955
Hard‐bound ledger book with only one page of entries, showing date, to whom sold, artist, title, stock number, sale price, cost, expense, net cost, remarks.
- 172.13 Purchases stock book, 1969–1974
Hard‐bound ledger book showing date, from whom purchased, stock number, artist, title, cost.
- 173.01 Consignment stock book, 1931–1936
Hard‐bound ledger book indicating consignment number, artist, owner, title, medium, cost, date received, date returned or sold, purchaser, cost, selling price, date paid to owner.
- 173.02 Notebook, 1937–39
Bound notebook (8 x 5 inches) with a red‐patterned cardboard cover, red spine, 100 numbered pages, tissue copies of red‐ruled perforated pages which have been torn out. Penciled notes regarding dates, clients, dealers, museum names: list of works of art (artist and title). Majority marked "returned."
- 173.03 Looseleaf notebook, circa 1930s–1940s
Notebook, black soft‐leather looseleaf (9 x 7 inches). Alphabetical dividers, ruled sheets, typed and handwritten. Each sheet for an individual work containing: artist, title, medium, from whom purchased, date, number, size, photo, cost, history. Not all information for each work. History records appear to date generally from 1930s and 1940s. Some alphabetical tabs missing, some soil and discoloration
- 173.04 Notebook, undated
Bound (sewn) notebook, tan cardboard cover (9 x 6½ inches). Graph‐ruled pages, 18 of which list 368 works by artist, title, dimensions and either cost or price. Next 13 pages are variously divided for handwritten information re clients, works, often month/day (no year) and figures that may be costs or prices. Remainder pages are blank. Fragile. First 18 pages are unbound
- 173.05 Notebook, undated
Notebook, bound (sewn), tan covers, remnants of black tape on spine; cover design: IDEAL. Graph‐ruled pages with miscellaneous lists, notes, sketches, many unused pages. Miscellaneous loose papers containing notes, figures. Snapshot (in mylar). Very fragile, very poor condition
- 173.06 Notebook, undated
Bound notebook (10½ x 8 inches), black with gilt‐trimmed red leather spine and corners. Pages graph‐ruled; red hand‐ruled columns for numbered items: artist, photo, title, medium, dimensions [in inches and centimeters], figures for either costs or prices. Some notes. Of 150 pages, 6½ are used. Very fragile, spine damaged
- 173.07 Looseleaf notebook, undated
Notebook, black hard‐cover looseleaf (9 x 7 inches). Ruled sheets, each for a single work, typed at top: artist, number, title, medium, size, photo, from whom purchased, date, cost, exhibited, letters, to whom shown, et cetera. Handwritten notes for last two headings. Some sheets torn at holes
- 173.08 Looseleaf notebook, undated
Notebook, black soft‐leather looseleaf (9 x 7 inches). Alphabetical dividers, ruled sheets, typed artists' names followed by listings of works by each, with stock or consignment numbers (perhaps cost or price figures). Some handwritten notes. Card, printed advertising giving standard frame dimensions. Some alphabetical tabs missing, some soil and discoloration
- 173.09 Looseleaf notebook, undated
Notebook, black soft‐leather looseleaf (7 x 5 inches). Alphabetical dividers, ruled sheets, typed and handwritten. Under each artist's name are listings of works, including "Primitive", "Oceanic, et cetera. Sometimes including stock or consignment numbers and costs and prices. In front pocket are 31 looseleaf sheets similar to those in the notebook. Condition poor, alphabetical tabs missing, some soil and discoloration
- 173A R Purchases and sales, consignments, 1931–1989
- 180.01 Sales journal, 1972 March–1983 February
Accounting record of sales including the following categories: date, to whom sold, stock number, medium, title, artist, sales prices, tax due, account receivable, half‐share, consignment sale.
- 180.02 Stock book, 1975–1976
Spiral‐bound (without cover) handwritten sheets of gallery stock, prepared in 1975 through 1976. Column headings: inventory count, stock or consignment number, artists, title, medium, date, size, date purchased, cost. Two smaller sections are titled "Henri Matisse" [Henri Matisse] and "Consignment."
- Subseries: Indexes of sales, 1929–1980s
Seven boxes (15 x 5½ x 4 inches) with index cards organized alphabetically. The first three are organized by collector or institution. The cards indicate the names of individual collectors or institutions, works of art purchased, date of purchase and value of purchase. The last four are organized by artist, 105 artists total. The cards indicate the title of the work of art, the medium and occasionally the price paid. Also indicated is the collector or institution who purchased the work. - 182.01 R Collectors, "A" to "G", 1934–1980s
- 182.02 R Collectors, "H" to "N", 1934–1980s
- 182.03 R Collectors, "O" to "Z", 1934–1980s
- 183.01 R Artists, Arp to Gabo, 1929–1980s
- 183.02 R Artists, Gauguin to Matisse, 1929–1980s
- 183.03 R Artists, Matta to Renoir, 1929–1980s
- 183.04 R Artists, Riopelle to Zao Wou‐ki, 1929–1980s
- Subseries: Invoices, 1931–1989
Administrative invoices and sales memos regarding works of art. 98 folders containing invoices for works of art sold through Pierre Matisse Gallery. Invoices filed alphabetically within folders. Most folders contain original invoices, some (1931–1947) contain Xeroxes with the originals filed elsewhere. Invoices had been filed in notebooks with on to two years per notebook and any accompanying sales memos. Some years (1948–1951) most of the invoices appear to have been filed in clients' folders instead of being left in notebooks. "Sames Memos" filed in separate folders, chronologically within the folders. Sales memos date from 1976 to 1989 and each sales memo contains written documentation (title, date, artist, medium, price) of each individual work. - 174.01–.38 Restricted
- 174.39 Publications: Miró Constellations, lithographs, 1957–1959, 1962
- 174.40 Publications: Miró Constellations, "A" to "M", 1959, 1960, 1963
- 174.41 Publications: Miró Constellations, "N" to "Z", 1959, 1971
- 174.42–.52 Restricted
- 175.01–.36 Restricted
- 175.07 Publications: Miró Constellations, correspondence and lists, 1968
- 176.01–.15 Restricted
- Subseries: Lighting
- Subseries: Hickernell & Romeyn Inc.
- 176.17 1937
October 12, 1937 proposal from Hickernell & Romeyn re townhouse for sale on East 64th Street. Handwritten notes from Pierre Matisse re payment, taxes, et cetera. Scratch paper and yellow legal paper with sketches of floor plans.
- Subseries: Photographic reproductions
- 176.18 1973–1980
- 176.19 1988 January–June
Requests to reproduce images for books, album covers, exhibitions, films, and refused requests. Gordon Onslow‐Ford request to reproduce Tanguy painting Girl with Red Hair from March/April 1988. Reproduction of Adant photos by Beaubourg, May 1988.
- 176.20 1988 August–December
- 176.21 Record of photographs sent, 1988
- 176.22 1989 January–July
- 176.23 1989 September–December
- 176.24 1990–1991
- 176.25 Use of Tanguy painting Girl with Red Hair on Bob Seger album cover, 1990
- Subseries: Photography
- 176.26 Undated
- 176.27 Marc Vaux, 1929–1971
Correspondence, photo orders, invoices, payments. August 5, 1971 letter from SPADEM (Société de la Propriété Artistique et des Dessins et Modules).
- Subseries: Printers
- 176.28 1971–1973, undated
Correspondence, orders, invoices, payments, various printers. Samples from printers, especially color.
- Subseries: Publishers
- 176.29 VVV (Triple V), 1942–1944
Pierre Matisse to Mrs. Stanley Resor describing forthcoming new quarterly magazine, now ready to go to press, which will cover creative work in many fields. To support the publication of the magazine ten artists are each preparing a lithograph for a portfolio in an edition of 50 copies only, for the first contributors to the magazine. Bernard Reis treasurer. File also includes some responses, invoices for issues purchased by Pierre Matisse Gallery, a brochure, notebook pages re copies of the first issue of the magazine.
- 176.30 Katzenbach & Warren, 1948–1949
Many copies of agreements with artists (Matisse, Miró, Calder, Matta — latter art editor on editorial board) re designs of each for silk screen mural scrolls published by Katzenbach & Warren. Correspondence, minutes of board meetings, manuscript by James Thrall Soby, color proof of a Matta design, black‐and‐white photo of Miró, brochures containing a color chart and paper samples.
- 176.31 Katzenbach & Warren, 1950–1959
- 176.32 Katzenbach & Warren, 1960–1963
- 176.33 1950–1959
- 176.34 Editions du Seuil, 1959,1963
- 176.35 Gallimard, 1971–1973
- 176.36 Daniel Jacomet, Paris, 1957–1958
1957: Few estimates from Jacomet for publication of Assemblages de Jean Dubuffet (Volboudt), DubuffetMetro, and album of Miró Constellations Insurance coverage for shipment of Miró gouaches; payment; Jacomet receipt of Breton manuscript with drawings of Yves Tanguy. 1958: Detailed reports from Jacomet re artists and writers seeing and approving progress, further estimates on Miró and Dubuffet and Tanguy and Breton; complete photographic maquette of Breton Mss. to Pierre Matisse, who sends Jacomet list of collectors of Miró gouache and tempera paintings. See also Artists, Dubuffet, Jean, 1901–1985, Publications for further correspondence with Jacomet (folder 8.36)
- 176.37 Daniel Jacomet, Paris, 1959
Jacomet financial report containing invoices paid and not paid. Priced copy of Pierre Matisse Gallery Miró exhibition catalogue (January–February 1945), with collectors' names written in and other notes. Jacomet explanation of Miró and Breton edition. Correspondence and lists re disposition of Miró paintings, shipping, et cetera.
- 176.38 Skira, 1958–1963
- 176.39 XXe Siècle, Paris, 1959–1974
Correspondence, di San Lazzaro, descriptions of upcoming issues, requests for photographs and transparencies. Contains some Pierre Matisse Gallery ads and a few letters re Henri Matisse painting for which San Lazzaro had a buyer. Invoices, payments, price lists of special issues. Contains a card announcing the death of Gualtieri di San Lazzaro, 7 September 1974.
- 176.40 1960–1969
Correspondence with various publishers re Pierre Matisse Gallery publicity, Pierre Matisse's book orders and received publications, Pierre Matisse Gallery transparencies and photos lent for use in many publications. Requests to Pierre Matisse Gallery to subscribe, et cetera.
- 176.41 Noel Arnaud, 1961–1962, 1977
Correspondence, generally concerning Miró and Dubuffet catalogues, reproductions, et cetera. Arnaud on stationery of Collége de 'Pataphysique.
- 176.42 Daniel Jacomet, 1961
Pierre Matisse inquiry re situation of Tanguy and Breton collaboration and the album of Henri Matisse watercolors. Jacomet responds with an estimate on Tanguy, July 15 deadline. Invoices, payments and shipping arrangements. Jacomet inquiry re unpaid bills, send proof of part of Miró text, sending 200 Miró catalogues, shipping papers, 200 lithographs. Pierre Matisse letter, outraged to receive damaged catalogues — 30 copies sent by Tailleur fils. Jacomet's reply listing each letter and inquiry he had sent to Pierre Matisse to which he had received no replies or instructions.
- 176.43 Daniel Jacomet, 1962–1963
Correspondence, invoices, and payments. March 1962 correspondence re Giacometti cover. July 1962 correspondence re Tanguy edition, concerning more copies of plate and the catalogue being in the hands of the printer and re the difficulty of producing the Henri Matisse watercolors and drawings album. In August 1962, more discussion re Tanguy. From September, a duplicate estimate of the Tanguy and Breton edition. From October, a duplicate estimate for the Giacometti. In November, 1962, Jacomet sends a maquette of the Tanguy and Breton edition, and later complains not to have received a response. From May 1963 is more correspondence re payments.
- 176.44 Daniel Jacomet, 1965
Correspondence May to November 15, re Jacomet payments urgently needed, his surprise at no response, re Miró and Mourlot, finally payment. Two receipts.
- 176.45 Patrick Waldberg, 1963–1964, 1971–1973
- 176.46 Skira, 1971–1983
Skira requests for photos, color transparencies, and permission to reproduce, cards. Color transparency of La tireuse de cartes removed from file and placed with Balthus transparencies
- Subseries: Shipping
- 176.47 Agence Maritime Delmare, 1960–1977
Correspondence, documents, invoices re shipment of paintings and sculpture. Copies of bank draft advices in payments of shipping invoices. Correspondence re difficulties in transport, customs, et cetera. Airway bills.
- 176.48 Agence Maritime Delmare, Damage Claim, 1976–1977
Correspondence, papers, et cetera re damage during shipment to Miró sculpture Femme au Chapeau. Invoice for shipment. Report from Hahn Brothers re condition of sculpture upon opening of cases. Preliminary claim form — W.R. Keating. Letter dated January 6, 1977 from Pierre Matisse to Agence Delmare alerting them to the damage of Miró sculpture and also alerting them to the dame age to another sculpture, Mere Ubu, while being transported in France. Letter of January 18, 1977 to Agence Delmare sending the report of the cost of restoration. Correspondence with Galerie Maeght re Mere Ubu damaged en route from Susse Fondeur. Correspondence with Susse Fondeur re the same. Reply from Galerie Maeght and Susse Fondeur. Most correspondence and forms in French
- 177.01 W.R. Keating, 1955
- 177.02 W.R. Keating, 1956
- 177.03 W.R. Keating & Co., 1957
- 177.04 W.R. Keating & Co., 1958
- 177.05 W.R. Keating & Co., 1959
- 177.06 W.R. Keating & Co., 1959
- 177.07 W.R. Keating & Co., 1960 January–June
- 177.08 W.R. Keating & Co., 1960 July–December
- 177.09 W.R. Keating & Co., 1961
- 177.10 W.R. Keating & Co., 1962
- 177.11 W.R. Keating & Co., exports, 1961–1963
- 177.12 W.R. Keating & Co., 1963
- 177.13 W.R. Keating & Co., 1964
- 177.14 W.R. Keating & Co., exports, 1964–1965
- 177.15 W.R. Keating & Co., 1965
- 177.16 W.R. Keating & Co., 1966
- 177.17 W.R. Keating & Co., exports, 1966
- 177.18 W.R. Keating & Co., 1967
- 177.19 W.R. Keating & Co., exports, 1967–1969
- 177.20 W.R. Keating & Co., 1968
- 177.21 W.R. Keating & Co., 1969
- 177.22 W.R. Keating & Co., 1970
- 177.23 W.R. Keating & Co., 1971
- 177.24 W.R. Keating & Co., 1972
- 177.25 W.R. Keating & Co., 1973
- 177.26 W.R. Keating & Co., 1974
- 177.27 W.R. Keating & Co., 1975
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.01 W.R. Keating & Co., 1976
- 178.02 W.R. Keating & Co., 1977
- 178.03 W.R. Keating & Co., 1978
- 178.04 W.R. Keating & Co., 1979
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.05 W.R. Keating & Co., 1980
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.06 R W.R. Keating & Co., 1981
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.07 R W.R. Keating & Co., 1982
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.08 R W.R. Keating & Co., 1983
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.09 R W.R. Keating & Co., 1984
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera. Copy of power of attorney.
- 178.10 R W.R. Keating & Co., 1985–1986
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera. Handwritten note from accountant Joseph R. Coulon re notice of user's fees from W.R. Keating.
- 178.11 R W.R. Keating & Co., 1987
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.12 R W.R. Keating & Co., 1988–1989
Invoices and statements. "Consumption Entry" U.S. Customs forms. Correspondence re shipping and shipping instructions. Lists of import transactions. Information re changes in rates, shipping policies, et cetera.
- 178.13 Lefebvre‐Foinet, 1945, 1947, 1950–1951
Correspondence with Lefebvre‐Foinet, French shipper, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and forms in French
- 178.14 Lefebvre‐Foinet, 1952
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.15 Lefebvre‐Foinet, 1953
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.16 Lefebvre‐Foinet, 1954
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.17 Lefebvre‐Foinet, 1955
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.18 Lefebvre‐Foinet, 1956
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Correspondence from November 1956 (including a copy of letter to Lefebvre‐Foinet from the Museum of Modern Art re badly packed Balthus paintings and resultant damage. Some correspondence re relining of framing of paintings. Most correspondence and documents in French
- 178.19 Lefebvre‐Foinet, 1957
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.20 Lefebvre‐Foinet, accounts, 1952, 1955–1957
- 178.21 Lefebvre‐Foinet, 1958
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.22 Lefebvre‐Foinet, 1959
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.23 Lefebvre‐Foinet, 1960
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.24 Lefebvre‐Foinet, 1961
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.25 Lefebvre‐Foinet, shipments, 1957–1961
- 178.26 Lefebvre‐Foinet, 1962
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Invoices, cables, export papers. Most correspondence and documents in French
- 178.27 Lefebvre‐Foinet, 1963
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. February 2, 1963 letter from Maurice Lefebvre‐Foinet re his visits to the foundry, various artists, et cetera. Most correspondence and documents in French
- 178.28 Lefebvre‐Foinet, shipments, 1962–1963
- 178.29 Lefebvre‐Foinet, 1964
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.30 Lefebvre‐Foinet, 1965
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.31 Lefebvre‐Foinet, 1966
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers, pro forma invoices for work. Most correspondence and documents in French
- 178.32 Lefebvre‐Foinet, 1967
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers, pro forma invoices for work. Most correspondence and documents in French
- 178.33 Lefebvre‐Foinet, accounts, 1960–1969
- 178.34 Lefebvre‐Foinet, 1968–1969
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.35 Lefebvre‐Foinet, 1970
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers, and some correspondence re insurance. Most correspondence in French
- 178.36 Lefebvre‐Foinet, 1971
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.37 Lefebvre‐Foinet, 1972
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.38 Lefebvre‐Foinet, accounts, 1970–1972
Invoices and statements of account, some showing payment. Some correspondence re same. Most correspondence and forms in French
- 178.39 Lefebvre‐Foinet, 1973
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Correspondence re sculpture which arrived damaged. Cables, export papers. Most correspondence and documents in French
- 178.40 Lefebvre‐Foinet, 1974
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.41 Lefebvre‐Foinet, 1975
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.42 Lefebvre‐Foinet, 1976
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.43 Lefebvre‐Foinet, 1977–1978
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.44 Lefebvre‐Foinet, 1979–1980
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.45 R Lefebvre‐Foinet, 1981
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.46 R Lefebvre‐Foinet, 1982–1989
Correspondence with Lefebvre‐Foinet, re shipping and shipping instructions. Correspondence re invoices and payments. Cables, export papers. Most correspondence and documents in French
- 178.47 Lerondelle, 1956–1959
Cables detailing flight arrivals, et cetera. Various shipping documents, invoices and correspondence. From 1956, correspondence and shipping documents re shipment of Balthus paintings (presumably for a Pierre Matisse Gallery exhibition). In 1958, correspondence re shipment of Giacometti La Jambe Correspondence and documents in French
- 179.01 Macarron S.A., 1959–1975
Correspondence re shipment of paintings from Spain, particularly work of Millares, Saura, Rivera and Canogar. Invoices, copies of bank advices showing payment, pro forma invoices for customs, cables.
- 179.02 Transports Duret, 1959–1972
Correspondence re shipping, delivery, et cetera. Correspondence indicating the flight, weight of crates, insurance, provenance, et cetera of shipped objects. Shipping receipts, invoices, copies of correspondence between Duret and Lefebvre‐Foinet. Copies of draft applications for payments made. Original cables, correspondence confirming deliveries. Correspondence and documents in French
- 179.03 U.S. Customs, 1949–1970
Correspondence with customs inspectors and appraisers. Correspondence with shippers re customs values. Cables. Papers re import of Butler sculpture, including annotated copy of catalogue. Letter of November 30, 1963 re Derain head, oil on canvas donated by Pierre Matisse to the Museum of Modern Art for the Armed Forces Sale in 1942. Letter dated October 27, 1964 re delay in shipment of Giacometti drawings for exhibition and asking Customs' cooperation in getting them cleared as quickly as possible.
- 179.04 1936–1939
Handwritten list of shipments with number, artist, title, medium, stock number, frame style, value, et cetera, noted. Paper fragile
- 179.05 Documents, 1962–1964, 1967–1969
Shippings papers from various foreign shippers: Compagnie Generale, IAT, Onofri & Rumbo, and more. Correspondence re shipping invoices, statements and bank receipts of payment. Some correspondence and documents in French or Italian
- 179.06 Import and export, 1967, 1971
Various import and export information sheets from Agence Maritime Delamare, W.R. Keating, SPADEM (Société de la Propriété Artistique et des Dessins et Modules), and the North Atlantic French Atlantic Freight Conference. Some documents in French
- 179.07 Documents from foreign companies, 1970–1977
Shipping papers from various foreign shippers: Compagnie Generale, Bruno Tartaglia, Transports Duret, et cetera. Correspondence re shipping, invoices, statements and bank receipts of payment.
- 179.08 R Documents from foreign companies, 1980, 1982, 1988
Shipping papers from various foreign shippers: Compagnie Generale, Rodolphe Haller, Hudsom Shipping. Correspondence re shipping, invoices, statements and bank receipts of payment.
- Subseries: Tapestries
- 179.09 1962
Inquiries from and to Pierre Matisse and Brody, Léger, Weill and clippings. Copies of the Brody and Léger letters are in their respective files
- Series: Artists
This series providing a comprehensive record of each artist's relationship with the gallery from the time of his or her initial contact with Pierre Matisse. The records are arranged alphabetically by artist's last name, then by decade; within the decade headings include accounts, biographical information, correspondence, exhibitions (at Pierre Matisse Gallery and others), publicity, commissions, and special projects such as catalogues raisonnés. Artists' files range in size from one document to approximately 240 folders for Joan Miró. Those for Balthus, Chagall, Dubuffet, Giacometti, and Tanguy are also of considerable size. A table compiled by the Pierre Matisse Foundation regarding the extent of each subseries is available as a pdf.
A subseries of this series, Artists' manuscript letters, consists of 33 solander boxes of original artists' correspondence removed from the Artists' files in the 1980s at Mr. Matisse's request. In the files, photocopies replace the original letters. The letters are arranged alphabetically by artist, and each letter's contents is summarized on a sheet that appears at the top of each box, with a copy in the appropriate place in the files. When available, a link to the digital copy of the French language contents summary has been provided. While valuable, this subseries does not provide a complete picture of the artists' relationships with Pierre Matisse because supporting documentation and attachments were not included, and original correspondence from non‐correspondence files in the Artists' series were overlooked in the creation of them. - Subseries: Aragon, 1897–1982
- 1.01 Correspondence, 1970–1977
- Subseries: Archipenko, Alexander, 1887–1964
- Subseries: Arp, Jean, 1887–1966
- 1.03 Correspondence, 1961–1966
- Subseries: Gardy Artigas, Joan, 1938–
- 1.04 1985
Invitation to exhibition, February 6, 1985. Receipt for deposit on ceramic, and exhibition catalogue, The Spanish Institute, from February 6 to March 16, 1985. Receipt for payment of ceramic.
- Subseries: "B" miscellaneous
- 1.05 Publicity, 1962–1980
- Subseries: Bacon, Francis, 1909–1992
- 1.06 Correspondence, 1967
- 1.07 Publicity, 1975–1987
- Subseries: Balthus, 1908–2001
- 1.08 Correspondence, undated
Photocopies of correspondence between Balthus and Pierre Matisse. Three pieces of undated correspondence dealing mostly with visiting and travel plans. One letter appears to be from during the war, during the period when Pierre Matisse and Balthus were not in contact. Balthus asks Pierre Matisse (who is in Paris) to please take some money to his mother. He is recuperating in Switzerland and can't do anything to help her. He has started working again. Correspondence in French Originals of correspondence filed separately in solander boxes
- 1.09 Publicity, undated
- 1.10 Correspondence, 1937–1939
Photocopies of correspondence between Balthus and Pierre Matisse. Summaries of letters. Original cables. Photocopy of draft of letter (March 29, 1937) to Balthus proposing an exhibition at Pierre Matisse Gallery (original in Giacometti file, box 1). Cable (December 21, 1937) from Pierre Matisse to Balthus requesting still‐life for a group exhibition. Correspondence ("Mardi") re mix‐up with Julien Levy. Portrait of Miró has been sent. Balthus feels it still needs work. Begs Pierre Matisse not to include a preface in the catalogue. Correspondence dated (February 4, 1938) from Pierre Matisse re desire to have some new works and plans for exhibit next season of the two large canvases The Seasons. Pierre Matisse proposes to commission four paintings from Balthus. Prices are discussed. Letter dated March 25, 1938 states that Pierre Matisse has heard no word from Balthus on this proposition, and supposes he will have to depend on Colle and Pierre (Loeb) for future paintings. On May 6, Balthus needs money to buy a house, proposes that Pierre Matisse buys eight large paintings. On September 3, 1938, Balthus is working on four large paintings. On November 11, 1938 he asks Pierre Matisse to send money for the sale of La Montagne Originals of letters filed separately in solander boxes
- 1.11 Henriette Gomès, 1938–1985
Correspondence between Pierre Matisse and French dealer Henriette Gomès. Original cables. Correspondence re paintings for sale (Balthus). Correspondence re drawing up a contract relating to sale of Balthus paintings. Correspondence re division of paintings lots. Correspondence with shipper and shipping documents, copy of the "Projet de Contrat."
- 1.12 Exhibitions: Paintings, Pierre Matisse Gallery, 1938 March 21–April 6
- 1.13 Exhibitions: Paintings and Drawings (Illustrations for Wuthering Heights), Pierre Matisse Gallery, 1939 March 17–April 8
- 1.14 Correspondence, 1946–1949
Photocopies of correspondence between Pierre Matisse and Balthus, including summaries of letters. Letter of May 1946 re exhibition and the pictures Balthus wants to have (Galerie des Beaux Arts, Wildenstein, November 25 to December 10, 1946). June 1946, Balthus is disappointed that he will not be able to have La Rue for his exhibition. Letter from Antoinette Klossowski requesting that payment for a Balthus painting be sent to her in Switzerland. Original cables. Letter dated May 18, 1948 from Pierre Matisse discussing preparations already underway for his Balthus exhibition. Urges Balthus to speak to Camus about a preface. Pierre Matisse is disappointed that Balthus has not reserved some smaller canvases for him since he has taken on the expense of the larger pieces which are harder to sell. Cables urgently requesting Camus preface for the catalogue of the exhibition about to open. Originals of letters filed separately in solander boxes
- 1.15 Exhibitions: Paintings, Pierre Matisse Gallery, 1949 March–April
- 1.16 Publicity, 1947
- 1.17 Accounts, 1959–1973
- 1.18 Correspondence, 1950–1959
Photocopies of correspondence between Pierre Matisse and Balthus. Original cables. Summaries of letters. In an item from 1950 ("Mercredi"), Balthus writes about Pierre Matisse's reaction to his suggestion that he paint Pierre Matisse's portrait. Balthus talks about changes in their relationship since their "reunion" after the war. Balthus grants Pierre Matisse freedom from any obligation to sell or exhibit his paintings, as he wants to paint without commercial considerations. In an item from 1950 ("Samedi matin"), Balthus states he has received a note for Pierre Matisse (no copy available) explaining his response to the idea of having his portrait painted. Balthus accepts the explanation and the relationship is healed. Further correspondence re sittings for a portrait.
- 1.19 Exhibitions: Museum of Modern Art, New York (1956 December 18–1957 February 3), 1956–1957
Correspondence re exhibition loans with Henriette Gomès and James Thrall Soby. Correspondence with Soby re preliminary exhibition plans. Letter dated August 21, 1956 from Soby to Pierre Matisse urging Pierre Matisse to prod Balthus to send La Rue back as soon as possible. Message (August 22, 1956) from Pierre Matisse to Soby re shock of [Jackson] Pollock's death. Copies of correspondence between Soby and library at the Museum of Modern Art re Balthus bibliography. Copy of list of works promised to exhibition. Correspondence from Balthus to Pierre Matisse re exhibition. Loan forms, clippings, copy of catalogue. Typescript of catalogue preface (presumably Museum of Modern Art catalogue), typescript of suggested extracts from various articles. Some correspondence in French
- 1.20 Exhibitions: Pierre Matisse Gallery, 1957 January
- 1.21 Publicity, 1956
- 1.22 Correspondence, 1960–1961, 1967–1969
Photocopies of correspondence between Pierre Matisse and Balthus. Summaries of letters. Original cables. November 7, 1960 letter re exhibition in Hanover. Copy of a June 14, 1961 letter from Dr. Helmut Demel informing Balthus of his election to the International Institute for Arts and Letters. List of collectors of Balthus oils as of 4 June 1966. Letter dated March 17, 1967 from Pierre Matisse to Balthus concerning the sale of La Chambre turque to the French government. Letter dated April 7, 1967 to Balthus re exhibition at Pierre Matisse Gallery and its success. Letter dated May 5, 1967 from Pierre Matisse re Balthus drawings he expects to see. Also re La Chambre turque and the continuing drama. Message dated August 7, 1969 from Pierre Matisse to Balthus re his loan requests for exhibition at Villa Medici. Three small snapshots of works in progress. Pierre Matisse's handwritten notes. Correspondence in French
- 1.23 Correspondence, 1960–1969
Various miscellaneous correspondence. Correspondence from collectors with paintings for sale. Permission for reproductions of photographs. Announcements of exhibitions. Correspondence dated December 20, 1965 with Museum of Modern Art re exhibition plans. Letter dated May 13, 1969 from Pierre Matisse to Peter Hoy of Oxford University giving permission for reproduction of Camus text on Balthus. Some correspondence in French
- 1.24 Correspondence: Alain de Rothschild, 1961, 1966
Copy of "Reconnaissance de Dette" between Balthus and Baron Alain de Rothschild. Correspondence between Pierre Matisse, Balthus and Baron Rothschild regarding Pierre Matisse's purchase of La Chambre turque to repay Balthus's debt to Rothschild. Some mention of plans for exhibition of La Chambre turque at Pierre Matisse Gallery and the interest of Malraux in obtaining the paintings for the French government. Correspondence in French
- 1.25 Correspondence: Frédérique Tison, 1964–1981
Correspondence between Pierre Matisse and Frédérique Tison, niece and model of Balthus. 1964/1965 correspondence re sale of drawings for Frédérique. 1966 correspondence again re sale of drawings for Frédérique (a different set). 1967 correspondence re arrangements for loan of Frédérique's drawings during exhibition at Pierre Matisse Gallery. Also contains small note cards, original cables, various clippings, and black‐and‐white photographs of drawings.
- 1.26 Correspondence: La Chambre turque, 1966–1967
Correspondence re purchase of La Chambre turque by the French government. Correspondence re Pierre Matisse's planned exhibition in which he would like to include the painting. Item dated September 13, 1966 from B. Anthonioz, Ministre des Affaires Culturelles, officially allowing Pierre Matisse to exhibit La Chambre turque in his exhibition. Correspondence with insurers Frenkel & Co. Correspondence re possible exhibition of painting at "expo" in French pavilion. Copies of correspondence with Balthus on subject. Correspondence with André Malraux, Ministre d'Etat. Bank advices. Correspondence in French
- 1.27 Correspondence: Antoinette and Stachu, 1967–1984
Correspondence with Antoinette de Watteville, Balthus's former wife, and Stachu, their son. Correspondence with Stachu re possible sale of Giacometti sculpture, including black‐and‐white photographs. One Ektachromes of watercolor. Correspondence with Mme de Watteville re price of watercolor he has been asked to sell for Stachu. Clippings.
- 1.28 Correspondence: Michael Warnes, 1968
- 1.29 Exhibitions: Paintings 1929–1961, Pierre Matisse Gallery (1962 March), 1962
- 1.30 Exhibitions: Balthus, Massachusetts Institute of Technology (1964 February 10–March 2), 1963–1964
- 1.31 Exhibitions: Balthus, Arts Club of Chicago (1964 September 21–October 28), 1964
Correspondence re loans to exhibition between Pierre Matisse and the Arts Club. Correspondence re purchase of painting Patience for the Institute's collection. Also contains shipping receipts, loan forms, clippings, and two copies of catalogue.
- 1.32 Exhibitions: Balthus, Musée des Arts Décoratifs, Paris (1966 May 2–June 30) and [Municipal Casino,] Knokke[‐le‐Zoute], Belgium (1966 July 2–September 15), 1965–1966
Correspondence re exhibition. Handwritten notes, copies of correspondence with lenders. In a message dated March 2, 1966 to François Mathey, Pierre Matisse relates that Giacometti saw the Balthus painting La Montagne in New York and urges Pierre Matisse to lend it to the exhibition. In a letter dated March 3, 1966, Pierre Matisse writes to Balthus on the same subject. Also contains original cables, loan forms, shipping receipts, clipping, exhibition announcements, invitations, et cetera. Copy of catalogue. Original and carbon copy of text by Antonin Artaud. Some correspondence in French
- 1.33 Exhibitions: Balthus: "La Chambre turque"[, "Les Trois Souers", Drawings and Watercolours (1933–1966)], Pierre Matisse Gallery (1967 March 28–April 22), 1966–1967
Correspondence re catalogue preparation. Original cables. Handwritten draft of letter to Patrick Waldberg requesting text for catalogue. Correspondence with lenders and insurance company, et cetera. Invoices for catalogue printing, poster printing, and assorted costs. List of recipients of Balthus catalogues. Typescript of text of catalogue by Patrick Waldberg. Catalogue maquettes. Two copies of the catalogue with notes and prices. Clippings.
- 1.34 Exhibitions: Balthus (retrospective), Tate Gallery, London (1968 October 4 to November 10), 1966–1968
Extensive correspondence between Pierre Matisse and John Russell relating to planning and execution of Balthus exhibition. Letter of May 13, 1967 from John Russell re research for article in Art in America on Balthus. Correspondence re lenders to exhibition. Message dated March 28, 1968 from Pierre Matisse to John Russell with his opinion of various Balthus paintings proposed for the exhibition. On June 25, 1968 it is stated that John Russell has spoken to Balthus and is against having La Toilette de Cathy in the exhibition. Also contains shipping receipts, loan forms, clippings and a copy of the catalogue. Some correspondence in French
- 1.35 Exhibitions: Balthus (Painting and Drawings), Donald Morris Gallery, Detroit (1969 November 24–December 20), 1969–1970
Correspondence re planning and execution of exhibition held to benefit the Ecole de Ville de Detroit. Correspondence with M. Morot‐Sir, Conseiller Culturel de France. Correspondence between Pierre Matisse and possible lenders to the exhibition, including Wadsworth Atheneum, Joseph Cantor, Minneapolis Institute of Art, Art Institute of Chicago, Edwin Bergman, the Museum of Modern Art. Correspondence between Mr. Donald Morris, Pierre Matisse Gallery and lenders re photographs for catalogue, et cetera. Correspondence with Donald Morris re sales from exhibition. Shipping receipts, various lists, loan forms. Also contains an invitation to opening and a copy of the catalogue. Nine black‐and‐white installation photographs. Some correspondence in French
- 1.36 Exhibitions: Catalogues, 1966, 1969
Unsorted exhibition catalogues: Exhibition of Balthus drawings, B.C. Hollands Gallery, Chicago (1966 September 23–October 18). Balthus paintings and drawings, Donald Morris Gallery, Detroit (1969 November 24–December 20), two copies, contains Camus preface with English translation by Jean Stewart.
- 1.37 Publicity, 1960s
- 1.38 Correspondence, 1970–1973, 1975–1979
Letter dated February 5, 1970 from Pierre Matisse to Balthus re proposed Giacometti exhibition, his visit with Annette Giacometti, et cetera. Letter dated February 12, 1971 from Pierre Matisse to Balthus reminiscing about "tableau de Champrovant". Cable from Balthus re birth of his daughter. Letter of January 1, 1975 from Pierre Matisse to Balthus re paintings he saw in progress in studio. Also re acquisition by Museum Boymans of La partie de cartes and plans for his own exhibition of Balthus's recent work. Letter dated October 18, 1975 from Pierre Matisse to Balthus about how he likes to operate vis à vis his artists. Also includes copies of bank advices, original cables.
- 1.39 Correspondence, 1970–1975
Miscellaneous correspondence requesting prices, catalogues, et cetera. One copy of catalogue Balthus peintures, aquarelles, dessins from Galerie Arts Anciens and correspondence from them re works for sale.
- 1.40 Correspondence, 1976–1979
- 1.41 Correspondence: Restoration of La Partie de Cartes, 1973–1977
Correspondence re restoration of painting La Partie de Cartes [executed] by Gustav Berger. Conservation report by Berger dated March 26, 1974. 13 black‐and‐white photographs of restoration work. Galley proofs of article by Berger on conservation work done on Balthus painting. Copy of Studies in Conservation with Berger's article.
- 1.42 Correspondence: Albert Skira Publishers, 1975–1978
Correspondence with Albert Skira Publishers re preparation for book on Balthus. Requests for photograph orders; lists of Balthus photographs. April 2, 1976 letter to Mme Sophie de Vilmorin requesting that André Malraux consider writing a preface for the Skira book. Correspondence re format of book. June 25, 1976 letter and list of paintings to be reproduced from Skira. September 14, 1976 letter to Balthus from Pierre Matisse re choice of reproductions for book and also re "Vie des Arts". Correspondence with photographers. One black‐and‐white photograph of Fruits on a Windowsill. December 12, 1977 letter from Pierre Matisse to Lauro Venturi about the catalogue for the 1977 Pierre Matisse Gallery exhibition expressing concern about how the colors had reproduced. Correspondence re corrections to color reproductions. Two copies of a black‐and‐white photograph of Balthus landscape. Clippings, proof, handwritten notes.
- 1.43 Correspondence: Rossinière, 1975–1979
Copy of contract between Balthus and Ets. Vie des Arts (EVA) whereby EVA would put up $600,000 for the purchase and renovation of "Grand Chalet" [the artist's home] in Rossinière and Balthus would make payment with five important paintings. Handwritten notes by Pierre Matisse. Correspondence with Balthus re terms of contact. Original cables. Correspondence with attorney. Set of 19 color and black‐and‐white postcards of "Grand Chalet."
- 1.44 Correspondence: Restoration of La Tireuse de Cartes, 1978–1981
- 1.45 Correspondence: La Leçon de Guitare, 1978–1985
- 1.46 Exhibitions: UCLA, Dallas, Cleveland (1972 January–August), 1969–1971
Correspondence re proposed exhibition. Correspondence between Pierre Matisse and Frederick Wight, director of UCLA Art Gallery, and between Pierre Matisse and John Russell, who was slated to put the exhibition together. Also correspondence re book on Balthus proposed to Abrams. Exhibition was eventually cancelled due to lack of funds. Some correspondence in French
- 1.47 Exhibitions: Drawings and watercolors [Balthus: dessins et aquarelles], Galerie Claude Bernard (1971 October 21–November), 1971
- 1.48 Exhibitions: [Balthus], Musée Cantini, Marseille (1973 July–September), 1972–1973
List of pictures requested with handwritten notes by Pierre Matisse. Correspondence from Marielle Latour requesting help from Pierre Matisse in planning exhibition (29 June 1972). Letter from Pierre Matisse to Mme Giraudy at Musée recounting his discussion of the exhibition with Balthus who does not wish to have the same paintings shown all over again. On November 28, 1971, Mme Latour writes to Pierre Matisse that Mme Gomès has agreed to loan her all of her Balthus paintings. A letter dated January 23, 1973 from Maurice Pianozola of Musée d'Art of Geneva suggesting a collaboration in the exhibition with them. On February 8, 1973 Pierre Matisse writes to tell Balthus that plans are underway for the exhibition and Mme Latour will be exhibiting some paintings hardly ever seen before. Pierre Matisse hints that perhaps Balthus will be able to send some of the new paintings he has been working on. Correspondence with collectors re loans. Correspondence with shippers, insurance certificates, shipping invoices. Also contains an invitation to the opening. Some correspondence in French
- 1.49 Exhibitions: [Balthus], Musée Cantini, Marseille (1973 July–September), 1972–1973
- 2.01 Exhibitions: 20th Century Drawings, Skidmore College (1975 February 28–March 17), 1974–1975
- 2.02 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) working papers, 1976–1977
- 2.03 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) catalogue preface and preparation, 1976–1977
Letter dated April 26, 1976 from Pierre Matisse to [Federico] Fellini requesting preface for Balthus catalogue. Response from Fellini dated May 14, 1976. Correspondence re preface, translation of preface. Correspondence with Luigi Barzini re translation of preface. Typescript of translation. Correspondence with Harry Torczyner re copyright of Fellini text. Clippings.
- 2.04 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) unsorted correspondence, 1976–1978
Original cables. Correspondence requesting loans for exhibition from Henriette Gomès, Museum Boymans, Metropolitan Museum, David Rothschild. Cable to Balthus announcing postponement of exhibition. Note from Charles Zadok on the condition of Girl in Front of a Mantel. Correspondence with collectors re postponement of exhibition. Correspondence with Museum Boymans re their Balthus exhibition. Correspondence with collectors re new dates for exhibition. Copies of floor plans, list of paintings. Correspondence in French
- 2.05 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) shipping and insurance, 1977
Correspondence with Frenkel & Co. re insurance. Letters to collectors re insurance. Copies of insurance certificates. Shipping and delivery receipts. Correspondence with W.R. Keating re customs, shipping, et cetera. Some correspondence in French
- 2.06 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) clippings, 1977
Clippings from various publications: Art Contemporain, Art International, New York Magazine, Arts Magazine, Art/World, New York Times, Newsweek, Time, Vogue, and other publications. Also correspondence with critics and art writers.
- 2.07 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) article for Art International, 1977–1978
- 2.08 Exhibitions: Balthus, Paintings and Drawings, Pierre Matisse Gallery (1977 November 15–December 15) accounts, 1977–1978
- 2.09 Exhibitions: Kyoto, Japan (1984 June 17–July 22), 1979–1984
Correspondence re preliminary plans for exhibition. Letters to collectors requesting loans. Cables. Copy of interdepartmental memo (Metropolitan Museum) re loan of paintings to exhibition. Loan forms, shipping receipts, insurance certificates. Handwritten notes by Pierre Matisse. Clippings. Correspondence in French
- 2.10 Publicity, 1970s
- 2.11 Authentications, 1980–1985
- 2.12 Authentications, 1986–1989
- 2.13 Correspondence, 1980–1984
- 2.14 Correspondence, 1985–1989
Correspondence between Pierre Matisse and Balthus. Original letter from Balthus (22 May 1985) re progress of his painting. Two handwritten drafts of letter to Stanislas Klossowski, son of Balthus re terms of contract between Balthus and Pierre Matisse for three paintings. Letter dated November 4, 1985 from Pierre Matisse re possible portrait of Tana Matisse. Also Pierre Matisse's comments on James Lord's book on Giacometti. Correspondence of June 1989 to Balthus re current painting. Pierre Matisse requests right of first refusal. Correspondence in French
- 2.15 Correspondence, 1980–1985
- 2.16 Correspondence, 1986–1989
- 2.17 Correspondence: La Montagne, 1981–1983
- 2.18 Correspondence: Albert Skira, 1982–1982
- 2.19 Correspondence: Thames & Hudson Publishers, 1982–1983
- 2.20 Correspondence: Femme à la Ceinture Bleue, 1989–1990
- 2.21 Exhibitions: Venice Biennale (1980 May 28–September 29), 1980
Correspondence re loans to exhibition of Balthus paintings at the Venice Biennale. Original cables. Copies of loan forms. Correspondence with Dr. Luigi Carluccio re plans for exhibition. Correspondence with curator Jean Leymarie. Copies of letters to lenders. Correspondence re collection of U.S. works for shipment with courier John Stringer. Correspondence from Pierre Matisse to lenders. Copy of status report from John Stringer with attached copies of loan forms, dated April 22, 1980. Copies of insurance certificates. Copy of John Stringer's status report to Dr. Carluccio. Colored postcard from John Stringer in Venice. Handwritten lists by Pierre Matisse. Clippings.
- 2.22 Exhibitions: New Spirit in Painting, Royal Academy of Art, London (1981 January 15–March 18), 1980–1981
Correspondence re exhibition. Handwritten lists and notes of Pierre Matisse. Copies of correspondence between Norman Rosenthal of the Royal Academy and various collectors. Correspondence from Pierre Matisse to Balthus re exhibition. Loan forms, copies of insurance certificates. Press releases, clippings, articles. Some correspondence in French
- 2.23 Exhibitions: Balthus: disegni e acquarelli [drawings and watercolors], Spoleto, Italy (1982 June 22–July 31), 1982
Correspondence with Giovanni Caradente, Director of Exhibitions, re exhibition preparation, loans, et cetera. Copy of letter to Claude Bernard requesting his cooperation. Copy of letter from Balthus expressing his approval of the exhibition. Official loan request. Loan forms with photocopies of drawings with insurance values. One black‐and‐white photograph of a Balthus drawing. Original cables. Correspondence re shipping instructions, certificates of insurance, lists of Balthus drawings and their collectors. Brochure from Spoleto Festival, with various invitations. Correspondence in French
- 2.24 Exhibitions: Balthus, Musée National d'Art Moderne, Centre Georges Pompidou, Paris (1983 November 4–1984 January 23), 1982–1984
Correspondence re preparations and loans for exhibition. Loan forms. June 13, 1983, letter from Dominique Bozo to Pierre Matisse about exhibition. Also about desire of Museum to purchase Le Leçon de Guitare. Correspondence between Pierre Matisse and collectors. Insurance certificates. Original cables. Correspondence with customs brokers, shippers, et cetera. Customs and shipping documents. Various invitations. Two copies of announcement. Set of slides of exhibition. Various clippings.
- 2.25 Exhibitions: Balthus, Musée National d'Art Moderne, Centre Georges Pompidou, Paris (1983 November 4–1984 January 23), 1983–1984
Bound book of photocopies of clippings from newspapers, magazines, et cetera, relating to exhibition. Clippings in French, German, Spanish, Italian et cetera
- 2.26 Exhibitions: Balthus, Metropolitan Museum of Art, New York (1983 November 4–1984 January 23), 1983–1984
- 2.27 Exhibitions: Balthus, Metropolitan Museum of Art, New York (1983 November 4–1984 January 23), publicity, 1983–1984
Various clippings, articles, et cetera relating to Balthus and the Balthus exhibition at the Metropolitan Museum of Art. Some clippings in French, German
- 2.28 Exhibitions: Balthus, Metropolitan Museum of Art, New York (1983 November 4–1984 January 23), opening, 1983–1984
Miscellaneous correspondence re opening, previews, cocktail receptions, et cetera. Lists of guests to be invited. Correspondence between Maria‐Gaetana Matisse and Setsuko re plans for opening, travel plans, et cetera.
- 2.29 Exhibitions: Balthus, Metropolitan Museum of Art, New York (1983 November 4–1984 January 23), correspondence, 1983–1984
- 2.30 Exhibitions: Balthus, Metropolitan Museum of Art, New York (1983 November 4–1984 January 23), correspondence, 1978–1984
- 2.31 Publicity, 1980s
- Subseries: Beardsley, Aubrey, 1872–1898
- 2.32 Exhibitions, 1966–1979
Miscellaneous correspondence re various exhibitions. Victoria & Albert Museum, London, May 19–September 19, 1966; Gallery of Modern Art, New York, February 13–April 1967; Los Angeles County Museum of Art, November 10, 1967–March 4, 1968/ Shipping receipts, loan forms, clippings.
- Subseries: Bellmer [probably Hans, 1902–1975]
- 2.33 Correspondence, 1963
- Subseries: Biederman, Charles Joseph, 1906–2004
- 2.34 Correspondence, 1936–1941
Original correspondence between Pierre Matisse and Charles Biederman. Correspondence re purchases. Correspondence from Paris re visit there, painters met, et cetera. Request to Pierre Matisse to write draft board to help him obtain deferment.
- Subseries: Bonnard, Pierre, 1867–1947
- 2.35 Correspondence, circa 1935–1984
Photocopies of correspondence between Pierre Bonnard and Pierre Matisse. Summaries of letters. Correspondence re watercolors for Pierre Matisse. Letter dated September 17, 1945 form Pierre Matisse re exhibitions at gallery Hommage au Salon d'Automne, 1944 and its success. Correspondence re requests for paintings. Copy of text of article on Matisse and Bonnard by Antoine Terrasse. Clippings. Some letters undated Originals of correspondence filed separately in solander boxes
- Subseries: Boudreau, Pierre de Ligny
- 2.36 Correspondence, 1967–1970s, 1993
Letters to Pierre Matisse, some undated. 1970 letters related to the casting of three sculptures by Pierre Boudreau. Snapshots of the sculptures. Price lists of Pierre Matisse Gallery exhibitions (Miró, 1972; Group show, undated; Riopelle, undated). Text by Boudreau for a Riopelle exhibition at the Kitchener Museum (Ontario). 1993, obituary. Some correspondence in French
- Subseries: Brancusi, Constantin, 1876–1957
- 2.37 Correspondence, 1938–1987
Photocopies of correspondence between Pierre Matisse and Constantin Brancusi. Summaries of letters. Original cables. Receipt from Arthur Lénars for shipment of sculpture. Correspondence dated January 10, 1939 re shipment of bronze le poisson and instructions for cleaning it upon arrival. Correspondence re shipment of bronzes. Various miscellaneous requests and inquiries re Brancusi. Clippings. Originals of correspondence filed separately in solander boxes
- Subseries: Braque, Georges, 1882–1963
- 2.38 Correspondence, 1937–1980
- Subseries: Brauner, Victor, 1903–1966
- 2.39 Correspondence, 1946–1963
- Subseries: Breton, André, 1896–1966
- 2.40 Correspondence, 1940–1988
October 1940: letters and forms related to an "affidavit of support" that Pierre Matisse signed for Breton and his family. February 1944, December 1944: Pierre Matisse letters related to a trip to Mexico by Jacqueline Breton for immigration purpose; unopened letter to her address in Mexico returned to sender. Group of photographs of Surrealist art and envelope from Mexico addressed to André Breton in New York City. Cable referring to a book due in September that Breton should sign. November 1946 to 1963: photocopies of Pierre Matisse correspondence with Breton as per list in front of folder, cables. Samples of paper from Paris. 1959 letter requesting permission to reproduce Breton's poems included in the Constellations album. Circa 1962 draft of Pierre Matisse's letter to Breton re probably volume Voliére, Surrealist exhibition, Miró, Max Ernst. 1969 correspondence with Elisa Breton, widow of the artist, concerning a text by Breton on Henri Matisse mentioned by Tériade and never found. Letter by Tériade to Pierre Matisse. Typescript of an unidentified article on Breton and Surrealism. 1971 photocopy of a Delvaux painting, photographs of drawings by Gorky and Miró and a tile by Max Ernst belonging to Breton's collection. Also mention to Objet Poetique—Un bas déchiré by Breton belonging to Pierre Matisse and its fragility. Letters from Mr. Mark Polizzotti researching for an biography of André Breton. Articles: 1966 October L'Express, obituary article by Jean Luis Ferrier. Undated obituary clipping from a French newspaper. Artforum, December 1983: "Dispensable friend Indispensable Ideologies: André Breton's Surrealism" by Donald Kuspit.
- Subseries: Butler, Reg, 1913–1981
- 3.01 Accounts, 1958–1959
Correspondence between Pierre Matisse and Reg Butler re accounts, et cetera. Message dated April 12, 1959 from Butler re accounts, also "struggling with the Figure in Space idea..." Original cables.
- 3.02 Orders, 1958–1959
- 3.03 Susse Fondeur, 1956
- 3.04 Susse Fondeur, 1957
- 3.05 Susse Fondeur, 1958
- 3.06 Susse Fondeur, 1959
- 3.07 Correspondence, 1955–1956
Summary of correspondence between Pierre Matisse and Reg Butler. Xerox copies of original letters. Original cables. Letter dated March 22, 1955 from Pierre Matisse to Butler offering to handle his work in the US. Cable from Butler accepting, March 28, 1955. On April 3, 1955 Butler writes to Pierre Matisse about his method of working and his need to keep "finished" pieces in his studio for several months. Long letter dated May 22, 1956 to Pierre Matisse re location of casts, casting methods, et cetera. Copies of correspondence with Susse Fondeur. Correspondence re casting between Pierre Matisse and Butler. Correspondence dated November 16, 1956 re make‐up of prices of bronzes and the cast numbers for Hanover Gallery. On November 30, 1956, Pierre Matisse proposes arrangement with Erica Brausen of Hanover Gallery re cast numbers. Copy of letter from Erica Brausen with her views on casting arrangements. Letter dated December 31, 1956 from Butler to Pierre Matisse agreeing or disagreeing with various terms set forth by Pierre Matisse'letter of December 28, 1956.
- 3.08 Correspondence, 1957–1959
Summaries of letters. Xerox copies of original correspondence between Pierre Matisse and Reg Butler. Original cables. Correspondence dated January 28, 1957 from Butler to Pierre Matisse—Agreement reached re allocation of casts between Pierre Matisse and Hanover Gallery. Copy of letter (January 23, 1957) from Erica Brausen of Hanover Gallery agreeing to allocations of casts. March 10, 1957 letter to Butler warning him of problems Pierre Matisse has been having with bronzes cast at Susse. Letter dated March 27, 1957 from Reg Butler with details of casting at Susse and questions concerning the patina and his solutions. February 23, 1958 letter from Pierre Matisse re his problems with Susse Fondeur. Correspondence dated March 11, 1958 from Butler re casts that may be available for Pierre Matisse's next exhibition. April 15, 1958 correspondence from Butler re preferences for framing his drawings. "Monday" letter from Butler with suggested heights for sculpture bases. Originals of letters filed separately in solander boxes
- 3.09 Exhibitions: Catalogues, 1953–1957
Catalogue from the Curt Valentin Gallery, New York City (May 26–June 19, 1953). Catalogue of Reg Butler at the Curt Valentin Gallery (January 11–February 5, 1955). Catalogue of Reg Butler, Rotterdamsche Kunstkring (April 13–May 20, 1957).
- 3.10 Exhibitions: Curt Valentin Gallery, circa 1955
- 3.11 Exhibitions, 1955
List of Studley photographs with titles, numbers, dates, collection, et cetera
- 3.12 Exhibitions: Hanover Gallery catalogues, 1957–1960
- 3.13 Exhibitions, 1959
- 3.14 Publicity, 1955–1989
- 3.15 Susse Fondeur, 1960–1961
Original cables. Original correspondence (in French), invoices, orders, shipping receipts with Susse Fondeur re casting of Butler sculptures. Handwritten notes by Pierre Matisse. Photocopies (disintegrating) of photographs of sculptures. Photocopies (disintegrating) of letters from reg Butler re casting. One black‐and‐white photograph of Butler sculpture.
- 3.16 Accounts, 1960–1968
- 3.17 Orders, 1962–1967
Correspondence between Reg Butler and Pierre Matisse. Original cables. Undated letter from Butler with titled, dated, numbered photographs for reference. Diagram for Musée Imaginaire (Xeroxed copies disintegrating) with small black‐and‐white photographs. 19 black‐and‐white photographs of various sculptures—appear to be taken in Butler's studio. Priced pages torn from catalogue.
- 3.18 Correspondence, 1960–1962
Summaries of letters. Xerox copies of original correspondence between Pierre Matisse and Reg Butler. Original cables. Message dated June 19, 1960 from Butler re casting problems, patina, et cetera. April 13, 1961 letter from Butler re first cast received from new foundry, Morris Singer. Black‐and‐white photograph of cast. Letter dated May 23, 1962 from Erica Brausen of Hanover Gallery asking Pierre Matisse's permission to show some of Butler's recent work in her summer exhibition. 1962 correspondence re preparations for Pierre Matisse Gallery exhibition. Copy of letter written to be the preface of the catalogue. Clippings.
- 3.19 Correspondence, 1963–1965
Xerox copies of original correspondence between Pierre Matisse and Reg Butler. Summaries of letters. Original telegrams. List of works to be cast for Pierre Matisse. October 18, 1963letter from Pierre Matisse re bronze that arrived damaged. Response from Reg Butler re same. Customs list of paintings with prices. October 1964 correspondence re difficulties with casting and the foundry. Originals of letters currently stores in solander boxes
- 3.20 Correspondence, 1966
Xerox copies of original correspondence between Pierre Matisse and Reg Butler. Summaries of letters. Original telegrams. Question dated March 9, 1966 from Pierre Matisse re Musée Imaginaire and difference in one figure. "Monday" answer from Butler re Musée Imaginaire and re trip to Japan. May 7, 1966 correspondence from Butler re new foundry, Valsuani. Including a copy of his letter to M. Valsuani. Instructions for mounting sculpture #217. One black‐and‐white photograph. Notes and sketches of Pierre Matisse. Correspondence from Butler dated November 2, 1966 re bases for hands, et cetera. With 11 small black‐and‐white photographs of small figures. Invoices, copies of bank drafts. November 1966 correspondence re casting of base, with four black‐and‐white photographs of sculpture. Clipping.
- 3.21 Correspondence, 1967–1969
Xerox copies of original correspondence between Reg Butler and Pierre Matisse. Original telegrams. Summaries of letters. Letter of February 10, 1967 from Butler re problems with casting at Susse Fondeur. Message dated April 12, 1967 from Pierre Matisse re bronzes for Carnegie International. Correspondence dated April 23, 1967 from Butler and Xeroxes (deteriorating) of photos of sculpture at his studio. Three small black‐and‐white photographs of sculpture. Originals of letters currently stores in solander boxes
- 3.22 Exhibitions: Catalogues, 1960–1964
Catalogue from Sculpture, Hanover Gallery, London (June 9–July 8, 1960), with prices, identification numbers and foundry notated. Catalogue from Sculpture & Drawings, Hanover Gallery, London (July 10–September 1, 1963). Catalogue from Reg Butler, L'Obelisco, Rome, Italy (March 11, 1961). The Bulletin of the Cleveland Museum of Art (November 1961). Catalogue from Painting & Sculpture Today, Herron Museum of Art, Indianapolis, Indiana (January 2–February 2, 1964).
- 3.23 Exhibitions: Recent Sculpture, Pierre Matisse Gallery (1962 October 30–November 17), 1962
- 3.24 Exhibitions: Recent Sculpture, Pierre Matisse Gallery (1962 October 30–November 17), clients and inquiries, 1962–1963
- 3.25 Exhibitions: A Retrospective, J.B. Speed Museum (1963 October 22–December 1), 1962–1964
Correspondence re exhibition. April 3, 1963 letter from Addison Franklin Page, director, to Pierre Matisse outlining scope of exhibition. Various requests for information re casts, whereabouts, et cetera. Price list of pieces loaned from Pierre Matisse Gallery. Correspondence dated November 22, 1963 re pieces damaged in exhibition. Correspondence dated November 29, 1963 from Page re purchase by Museum of St. Catherine. Correspondence dated December 9, 1963 from Page re purchased of Bride by local collector. Loan forms, lists of pieces, et cetera. Copy of catalogue.
- 3.26 Exhibitions: Recent Sculpture and Drawings, Frank Perls Gallery (1964 January 15–February 29), 1963–1964
Correspondence re exhibition. Lists, with prices, dated November 22, 1963, of sculptures loaned to Frank Perls Gallery from Pierre Matisse Gallery. Copies of correspondence with lenders. 1964 correspondence with Pierre Matisse Gallery re accounts. Shipping list. Catalogue. Two black‐and‐white installation photographs. Clipping.
- 3.27 Accounts, 1970–1974
Correspondence between Pierre Matisse and Reg Butler re accounts, et cetera. Correspondence with Valsuani Foundry and Susse Fondeur. Account statements from Reg Butler. Copies of bank drafts. Original cables. Copies of export and shipping documents. Ten black‐and‐white 8 x 10 photographs of sculpture.
- 3.28 Correspondence, 1970
Xerox copies of original correspondence between Pierre Matisse and Reg Butler. Original cables. Summaries of letters. "Monday" correspondence from Butler re the new year and his feelings of accomplishment at long last. Friday, January 30th from Butler and February 4th from Pierre Matisse re Butler's accomplishment with latest Girl. Orders to foundry. Correspondence between Pierre Matisse and Hanover Gallery in London. Six small transparencies and one black‐and‐white photograph of Girl with letter of March 13, 1970. May 27, 1970 correspondence to Arkus, Director of Carnegie, re Girl. Shipping receipts, loan forms, et cetera.
- 3.29 Correspondence, 1971–1974
Original correspondence between Pierre Matisse and Reg Butler. Copy of Pierre Matisse's letter, dated February 4, 1972, to Susse Fondeur. Correspondence of March 29, 1972 includes copy of bank draft to Butler. Correspondence of November 30, 1972 from Butler re size of Girl vis à vis the size of the door at Pierre Matisse Gallery. January 10, 1974 correspondence from Butler re price of sculpture, et cetera. Correspondence dated February 3, 1974 from Rosemary Butler re film on Reg Butler. Clipping.
- 3.30 Correspondence, 1975–1979
Original correspondence between Pierre Matisse and Reg Butler. Original telegrams. 1975 correspondence with Princeton University re Bride. October 5, 1975 message from Butler re his new work with smaller figures. One catalogue, Sculpture in Holland Park. Clipping. Nine black‐and‐white photographs of sculpture. Ten black‐and‐white photographs of Butler working in his studio.
- 3.31 Exhibitions: 1970 Pittsburgh International, Carnegie Institute (1970 October 30–January 10), 1970
Message dated November 11, 1970 from Carnegie to Pierre Matisse re sale of Butler drawing. Correspondence between Pierre Matisse and Hanover Gallery re exhibition. Original cables. Correspondence with insurers. Loan forms, shipping receipts. Announcement. Clipping.
- 3.32 Exhibitions: Sculpture and Drawings, 1968–1972, Pierre Matisse Gallery (1973 March 20–April 14), 1972–1973
Correspondence between Pierre Matisse and Reg Butler re exhibition. Original cables. Pierre Matisse letter dated November 8, 1972 to John Russell detailing Butler's recent work and requesting that he write the preface for the catalogue. Correspondence re shipping, insurance, et cetera. Correspondence with John Russell re photos to be taken by Lord Snowden. February 17, 1973 letter from John Russell re Snowden's fee for photographs, et cetera. Suggests Pierre Matisse presents him with something from his father. On April 2, 1973, Pierre Matisse writes to Lord Snowden re catalogue, photographs, et cetera, ant to Butler re reviews of exhibition and visits to the gallery by critics. Note dated August 1, 1973 from Lord Snowden thanking Pierre Matisse for [Henri] Matisse etching. Clippings, articles. Typewritten copy of Russell's preface. Xeroxes of galleys. "Dummy" of catalogue, copy of announcements. Expense list. Pierre Matisse's handwritten schedule for organizing exhibit.
- 3.33 Exhibitions: Sculpture and Drawings, 1968–1972, Pierre Matisse Gallery (1973 March 20–April 14), 1973–1974
- 3.34 Exhibitions: Drawings of the 70s, Society for Contemporary Art, Art Institute of Chicago (1977 March 9–April 24), 1976–1977
- 3.35 Correspondence, 1980s
Original correspondence between Pierre Matisse and Reg Butler. Original telegrams. Letter dated April 9, 1981 from Butler requesting help with prices. Handwritten note from Pierre Matisse with same. Letter dated November 7, 1981 from Rosemary Butler announcing Reg Butler's death on October 23rd at Ash. February 3, 1982 letter from Rosemary Butler re order for sculpture from Freites Gallery. Including transparency of Girl Looking Down. Also copy of Lawrence Gowing of the Slade School's memorial to Reg Butler. Copies of obituaries from London papers. Announcement from exhibition at Whitechapel Art Gallery.
- 3.36 Correspondence, 1981–1982
Correspondence between Pierre Matisse Gallery and Rosemary Butler re last bronze sculpture by Reg Butler. Copy of Butler's Townsend Lecture, The Venus of Lespugue and Other Naked Ladies, Tuesday, November 11, 1981. 17 black‐and‐white photographs of Butler's last sculpture. 21 Ektachromes of sculpture.
- 3.37 Exhibitions: Reg Butler: 1913–1981Tate Gallery, London (1984 November 16–January 15), 1982–1984
List of sculpture available through Pierre Matisse Gallery for exhibition at the Tate. Correspondence with Alan Bowness of Tate re plans for exhibition. April 18, 1983 request for drawings for exhibition. July 29, 1983 correspondence to Pierre Matisse Gallery reconfirming loan of six sculpture and nine drawings. Correspondence re packing and shipping with copy of loan contract. Correspondence with W.R. Keating re shipping and customs. Copy of announcement of exhibition. Six black‐and‐white photographs.
- 3.38 Exhibitions: Reg Butler: 1913–1981Tate Gallery, London (1984 November 16–January 15), 1982–1984
- 3.39 Inventory, 1982
- 3.40 Unsorted inquiries, 1961–1989
- Subseries: "C" miscellaneous
- 4.01 1961–1970s
Correspondence from artists such as W.T. Chmielinski, Joseph Cornell (to Patricia Matisse), George Costakis (collector), Henri‐Edmond Cross. Articles, correspondence, press clippings.
- Subseries: Calder, Alexander, 1898–1976
- 4.02 Correspondence, 1934
Photocopies of original correspondence between Pierre Matisse and Alexander Calder. Summaries of correspondence. Original telegrams. Letter to Pierre Matisse from Calder asking if it would be possible to have an exhibition at the Pierre Matisse Gallery. Correspondence re exhibition planned for 1934. Correspondence from Berkshire Museum and others with lists of names for opening of exhibition. Typescript (with handwritten editing notes) of catalogue preface by James Johnson Sweeney. Originals of letters filed separately in solander boxes
- 4.03 Correspondence, 1935, 1937, 1939
Photocopies of original correspondence between Alexander Calder and Pierre Matisse. April 1935, Pierre Matisse suggests exhibition at Pierre Matisse Gallery but Calder declines, indicating that they are awaiting the birth of a child. Miscellaneous correspondence relating to Alexander Calder. Statement of accounts as of March 25, 1937. Originals of letters filed separately in solander boxes
- 4.04 Exhibitions: Pierre Matisse Gallery, 1936–1943
Announcements and brochures from various Pierre Matisse Gallery exhibitions. From Mobiles and Objects, February 10–29, 1936, a photocopy of announcement. Includes materials relating to Mobiles, Stabiles, May 9–27, 1939, and Modern Pictures Under Five Hundred, group exhibition, June 15–July 31, 1943. Original of announcement, containing sketches by Calder, filed elsewhere
- 4.05 Publicity, 1934–1977
Original clippings, magazine articles, et cetera, on Alexander Calder. Obituaries. Two announcements from France—Galerie Maeght (1966) and Fondation Maeght (1969). Announcement of Calder's Universe at the Whitney Museum of American Art.
- 4.06 Correspondence, 1940–1942
Photocopies of original correspondence between Alexander Calder and Pierre Matisse. Summaries of letters. Notes on Calder by R.C. Schumacher. Statement of accounts as of October 14, 1940. January 1941, writes of concern for Joan Miró. January 1942 letter and postcard with sketches of recent works. Original telegrams. Photocopy of original drawings of sculpture by Calder. Originals of letters and drawings filed separately in solander boxes
- 4.07 Correspondence, 1943, 1947
Photocopies of original correspondence between Pierre Matisse and Alexander Calder. Summaries of letters. Sales account sheer, 1935–1943. List of artworks (in Calder's handwriting) with prices and occasional doodles. October 22, 1943 letter from Calder to Pierre Matisse complaining that he heard Matisse had been "openly dissatisfied with my prices." Note from Pierre Matisse to the files re above. On October 23, 1943, Pierre Matisse responds to Calder's letter indicating he should take his things elsewhere. 1947 letter to Catherine Viviano from Calder. Originals of letters filed separately in solander boxes
- 4.08 Exhibitions: [Recent Works,] Pierre Matisse Gallery (1941 May 27–June 14), 1941
- 4.09 Exhibitions: Catalogues, 1952–1981
Various exhibition catalogues, including Calder, Curt Valentin Gallery, 1952; Calder/Miro–, Perls Gallery, 1961; Calder: Early Work Rediscovered, Perls Gallery, 1967; Calder: Bronze Sculptures of 1944, Perls Gallery, 1969; Alexander Calder, Galeria Jean Boghici, Rio de Janeiro, 1981; Alexander Calder, Whitney Museum of American Art, 1981. Also a brochure for La Memoire Elemenaire, album of lithographs.
- 4.10 Correspondence, 1969–1992
Loan forms and correspondence re miscellaneous exhibitions. 1976 letter form Pierre Matisse to Calder requesting he repair one of his sculptures. Mailgram of condolence to Louisa upon Calder's death. Memorial service program from the Whitney Museum of American Art, December 12, 1976. Loan requests. Research requests. Copy of statement from Calder re mobiles versus stabiles.
- 4.11 Exhibitions: Solomon R. Guggenheim Museum, 1964
- 4.12 Exhibitions: Retrospective, Turin, Italy (1983 July–September), 1982–1983
- Subseries: Calliyannis, Manolis, 1923–
- 4.13 Accounts, 1962–1966
- 4.14 Correspondence, 1962–1963
Correspondence to and from Pierre Matisse and Manolis Calliyannis re the Pierre Matisse Gallery representation of artist. Pierre Matisse manuscript draft and final letter of agreement, dated April 7, 1962. Pierre Matisse purchase of eight works April 2, 1962. Upcoming exhibition in London. Invoices, sales, Calliyannis in Greece painting, 1963. Some correspondence in French Original correspondence moved to artists' letter boxes
- 4.15 Correspondence, 1964–1965
Correspondence to and from Pierre Matisse and Calliyannis re accounts, invoices, works in progress, Calliyannis's desire for a new studio (needs money from Pierre Matisse in correspondence of October 23, 1964; typed letter dated March 6, 1956 signed by Pierre Matisse to Calliyannis re the gallery's inability to continue advancing money); postcard from Calliyannis to Patricia Matisse with artwork on it (paint). Calliyannis in Greece during this period. Original correspondence moved to artists' letter boxes
- 4.16 Correspondence, 1966–1967
Correspondence to and from Pierre Matisse and Calliyannis re end of gallery representation, accounting, problem with gallery visitors. Original correspondence moved to artists' letter boxes
- 4.17 Correspondence, 1969–1970
Correspondence to and from Pierre Matisse and Calliyannis re artist's activities. Calliyannis in New York City and desires to show pictures to Pierre Matisse as of March 27, 1970 (meeting did not take place). Some correspondence in French Original correspondence moved to artists' letter boxes
- 4.18 Exhibitions: [Recent Paintings, 1960–1962,] Pierre Matisse Gallery (1962 November 20–December 15), 1962
Correspondence, press, catalogue essay by Denys Sutton. Calliyannis's list of recipients for announcements and catalogue. See also Scrapbook, 1961–1966 for installation photographs, announcements, and catalogue
- 4.19 Exhibitions: Non‐Pierre Matisse Gallery, 1960–1969
- Subseries: Camoin, Charles
- 4.20 Correspondence, 1970
- Subseries: Canogar, Rafael, 1935–
- 4.21 Correspondence, 1958–1960
Correspondence to and from Pierre Matisse and Raphael Canogar re El Paso group, Pierre Matisse studio visit in Madrid (1959?), Museum of Modern Art exhibition (1960). Mention of other members of El Paso group (Saura, Feito), Pierre Matisse Gallery exhibition Four Spanish Painters (El Paso): Millares Canogar, Rivera, Saura (15 March–9 April 1960). Includes reviews, biographical information. Correspondence in French and Spanish See also Artists: See also Artists: Millares, Manolo, 1926–1972: Exhibitions; Artists: Rivera, Manuel, 1927–1995: Exhibitions; Artists: Saura, Antonio, 1930–: Exhibitions; Artists: El Paso group; Exhibitions: Scrapbooks for installation photos, catalogue
- 4.22 Exhibitions: Non‐Pierre Matisse Gallery, 1958–1961
Catalogues See also Artists: Millares, Manolo, 1926–1972; Artists: Rivera, Manuel, 1927–1995; Artists: Saura, Antonio, 1930–; Artists: El Paso group
- Subseries: Carrington, Leonora, 1917–
- 4.23 Correspondence, 1944–1947
Correspondence to and from Pierre Matisse and Carrington re births of her children and other domestic matters, works in progress, possible exhibitions, Carrington's need for money, Edward James, dealers and difficulties in arranging a show, shipping of paintings to Pierre Matisse Gallery, and sales (to Edward James and ?). Some correspondence in French Original correspondence moved to artists' letter boxes See also Scrapbooks: Exhibitions 1948 for catalogue
- 4.24 Correspondence, 1948–1949
Correspondence to and from Pierre Matisse and Carrington re Carrington's domestic matters, works in progress, Edward James, Alexander Iolas (Carrington owed him money, introduced her to Edward James), Los Angeles dealer (Copley), Gordon Onslow‐Ford, André Breton and "expulsion" of Matta from the Surrealists, sales (Neighborly Advice, The Sisters Chlorophil, I Know it Will Work, Portrait of the Late Mrs. Partridge, Palatine, Predella, Night Bridge, Pilgrimage to Syrius, Kitchen Garden on the Eyot, Untitled, St. John's Mule), list of painting at Pierre Matisse Gallery. Correspondence between Pierre Matisse and Carrington's mother re loan of St. Anthony's Temptation to Carnegie Exhibition. Original correspondence moved to artists' letter boxes
- 4.25 Exhibitions: [Paintings, Gouaches, Drawings,] Pierre Matisse Gallery (1948 February 24–March 13), 1948
- 4.26 Correspondence, 1952, undated
- 4.27 Correspondence, 1960–1966
Correspondence to and from Pierre Matisse, Carrington and others re proposed 1961 Carrington retrospective at Mexican Museum of Modern Art. Biographical material. Pierre Matisse offer to find exhibitions and buyers gratis. Offer of April 12, 1960, "As you have guessed, I have not been doing very well with your pictures, probably a question of having the wrong public." Payments to Carrington. Carrington correspondence to Patricia Matisse, undated, re Pierre Matisse (?) sale of Carrington serapes. Correspondence re possible Carrington illustration of John Ciardi's translation of Dante's Inferno. December 1960–February 1961, Leonora Carrington wants Pierre Matisse's advice on what to charge. Original correspondence moved to artists' letter boxes
- 4.28 Correspondence, 1970s–1990
Correspondence to and from Pierre Matisse, Carrington and others re rug sales (Carrington to Patricia Matisse December 15, year illegible), André Breton biography 1986, German documentary on Carrington 1990. Notes: Some correspondence in French
- 4.29 Exhibitions: Leonora Carrington: A Retrospective Exhibition, Center for Inter‐American relations, New York City University of Texas Art Museum (1975 November 21–1976 February 29), 1975–1976
Pierre Matisse loaned Self‐Portrait and Untitled (1955). Loan forms, correspondence, shipping records, catalogue, reviews.
- 4.30 Exhibitions: The Other Half of the Vanguard, 1910–1940, Palazzo Reale, Milan (1980 February 14–May 18); Palazzo delle Exposizioni, Rome (1980 July 2–August 8); Kulturhuset, Stockholm (1981 February 14–May 3), 1979–1981
Pierre Matisse loaned two works Self‐Portrait and Untitled (The Hunt?), 1942. Also includes documentation on Kay Sage and Loren MacIver. Catalogue, correspondence, loan forms, cables, shipping and insurance records. Show traveled to Kulturhuset, Stockholm. Some correspondence in French and Italian
- 4.31 Exhibitions: Women Surrealists, Jeffrey Hoffeld & Co., Inc., New York City (1985 April 30–June 6), 1985
Request dated January 18, 1985 for the loan of Self‐Portrait and Untitled. Requests for photographs, memorandum. Loan form. Insurance certificate. Shipping receipts. Photocopy of review in the New York Times of May 31, 1985. Announcement. Review in Art/World, May 15–June 15, 1985. Two copies of article in Art in America, July 1985, "The Muse as Artist: Women in the Surrealist Movement."
- 4.32 Exhibitions: Women's Caucus for Art group show, Cooper Union, New York City (1986 February 12–March 3), 1986
- 4.33 Exhibitions: Women Artists of the Surrealist Movement, 1927–1947, Baruch College Gallery, New York City (1986 October 3–November 7), Fine Arts Center Gallery, SUNY Stony Brook (1986 November 18–1987 January 10), 1986–1987
- 4.34 Exhibitions: The Surrealist Woman, Musée Cantonal des Beaux Arts, Lausanne (1987 November 10‐1988 February 28), 1987–1988
Request for loan of Self‐Portrait. Loan form with Xerox of photograph. Correspondence re visit of Dr. Erika Billeter, Director, to New York City. Letter dated May 21, 1987 from Maria‐Gaetana Matisse re loan of Tanguy La fille aux cheveux rouge. Loan form. Shipping papers, copy of announcement.
- 4.35 Press and articles, 1980s–1990
"Surrealism and the Esoteric Feminism in the Paintings of Leonora Carrington" by Janice Hellend, Memorial University of Newfoundland (Two copies). "Deux," June 6, 1990 (in Japanese). Latin American Art, Summer 1990 "Leonora Carrington" Brewster Gallery. ARTnews, February 1991 "The Mexican Woman's Hour." New York Times, November 27, 1988 review of The Seventh Horse and The House of Fear. Reviews of both boos also from the Village Voice, November 8, 1988.
- 4.36 Writings, undated
- Subseries: Cézanne, Paul, 1839–1906
- 4.37 Articles, 1980s
- 4.38 Pierre Matisse loans, 1957, 1974
- Subseries: Chagall, Marc, 1887–1985
- 4.39 Accounts, 1941–1949
- 4.40 Contracts, 1942–1948
- 4.41 Accounts: Bernard Reis, 1947–1951
- 4.42 Biography, undated
- 4.43 Correspondence, 1941–1942
Photocopies of original correspondence between Pierre Matisse and Marc Chagall. Summaries of letters. Original telegrams. Correspondence from September 17, 1942 from Chagall in Mexico, preparing ballet, Aleko. Inquiries re Chagall works. Stock list of Chagall works in gallery. Some correspondence in French Originals of correspondence filed separately in solander boxes
- 4.44 Correspondence, 1943–1945
Photocopies of original correspondence between Pierre Matisse and Marc Chagall. Summaries of letters. Miscellaneous requests for loans. Radio script of The Artist Reviews Art by Fernando Puma and Helen Warren dated November 4, 1943. Correspondence dated February 2, 1944 from Chagall re sadness of death of Mondrian. Correspondence dated June s, 1944 from Pierre Matisse re Venturi book. Letter to Chagall re sales agreement. Black‐and‐white photograph (2½ x 2½ inches) of Chagall and an unidentified gentleman. Some correspondence in French Originals of correspondence filed separately in solander boxes
- 4.45 Correspondence, 1946–1949
Photocopies of correspondence between Pierre Matisse and Marc Chagall. Summaries of letters. Original cables and telegrams. Letter dated October 12, 1946 re agreement between Pierre Matisse and Chagall. Pierre Matisse's handwritten notes re Chagall contract. 1947 correspondence, notes and shipping receipts re loan of Chagall paintings to exhibition at the Musée National d'Art Moderne. Correspondence between "Virginia" and Pierre Matisse and gallery staff. 1948 correspondence from Chagall re discontent with Le Crucifixion. November 7, 1948 message from Pierre Matisse to Chagall re opening of exhibition. November 15, 1948 message from Pierre Matisse re sale of paintings, prices, effect of election, et cetera. One black‐and‐white photograph of Ida Chagall (according to her daughter, Bella Meyer Simmonds) in from of Fiancée with Black Gloves, 1909. Some correspondence in French Originals of correspondence filed separately in solander boxes
- 4.46 Exhibitions, 1942–1948
- 4.47 Exhibitions: Retrospective Exhibition of Paintings and Gouaches from 1910 to 1941, Pierre Matisse Gallery (1941 November 25–December 27), 1941–1942
- 4.48 Publicity, 1945–1947
- 4.49 Correspondence, 1950, 1951, 1954, 1957
Photocopies of correspondence between Pierre Matisse and Marc Chagall. Summaries of letters. 1950 correspondence re arrangements for return of Chagall paintings at Pierre Matisse Gallery to Chagall in France. 1951 correspondence re painting Sunset, Chagall's trip to Israel and his work on the Fables de Fontaine. 1954 correspondence re painting Adam and Eve of 1912. Some correspondence in French Originals of correspondence filed separately in solander boxes
- 4.50 Correspondence: Ida Meyer, 1958–1959, 1971–1974, 1979–1982, 1986–1987, 1990–1991
Correspondence between Pierre Matisse and Ida Meyer, Chagall's daughter. Various correspondence concerning authentication, provenances, et cetera. 1958 and 1959 correspondence re Kunsthalle Hamburg exhibition. 1962 correspondence re two paintings of Le Vieux Musicien. Various clippings. Most correspondence in French
- 4.51 Exhibitions: Catalogues, 1957, 1967
Two Chagall catalogues: Pasadena Art Museum (May 26–July 28, 1957) Galerie Rosengart, Lucerne, 1967.
- 4.52 Accounts, 1968–1969
- 4.53 Correspondence, 1962–1963, 1965–1969
Photocopies of correspondence between Pierre Matisse and Marc Chagall. Summaries of letters. Correspondence with Vava Chagall. Letter dated October 10, 1967 from Pierre Matisse to Vava Chagall outlining his proposal for an agreement between Chagall and the Pierre Matisse Gallery. List of gouaches and insurance certificate. Correspondence re shipping of paintings. 1968 correspondence re preparation of exhibition at Pierre Matisse Gallery. April 9, 1968 message re the sale of The Big Tent to a collector in Washington (Mr. Allan Bluestein). Correspondence of April 24, 1968 re review of exhibition in the New York Times May 27, 1968 letter from Pierre Matisse to Chagall re reproduction rights, et cetera. 1969 New Years card from the Chagalls on note card with an original print (?). Most correspondence in French
- 4.54 Correspondence, 1962, 1965–1969
Correspondence from Pierre Matisse to various museums re Le Vieux Musicien which he was trying to sell, with black‐and‐white photograph and Ektachrome. Requests for photographs, authentication requests. Correspondence re shipment of paintings, insurance certificate; correspondence with insurers. Correspondence with framer. Some correspondence in French
- 4.55 Exhibitions: Gouaches, 1957–1968, Pierre Matisse Gallery (1968 April 2–27), catalogue, 1968
Material relating to preparation of exhibition catalogue. Correspondence with printer, translator, et cetera. Copy of text and English translation. Photocopies of Chagall signature and photocopies of original sketches. Various pages from catalogue. Ten color photographs of Chagall gouaches (unframed, photographed on floor). Layout of gallery for exhibition. Various handwritten notes. List of people to receive catalogues, announcements, et cetera. Some correspondence in French Originals of sketches filed separately in solander boxes See also copies of exhibition installation photographs
- 4.56 Exhibitions: Gouaches, 1957–1968, Pierre Matisse Gallery (1968 April 2–27), accounts, 1968–1969
Bills: shipping, advertising, framing, printing catalogues, et cetera, relating to the April 1968 Chagall exhibition. Totalled list of expenses. Receipts for bank drafts, et cetera. Some correspondence in French See also exhibition installation photographs
- 4.57 Exhibitions: Gouaches, 1957–1968, Pierre Matisse Gallery (1968 April 2–27), inquiries, 1968
- 4.58 Exhibitions: Gouaches, 1957–1968, Pierre Matisse Gallery (1968 April 2–27), clippings, 1968
Various clippings, ads and review of Pierre Matisse Gallery Chagall gouache exhibition, April 1968. Some clippings in French See also exhibition installation photographs
- 5.01 Exhibitions: Recent Paintings, 1966–1968, Pierre Matisse Gallery (1968 November 19–December 14), catalogue, 1968–1969
Correspondence with Steiner & Co., Basel, re reproduction of "clichés" for catalogue. Correspondence with Werner & Bischoff re printing of catalogue. Invoices, receipts for payment, et cetera. Correspondence with Louis Aragon re catalogue preface. Typescript of catalogue preface in French and English. Some correspondence in French and German See also exhibition installation photographs
- 5.02 Exhibitions: Recent Paintings, 1966–1968, Pierre Matisse Gallery (1968 November 19–December 14), clippings, 1968
- 5.03 Exhibitions: Recent Paintings, 1966–1968, Pierre Matisse Gallery (1968 November 19–December 14), unsorted correspondence, 1968–1969
Miscellaneous correspondence. Thank you letters for catalogues. Letters from Pierre Matisse to collectors with Chagall catalogue. Letters to shipper re return of some paintings to France. Five large and Seven small color photographs of Chagall. Negatives. Some correspondence in French See also exhibition installation photographs
- 5.04 Exhibitions: Recent Paintings, 1966–1968, Pierre Matisse Gallery (1968 November 19–December 14), accounts, 1968–1969
List of total costs of exhibition. Invoices for shipping, framing, advertising, catalogues, et cetera, relating to Chagall exhibition. See copies of exhibition installation photographs
- 5.05 Exhibitions: Watercolors, Gouaches, Drawings, Pierre Matisse Gallery (1969 November 25–December 20), catalogue, 1969
Color photographs of various sizes of works to be included in catalogue and exhibition. Copy of catalogue with various notations, corrections, et cetera. Handwritten notes. See copies of exhibition installation photographs
- 5.06 Exhibitions: Watercolors, Gouaches, Drawings, Pierre Matisse Gallery (1969 November 25–December 20), unsorted correspondence, 1969–1970
Correspondence with Werner & Bischoff of Basel re printing of catalogue for exhibition. Correspondence re shipment of paintings from France. Miscellaneous correspondence, thank‐you notes for catalogues, et cetera. Clippings. Some correspondence in French See also exhibition installation photographs
- 5.07 Exhibitions: Retrospective, Grand Palais, Paris (1969 December 13–1970 March 8), 1969–1970
- 5.08 Publicity, 1964–1968
- 5.09 Accounts, 1970, 1972–1977
Correspondence re accounts. Correspondence with Mme Chagall. Accounts for: oils and gouaches, 1975; gouaches, 1976; paintings, 1977. Records of bank payments. Shipping receipts, customs receipts, pro forma invoices. Some correspondence in French
- 5.10 Auction prices, 1977, 1978, 1986
- 5.11 Authentications, 1971, 1977, 1979
- 5.12 Authentications: Fakes, 1974–1976, 1978–1979
Correspondence and requests for authentication, many with photographs, all relating to fake Chagall works. Some correspondence in French
- 5.13 Correspondence, 1970–1972, 1974–1975
- 5.14 Correspondence, 1970–1979
Correspondence with Vava Chagall. March 1970 correspondence from Pierre Matisse re plans for next season. May/June 1971 re painting of Mrs. Englehart. October 1972 correspondence re commission from Brandeis University for a lithograph to celebrate their 25th anniversary. December 4, 1972 correspondence from Pierre Matisse to Vava re exhibition at Pierre Matisse Gallery. December 12, 1973 letter from Vava to Pierre Matisse. Chagall has received the photographs of the exhibition and is very pleased. November 4,1975, from Pierre Matisse to Vava re exhibition at the Jewish Museum in which Chagall was represented. October 1975 correspondence and two black‐and‐white photographs for authentication. January and March 1978 correspondence from Pierre Matisse re plans for exhibition at Pierre Matisse Gallery. May 1978 correspondence from Pierre Matisse re Chagall exhibition in New York by a dealer who purchased paintings from Maeght. Various questions of authenticity of works at auction, et cetera. Postcards. Correspondence in French
- 5.15 Correspondence: Message Biblique, 1973–1979
- 5.16 Correspondence, 1976–1979
Requests for authentication. Correspondence re proposed projects, exhibitions, et cetera. Requests for insurance values. Eight color postcards of Chagall windows in Cathedrale de Reims. Some correspondence in French
- 5.17 Hommage to Chagall: The Colors of Love (film), 1975–1977
Correspondence re Harry Rasky's film on Chagall, Hommage to Chagall: The Colors of Love. Press release, copies of clippings. Pierre Matisse's cable to Chagall re success of film. Two copies of poster advertising film. Some correspondence in French
- 5.18 Correspondence: Wichita State University, 1979, 1980
- 5.19 Exhibitions: Paintings and Gouaches, Pierre Matisse Gallery (1972 April 25–May 20), 1970–1977
Correspondence with Draeger Frères re catalogue for exhibition. Correspondence relating to shipment of paintings: insurance, insurance certificates, list of paintings, correspondence with Frenkel & Co., et cetera. Shippings receipts. Correspondence re advertising. Pierre Matisse's handwritten notes and jottings. Inventory of purchases (March and October 1968). Correspondence with Vava Chagall re exhibition. Clippings. Some correspondence in French See also exhibition installation photographs
- 5.20 Exhibitions: Nationalgalerie, Berlin (1972 November 17–January 22), 1972–1973
Correspondence re loan of paintings to exhibition at Nationalgalerie. Loan forms, shipping receipts, telegrams. Copy of announcement. Some correspondence in French and German
- 5.21 Exhibitions: Painting—Gouaches—Sculpture, Pierre Matisse Gallery (1973 November 20–December 7), 1973
Correspondence with Vava Chagall. Correspondence with Frenkel & Co. re insurance. Insurance certificates. Correspondence with shippers, brokers, et cetera. Pierre Matisse's handwritten lists, notes and jottings. List of exhibition expenses. List of purchasers. Some correspondence in French See also exhibition installation photographs
- 5.22 Exhibitions: Painting—Gouaches—Sculpture, Pierre Matisse Gallery (1973 November 20–December 7), insurance, 1973
Correspondence with Frenkel & Co. re insurance. List of paintings and insurance values. Correspondence with REA Brothers Ltd. (insurance)—debit and credit note, insurance endorsements. Handwritten "exhibition quotation." See copies of exhibition installation photographs
- 5.23 Exhibitions: Painting—Gouaches—Sculpture, Pierre Matisse Gallery (1973 November 20–December 7), 1973
Correspondence with Jean Leymarie re preface for catalogue. Correspondence with Jacqueline Hyde, photographer. Correspondence with Imprimerie Reunies re catalogue. Exhibition price list. Catalogue proofs. Clippings re exhibition. Some correspondence in French See also exhibition installation photographs
- 5.24 Exhibitions: The Four Seasons: Gouaches and Paintings, 1974–1975, Pierre Matisse Gallery (1975 May 2–29), 1974–1975
Correspondence with Companie Generale re transport of works and insurance. Correspondence with Frenkel & Co. re insurance. Correspondence with Mme Chagall re exhibition. Correspondence with Sophie Vilmorin, assistant to André Malraux re text for preface. Floor plan of gallery with handwritten notes by Pierre Matisse. List of exhibition expenses. Galleys of preface in English and French. Catalogue proofs. Clippings. Some correspondence in French See also exhibition installation photographs
- 5.25 Exhibitions: A Survey of Works on Paper/Selected Masterpieces, Solomon R. Guggenheim Museum (1975 June 8–September 28), 1975
- 5.26 Exhibitions: Exposition Marc Chagall—Japan 1976, Tokyo, Kyoto, Nagoya and Kumamoto, Japan (1976 August 21–December 26), 1976–1977
Correspondence with Ida Chagall re exhibition. Correspondence with Daniel Lelong, Galerie Maeght, re exhibition. Loan forms for Les Palmiers and Le Grand Cirque. Correspondence with customs brokers, insurance certificates. Correspondence with Mrs. Stanley Weintraub re her loan to exhibition and various arrangements. Some correspondence in French
- 5.27 Exhibitions: Louvre Museum, Paris (1977 October 12–1978 January 2), 1977–1978
Correspondence with Pontus Hulten re loans to exhibition to celebrate Chagall's 90th birthday Le Grand Cirque. Loan form, insurance certificate, telegrams, shipping receipt. Correspondence in French
- 5.28 Exhibitions: A Celebration—Part One: From 1911 to 1939; Part Two: The 1960s and 1970s, Pierre Matisse Gallery (1977 May 17–June 11), clippings, 1977
Clippings and articles from newspapers and magazines re exhibition: New York Times, France‐Amérique, ARTnews, et cetera. Clippings of advertisements for exhibition. See copies of exhibition installation photographs
- 5.29 Exhibitions: A Celebration—Part One: From 1911 to 1939; Part Two: The 1960s and 1970s, Pierre Matisse Gallery (1977 May 17–June 11), correspondence, 1977
Correspondence with Jean Leymarie re preface for catalogue. March 11, 1977 letter detailing Pierre Matisse's beginning relationships with Chagall and his hopes for this exhibition. List of Chagall exhibitions with works shown. Correspondence with Marc Chagall re exhibition. Original letter dated April 23, 1977 from Chagall, reproduced in exhibition catalogue. Notes from Ida Chagall. Correspondence with Mme Chagall re exhibition. Correspondence from various people re exhibition. Letters from school children who had visited exhibition. Some correspondence in French
- 5.30 Exhibitions: A Celebration—Part One: From 1911 to 1939; Part Two: The 1960s and 1970s, Pierre Matisse Gallery (1977 May 17–June 11), accounts, 1977
- 5.31 Exhibitions: A Celebration—Part One: From 1911 to 1939; Part Two: The 1960s and 1970s, Pierre Matisse Gallery (1977 May 17–June 11), insurance, 1977
Correspondence with insurance company re loans to exhibition. Insurance certificates. Correspondence with various lenders to exhibition: Ida Chagall, Mme Marc Chagall, Museum of Modern Art, Albright‐Knox Art Gallery, Musée National d'Art Moderne, Paris, Mrs. Arthur Rosenberg, Solomon R. Guggenheim Museum, Mrs. L.A. DeWitt Wallace. Copies of signed loan forms. Correspondence with shipper and insurance broker. Telegrams and cables, shipping receipts.
- 5.32 Exhibitions: A Celebration—Part One: From 1911 to 1939; Part Two: The 1960s and 1970s, Pierre Matisse Gallery (1977 May 17–June 11), catalogue, 1977
Miscellaneous papers relating to preparation of catalogue. Pierre Matisse's handwritten notes and floor plan of gallery. Typescript and galleys of preface in French and English translation. Some correspondence in French See also exhibition installation photographs
- 6.01 Exhibitions: Paintings and Temperas, 1975–1978, Pierre Matisse Gallery (1979 May 1–30), catalogue, 1979
Handwritten checklists and notes. Typescript of French text by Pierre Schneider. Rough proofs of text. Copy of English translation and rough proofs. Rough proofs of color reproductions. Rough maquette of catalogue with original photographs pasted on paper. Contact sheet of photographs. See also exhibition installation photographs
- 6.02 Exhibitions: Paintings and Temperas, 1975–1978, Pierre Matisse Gallery (1979 May 1–30), correspondence, 1979
Correspondence with Mme Chagall, Pierre Schneider, et cetera, re exhibition. Shipping receipts. Telegrams re insurance coverage. Shipping invoices. Clippings. Some correspondence in French See also exhibition installation photographs
- 6.03 Exhibitions: Paintings and Temperas, 1975–1978, Pierre Matisse Gallery (1979 May 1–30), 1979
Lists of paintings sold and purchasers. Price lists. Correspondence re payments to Chagall—copies of draft receipts, mailing receipts, et cetera. Some correspondence in French See also exhibition installation photographs
- 6.04 Publicity, 1970–1973, 1977–1979
Various newspaper clippings, magazine articles, exhibition announcements, invitations, et cetera. Some clippings and articles in French and German
- 6.05 Publicity, 1970–1973, 1977–1979
Various newspaper clippings, magazine articles, exhibition announcements, invitations, et cetera. Some clippings in French and German
- 6.06 Authentications, 1980–1983
- 6.07 Authentications: Fakes, 1980–1985
- 6.08 Authentications, 1984–1986
- 6.09 Authentications: Fakes, 1986–1986
Requests for authentication, many with photographs, of fake Chagall works. Some correspondence with Mme Chagall re various works. Some correspondence in French
- 6.10 Authentications: Peasant at the Well, 1986
Correspondence with Harper, Grey, Easton & Company, a law firm in Canada, re authenticity and value of various Chagall lithographs and the watercolor Peasant at the Well, which had been stolen from a Vancouver art gallery.
- 6.11 Authentications, 1987–1989
- 6.12 Authentications: Fakes, 1987–1989
- 6.13 Correspondence, 1980, 1982–1989
Miscellaneous correspondence between Pierre Matisse and Mme Chagall. Questions of authentication, reproduction rights, et cetera. Some correspondence in French
- 6.14 Correspondence, 1980–1985
Miscellaneous correspondence re Chagall projects. Anti‐Defamation League, proposed exhibitions, International Rescue Committee, BBC, NBC documentary Chagall's Journey. Requests for appraisals.
- 6.15 Correspondence: Musée du Message Biblique, 1980–1990
- 6.16 Correspondence: Friends of Chagall Tapestry, 1984–1986
- 6.17 Correspondence, 1986–1989
Miscellaneous correspondence re various proposed Chagall projects: Jewish Federation of St. Louis, The Museum of Tokyo. Works offered for sale. Some correspondence in French
- 6.18 Exhibitions: Center Ring—The Artist, Milwaukee, Columbus, Albany, Washington (1981 May 6–1982 May 31), 1979–1982
- 6.19 Exhibitions: Japan (1980 May 22–November 16), 1980
- 6.20 Exhibitions: Le Cirque: Paintings, 1969–1980, Pierre Matisse Gallery (1981 May 12–June 6), 1981
Copy of exhibition catalogue with prices, names of purchasers. Copy of exhibition announcement. Correspondence with Mme Chagall. Typescript of Chagall's preface, in French with English translation. Various handwritten notes and lists re exhibition. Pierre Matisse's handwritten account of visit with Chagall. Advertising tear sheets. Clippings, reviews. Notebook with small colored photographs of each painting with date, title, size, et cetera. Ten small colored photographs of the artist in his studio. Some correspondence in French See also exhibition installation photographs
- 6.21 Exhibitions: Le Cirque: Paintings, 1969–1980, Pierre Matisse Gallery (1981 May 12–June 6), accounts, 1979–1981
Accounts relating to Le Cirque exhibition. List of exhibition expenses. List of payments made to Chagall. Correspondence with Mme Chagall re payments. Copies of bank drafts, postage receipts. Some correspondence in French See also exhibition installation photographs
- 6.22 Exhibitions: Paintings, 1980–1981; Gouaches, 1981; Temperas, 1979–1981; Wash Drawings, 1979, Pierre Matisse Gallery (1982 November 16–December 11 [extended until 18]), 1979–1983
Correspondence with Mme Chagall re payments to Chagall. Copies of bank advices, postage receipts. Handwritten lists of paintings. List of sales. Lists of works purchased in 1982 and copies of lists of purchases from 1981 to 1979. Notes and correspondence re preparation of catalogue. Typescript of preface by Jean Leymarie and typescript of English translation. Insurance certificate and correspondence re insurance on shipment from Chagall. Some correspondence in French See also exhibition installation photographs
- 6.23 Exhibitions: Moderna Museet, Stockholm (1983 September 25–January 9) and Louisiana Museum, Denmark (1983 January 21–April 17), 1982–1983
Correspondence requesting loans to exhibition. Copies of loan forms. Insurance certificate. Airway bill. Correspondence re request to extend exhibition. Correspondence from Louisiana Museum in Denmark requesting permission to transfer the exhibition to the to the Louisiana Museum until March 1983. Correspondence with Pierre Matisse and Alberto Raurell, Director Museo Tamayo about extension of exhibition to include Mexico. Shipping papers. Bound book of press clippings and reviews.
- 6.24 Exhibitions: Selected Works 1911 to 1981, Dixon Gallery and Gardens, Memphis, Tennessee (1983 May 1–June 5), 1982–1983
Correspondence re exhibition, requests for loans. Various lists of paintings, photographs sent, et cetera. Loan forms, certificates of insurance. Correspondence re shipping. Copies of clippings, newsletter, exhibition announcement, exhibition catalogue.
- 6.25 Exhibitions: Fondation Maeght, Saint‐Paul de Vence (1984 July 7–October 15), 1983–1984
Correspondence re loans. Loan forms and insurance certificates. Correspondence re shipping, airway bill, shipping receipts. Exhibition announcements. Clippings, bound book of press reviews. Some correspondence in French
- 7.01 Exhibitions: Royal Academy of Arts, London (1985 January 11–March 31) and Philadelphia Museum of Art (1985 May 12–July 7), 1984–1985
Correspondence with the Royal Academy of Arts and the Philadelphia Museum of Art re loans to exhibition. Loan forms. Insurance certificates. Certificate of indemnity. Correspondence with Mme Chagall re exhibition. Shipping receipts. Invitation to opening at Royal Academy. Two black‐and‐white photographs of Bella Meyer in front of Chagall's Bride with Fan, 1911. Correspondence re return of photographs. Invitation to Philadelphia opening and exhibition brochure. Clippings and magazine articles.
- 7.02 Exhibitions: Chagall and the Bible, The Jewish Museum, New York (1987 May 10–August 16), 1987
- 7.03 Exhibitions: Pushkin Museum, Moscow (1987 September), 1987
Correspondence relating to the trip, organized by the Association des Amis du Musée National Message Biblique Marc Chagall, to Russia for opening of Chagall exhibition at the Pushkin Museum. Clippings. Some correspondence in French and German
- 7.04 Exhibitions: I and the Village, The Jewish Community Museum, San Francisco (1988 January 11–March 30), 1987–1988
- 7.05 Publicity, 1980s
- 7.06 Publicity: Obituaries, 1985
- 7.07 Authentications, 1991–1992
- 7.08 Correspondence, 1991–1992
- 7.09 Exhibitions: Centro Culturel, Mexico (1991 October 10, 1991–January 26), 1991–1992
- 7.10 Publicity, 1993
- Subseries: Chaissac, Gaston, 1910–1964
- 7.11 Correspondence, circa 1960
- Subseries: De Chirico, Giorgio, 1888–1978
- 7.12 Correspondence, 1936–1937, 1940, 1946
Correspondence to and from Pierre Matisse, Mario Broglio, Giovanni Scheiwiller, Giorgio Castelfranco, Guglielmo Bianchi and others re sales, authentications, exhibitions, includes photographs. 1946 typed letter signed by Max Bill to Pierre Matisse re possible sale of Giorgio de Chirico work. See also Scrapbook, Exhibitions for installation photographs and catalogues for 1935 and 1940 Pierre Matisse Gallery exhibitions See also following folder for exhibition catalogues
- 7.13 Exhibitions: [1908–1918 (1935) and Early Paintings (1940),] Pierre Matisse Gallery, catalogues, 1935, 1940
- 7.14 Correspondence, 1965
Correspondence re Pierre Matisse authentication of de Chirico works (includes photos, signed by Pierre Matisse on the back) La nuit de Pericles and Il Palafreniere I versine Some correspondence in French
- 7.15 Exhibitions: Mostra di Giorgio de Chirico, Milano, Palazzo Reale (1970 April–May), 1970
Correspondence to and from gallery and exhibition personnel re loan of Pierre Matisse Gallery The Plaything of the Prince and The Language of a Child, and Acheson's Metaphysics II—La Lanterna. Correspondence between Pierre Matisse and Flora Dean re loan of Dean's de Chirico The Departure of the Poet. Show traveled to Hanover, Germany. De Chirico cable to Pierre Matisse on May 11, 1970 thanking him for agreeing to let works travel. Loan forms, shipping and insurance records.
- 7.16 Exhibitions: Pintura Metafisica at the Palazzo Grassi, Venice (1979 May–July), 1979
Pierre Matisse loaned Language of a Child. Correspondence, cables, announcements, loan forms, shipping records. Some correspondence in Italian
- 7.17 News clippings, publicity, 1970–1978
- 7.18 Correspondence, 1980s
Miscellaneous correspondence re de Chirico research, works owned by Pierre Matisse and formation of the Fondazione Giorgio and Isabelle Far de Chirico. 1989 John Russell review "Some Surprises for the Italy of this Century" re exhibition at the Royal Academy of Arts, London. Some correspondence in French
- 7.19 Exhibitions: De Chirico: nel centenaria della nascita retrospective, Museo Correr, Venice (1988 October 1–1989 January 15), 1988–1989
Pierre Matisse loaned two works, Language of a Child and Interieur Metaphyisique. Correspondence, loan forms, shipping and insurance records, announcements, press reviews. Some correspondence in Italian
- 7.20 Slides, undated
- Subseries: Christo, 1935–
- 7.21 Pont–Neuf wrapping, 1985
- Subseries: Clerk, Pierre, 1928–
- 7.22 Correspondence, 1955–1956
- Subseries: Le Corbusier, 1887–1965
- 7.23 Correspondence, 1955
Copies of correspondence to and from Pierre Matisse and Le Corbusier, Mme Jeanne Heilbuth, Paul Rosenberg re artist/gallery agreement, including drafts of letter of agreement and original, final signed copies of letter of agreement (December 23, 1955). Correspondence re upcoming exhibitions, including Pierre Matisse Gallery (with copies of catalogue preface, biographical note, essay by Herbert Read and François Le Lionnais), record of Le Corbusier's works in the Musée Beaux‐Arts de Lyon (November 16, 1955). Photo by Lucien Hervé of Le Corbusier's studio. Correspondence in French Original correspondence and art moved to artists' files
- 7.24 Correspondence, 1956
Copies of correspondence to and from Pierre Matisse, Le Corbusier, Mme Jeanne Heilbuth re shipment of Taureau Dix, Taureau Sept to New York City, upcoming Le Corbusier exhibition at Musée des Beaux‐Arts de Lyon (dated March 20, 1956), Le Corbusier comments on Pierre Matisse exhibition, photographs and catalogues. Le Corbusier list of people to receive catalogue. Pierre Matisse to Le Corbusier (July 25, 1956) re Paul Rosenberg and prices for Le Corbusier's work. Le Corbusier to Pierre Matisse re catalogue preface by François Le Lionnais (January 26, 1956). Correspondence re possible Le Corbusier rooms at the Guggenheim (James Sweeney) or at an American University (Jose Luis [Josep Lluis] Sert) in correspondence of February 26 and March 5, 1956. Correspondence in French Original correspondence moved to artists' letter boxes See also Exhibition files, folder 5
- 7.25 Correspondence, 1957
Copies of correspondence to and from Pierre Matisse and Le Corbusier re Le Corbusier exhibition at Harvard, possible Le Corbusier room at the Guggenheim or Harvard (January 30, 1957), exhibition at Kunsthaus in Zürich (several references), Le Corbusier/Pierre Matisse Gallery contract revisions and disagreements (April–June, 1957), traveling Le Corbusier show organized by W. Boesiger in Zürich and assisted by Pierre Matisse Gallery (?) (several references). "Exposition Itinerante Le Corbusier." Problems with prices of Le Corbusier paintings (March 18, 1956), lists of Le Corbusier works at Pierre Matisse Gallery for Kunsthaus exhibition (Taureau and Icon series). Correspondence in French Original correspondence moved to artists' letter boxes
- 7.26 Correspondence, 1958–1959
Copies of correspondence to and from Pierre Matisse and Le Corbusier re John Sweeney and Guggenheim and Jose Luis [Josep Lluis] Sert and Harvard, Le Corbusier Salons, January 13, 1958, Zürich traveling exhibition, Le Corbusier mention of Gordan Bunshaft (October 27, 1958), Typed letter dated July 20, 1958 signed Le Corbusier to Pierre Matisse re contract and sales. Correspondence in French Original correspondence moved to artists' letter boxes
- 7.27 Exhibitions: "Les Taureaux," Recent Paintings, 1952–1955, Pierre Matisse Gallery (1956 January 17–February 11 [extended until 18]), 1956
Catalogue, announcements, catalogue drafts (including essays by Herbert Read and François Le Lionnais), press reviews. See also exhibition scrapbooks for installation photograph, announcement, and catalogue; Correspondence folders 1–3
- 7.28 Exhibitions, 1950s
Announcements, reviews, catalogues re exhibitions at Harvard (1956), The Arts Club, Chicago (1956), Kunsthaus Zürich (1957), Musée de La Chaux‐de‐Fonds (undated), International Building (630 Fifth Avenue) sponsored by Ambassador of France (undated). Pierre Matisse Gallery loaned works to these shows[?]. See also Correspondence, folders 1–4
- 7.29 Correspondence, 1961–1962
Copies of correspondence to and from Pierre Matisse, Le Corbusier, and Jeanne Heilbuth re Le Corbusier trip to New York City and Columbia University to accept an award and possible Pierre Matisse Gallery show to coincide (mentioned in P.W. Wiener to Pierre Matisse letter of March 29, 1961), copies of September, 1961 letters Le Corbusier to J. Sweeney and J.L. Sert re treatment of Le Corbusier [?], possible gallery sales (Le Corbusier would not allow sale of Icone Un in message of July 7, 1962), October 31, 1962 copy of Le Corbusier inventory at Pierre Matisse Gallery, Pierre Matisse Gallery contract voided by Le Corbusier [?], November 19, 1962. Correspondence in French Original correspondence moved to artists' letter boxes
- 7.30 Correspondence, 1963–1966
Le Corbusier died in 1965. Copies of correspondence to and from Pierre Matisse, Le Corbusier, Le Corbusier Foundation, miscellaneous others re Pierre Matisse Gallery inventory of Le Corbusier works (1964), interested clients, French Minister of Cultural Affairs to Pierre Matisse (September 15, 1965) requesting copies of Pierre Matisse/Le Corbusier contracts and related documents. File includes copies of documents. Correspondence in French Original correspondence moved to artists' letter boxes
- 7.31 Death (September 1965), press clippings, 1965
- 7.32 Estate, 1966–1969
Correspondence to and from French Minister of Finance re Pierre Matisse Gallery's Le Corbusier holdings, outstanding payment [?] to artist of 3,300 francs, preparation of inventory, and establishment of Le Corbusier Foundation.
- 7.33 Exhibitions: Musée National d'Art Moderne, Paris (1962 November), 1962
In honour of Le Corbusier's 75th birthday. Correspondence, reviews, loan forms, shipping records, announcement. Pierre Matisse Gallery loaned circa 31 works (paintings, drawings, gouaches).
- 7.34 Fondation Le Corbusier, 1969–1980
Correspondence and printed material re activities of Fondation and Association Internationale Le Corbusier. Pierre Matisse Gallery provided assistance in preparation of Le Corbusier catalogue raisonné. Correspondents include Pierre Matisse, André Wogenscky (President FLC), Maurice Besset (executor). Pierre Matisse Gallery inventories 1959, 1965, 1979.
- 7.35 Inventories, 1960s–1970s
Paintings, sketches, et cetera, in gallery and at Hahn Brothers. Parenthetical note on old folder, "also list of works returned to France, October 1962." Includes correspondence with Mrs. Patricia Sekler re use of Le Corbusier material loaned to Fogg Art Museum 1965. See also folder on Fondation Le Corbusier
- 7.36 Printed material, 1960s–1970s
- Subseries: Cornell, Joseph, 1903–1973
- Subseries: Dalí, Salvador, 1904–1989
- 7.38 Correspondence, 1979, 1984–1985
January 1979 cable from Pierre Matisse to Dalí on Dalí's election to the Academie Française. Correspondence re book on Dalí (Pierre Matisse and Meryle Secrest), including typed letter signed and dated August 13, 1984 from Pierre Matisse to Meryle Secrest re Miró connection to Dalí.
- 7.39 Published biographical material, 1980–1981
- 7.40 Death (1989 January 23), published accounts, 1989
- Subseries: Daumier, Honoré, 1808–1879
- 7.41 Head of a Man in a Top Hat acquisition, 1961–1969
Pierre Matisse acquisition and arrangements for purchase and casting of newly‐discovered terracotta head Head of a Man in a Top Hat. Correspondence to and from Pierre Matisse, Eugene Thaw (partner in project), Joseph Hirshhorn (purchased original head at Pierre Matisse's request), Sam Szafran, Maurice Lefebvre–Foinet, Roseline Granet, Abram Lerner (curator of the Hirshhorn collection), re acquisition, casting, authentication, sale, and exhibition of Daumier head at the Fogg Art Museum (Daumier and his Sculpture April 31–June 23, 1969). Pierre Matisse and Eugene Thaw put project together, French museum authorities reluctant to authenticate head. Photographs in the file. Some correspondence in French See also Clients, Joseph Hirshhorn
- Subseries: Degas, Edgar, 1834–1917
- 7.42 Restoration, 1956
Report of condition and treatment for Degas Repetition au Foyer de la Danse, 1885, oil on canvas, by Louis Pomeranz, conservator of paintings (copies?). Negative photocopy of report. Black‐and‐white photographs of whole picture and detailed areas before and after treatment.
- 7.43 Exhibitions: The Private Degas, Art Council of Great Britain, 1987
Pierre Matisse loaned Miss Lola au Cirque Fernando. Loan forms, correspondence, photograph, invitation, press. Show mounted at Fitzwilliam Museum, Cambridge and Whitworth Art Gallery, Manchester.
- Subseries: Delvaux, Paul
- 7.44 Exhibitions: Staempfli Gallery, 1959, 1969
- 7.45 Exhibitions: Peintres de l'Imaginaire Symbolistes et Surrealistes Belges, Grand Palais, Paris (1972 February 3–April 8), circa 1972
Pierre Matisse loaned two works, La Prisonniere and Petite gare la nuit. Announcement, correspondence, cables, insurance.
- 7.46 Exhibitions: Museum Boymans‐Van Beuningen, Rotterdam, 1973 March–October
Pierre Matisse loaned two works. Correspondence, insurance, storage, printed material. Notes: Original correspondence in artists' letter boxes
- Subseries: Derain, André, 1880–1954
- 7.47 Correspondence, 1933, 1940–1941, undated
Correspondence to and from Pierre Matisse, Derain, and Charles Ratton re Pierre Matisse Gallery Derain exhibition (April 15–May 11, 1940), shipping of art to New York City, wartime conditions in France, lists of André Derain works at Pierre Matisse Gallery. Correspondence in French Original correspondence moved to artists' letter boxes See also exhibition Scrapbook, 1934–1940 for catalogue and installation photos; Museums and art institutions, United States: Ohio: Cincinnati Art Museum, 1941; Dealers, Charles Ratton
- 7.48 Correspondence, 1946–1948
Correspondence to and from Pierre Matisse and André Derain re sales from 1940 exhibition. Derain desires the return of his paintings (Portrait sur fond noir and six other works) as of May 14, 1947. Correspondence with Pension & Company, shippers. Correspondence in French Original correspondence moved to artists' letter boxes See also André Derain, Exhibitions
- 7.49 Exhibitions: Paintings from 1938 and After, Pierre Matisse Gallery (1940 April 15–May 11) for the Benefit of the American Friends of France, 1940
Includes priced catalogue, letter from Pierre Matisse to museums and museum responses, cables and correspondence between Pierre Matisse and André Derain. Press review from the New York World‐Telegram, April 20, 1940. See also exhibition Scrapbook, 1940, for catalogue and installation photos; André Derain, Correspondence files
- 7.50 Exhibitions: Derain, Pierre Matisse Gallery (1944 January 4–29), 1944
- 7.51 Exhibitions, 1940s–1950s
- 7.52 1970s–1980s
1970 Pierre Matisse Gallery purchase of Head of a Woman by André Derain from the Museum of Modern Art. Correspondence to and from Pierre Matisse, Les Amis de André Derain, André Derain (son?), miscellaneous articles. Some correspondence in French
- 7.53 Exhibitions: André Derain in North American Collections, University of Regina, Canada and University of California, Berkeley, 1982 October–1983 April
Pierre Matisse Gallery loaned three works: Still Life, Monastery, and The Funeral. Correspondence, loan forms, insurance and shipping records, press review, condition and treatment reports.
- 7.54 Exhibition: The Museum of Modern Art, Oxford, England (1990 December 6–1991 March 17), 1990–1991
- Subseries: Despiau, C. [probably Charles, 1874–1946]
- 7.55 Correspondence, 1933, 1937, 1940
Correspondence to and from Pierre Matisse and Despiau re possible sales, bust of Mme Lindbergh (February 12, 1940) Correspondence in French Original correspondence moved to artists' letter boxes
- Subseries: Donati, Enrico, 1909–2008
- Subseries: Dos Passos, John, 1986–1970
- 7.57 1936–1938
Correspondence, text for catalogue, price lists, et cetera re Pierre Matisse Gallery exhibition of February 1937,Watercolors. Copy of brochure and catalogue. Summaries of letters. Twenty black‐and‐white photos of watercolors Some correspondence in French Original correspondence moved to artists' letter boxes
- Subseries: Dubuffet, Jean, 1901–1985
- 8.01 Accounts, 1943–1960
- 8.02 Correspondence, 1946
Photocopies of correspondence, from Jean Dubuffet to Pierre Matisse and, less frequently, from Pierre Matisse; original arrangements between artist and dealer are outlined, Charles Ratton and René Drouin mentioned. Copy of letter from Dubuffet to Drouin (February 10). Contract of February 1, 1946 between Jean Dubuffet and Pierre Matisse, division with Drouin. Text by Edith Boissonas re Dubuffet. Annotated listing of Dubuffet letter, reference to Pierre Matisse's. Original correspondence moved to Dubuffet box 1
- 8.03 Correspondence, 1947
Photocopies of correspondence between Jean Dubuffet and Pierre Matisse. Lists of Dubuffet paintings and drawings sent to Matisse; several cables. Unidentified, undated, handwritten notes, two pages. Annotated listing of Dubuffet letters with references to Pierre Matisse's. Issue of MKR's art outlook from January 13, 1947, containing the article "Encounter with Jean Dubuffet," page 3. Original correspondence moved to Dubuffet box 1
- 8.04 Correspondence, 1948
Photocopies of letters from Dubuffet to Pierre Matisse, from Algeria January–April, then from Paris through December; two letters from Pierre Matisse. Dubuffet describes his technique, names and remarks about various artists, dealers, collectors, museum staff members. He informs Pierre Matisse re Art Brut project. Annotated listing of Dubuffet letters with reference to Pierre Matisse's. Two copies of the eight page pamphlet LeR DLa CaNpaNe/paR/DUBUFe J. Hand‐lettered, woodcuts. Final page states "L'Art/NOEL/1948/BRUT" Original correspondence moved to Dubuffet box Pamphlet paper is of poor quality, stapled, with a yellow cover
- 8.05 Correspondence, 1949
Photocopies of letters from Dubuffet to Pierre Matisse from Paris, some from Matisse; also copies of Dubuffet's letters to Drouin and Sidney Janis. Lists of Dubuffet works. Annotated listing of the letters with reference to Pierre Matisse's. File includes single‐fold, hand‐lettered, decorated advertisement for Dubuffet La Métromanie ou les dessous de la capitale on brown paper Original correspondence moved to Dubuffet box
- 8.06 Exhibitions: Paintings, Pierre Matisse Gallery (1947 January 7–February 1), 1947
- 8.07 Exhibitions: Lithographies J. Dubuffet (1947 October 10–November 1), 1947
- 8.08 Exhibition: Paintings, Gouaches, 1946–1948, Pierre Matisse Gallery (1948 November 30–December 31), 1948
- 8.09 Publicity, circa 1940–1959
- 8.10 Accounts, 1952–1956
Lists of Dubuffet works chosen by Pierre Matisse, price lists, some correspondence between Dubuffet, Matisse, banks, et cetera.
- 8.11 Accounts, 1958–1959
- 8.12 Biographical Memoire, circa 1958
- 8.13 Correspondence, 1950
Photocopies of letters from Dubuffet to Pierre Matisse, from Paris, and some from Pierre Matisse, also copy of Dubuffet's letter to Lerolle, Paris representative of Carnegie International. Lists of Dubuffet works. Dubuffet writes about his work, such as Prospectus aux amateurs de tout genre and Anvouaiaje, a trip to Hanover, visits from Americans such as Thomas Hess and his wife, his learning English from disks and getting American visas. For the latter, Pierre Matisse writes the U.S. Embassy in Paris with an affidavit. Annotated list of the letters with reference to Pierre Matisse's. Original correspondence moved to Dubuffet box
- 8.14 Correspondence, 1951
Photocopies of letters from Jean Dubuffet to Pierre Matisse and a few from Pierre Matisse. Ten‐page handwritten list of names and addresses by Dubuffet. Lists of Dubuffet works, Pierre Matisse choices, et cetera. Continuing review of arrangements between Dubuffet and Matisse, prices, et cetera. Dubuffet describes visits from various collectors, including Peggy Guggenheim, Sidney Janis, Ossorio, Mary Callery, the Bissetts, Daniel Catton Rich and Katherine Kuh, and others; he writes of a trip to Belgium and Hyères. Discussion of plans for trip to United States in autumn, including his correspondence regarding a request from the Arts Club of Chicago for him to lecture during a Dubuffet exhibition being planned. Six‐page typescript of notes for Dubuffet lecture given at Arts Club of Chicago, December 20, 1951 (in English). Annotated list of Dubuffet letters, with reference to Pierre Matisse's. Original correspondence moved to Dubuffet box
- 8.15 Correspondence, 1952, undated
Photocopies of letters from Jean Dubuffet, from New York in February, then Paris (one undated from Nice); some letters from Pierre Matisse to Dubuffet. The subject is frequently money, payments and arrangements agreed upon or disagreed about, though amicably. Reference to his and Lili's illnesses. On May 10, Dubuffet writes about an invitation to participate in the Carnegie International exhibition𠄄Eberhard Nebelthau and Gordon Bailey Washburn. Dubuffet comments on various American reviewers of his work, especially enthusiastically about James Fitzsimmons, to whom he wishes to give a drawing. On November 9, Dubuffet writes that he is sending a box of 87 photographs of his paintings done between December 1942 and April 1945, and a "Nomen‐clature' describing them (in file). He also writes a complete review of his life and work during those years. A few Dubuffet letters are undated. Annotated listing of Dubuffet letters, with reference to Pierre Matisse's. Original correspondence moved to Dubuffet box
- 8.16 Correspondence, 1953
Photocopies of letters from Dubuffet to Pierre Matisse, some from Matisse. Dubuffet writes about Tapié's Un art autre and, throughout the correspondence, information concerning the progress of the writing and publication of Limbour's book on Dubuffet's art. Dubuffet frequently refers to his need for money, payments overdue, including mention of Dan O'Connell. Dubuffet very interested in color photography, "stereoscopic." Art Digest requests a written piece from Jean Dubuffet re a symposium, and he receives a visit from Fleur Cowles re Look Magazine. Dubuffet exhibitions in Paris are mentioned. On November 9, Dubuffet sad to know of death of Maurice Culberg and asks Matisse advice about offering a painting to the Art Institute of Chicago in his memory. Dubuffet translates "L'art brut" as "Raw Art." Annotated listing of Dubuffet letters, reference to Pierre Matisse's. Original correspondence moved to Dubuffet box
- 8.17 Correspondence, 1954
Photocopies of letters from Dubuffet, some from Pierre Matisse. Jean Dubuffet complains frequently that Pierre Matisse owes him money, and that paintings of his change hands but with no profit to him, that investments made through Daniel O'Connell show losses. Dubuffet has visits from Fitzsimmons, Hess and Katherine Kuh, et cetera. He writes of exhibition at Volney (l'Art Brut), and possibility of an exhibition in London (Roland Penrose) in March 1955, and arrangements with various Paris dealers. He is doing minor restoration on a couple of paintings. Lili is ill over long period (tuberculosis? in sanitarium?), but better by end of year. Matisse offers use of house at St. Jean, but sea air not good for Lili. Dubuffet condolences on Henri Matisse's death. Pierre Matisse in Paris end of December for his daughter Jacqueline's wedding. Dubuffet text for catalogue of exhibition organised by Andrew Ritchie. Annotated listing of Dubuffet letters, with reference to Pierre Matisse's. Original correspondence moved to Dubuffet box
- 8.18 Correspondence, 1955
Photocopies of letters from Jean Dubuffet, 17 January from Paris, rest of year from Vence; reference to one from Pierre Matisse. Dubuffet writes with sadness on death of Tanguy, then in May of Patricia Matisse's father, Pat O'Connell. He reports on Lili's continuing ill health, which improves by end of year. He has new secretary, Gabrielle Neumann, in Paris. Dubuffet reports on exhibitions of his work, in London in March; in August with Riopelle at Les Mages. Pierre Matisse chooses works in July and October, when Dubuffet no longer paints portraits, only landscapes. Dubuffet complains of Augustinci's sale to Samuel Kootz (New York dealer) of 13 paintings, which Kootz asks permission to show in one‐artist exhibition, later became group show. From October, Dubuffet urges Pierre Matisse to make agreed‐upon payments, as he is building new studio, extra space needed for his painting‐assemblages. He gives the Matisses news of area. Annotated listing of Dubuffet letters, with reference to one from Pierre Matisse. Original correspondence moved to Dubuffet box
- 8.19 Correspondence, 1956
Photocopies of letters from Jean Dubuffet to Pierre Matisse, some originals from Matisse; correspondence with Gabrielle Neumann et al. All Dubuffet letters from Vence until 18 December, that from Paris. Frequent references to payments due, overdue, promised, paid. Correspondence throughout concerning Dubuffet arrangements with dealer Augustinci, dissatisfaction, et cetera; also with Ulmann re publication on Dubuffet "assemblages d'emprintes," text by René Bertelé. JD writes about his work, the progress on the studio, Lili's improving health, an invitation from Bissetts to spend three months with them in Palm Beach next winter, et cetera. He advises Patricia Matisse re health. Pierre Matisse Gallery holds Dubuffet exhibition February 21–March 17. Dubuffet writes that catalogue is "encroyable—superbe" and 500 copies to go to Neumann in Paris. Annotated listing of Dubuffet letters, with references to Pierre Matisse's by date. Two black‐and‐white photographs, unidentified (Dubuffet studio under construction?). Original correspondence moved to Dubuffet box
- 8.20 Correspondence, 1957
Photocopies of letters from Dubuffet, from Paris and Vence, some from Pierre Matisse. Throughout, the subject of money is discussed—payments due, overdue, paid, unpaid, et cetera; also Dubuffet arrangements with Paris dealers for exhibition and sale of Dubuffet work, exhibitions elsewhere as well. Arrangements with various publishers and editors for books on Dubuffet work. Pierre Matisse makes usual choices of Dubuffet works, late March and September, lists. Dubuffet mentions possibility of retrospective at Pierre Matisse Gallery, works from 1942–1957. Correspondence with Gabrielle Neumann, her requests for photos for complete record of Dubuffet work. Dubuffet writes enthusiastically re James Fitzsimmons's article on his work, in Quadrum. Text of radio interview, November, between Georges Limbour and Georges Ribemont‐Dessaignes re Dubuffet work. December 15 letter to Pierre Matisse from "Georges" [Limbour?]. Annotated listing of Dubuffet letters, reference to Pierre Matisse's by date. Original correspondence moved to Dubuffet box
- 8.21 Correspondence, 1958
Photocopies of letters from Dubuffet, from Paris and Vence; some from Pierre Matisse. Dubuffet exhibition at Pierre Matisse Gallery from February 4–22. Copies of invitation and catalogue to Dubuffet, "trés jolie." Dubuffet exhibition planned for Amsterdam; he is invited by Gordon Washburn to participate in Carnegie International 1958–1959. He writes about his work, especially lithography, which he completes in October. Much of correspondence concerns publications: James Fitzsimmons article in Quadrum leads to French translation and a request from Pierre Matisse to Fitzsimmons to write for the catalogue of Pierre Matisse Gallery November Miró exhibition. Dubuffet complains re Jean Paulhan and Facchetti re publication of reproductions of gouaches. Copy of Dubuffet letter of March 26 to Hazan, editor. Lists of color reproductions for Musé de Poche and the Fitzsimmons French publication. Pierre Matisse chooses Dubuffet works in January and June. Dubuffet list of increased prices. Annotated listing of Dubuffet letters, with references to Pierre Matisse's. Original correspondence moved to Dubuffet box See also installation shots; Miró exhibition file
- 8.22 Correspondence, 1959
Photocopies of letters from Jean Dubuffet, from Paris to May, then Vence; references to Pierre Matisse's, including copies of letters to Paulhan and Limbour. Correspondence also between Pierre Matisse and Dubuffet's two secretaries, in Paris and Vence. Exhibitions planned at Cordier, Berggruen, et al. Dubuffet writes re his work, especially lithography, lists of same; his technique for Elements botaniques; his new studio in Vence completed. Dubuffet exhibition, retrospective, at Pierre Matisse Gallery November 10–December 12. Lists of works sent for exhibition, letters re Limbour's text. Dubuffet likes catalogue but complains that many reproductions were cropped; Pierre Matisse explains. Dubuffet complains that Pierre Matisse not showing Dubuffet work throughout U.S., suggests a book re his paintings with text in English. Repeatedly asks for lists of works sold, with names of buyers, which Pierre Matisse finally sends in December. Possibility of other arrangements. Lists, price lists, et cetera. Annotated listing of Dubuffet letters, with references to Pierre Matisse's. Original correspondence moved to Dubuffet box See also installation photographs
- 8.23 Exhibitions: Paintings, Pierre Matisse Gallery (1950 January 24–February 8), 1950
- 8.24 Exhibitions: Paintings, 1950, Pierre Matisse Gallery (1951 January 9–February 3), 1951
- 8.25 Exhibitions: Landscaped Tables, Landscapes of the Mind, Stones of Philosophy, Exhibition of Paintings Executed in 1950 and 1951, Pierre Matisse Gallery (1952 February 12–March 1), 1952
18‐page text by Jean Dubuffet, and Two‐page listing of works, for the Pierre Matisse Gallery exhibition. Priced catalogue. See also installation photographs
- 8.26 Exhibitions: Recent Paintings, Collages, and Drawings, Pierre Matisse Gallery (1954 November 23–December), 1954
- 8.27 Exhibitions: Paintings and Assemblages d'Empreintes, executed in 1954–1955, Pierre Matisse Gallery (1956 February 21–March 17), 1956
- 8.28 Exhibitions: Peintures d'Assemblages, Graffiti, Sols, Texturologie, and Other Recent Works Done in 1956 and 1957, Pierre Matisse Gallery (1958 February 4–22), 1958
- 8.29 Exhibitions: Retrospective Exhibition, 1943–1959, Pierre Matisse Gallery (1959 November 10–December 12), lists, 1959
Lists of Dubuffet works, handwritten, typed, dated, undated re Dubuffet retrospective exhibition. See also installation photographs
- 8.30 Exhibitions: Retrospective Exhibition, 1943–1959, Pierre Matisse Gallery (1959 November 10–December 12), loan requests, 1959
Correspondence September–December, Pierre Matisse with clients, et cetera, requesting loans of Dubuffets for retrospective, with shippers, re insurance, et cetera, includes returns to lenders.
- 8.31 Exhibitions: Retrospective Exhibition, 1943–1959, Pierre Matisse Gallery (1959 November 10–December 12), catalogue, 1959
- 8.32 Exhibitions: Retrospective Exhibition, 1943–1959, Pierre Matisse Gallery (1959 November 10–December 12), reviews, 1959
- 8.33 Exhibitions, 1950–1959
Catalogues, checklists, announcements of various Dubuffet exhibitions in Paris, New York, Venice, Vence, Milan, London
- 8.34 Publication manuscripts, circa 1950s
What appear to be printed signatures, unbound, with hand‐lettered title page: Georges Limbour/Un Ennemi de la culture/L'Art brut de Jean Dubuffet/Pierre Matisse/New York; title hand‐lettered also on folded sheet representing cover. Nine‐page typescript L'Art brut préféré aux arts culturels by Jean Dubuffet, undated.
- 8.35 Publications: Tableau bon levain à vous de cuire la pâte;; l'art brut de Jean Dubuffet, 1953–1955
Jean Dubuffet letter (August 6, 1953) to Pierre Matisse with eleven‐page list of 90 reproductions. Invoices, shipping papers, correspondence, Draeger Frères, printers, Paris, re publication. In publication, Georges Limbour is author; copyright November 1953 by Pierre Matisse, New York, and Rene Drouin, Paris. What appears to be an original Dubuffet drawing put in solander boxes with other original material See also correspondence files for the same year
- 8.36 Publications, 1957–1958
Correspondence re two publication of Dubuffet's work: Metromanie and Assemblages. Correspondence between Pierre Matisse and printers and authors; list of names and addresses. Two sheets of handwritten notes and sketches re publications. Photocopies of three Dubuffet letters to Pierre Matisse. Letter dated March 18, 1958 from Gabrielle Neumann with 49‐page typescript of French translation of James Fitzsimmons's Quadrum article on Dubuffet. Originals of correspondence in the Dubuffet boxes See also Administration, Publishers, Daniel Jacomet, Paris, 1957–1957 for further correspondence re this publication
- 8.37 Records of work, 1951–1960
Dubuffet's periodic records of works completed over previous months, giving titles, media, dimensions, typed or handwritten on folded sheets, often sewn at fold.
- 8.38 Reproduction requests, 1956–1965
Letters from authors and publishers requesting permission to reproduce Dubuffet works from Pierre Matisse and Pierre Matisse Gallery collections, including requests for photographs, transparencies, et cetera, and payments therefor.
- 8.39 Accounts, 1960, undated
Lists of Dubuffet works, unsold, at Hahn Brothers and at Gallery; handwritten list, unidentified, undated.
- 8.40 Correspondence, 1960 January–April
Photocopies of letters from Jean Dubuffet, copies of some from Pierre Matisse. Some correspondence between Pierre Matisse and Dubuffet's secretaries. Letters between Dubuffet and Matisse to and from Ralph Colin. Continuing correspondence re Dubuffet exhibitions: Cordier opening April, later in year plans for exhibition at Hanover Museum, in both cases works need to be borrowed from Pierre Matisse Gallery. Publications also discussed, including ANVOUAIAJE of which Dubuffet has lost the unique two‐volume copy, and which Asger Jorn wishes to publish in an illustrated edition for the Silkeborg Museum, Denmark, along with an exhibition of Dubuffet lithographs. The "dossier" of the Collège de 'Pataphysique is to appear in April—question of color reproductions. Limbour begins preparation of a second volume of his Tableau bon levain re Dubuffet works of 1952–1960. Aspects of the business relationship between Dubuffet and Pierre Matisse are frequently written about, with complaints on both sides. An annotated listing of Dubuffet letters includes references to Pierre Matisse's by date. Listing continues in second file folder of 1960 correspondence, and includes Dubuffet letters to Patricia Matisse. Originals of correspondence are in Dubuffet box See also Correspondence: Patricia Matisse folder
- 8.41 Correspondence, 1960 May–November
Photocopies of letters from Jean Dubuffet from Vence; some replies from Pierre Matisse. Correspondence, invoices, other papers re Dubuffet's work with museums, publishers, and Dubuffet's secretaries. Subjects include exhibitions: Arthur Tooth in London, Hanover museum, Stedelijk Museum in Eindhoven in conjunction with Municipal Museum, Amsterdam, and Pierre Matisse loans in each case. Publications also discussed, XXe Siècle re color reproductions and Pierre Matisse payments; Collège de 'Pataphysique, also payments; Dubuffet arrangements with Braziller, New York, re U.S. distribution of Cordier book on Dubuffet drawings. Month of September, exchanges of long letters between Jean Dubuffet and Pierre Matisse re growing dissatisfaction with present arrangement, on both parts, resulting in complete estrangement. Subsequent correspondence between Pierre Matisse and Dubuffet secretaries. Annotated listing of Dubuffet letters, with references to Matisse's, continuation of that in previous 1960 correspondence folder. Originals of correspondence are in Dubuffet box See also Correspondence: Patricia Matisse, 1960 folder
- 8.42 Correspondence: Patricia Matisse, 1960
Photocopies of letters from Dubuffet to Patricia Matisse, generally requesting information, photographs, catalogues, correcting titles, dates of works in Pierre Matisse Gallery possession especially. Some letters from Dubuffet secretaries. Gabrielle Neumann, Paris secretary, had quit, leaving great disorder. Mention of Noel Arnaud making a chronology of exhibitions. Lists. Annotated listing of Dubuffet letters as part of listing of correspondence with previous. Originals of correspondence are in Dubuffet box See also Correspondence, 1960
- 8.43 Correspondence: Noel Arnaud, 1960–1961
Correspondence between Pierre and Patricia Matisse and Noel Artaud re the latter's preparations for a catalogue of Dubuffet's graphic work and, later, for the catalogue of the Dubuffet lithographs exhibition at the Silkeborg Museum, Denmark. Artaud requires technical information re some works, photographs, et cetera. He writes sometimes on stationery of Collège de 'Pataphysique. Two tiny photographs of Dubuffet works in November 4, 1961 Arnaud letter. Six glossy photos of Dubuffet works.
- 8.44 Correspondence, 1961
Letters to Pierre Matisse Gallery and Patricia Matisse requesting information about Dubuffet works, collectors, et cetera. Correspondence re the return of unsold Dubuffet books to the artist, financial matters. Correspondence exchanged primarily with Dubuffet's Secretariat.
- 8.45 Correspondence, 1962–1966
Correspondence dealing with titles, dates, and other information re Dubuffet works, mainly with Dubuffet secretariat, but including one photocopy of letter from Dubuffet to Pierre Matisse. Paraphrase of Dubuffet letter. Copy of Dubuffet single–page manuscript. Clipping. Originals of correspondence are in Dubuffet box
- 8.46 Correspondence: Max Loreau, 1964–1965
Correspondence between Pierre Matisse and Max Loreau, re latter's preparation of catalogue raisonné of Jean Dubuffet's work. Requests for transparencies, photographs. (Poor) photocopy of list of U.S. collectors with Dubuffet works. Reference to Loreau's preface to the catalogue of the Dubuffet Amsterdam exhibition.
- 9.01 Exhibitions: Hannover, 1960–1961
Correspondence, request for loans, photographs, et cetera, Dr. Werner Schmalenbach of Kestner‐Gesellschaft. Apparently 17 Dubuffet works were lent. Two of them were bought during exhibition, but billed for in 1961. Arrangements for insurance and shipping.
- 9.02 Exhibitions: Hannover, 1960–1961
17 Certificates of Insurance (Heerkens Thijssen & Co., Amsterdam) covering loans of Dubuffet works from Pierre Matisse Gallery to exhibition in Hannover, 1960. Copies of lists of Dubuffet paintings in storage at Hahn Brothers dated September 10, 1959. Photocopies (poor paper) of four photographs of Dubuffet works, and of loan forms (two sets).
- 9.03 Exhibitions: Paris, 1960–1961
Correspondence, mainly letters from François Mathey, Conservateur of Musée des Arts Décoratifs, to Pierre Matisse. Loan forms and photocopies (poor paper); insurance certificates; lists, typed and handwritten and photocopies. Five Dubuffet (apparently) ink drawings on tracing paper, moved to box containing original works found in files
- 9.04 Exhibitions: Paris, 1960–1961
Lists: of loans from Pierre Matisse to exhibition, of Dubuffet works at Hahn Brothers (handwritten and typed, dated September 1960). Notes from photographer Oliver Baker. Loan forms and photocopies (poor paper) of loan forms (latter numbered in red). One tear sheet from a catalogue.
- 9.05 Exhibitions, 1960–1961
Catalogues of Dubuffet and group exhibitions in London, Milan, Zürich, and Lake Forest, Illinois from 1960 and 1961.
- 9.06 Exhibitions: Stockholm (proposed), 1961
- 9.07 Exhibitions: Museum of Modern Art, Art Institute of Chicago, Los Angeles County Museum of Art, 1961–1962
Traveling exhibition. Correspondence re loans of Dubuffet works, of transparencies and photographs; Pierre Matisse to pay for four of six color plates in catalogue. More than 40 loan forms. Handwritten list of 25 Dubuffet works dated May 8, 1961, "for Museum show next fall—1962." Three copies of checklist; one black‐and‐white glossy photo.
- 9.08 Exhibitions: Museum of Modern Art, Art Institute of Chicago, Los Angeles County Museum of Art, press, 1962
- 9.09 Exhibitions, 1962–1963
Catalogues, checklists for Dubuffet exhibitions held in Paris, Rome, New York and Providence, Rhode Island.
- 9.10 Exhibitions: Museum of Modern Art (circulating), 1963–1967
Correspondence, loan forms, checklist, catalogue of showing in Rio de Janeiro, for exhibition Lettering by Hand.
- 9.11 Exhibitions: Stedelijk Museum, Amsterdam, 1964‐1965
- 9.12 Exhibitions, 1964–1965
Catalogues, announcements for Dubuffet exhibitions held in Paris, Philadelphia, Zagreb, Basel, Amsterdam, and Cologne.
- 9.13 Exhibitions: Dallas Museum of Fine Arts, 1965–1966
Correspondence with the Dallas Museum, circa 16 loan forms, letters to Pierre Matisse from gallery secretary. Two copies exhibition invitation. Five photographs, three photocopies of photos. Show traveled to the Walker Arts Center, Minneapolis.
- 9.14 Exhibitions: London and Amsterdam, 1965–1966
Correspondence between the Arts Council of Great Britain and Pierre Matisses re loans, photographs, for Dubuffet retrospective. Includes 11‐page list of works in exhibition, photocopies (poor paper) of loan forms. One black‐and‐white glossy photo, envelope with notes.
- 9.15 Exhibitions: Jean Dubuffet, 1962–1966, Solomon R. Guggenheim Museum (1966 October 27–1967 February 12), 1966
- 9.16 Exhibitions, 1967, 1969
- 9.17 Exhibitions: Museum of Modern Art (circulating), 1968–1970
Correspondence, loan form, itinerary of exhibition, shipping paper, exhibition brochure; condition photo of Dubuffet portrait of Pierre Matisse.
- 9.18 Exhibitions: L'Homme du commun: travaux de Jean Dubuffet, Montreal Museum of Fine Arts (1969 December 19–1970 January 31), 1969–1970
- 9.19 Inquiries, 1961–1987
- 9.20 Publications: Max Loreau, 1966–1972
Correspondence, requests for transparencies, photographs, information, from Loreau regarding each volume of his Dubuffet catalogue raisonné. Prospectus for the catalogue. One color snapshot of Dubuffet.
- 9.21 Publicity, 1960–1981
- 9.22 Correspondence, 1972–1979
Correspondence between Pierre Matisse and Maria‐Gaetana Matisse with Armande de Trentinian (Dubuffet secretary) re information on Dubuffet works, collections, requests for photographs and transparencies (June 21, 1994). Original letter from Jean Dubuffet to Pierre Matisse dated October 29, 1972 came to the Pierre Matisse Foundation from Maria‐Gaetana Matisse, with other letters of condolence to Pierre Matisse following death of Patricia Matisse.
- 9.23 Exhibitions: Basel (1970 June–August), 1970
- 9.24 Exhibitions: Solomon R. Guggenheim Museum, press, 1973
- 9.25 Exhibitions: Solomon R. Guggenheim Museum, 1973–1974
Retrospective exhibition. New York and Grand Palais, Paris; correspondence with Margit Rowell et al. re 33 loans from Pierre Matisse Gallery, re photographs, transparencies; lists, including four envelopes with handwritten lists, loan forms, shipping papers, receipts. Two invitations.
- 9.26 Exhibitions: Art Metro, Regie Autonome des Transports Parisiens, Hôtel de Ville, Paris (1975 September 23–November 15), 1975
- 9.27 Exhibitions: The Early Years, 1943–1959, Pierre Matisse Gallery (1978 May 9–June 3), 1978
- 9.28 Correspondence, 1985–1991
Correspondence between Pierre Matisse, Maria‐Gaetana Matisse and Mme Armande de Trentinian, at the Secretariat de Jean Dubuffet, generally questions and answers re Dubuffet works; lists, especially concerning a reissue of the volume on Corps de dames. Included is the correspondence after the close of the Pierre Matisse Gallery, because of the continuity of subject matter.
- 9.29 Exhibitions: Retrospective, Berlin (1980 September 7–October 26), Vienna (November–1981 January 1), Cologne (February–April), 1980–1981
- 9.30 Exhibitions: Retrospective, Berlin (1980 September 7–October 26), Vienna (November–1981 January 1), Cologne (February–April), correspondence, 1980 July–December
- 9.31 Exhibitions: Retrospective, Berlin (1980 September 7–October 26), Vienna (November–1981 January 1), Cologne (February–April), correspondence, 1981
- 9.32 Exhibitions: Retrospective, Berlin (1980 September 7–October 26), Vienna (November–1981 January 1), Cologne (February–April), loan forms, 1980–1981
- 9.33 Exhibitions: Retrospective, Berlin (1980 September 7–October 26), Vienna (November–1981 January 1), Cologne (February–April), insurance and shipping, 1980–1981
- 9.34 Exhibitions: Retrospective, Berlin (1980 September 7–October 26), Vienna (November–1981 January 1), Cologne (February–April), catalogue, 1980–1981
49‐page typescript by Jorn Merkert, translated by Sabine Wolf. Exhibition brochure, review, tear sheet.
- 9.35 Exhibitions: Group exhibition, Cologne (1981 May 30–August 16), 1981
International Exhibition Cologne 1981, Contemporary Art Since 1939. The works of art lent by Pierre Matisse Gallery were by Dubuffet, but the exhibition included many artists, and the correspondence indicates that Pierre Matisse Gallery lent other material for study purposes and perhaps inclusion in the exhibition: catalogues, photographs, et cetera. Photocopies of some material is included. The correspondence includes a seven‐page description of the exhibition, inquiries about works by other artists handled by Pierre Matisse Gallery, requests for photographs, as well as Dubuffet loans; two photocopies of Dubuffet photos; loan forms, insurance forms. Correspondence and papers also concerning the returns of loans, et cetera.
- 9.36 Exhibitions: Musée Seibu, Tokyo (1982 January–February), Musée National, Osaka (1982 March–April), Japan, 1981–1982
Organization of exhibition by Le Muse–e des Arts Décoratifs, Paris. Correspondence with Pierre Matisse Gallery and all museums re loans, photographs, shipping, insurance, et cetera. Five photocopies of photographs. Report from Seibu Museum of damage to painting. One photo and five snapshots of damage.
- 9.37 Exhibitions: Drawings, Tubingen, Hannover, Munich, correspondence, 1982–1983
Requests for loans of drawings, correspondence, lists, loan forms, shipping and insurance papers. Catalogue, invitation, postcard, large poster, folded.
- 9.38 Exhibitions: Légendes, Musée d'Art Contemporain de Bordeaux (CAPC), 1984
- 9.39 Exhibitions: Creation: The Natural History of Modern Art, Scottish National Gallery of Modern Art, Edinburgh (1984 August–October), 1984
Correspondence, request for loan of two Jean Dubuffet paintings, transparencies, et cetera. Loan forms, shipping and insurance papers; photocopies of photos. Many photocopies of reviews.
- 9.40 Exhibition: Retrospective,Fondation Maeght, Saint‐Paul de Vence (1985 July 6–October 6), 1984–1985
Correspondence re loans, reproductions, insurance, shipping; papers re each. Lists, loan forms, photocopies of photographs.
- 9.41 Exhibition: Retrospective,Fondation Maeght, Saint‐Paul de Vence (1985 July 6–October 6), 1985
- 10.01 Exhibitions: Strictly Drawings 20th Century Masters, Helen Serger/La Boetie, Inc., New York (1985 October–December), 1985
- 10.02 Exhibitions: The 1950s. Figurative Art in Paris, Art Prospect, Inc., New York City (1985 October 29–December 14), 1985
- 10.03 Exhibitions: Jean Dubuffet and Art Brut, Peggy Guggenheim's, Venice (1986 November 16–March 16), 1986–1987
- 10.04 Exhibitions: Jean Dubuffet 1943–1984, Wildenstein & Pace Galleries, New York City (1987 April 22–May 29), 1987
- 10.05 Exhibitions: Dubuffet, sols et terrains 1956–1960, Galerie de France & Baudoin Lebon, Paris (1988 January 12–March 5), 1988
Correspondence, shipping, et cetera, forms for two loans. One invitation, three review clippings.
- 10.06 Exhibition: Print retrospective, Modern Art Museum of Fort Worth (1989 March–April), 1989
- 10.07 Exhibitions: Galleria Nazionale d'Arte Moderna di Roma, Rome (1989 November 10–February 10), 1989
- 10.08 Obituaries, 1985
Clippings, obituaries in French and U.S. publications. Dubuffet died Sunday, May 12, 1985, at age 83. Penciled notes for what appears to be condolences to Emilie Dubuffet.
- 10.09 Undated
- 10.10 Exhibition: Frankfurt, press, 1991
- Subseries: Duchamp, Marcel, 1887–1968
- 10.11 Exhibitions: Retrospective, Pasadena Art Museum (1962 October 7–November 13), 1963
Patricia and Pierre Matisse loaned 5 Duchamp works (Tamis, Le Cheques, L.H.O.O.Q., study of Neuf Moules Malie, Reseaux Des Stoppages). Correspondence, loan forms, shipping records, press, photographs.
- 10.12 Printed material and note, 1963
- Subseries: Dufy, Raoul, 1877–1953
- 10.13 1934, 1943
Includes 1934 Pierre Matisse Gallery exhibition materials for Watercolors: Regattas and Race Tracks in England, held March 6 through 27. Contains checklist, press reviews, cables.
- Subseries: El Paso (group of artists)
- 10.14 Exhibitions: Four Spanish Painters (El Paso): Millares, Canogar, Rivera, Saura, Pierre Matisse Gallery (1960 March 15–April 9), 1960
Correspondence between Pierre Matisse and Luis Feito re possible inclusion in exhibition Feito not able to), replaced by Manuel Rivera, shipping records, miscellaneous background on El Paso group. See also individual artist's subseries; exhibition Scrapbook, 1956–1960 for installation photos, catalogue
- 10.15 Exhibitions: Four Spanish Painters (El Paso): Millares, Canogar, Rivera, Saura, Pierre Matisse Gallery (1960 March 15–April 9), catalogue materials, 1960
Original typescript biographical data, individual artist's statements (in Spanish and English), catalogue essay by Juan Eduardo Cirlot (in Spanish and English), catalogue, old El Paso group exhibition poster with symbol used on cover of the Pierre Matisse Gallery catalogue. See also individual artist's subseries; exhibition Scrapbook, 1956–1960 for installation photos, catalogue
- 10.16 Exhibitions: Four Spanish Painters (El Paso): Millares, Canogar, Rivera, Saura, Pierre Matisse Gallery (1960 March 15–April 9), press reviews, 1960
- 10.17 Exhibitions: Four Spanish Painters: Millares, Canogar, Rivera, Saura, Pierre Matisse Gallery (1987 November 17–December 12), 1987
Catalogue, catalogue materials, reviews, miscellaneous El Paso printed material (reproductions?), correspondence. Pierre Matisse Gallery showed 22 paintings, whereas the 1960 show had 16 paintings (little overlap). See also previous exhibition; individual artist's subseries; exhibition scrapbooks for installation photographs and exhibition invitation
- Subseries: Ernst, Max, 1891–1976
- 10.18 1961, 1975–1976
Correspondence re two loans to The Arts Council of Great Britain for Ernst exhibition, October/November. Cable of condolence on April 3, 1976 from Pierre Matisse to Dorothea Tanning Ernst upon the artist's death. New York Times obituary. Exhibition catalogue and clippings.
- Subseries: Etrog, Sorel, 1933–
- 10.19 Accounts, 1965–1966
- 10.20 Correspondence, 1965–1976
Correspondence, largely between Pierre Matisse and artist, latter are photocopies. Copy of letter from Alfred H. Barr at the Museum of Modern Art to Zachs postponing proposed gift of Etrog piece to museum. Undated unsigned wire to Etrog. Lists, handwritten notes. Annotated list of Etrog letters. Original correspondence moved to artists' letter boxes
- 10.21 Exhibitions: Recent Sculpture, Pierre Matisse Gallery (1965 February 16–March 13), 1965
Correspondence with clients re artist's works, catalogues. Various price lists. Invoices, lists, et cetera, re costs of exhibition. One black‐and‐white photograph.
- 10.22 Exhibitions: Recent Sculpture, Pierre Matisse Gallery (1965 February 16–March 13), catalogue and publicity, 1965
- 10.23 Exhibitions: Catalogues and press, 1963–1968
- Subseries: "F" miscellaneous
- Subseries: Fellini, Federico
- 10.25 Exhibitions: Working Drawings, 1952–1982, for the filmsLa Dolce Vita, Satyricon, Amarcord, Il Casanova, and Others, Pierre Matisse Gallery (1986 November 15–December 13), correspondence, 1978, 1986
Letters and cables among Pierre Matisse Gallery, Daniel Keel Gallery, Zürich and Gotham Art & Literary Agency, New York, related to the exhibition. Various checklists with inventory information and insurance values. Price list. Some letters to prospected clients. Various receipts. Snapshots of the opening. Two transparencies of the drawing La bajadera.
- 10.26 Exhibitions: Working Drawings, 1952–1982, for the filmsLa Dolce Vita, Satyricon, Amarcord, Il Casanova, and Others, Pierre Matisse Gallery (1986 November 15–December 13), 1986–1987
Some letters to prospected clients. Letters and cables among Pierre Matisse Gallery, Daniel Keel Gallery, Zürich and Gotham Art & Literary Agency, New York, related to the exhibition. Various checklist with inventory information and insurance values. Correspondence with Marjorie Talalay, director of the Cleveland Center for Contemporary Art where the exhibition will travel. Price list. Various receipts and invoices. Copies of a Federico Fellini foreword to a Anne Keel catalogue and a text by her on painting. One photograph of Fellini, no credit. Mailing list for the exhibition. Press clippings; one article from L'Express, 30 December 1984.
- 10.27 Exhibitions: Working Drawings, 1952–1982, for the filmsLa Dolce Vita, Satyricon, Amarcord, Il Casanova, and Others, Pierre Matisse Gallery (1986 November 15–December 13), 1986
Letter from Daniel Keel Gallery, booklet with press clippings on Fellini in French and German, checklists of received transparencies with notes by Pierre Matisse and inventory information. Photocopies of Fellini drawings.
- 10.28 Exhibitions: Working Drawings, 1952–1982, for the filmsLa Dolce Vita, Satyricon, Amarcord, Il Casanova, and Others, Pierre Matisse Gallery (1986 November 15–December 13), catalogue preparation, 1986
Correspondence with the office of Marcus Radliff related to the catalogue for the exhibition. Copy, typescript and proofs of the text for the catalogue. Copy and proof of the catalogue checklist. Photocopies of the drawing to be reproduced. Receipt of 17 drawings for reproduction. Transparency of the drawing and final proof of the cover of the catalogue.
- 10.29 Exhibitions: Working Drawings, 1952–1982, for the filmsLa Dolce Vita, Satyricon, Amarcord, Il Casanova, and Others, Pierre Matisse Gallery (1986 November 15–December 13), advertisement, 1986
- 10.30 Exhibitions: Working Drawings, 1952–1982, for the filmsLa Dolce Vita, Satyricon, Amarcord, Il Casanova, and Others, Pierre Matisse Gallery (1986 November 15–December 13), correspondence, 1986
Letter commissioning a photograph for the printing of Il teatro di Dresda as a stamp for the United Nations. Transparency of the drawing. Letters to and from Annabelle Wiener, director of the U. N. Headquarters. Press release for Fellini's contribution of 750 lithographs from the drawing to the World Federation of U.N. Associations.
- Subseries: Ferren, John, 1905–1970
- 10.31 1936–1951
In 1936 John Ferren applies for the Guggenheim Fellowship. A 1936 press clipping about Ferren and "Concretionism" (his movement). He is one of the founders of the Anglo‐American Artists Association of Paris. A Pierre Matisse Gallery statement for several Ferren sculptures. Four sculptures and two oils are sent to the John Simon Guggenheim Memorial Foundation. A 1937 letter from the Saint Paul School of Art thanking for loans of John Ferren paintings. A 1938 listing of pastels and drawings exhibited at Pierre Matisse Gallery. Paintings on Plaster (Pierre Matisse Gallery, 1938 February 1–19) exhibition travelled to the Arts Club of Chicago (March 1938). Catalogue and press clippings. In 1949 Ferren tells Pierre Matisse that Kleeman (?) dropped him. Could he return to Pierre Matisse? Matisse answers that he cannot take him on.
- Subseries: Francis, Sam, 1923–1994
- 10.32 Correspondence, 1963–1969
Carbon copy of Pierre Matisse manuscript letter of March 6, 1963 to Sam Francis offering to represent Francis. October 8, 1969 manuscript letter signed (original) from Francis to Pierre Matisse notifying Pierre Matisse that he (Francis) will have a show at André Emmerich's gallery in New York. Pierre Matisse Gallery transfer of consigned art to Emmerich's gallery (1969). List of works on consignment at Pierre Matisse Gallery.
- 10.33 Exhibitions: Exhibition of Oil Paintings and Coloured Drawings, 1962–1966, Done in Tokyo and Los Angeles, Pierre Matisse Gallery (1967 February 28–March 18), 1967–1968
Correspondence to and from Pierre Matisse, Sam Francis (two items January 2, 1967?), Kornfeld und Klipstein (Bern gallery) re shipping of works for exhibition, catalogues, record of work sold, insured values. Two‐page typed letter, dated June 16, 1967, signed Pierre Matisse to E.W. Kornfeld re sales and Pierre Matisse's annoyance at Mr. Hirshhorn's attempts to buy Francis's works at reduced prices: "As a matter of principle and standing up against such enterprise I think very strongly that we should stand our ground inasmuch as he has seen the paintings at my gallery." Inventory, Francis works on consignment at Pierre Matisse Gallery returned to Kornfeld und Klipstein, 1968.
- 10.34 Exhibitions: Exhibition of Oil Paintings and Coloured Drawings, 1962–1966, Done in Tokyo and Los Angeles, Pierre Matisse Gallery (1967 February 28–March 18), correspondence with Pasadena Art Museum re loan, 1967
- 10.35 Exhibitions: Exhibition of Oil Paintings and Coloured Drawings, 1962–1966, Done in Tokyo and Los Angeles, Pierre Matisse Gallery (1967 February 28–March 18), catalogue and announcements, 1967
- 10.36 Exhibitions: Exhibition of Oil Paintings and Coloured Drawings, 1962–1966, Done in Tokyo and Los Angeles, Pierre Matisse Gallery (1967 February 28–March 18), 1967
List of Francis's personal catalogue mailings, correspondence with Stampfli & Cie re publication, shipment, and payment of catalogue.
- 10.37 Exhibitions: Exhibition of Oil Paintings and Coloured Drawings, 1962–1966, Done in Tokyo and Los Angeles, Pierre Matisse Gallery (1967 February 28–March 18), press reviews, 1967
- 10.38 Exhibition: Color, Image and Form, Detroit Institute of Arts (1967 April 21–May 21), 1967
- 10.39 Exhibitions: Sam Francis Drawings and Prints, San Francisco Museum of Art (1967 August 16–September 24), 1967
Pierre Matisse Gallery loaned thirteen Francis drawings. Correspondence, shipping records, catalogues, undated typed letter signed by Francis to Pierre Matisse re exhibition.
- 10.40 Exhibitions: Catalogues, 1960–1966
- 10.41 Exhibitions: Catalogues, 1967–1969
- 10.42 Inquiries, 1966–1967
- 10.43 Correspondence and exhibitions, 1970–1979
Exhibition notices and reviews (not Pierre Matisse Gallery‐affiliated), correspondence re works still at Pierre Matisse Gallery, Francis biography by Peter Selz, 1974 price lists (Summer Show group exhibition at Pierre Matisse Gallery (1974 June 11–28), photographs.
- 10.44 1980s–1990s
- Subseries: "G" miscellaneous
- Subseries: Gabo, Naum, 1890–1977
- 11.02 Correspondence and inquiries, 1952–1988
- Subseries: Gallo, Frank, 1933–
- 11.03 Correspondence, 1964
- Subseries: Gauguin[, Paul, 1848–1903]
- 11.04 Correspondence, 1936, 1961
- Subseries: Giacometti, Alberto, 1901–1966
- 11.05 Correspondence, 1936–1937
- 11.06 Accounts, 1947–1952
Lists of sculpture, some with prices, ordered to the artist and to the foundry. Invoice from Fonderie Rudier dated May 16, 1951.
- 11.07 Correspondence, 1946–1947
Photocopies of letters by Alberto Giacometti and Pierre Matisse (number 8 to 22 of complete list). Original cables. October 23, 1947 cable referring to "...Picasso bronze pour exposition." Letters to and from the shipping company Arthur Lénars (Mr. Haas) related to the shipment of Giacometti's material. Also reference to Dubuffet lithographs and works by Matta travelling by air. Photocopy of receipt of payment dated September 3, 1947, signed by Giacometti. List of the sculptures to be shipped to Pierre Matisse Gallery.
- 11.08 Correspondence, 1948
Photocopies of letters by Alberto Giacometti and Pierre Matisse (number 23 to 44 of complete list). Original cables. Giacometti original letter with sketches of his furniture, measures and prices, undated. Request from Mme Goldsheider (Musée Rodin) of two pieces by Giacometti for an exhibition of contemporary sculpture at the Muse–e municipal d'Amsterdam. Request of photographs of Giacometti work to appear in Tagebuch‐Verlag, Düsseldorf, with an article by Werner Haftmann about the Giacometti exhibition at Pierre Matisse Gallery. Some papers torn at edges Original letter in glassine sleeve at the end of folder
- 11.09 Correspondence, 1949
- 11.10 Foundries: Alexis Rudier (Eugène Rudier, son, successor), correspondence and accounts, 1948–1952
Letters, cables and invoices. Reference to the agreement between Giacometti, Pierre Matisse and Maeght on the division of the work cast, October 25, 1950 and May 12, 1951.
- 11.11 Exhibitions: Exhibition of Sculptures, Paintings, and Drawings, Pierre Matisse Gallery (1948 January 19–February 14), correspondence, accounting notes, press, 1947–1948
Dated and undated notes by Pierre Matisse. Lists of sculptures for the exhibition, annotations of foundry prices, debit to the artist, selling prices, et cetera. Undated letter and notes by Patricia Kane in reference to the 1948 Giacometti exhibition at Pierre Matisse Gallery. Two versions of a circular letter introducing the art of Giacometti; list of names to whom the exhibition catalogue was sent. Installation shots. News clipping from The Nation, February 7, 1948 containing Clement Greenberg's review of the exhibition. One copy of the exhibition catalogue with stapled appreciative cards from various people.
- 11.12 Exhibitions: Exhibition of Sculptures, Paintings, and Drawings, Pierre Matisse Gallery (1948 January 19–February 14); Sculpture, Paintings, and Drawings (1951 December 12–31), catalogue croquis and text, 1948, 1950–1951
- 11.13 Exhibitions: Exhibition of Sculptures, Paintings, and Drawings, Pierre Matisse Gallery (1948 January 19–February 14), catalogue photo reproduction, cable, 1947–1948
Photographs of the Giacometti letter (tentative catalogue) reproduced in the exhibition catalogue. It describes, with sketches, titles and annotations, the sculptures in the show. Four specimen of Giacometti signature to be used in the catalogue. Cable asking for the specimen. Originals of the letter and signature specimen have been moved to artists' letter boxes and original works of art boxes
- 11.14 Exhibitions: Exhibition of Sculptures, Paintings, and Drawings, Pierre Matisse Gallery (1948 January 19–February 14), catalogue photo reproductions, 1948
- 11.15 Exhibitions: Exhibition of Sculptures, Paintings, and Drawings, Pierre Matisse Gallery (1948 January 19–February 14), catalogue, 1948
Letter from Mr. Nathan Gluck commenting on the Giacometti exhibition at Pierre Matisse Gallery and giving information about some Giacometti pieces not appearing in the "Tentative catalogue of early works" list compiled by Giacometti for the Pierre Matisse Gallery catalogue. Pierre Matisse list of drawings illustrating some Giacometti pieces with notes. Copy of "Tentative catalogue..." with marked plaster, wood (and bronze) pieces to be found in Europe. Three copies of the catalogue with prices and annotation.
- 11.16 Commissions: Chase Manhattan Bank, G. Bunshaft, 1959–1960
- 11.17 Correspondence, 1950
Photocopies of letters by Giacometti and Pierre Matisse (number 60 to 77 of complete list). Original cables (October 4, 1950: Philadelphia Museum trying to contact Sartre, would Giacometti come with him?). Notice from Custom Service reporting a damage on a bronze group arrived March 20, 1950. Pierre Matisse note of payment (?) to Giacometti dated October 14, 1950. Statement from Fonderie Rudier for 14 bronzes. Pierre Matisse list of sculpture.
- 11.18 Correspondence, 1951
- 11.19 Correspondence, 1952–1953
- 11.20 Correspondence, 1954
Photocopies of letters by Giacometti and Pierre Matisse (number 110 to 113 of complete list plus two letters from Pierre Matisse to Giacometti not included). Letter from Pierre Matisse to Mme Henriette Gomès in reference to the casting of two plaster pieces and a bronze by Giacometti in her possession. The project was later suspended. Group of letters between Pierre Matisse and Susse Frères concerning some Giacometti cast needed for the exhibition at the Museum of Modern Art organized by J.J. Sweeney for early 1955. Pierre Matisse notes on Giacometti shipment December 1954. A letter mentioned in the list from Pierre Matisse to Giacometti dated March 30, 1954 is missing
- 11.21 Correspondence, 1955
Photocopies of Alberto Giacometti and Pierre Matisse letters (numbers 117 to 125 of complete list). Pierre Matisse letter of introduction for J. Thrall Soby who "à le moins besoin d'introduction aupres d'un artiste." Letter to Diego Giacometti asking to change the patina of two sculptures that Pierre Matisse had bought, through a middleman in Paris, from Maeght. List of Giacometti exhibition with prices and insurance values. Transcription and copies of letter 122 by Giacometti used for the Museum of Modern Art exhibition catalogue. Carbon copies of letters from Pierre Matisse to Giacometti with reference to some casts received. A Pierre Matisse letter dated 10 September, 1955 does not appear in the complete list Some grouped at the end of the folder in glassine sleeve
- 11.22 Correspondence, 1956
Photocopies of Alberto Giacometti and Pierre Matisse letters (number 126 to 134 and 165 of complete list). Original cables. Lists of Giacometti works with prices and other notations. Letter in reference to the elements of the marble On ne joue plus, lost by the Modern Art Museum. List of sculpture ordered in April and September 1946 and pieces not yet received. Invoice from Lefebvre‐Foinet with some notes by Giacometti. Article by Alexandre Liberman with photo of Giacometti and other artists in their studios (Paris‐Match magazine). Three copies of a brochure from Berner Kunstmuseum, June 1946. Two letters by Pierre Matisse appearing on the list were not found in folder, others were not included in the complete list. Carbon copies are grouped at the end of the folder in glassine sleeve
- 11.23 Correspondence, 1957
Photocopies of Alberto Giacometti and Pierre Matisse letters (numbers 135 to 145 of complete list). Pierre Matisse letter to Diego Giacometti complaining of the poor quality of some bronzes. Cables. Letters from Diego Giacometti in reference to furniture. Various lists of different works received by Pierre Matisse in 1956 and 1957. Accounting notes. Letters from Pierre Matisse dated February 25,1957 and October 3, 1957 not mentioned in complete list are at the end of the folder in glassine sleeve Letter number 145 has been filed circa May 1960 according to the date suggested by Mary Lisa Palmer (see fax of May 23rd, 1995)
- 11.24 Correspondence, 1958
Photocopies of Giacometti and Pierre Matisse letters (numbers 146 to 161 of complete list). Cables. Letters between Pierre Matisse and Paris‐Cliché in relation to an oil painting to be photographed. Pierre Matisse letter to Giacometti in reference to payments up to January 1958. Pierre Matisse undated handwritten draft referring "à la petite explosion" caused by a misunderstanding among Pierre Matisse, Giacometti and Dupin and to the cast EA (artist's proof) of Dog. Lists of Giacometti works received in 1958, some with prices and other annotations. Photos of six Femme de Venice. Two clippings with photos of Giacometti works.
- 11.25 Correspondence, 1959
Photocopies of Giacometti and Pierre Matisse letters (numbers 162 to 165 of complete list). Cables; one, from Giacometti, dated May 21 refers to a plaster Tête cubiste given to Paul Nelson by Giacometti. Original letters by Pierre Matisse to Giacometti mainly referring to accounts and casts orders. Statement by Giacometti for the New Images of Man exhibition organized by P. Selz. Small folder with Giacometti texts (1957, "A chacun sa réalité" inquiry by Pierre Valboudt, XX Siècle Magazine; 1959, text for P. Selz exhibition; "Alberto Giacometti degainé" by Olivier Larronde, Derrière le Miroir, nos. 39–40, Editions Maeght and relative translations).
- 11.26 Correspondence, undated
Photocopies of Alberto Giacometti and Pierre Matisse letters (numbers 198 and 199 of complete list and misdated). In these letters Giacometti is still addressing Pierre Matisse formally ('vous') therefore they are from before November 1956, when Giacometti and Pierre Matisse began with the informal 'tu'.
- 11.27 Exhibitions: Sculpture, Paintings, and Drawings, Pierre Matisse Gallery (1950 December 12–31), catalogue, 1950
The exhibition scheduled for November was opened December 14,1950. Photographic reproductions of Giacometti notes about the sculptures presented at Pierre Matisse Gallery. Copy of catalogue (dated November, 1950). Originals of the notes have been separated to the original artworks boxes
- 11.28 Exhibitions: Sculpture, Paintings, and Drawings, Pierre Matisse Gallery (1950 December 12–31), catalogue, 1950
- 11.29 Exhibitions: Catalogues, 1955, 1956, 1959
Catalogue of the exhibition at the Solomon R. Guggenheim Museum (June 7–July 17, 1955), one copy. Catalogue of the exhibition at the Kunsthalle Bern (June 16–July 22, 1956), one copy. Catalogue of the exhibition at Kornfeld und Klipstein Galerie in Bern (July 18–August 22, 1959), one copy.
- 11.30 Publicity: Articles and news clippings, 1951–1959
Vogue, February 1951: "A. Giacometti," a review of the Pierre Matisse Gallery exhibition. Photographs by [Irving] Penn, one page. Vogue, January 1955: "Giacometti," by A. Liberman, six pages. News clipping, The New York Times, January 1, 1956. ARTnews, May 1958: "Giacometti: the uses of adversity," by B. Hess, two pages. News clippings from Herald Tribune, May 11 1958. Pageant, October 1959: "A. Giacometti," author of the text unknown, photographs by R. Doisneau. 2 copies. 4p.ca. 1955: Page from unknown German magazine with an illustration of 3 Figure on a Meadow in Maloja, 1927 (later destroyed). Page from unknown magazine with an illustration of The Leg. Announcements to the exhibition at Frank Perls Gallery, September 15, 1954.
- 11.31 Accounts: Lefebvre‐Foinet invoices, 1962–1965
- 11.32 Accounts: Payments to Annette Giacometti, 1966–1968
Correspondence between Pierre Matisse and Annette Giacometti related to payments made. Receipts from the bank. Copy of Annette Giacometti's letter to A. Ritchie, director of the Yale University Art Gallery, asking permission to make a mold of the bird part of Objet Invisible (1968). Letters from and to Bruno Giacometti on the same subject.
- 11.33 Authentications: Marble head, Stedelijk Museum, 1962
Related correspondence. Two Pierre Matisse letters to Alberto Giacometti. Rubbing of the signature. See also Correspondence, 1961 for a detailed outline of a marble head; Correspondence, 1962 for the letter dated May 15, 1962
- 11.34 Awards: Guggenheim International Award news clippings, 1964
- 11.34 Collections: Fondation Maeght, Saint‐Paul de Vence, list, 1964
- 11.36 Collections: D. Thompson evaluation (W.A. Bechtler, Zürich), 1965
- 11.37 Correspondence, 1960
Photocopies of letters from Alberto Giacometti and Pierre Matisse (number 145, 166 to 171 of complete list). Cables (October 1960, reference to a Giacometti cast marked "M. Pastori 4/6" and belonging to Mr. Kornfeld). Letters related to payments to Giacometti through Lefebvre‐Foinet. Letter from Kunstlerlexikon ... (in German). Pierre Matisse notes on payments and shipments. Letter number 145 was originally filed among 1957 correspondence
- 11.38 Correspondence, 1961
Photocopies of letters from Alberto Giacometti and Pierre Matisse (number 172 to 174 of complete list). Pierre Matisse letter to and from Bruno Giacometti regarding the sale of D. Thompson's collection of Giacometti works. Cables. Original Pierre Matisse letters to Diego Giacometti related to the shipment of bronzes and furniture. Reference to Objet invisible 0/6. Detailed outline of a marble head possibly related to a cable signed "Lembi" and addressed to F. Perls. Two articles on the prize winners of the Pittsburgh International Exhibition, 1961, from Time and LIFE magazines. An undated Pierre Matisse letter found here does not appear in the complete list Some originals are grouped at the end of the folder in glassine sleeve See also Collections: D. Thompson evaluation (W.A. Bechtler, Zürich), 1965
- 11.39 Correspondence, 1962
Photocopies of letters from Alberto Giacometti and Pierre Matisse (numbers 179 to 183 of complete list). Letters to and from Diego concerning casts and furniture. Group of letters from Palma Bucarelli requesting photographic material for a book on Giacometti. Pierre Matisse letter to Nelly Bär and response. Letter of request to use photographic material. Letter to Lefebvre‐Foinet with a payments to Giacometti. Various lists of sculpture delivered to Pierre Matisse Gallery during 1961 and 1962 and earlier, with prices.
- 11.40 Correspondence, 1963
Photocopies of letters from Giacometti and Pierre Matisse (number 184 to 187 of complete list). Note from Nelly Bär. Cables, including one of January 13, inviting H. Matter to Zürich. Pierre Matisse notes to Giacometti about payments and work received. Shipping papers from Lefebvre‐Foinet. Letter to Diego Giacometti in reference to Alberto's recovery and a misnumbered bronze at Galerie Maeght. Various lists of payments and works by Alberto Giacometti or Diego Giacometti received (1961–1963). Undated note by Pierre Matisse referring to "dessins Matisse" with their measures. Alberto Giacometti's name and a note "M. Martine dessins" appear.
- 11.41 Correspondence, 1963
Photocopies of Alberto Giacometti and Pierre Matisse letters, no. 188 to 193 complete list. Letters to and from Diego Giacometti related to the shipment of Alberto Giacometti's sculptures and/or furniture. Letter to Alberto Giacometti to introduce Mr. and Mrs. Harold Weiss. Three photos of Mr. Mendenhall from Smith College. Note from Alberto Giacometti in reference to a sculpture Composition, 1929, cast in 1960. Pierre Matisse letter to Aimé Maeght ceasing all collaborations(October 11, 1964). Group of letters related to a rumor about Galerie Maeght supposedly casting Giacometti pieces without permission. Letter to F. Perls, P. Selz and from H. Berggruen and P. Kantor. Cable by Pierre Matisse asking Giacometti to exhibit six of his drawings of H. Matisse (November 2, 1964). Giacometti statement for the groundbreaking of the Kennedy Center in Washington. Two letters from Pierre Matisse to Alberto Giacometti not included in complete list (August 7, 1964 and October 8, 1964) Some carbon copies of letters by Pierre Matisse are grouped at the end of the folder in glassine sleeve See also Smith College Museum, letter dated May 12, 1964
- 11.42 Correspondence, 1965–1966
Photocopies of Alberto Giacometti and Pierre Matisse letters (number 194 to 197 of complete list). Letters to and from Diego Giacometti related either to Alberto Giacometti casts or his furniture. Cables. Receipt from the Museum of Modern Art of submitted work for the exhibition. Pierre Matisse list of pieces for the Museum with notes. Eight photos of Femme de Venise. December 18, 1965 letter from Annette Giacometti. April 25, 1966 letter from Bruno and Odette Giacometti. July 3 letter from Mme Lavrillier‐Cossaceanu and seven black‐and‐white photos of a sculpted portrait of Alberto Giacometti. October 14 letter from F. Perls in reference to a bronze of which only two cast were made. October 26 letter to Giorgio Soavi. Alberto Giacometti handwritten note giving a few bits of information about Professor Yanaihara. Unidentified text, possibly the introduction of a catalogue. Ledger with annotations 1964–1966. Various lists with prices and accounts. Contact sheet with photographs of Alberto Giacometti at his exhibition at the Museum of Modern Art. Three photos of Alberto and Diego Giacometti by Stanley Marcus (1965?). News clipping about a surmoulage not authorized. Contains photocopies of Pierre Matisse letter not included in complete list Carbon copies of letters grouped at the end of the folder in glassine sleeve Some of the original Diego Giacometti correspondence is kept together at the end of Alberto Giacometti, Original correspondence box 4 Letters numbered 198 and 199 have been removed because they are from before November 1956 See also Correspondence, undated Correspondence, 1967–1969 for addition material concerning Lavrillier‐Cossaceanu
- 11.43 Correspondence: Annette Giacometti, 1966
Letters to and from Annette Giacometti mainly related to accounts and Alberto Giacometti work that should be returned after the exhibition at the Museum of Modern Art. Also letters from Maurice Lefebvre‐Foinet on the same subject. Letter by Annette Giacometti referring to eight Kodachromes by Christopher Lane that she was unable to find. Correspondence dated May 23, 1966 with reference to a stolen plaster returned to the Giacometti Foundation in Zürich and a lithograph stolen at the Coire Museum (Switzerland). Postcards. Letter to Patricia Matisse signed Paola. List of Alberto Giacometti works of which Annette Giacometti requests photographs. Folder titled "Giacometti—Annette IX, Coudert" containing letters related to the case of two bronzes with the same cast number and a photo of the Pierre Matisse Gallery cast. Medical findings of the autopsy performed after Alberto Giacometti's death. Undated cable. Various notes by Pierre Matisse. See also letters dated April 13, [1966]; April 28, 1966; May 23, [1966]; May 27, [1966] from Annette Giacometti to Pierre Matisse
- 11.44 Correspondence: Annette Giacometti, 1967–1969
Letters to and from Annette Giacometti requesting information related to cataloguing Alberto Giacometti's work or accounts. 1967: October 20, reference to Femme debout II, III, IV, 1953. List of drawings of which she requests a photograph. Postcard from Los Angeles. Letter from Luigi Carluccio, mentioning the imminent publication of Giacometti—A Sketchbook of Interpretative Drawings. The Museum of Modern Art requests Pierre Matisse help on the loan of Pointe à l'œil for the Dada, Surrealism and their Heritage exhibition. News clipping on Alberto Giacometti fakes. 1968: March 19, letter from Weidenfeld and Nicolson in reference to David Sylvester book on Alberto Giacometti with photographs by Patricia (O'Connell) Matisse. Cable. May 1, letter from the attorney for the Weintraub Gallery in reference to a bronze Tête de Diego bought at Christie's and possibly fake. November 20, letters related to the casting of the last works by Alberto Giacometti. News clipping on the cancellation of the Giacometti exhibition at the Orangerie. 1969: March 8 and April 17, letters with reference to Annette IX. March 13 and April 23 letters from Mme M. Lavrillier‐Cossaceanu presenting Pierre Matisse with a medallion with the effigy of Alberto Giacometti, enclosed. November 20, letter concerning a small unique cast owned by A. Liberman. Two photographs. Receipt of a small bronze figure by Alberto Giacometti the Mr. S. E. Cohn gave the Museum of Modern Art, December 23. Pierre Matisse note on received casts. Photocopy of a Figurine peintre sur un trés grand socle, 1950. See also Correspondence, 1965–1967 for additional material concerning Mme Lavrillier‐Cossaceanu
- 12.01 Correspondence: Annette Giacometti, catalogue raisonné, 1969
- 12.02 Inquiries, 1964–1971
- 12.03 Exhibitions: Sculpture, Paintings, and Drawings, Pierre Matisse Gallery (1961 December 12–30, publicity, 1961
News clippings. New York Times, December 21, 1961; New York Journal American, December 23, 1961; The Philadelphia Inquirer, December 31, 1961; The Christian Science Monitor, December 16, 1961; France‐Amé, December 31, 1961; New York Herald Tribune, December 24, 1961
- 12.04 Exhibitions: Pierre Matisse Gallery priced catalogues, 1961, 1964
Three copies of the catalogue for the Pierre Matisse Gallery exhibition, December 12 to 30, 1961 with notes by Pierre Matisse. Two copies of the Drawings exhibition at Pierre Matisse Gallery, November 17 to December 12, 1964 with notes by Pierre Matisse. The checklist at the back of the catalogue is missing some numbers. Typewritten list comprehensive of the numbers missing in the catalogue checklist but without the A B numbers.
- 12.05 Exhibitions: Venice Biennale, correspondence, 1962
Correspondence among Pierre Matisse, collectors, museums (Museum of Modern Art, New York City, and Tate Gallery, London) and the Ente Autonomo Venice Biennale concerning the loans to the Biennale. Pierre Matisse's lists of selected pieces that could be included in the Biennale. Cables. Insurance and shipping receipts. Loan forms. Six photographs of paintings by Alberto Giacometti.
- 12.06 Exhibitions: Venice Biennale, publicity, 1962
One issue of L'illustrazione Italiana, July 1992. News clippings from: L'Express, June 21, 1962; Le Figaro literaire, June 23, 1962; France‐Amérique, August 5, 1962; Unknown French paper.
- 12.07 Exhibitions: Kunsthaus, Zürich (1962 December 2–1963 January 20), 1962
- 12.08 Exhibitions: The Phillips Collection (1963 February 2–March 4 (extended until 18), correspondence, 1962–1963
Correspondence related to the acquisition of loans for the exhibition. Cables. List of the works with insurance value. Shipping invoices. Letter from Mrs. Charles K. Rice enquiring on the availability of Cat. Various notes. One copy of the catalogue. Article by Jean vanden Heuvel appeared in Show, January 1963.
- 12.09 Exhibitions: Tate Gallery, London (1965 July 15–August 30); Louisiana Museum, Humlebœk, Denmark (1965 September 17–October 24), 1963–1965
Correspondence between Pierre Matisse and the Arts Council of Great Britain on the possible loans to the exhibition. Some letters from David Sylvester. Letter to and from Henry J. Seldis, Los Angeles Times, who is interested in interviewing Alberto Giacometti. Copies of loan forms. Cables. Shipping and insurance receipts. Clippings of reviews of the exhibition. Five postcards depicting Alberto Giacometti's Man Pointing from the Tate collection. Some letters from the Louisiana Museum requesting extension of the loans to the Tate. Two issues of Louisiana Revy, September 1965 dedicated to the exhibition. January 12, 1966 text by Robin Campbell for the French radio on Alberto Giacometti at the Tate Gallery.
- 12.10 Exhibitions: Catalogues, 1963–1968
Report from Kunstsammlung Basel on recent acquisitions, 1963. Galerie Beyeler, Basel, July–September 1963, exhibition catalogue. Galerie Krugier, Genève, Summer 1963, exhibition catalogue. Annual report from Werkzeitung Geigy, 1964. Catalogue of the Let there Be Light exhibition at the Wadsworth Atheneum, Hartford, March 11 to April 26, 1964. Two copies of the catalogue of the Painting and Sculpture Today exhibition at the Herron Museum of Art, January 1–31, 1965. Stedelijk Museum, Amsterdam, November 5–December 19, 1965 exhibition catalogue.
- 12.11 Exhibitions: Drawings and Six Studies of Henri Matisse, Pierre Matisse Gallery (1964 November 14–December 12), catalogue, 1964
- 12.12 Exhibitions: Drawings and Six Studies of Henri Matisse, Pierre Matisse Gallery (1964 November 14–December 12), 1964
- 12.13 Exhibitions: Drawings and Six Studies of Henri Matisse, Pierre Matisse Gallery (1964 November 14–December 12), client correspondence and accounts, 1964–1965
Circular letters sent with the catalogue to various collectors. Rough copy of a late invitation note (which states that the opening will be November 17). Receipts of the loan of Portrait of J. Lord and two other drawings. Shipping receipts. Letters accompanying the invoices for sold drawings. Catalogue of the exhibition, marked. Price list with buyers' names and notes re other sales.
- 12.14 Exhibitions: Los Angeles County Museum of Art, 1965–1966
Correspondence among Pierre Matisse, Gemini Ltd. and L. A. County Museum of Art related to the edition of a lithograph by Alberto Giacometti to be printed in Los Angeles. The first lithograph was never pulled due to the breaking of the stone, the second drawing was printed in 110 copies and sent to Paris for signing in December 14, 1965. Single fold offering for sale of the lithograph. L.A. County Museum of Art calendar of events, January 1966.
- 12.15 Exhibitions: The Inner Circle group show, Milwaukee Art Center (1966 September 15–October 23), 1966
Letters, receipts, condition report, loan form related to the loan by Pierre Matisse of Alberto Giacometti's The Artist Mother.
- 12.16 Exhibitions: Philadelphia Museum of Art, 1968
- 12.17 Exhibitions: Orangerie des Tuileries, Paris (1969 October 7 [actually opened 14]–1970 January 12), 1968–1970
Correspondence among Pierre Matisse, Annette Giacometti, Jean Leymaire and Ministére des Affaires Culturelles related to the retrospective exhibition in Paris. Group of loan forms for the pieces that were borrowed in the U.S. from Pierre Matisse and other collectors. Some shipping and insurance receipts. Letters from Mme Paule Chavasse of the Radiodiffusion Television Française inviting Pierre Matisse to a radio program on Alberto Giacometti. Invitation cards. News clippings (some in English).
- 12.18 Exhibitions: The Partial Figure in Modern Sculpture from Rodin to 1969, the Baltimore Museum of Art (1969 December 2–1970 February 1), 1968–1970
- 12.19 Fakes: Man Walking, Roy Comart, 1967
- 12.20 Fakes: Nu debout II, Frank Perls, 1967
- 12.21 Publications: Herbert Matter book, 1960
- 12.22 Publications: J. Lord, "Giacometti gives up painting," 1965
- 12.23 Publicity: Articles and news clippings, 1961–1962
Paletten no. 3, 1962, "Giacometti", by Lasse Söderberg, nine pages [in Swedish (?)]; Epoca, January 20 1963, "Giacometti" by Grazia Livi, five pages [in Italian]; Atlantic, September 1965, "The Wisdom of Giacometti" by Carlton Lake, 10p. [in English]; Issue of Harvard Art Review, Spring 1966 reproducing "The search for the Absolute" by J.P.Sartre [in English]; Reader's Digest, October 1968, "The Unforgettable Giacometti Brothers" by Robert Wernick, eight pages [in English]; L'Express, June 8, 1961, by Pierre Schneider, three pages, 2 copies [in French]; Arts, June 1961, by Pierre Cabanne, ½page. [in French]; Harper's Bazaar, February 1962, "Homage to Giacometti" by Jean Genet, 11 pages [in English]; Clipping of an advertisement using Giacometti's Monumental Head, Museum News, September 1962. A group of postcards apparently unrelated was removed and put elsewhere [in the multiples pile]
- 12.24 Publicity: Articles and news clippings, 1964–1966
Les lettres françaises, August 6–19, 1964, interview by Marie‐Therèse Maugis, one page; Clipping reproducing Giacometti's Monumental Head, House and Garden, August 1964; News clipping from the New York Times, November 22, 1964. Vogue, August 1965, "Giacometti" by J. Lord, six pages [in English]; Clipping from the New York Times, February 21, 1965; Issue of the New York Review of Books, September 16, 1965, Douglas Cooper reviews on Alberto Giacometti by Peter Selz and A Giacometti Portrait by J. Lord, two pages [in English]; Group of news clippings related to the Giacometti exhibition at the Museum of Modern Art, 1965; This World, March 20, 1966, "Giacometti: Existentialist in Art" by Alfred Frankenstein, one page [in English].
- 12.25 Publicity: Obituaries, 1966
- 12.26 Publicity: Obituaries in French, 1966
Obituary articles and clippings from French magazines and newspapers. Arts, January 19–25, 1966, three pages, two copies; Les lettres françaises, January 20–26, 1966, containing articles by Aragon, A. Skira, G. Marchiori, J. Leymarie, G. Boudaille, R.J. Moulin, G. Sadoul, ten pages, three copies; Les nouvelles lettres françaises, January 20, 1966 "Giacometti chez Gulliver" by J. Cassou, ½p., two copies; Le Nouvel Observateur, January 19–25, 1966, 5p., two copies; Le Figaro litteraire, January 29, 1966 "Ma dernière visite à Giacometti" by Brassaï, ½p., two copies; Le nouveau Candide, January 17–23, 1966 "Giacometti avait accepté de prendre la mort pour modèle by J.F. Chabrun, one page; Match de Paris, January 22, 1966, four pages, two copies.
- 12.27 Shipping invoices, 1967
Group of shipping papers regarding the expedition of five Femme de Venise to Lefebvre‐Foinet in Paris. Various checklists with notes by Pierre Matisse. Invitation card for the 1958 Pierre Matisse Gallery Alberto Giacometti exhibition (Sculpture, Paintings, Drawings from 1956–1958) with notes. Three photographs of Femmes de Venise.
- 12.28 Works offered to Pierre Matisse Gallery: Mr. Lacloche, correspondence, 1966–1967
Correspondence related to the offer of a series of ten Alberto Giacometti drawings, not signed but for one, and of smaller dimensions than usual. Also offer of a lamp with two figurines that was eventually sold by Pierre Matisse.
- 12.29 Works offered to Pierre Matisse Gallery: Mrs. Léna Lequercq, correspondence, 1966–1968
Correspondence between Léna Lequercq and Pierre Matisse on various Giacometti pieces that she is willing to sell. March 20, 1966 reference to the bronze Annette IV, lent by Léna to Alberto Giacometti for the Modern Art Museum exhibition (1965) and inadvertently sold by him to Pierre Matisse. Small picture of the piece. Léna Lequercq was related to Théodore Fraenkel
- 12.30 Appraisals: Toninelli, 1970
- 12.31 Correspondence: Annette Giacometti, 1970–1978
Correspondence between Annette Giacometti and Pierre Matisse, mainly on cataloguing and fakes issues. Undated accounting notes by Pierre Matisse. June 10, 1970 letters from the S. Francisco Museum asking about Annette VII. Photographs of the piece and of its signature. Beginning April 9, 1970 and after, letters with reference to a fake Stele I (Pogliani, Weintraub). November 28, 1970 reference to the fire that supposedly destroyed, among other things, Giacometti's drawing Palais à 4 heure du matin. May, 1970 reference to the three Giacometti plasters cast in New York in 1954 (Modern Art Foundry) and a possibly fake Homme, 1929. March, 1971 letters referring to the cast numbers of Chariot 1950 and Tête sans crâne. February, 1972 reference to Nu debout IV, 1953. May 13, 1972 and after letters related to the casting of two Giacometti plasters; photographs of the pieces. April 13, 1973 photograph of a fake Standing Nude and, October 1975 of a fake Man Walking. July 1977, reference to Femme qui marche, 1932–1936, cast for Peggy Guggenheim, and its fake. See also photographic files for more material re Stele
- 12.32 Exhibitions: Academie de France, Rome (1970 October 24–December 18), 1970–1971
Letters and cables, loan forms, receipts related to the exhibition. Letter from J. Lord to Patricia Matisse. Photocopy of a letter from Diego Giacometti (excerpt in front of folder). Invoice for 12 catalogues of the exhibition. Installation photographs.
- 12.33 Exhibitions: The Phillips Collection (1972 April 8–May 10 [extended through June 14]), 1972
Letters, loan form, receipt related to the loan of Composition, 1928 by Alberto Giacometti to a group show of contemporary sculpture. One photograph of the piece.
- 12.34 Exhibitions: Città di Lugano, 1973
Letters, cables, receipts, insurance values related to the Pierre Matisse Gallery loans to the exhibition.
- 12.35 Exhibitions: Solomon R. Guggenheim Museum (1974 April 5–June 23), 1973–1974
- 12.36 Exhibitions: Solomon R. Guggenheim Museum (1974 April 5–June 23), publicity, 1973–1974
Group of press clippings assembled by the Guggenheim Museum. News clippings and articles. Vogue, May 1974, "Fathers and Sons: Breaking the Barriers of Isolation" by Barbara Rose; Artforum, September 1974, "Three Swiss Painters" by Robert Pincus‐Witten and "On Giacometti" by Andrew Forge; Art International, October 1974, "Three Swiss Painters" by George Mauner; ARTnews, Summer 1974, "Giacometti Frontality and Cubism" by Jona Thansilver.
- 12.37 Exhibitions: Alberto Giacometti: A Retrospective Exhibition, Walker Art Center (1974 July 13–September 1), 1974
- 12.38 Exhibitions: Lehmbruck Museum, Duisburg (1977 December 9–January 1), 1977–1978
- 12.39 Exhibitions: Fondation Maeght (1978 July 8–September 30), 1978
- 12.40 Exhibitions: Scottish National Gallery of Modern Art (1979 June 2–July 3), 1979
- 12.41 Fakes: Tête sans crâne, Weintraub, 1970
Letters from Christie's, Pierre Matisse, Frank Perls and Weintraub Gallery related to a surmoulage of Tête sans crâne auctioned by Christie's and bought by Weintraub Gallery. See also Correspondence: Annette Giacometti for a fake Stele I (Weintraub)
- 12.42 Publications: Alberto Giacometti Drawings by J. Lord, Paul Bianchini Books, 1971
- 12.43 Publications: A Giacometti Portrait by J. Lord, 1971
- 12.44 Publications: J. Lord, 1971?
Two copies of the negative photostat of a letter by Alberto Giacometti to Pierre Matisse and its transcript. Three envelopes bearing the Pierre Matisse Gallery address from Alberto Giacometti. Although the original folder was titled as above the content does not clearly indicate any connection to J. Lord
- 12.45 Publicity: News clippings, 1971–1979
Press reviews of Giacometti exhibitions at Galerie Claude Bernard (1975) and Sidney Janis Gallery (1976). Articles: L'œil, September–October 1971, "Alberto Giacometti—Dessins" by J. Lord (photocopy); Jahresbericht der Gottfried Keller‐Stiftung, 1973–1976 (Berne 1978) (photocopy) [in German]; ARTnews, September/October 1979 "Giacometti's Plasters" by Alan Kirili and "Looking at Giacometti" by Michael Brenson.
- 12.46 Restorations: Femme égorgée, Diego Giacometti, 1971–1973
- 12.47 Restorations: On ne joue plus, Michel Bourbon, 1973–1975
- 12.48 Correspondence: Annette Giacometti, 1982–1985
Group of photocopies bundled together and titled "Paris/Annette" with different reproductions of Femme qui marche, 1932; copies of an invoice from Lefebvre‐Foinet and related export declaration. Correspondence between Annette Giacometti and Pierre Matisse. Letters dated 1984 with reference to the Alberto Giacometti letter from 1950 published in the Pierre Matisse Gallery catalogue. Letters dated 1985 inquiring about the various casts of Homme qui marche sous la pluie. Photocopies of an article from The New Criterion, June 1985, "Sartre and Giacometti: words between friends" by J. Lord.
- 12.49 Correspondence: Annette Giacometti, 1986–1988
Photocopies of pages from a ledger recording Pierre Matisse Gallery acquisitions of works by Alberto Giacometti. Correspondence between Annette Giacometti and Pierre Matisse mainly about authentication matters. 1986 correspondence contains reference to a Hand, separate cast of the Objet invisible right hand, as described to Sotheby's by its owner J. Lord. Also reference to an unnumbered cast of Femme qui marche, 1932. 1987 letter announcing the constitution of the Fondation Alberto and Annette Giacometti in Paris.
- 13.01 Correspondence: Lisa Palmer, Michel Leiris, 1987
Letters related to a protest, written by Michel Leiris, against the publication of Giacometti's biography by J. Lord. Press clipping of the text. Listing of publication that reviewed the book. English translation of two articles originally published in German.
- 13.02 Correspondence, after 1990
1991 letters requesting permission to publish photographic material (Flammarion, Alberto Giacometti biography, Yves Bonnefoi). Letter inquiring about Head, oil painting by Alberto Giacometti supposedly coming from Pierre Matisse Gallery. Photocopy of the obituary article for Annette Giacometti, 1993.
- 13.03 Exhibitions: Centre Georges Pompidou, 1985
- 13.04 Exhibitions: Centro Cultural de Arte Contemporaneo (Museo Rufino Tamayo), Mexico City (1987 April–June), correspondence, 1986–1987
- 13.05 Exhibitions: Centro Cultural de Arte Contemporaneo (Museo Rufino Tamayo), Mexico City (1987 April–June), 1986–1987
- 13.06 Exhibitions: Centro Cultural de Arte Contemporaneo (Museo Rufino Tamayo), Mexico City (1987 April–June), publicity, 1987
Press release for the exhibition. Invitation cards and exhibition leaflet. Installation slides. News clippings. Articles: Artforum, April 1987, "The Four Giacometti" by Pierre Schneider; Connoisseur, April 1987, "The Man Who Laughed at Fame..." by Michael Peppiatt; L'Express, October 1987, "Giacometti: conseil de famille" by René Bernard.
- 13.07 Exhibitions: Nationalgalerie, Berlin (1987 October–1988 April), 1987–1988
- 13.08 Exhibitions: Hirshhorn Museum, Washington (1988 September–November), 1987–1988
Letters requesting the loan of some Alberto Giacometti pieces belonging to Pierre Matisse. Loan forms. Shipping and loan receipts. Certificate of insurance. Invitation card. Press kit for the exhibition. Clippings of articles: Smithsonian magazine, September 1988, "A driven artist's lifetime of jousting with the void" by Israel Shenker; Harper's Bazaar, August 1988, "The anxious art of Giacometti" by Diane Rafferty.
- 13.09 Publicity, 1980–1990
One issue of Pantheon: International Art Journal, Summer 1980, on Alberto Giacometti's Grande figure abstraite, 1931–1933 [in German]. News clippings and articles.
- 13.10 Publicity, 1985, 1987
- 13.11 Lists, undated
Group of lists accounting for the existing Ektachromes of sculptures and paintings by Alberto Giacometti (not comprehensive) and other inventory information (inventory number, date of purchase, cost, final purchaser, et cetera).
- 13.12 Publications, undated
- Subseries: Giacometti, Diego
- 13.13 Correspondence, 1948–1959
- 13.14 Correspondence, 1960–1968
Letters between Diego Giacometti and Pierre Matisse related to commissions either of furniture or casts of Alberto Giacometti sculptures. Diego Giacometti invoices. April 24, 1966 letter from Ruth Buol mentioning the plaster by Alberto Giacometti Form within a form and the possibility of casting it. 1967(?) postcard and part of a letter from Annette. Diego Giacometti note accompanying a photograph of a drawing of Henri Matisse by Alberto Giacometti. 1968 consumption entry form. Photocopies of Diego Giacometti lamps. 1969 news clipping. Few letters are photocopies, most are originals Letters numbered 9 to 14 are not in the folder
- 13.15 Correspondence, 1967–1969
Letters between Diego Giacometti and Pierre Matisse related to commissions either of furniture or casts of Alberto Giacometti sculptures. Diego Giacometti invoices. Some correspondence with Pierre Matisse Gallery clients (E. LeMaire Associates, Inc.; Mrs. A. Kobacker; N. Rockefeller; J. Mason). April 1967 postcard and part of a letter from Annette. May 18, 1967, Diego Giacometti on his accident with a "clochard." October 26, 1968, Diego Giacometti writes in reference to a surmoulage of Le cube, formerly of the Mr. Thompson collection; also mention of a steel cast of the same. Black‐and‐white photo enclosed. Diego Giacometti letter of October 27 1969, in reference to the Lieberman small figure by Alberto Giacometti, reputed to be a fake by either Annette Giacometti or Diego Giacometti. Diego Giacometti's note accompanying a photograph of a drawing of Henri Matisse by Alberto Giacometti. November 8–9, clipping of an article on Diego Giacometti by Souren Melikia from the International Herald Tribune. Black‐and‐white photos of a bronze by Alberto Giacometti and of a signed base. Most letters from Diego are originals
- 13.16 Correspondence, 1970–1979
Correspondence between Diego Giacometti and Pierre Matisse related mainly to commissions of furniture or to Alberto Giacometti bronzes. Invoices. Lists of commissions. Some correspondence with Pierre Matisse Gallery clients (Nelson Rockefeller, Frederick W. Richmond). Postcard and letter from J. Lord. Four photographs of a Diego Giacometti piece. Article by Robert Wernick, "A private man whose profile became public", Smithsonian magazine. Almost all letters from Diego Giacometti and Pierre Matisse are originals
- 13.17 Provenance inquiry, Lewis Collection, 1975
Letters from the curator of the Lewis Collection requesting information about two lamps by Diego Giacometti that were bought at auction sales. See also Correspondence, 1972–1979, for a relevant letter dated March 25, 1975
- 13.18 Correspondence, 1980–1985
- 13.19 Correspondence: Succession Diego Giacometti, 1985
- 13.20 Exhibitions: Catalogues, 1985
Donald Joung Gallery, Chicago, 1985, two copies; Marisa del Re Gallery, New York, 1985.
- 13.21 Publications: Daniel Marchesseau, 1984
Letters related to the preparation of a book by Daniel Marchesseau, curator at the Musée des Arts Décoratifs, on Diego Giacometti work. Also invitation card and press clipping of the 1986 exhibition at the same museum.
- 13.22 Publicity, 1984–1991
1985 press review of the Diego Giacometti exhibition at Marisa del Re Gallery. Articles: New York Times Magazine, March 11, 1984, "The Other Giacometti" by Michael Brenson; House and Garden, October 1985, "Diego Giacometti" by J. Lord; Art and Auctions, November 1986, "Alberto's Shadow—Diego Giacometti's place in art is secured" by Daniel Marchesseau; Unknown German magazine, undated, "Diego—Die Hand" by Ursula Bode. Two press clippings on Diego Giacometti fakes.
- 13.23 Lamps, undated
- Subseries: Gogh, Vincent van, 1853–1890
- Subseries: Gris, Juan, 1887–1927
- 13.25 Correspondence, 1932, 1947
- Subseries: Gromaire, Marcel, 1891–1971
- 13.26 Correspondence, 1932–1934
- Subseries: "H" miscellaneous
- Subseries: Hantaï, Simon
- 13.28 Publicity, 1968–1981
- 13.29 Correspondence: Jean Fournier and others, 1970–1981
- 13.30 Exhibitions: Paintings, 1960–1970, Pierre Matisse Gallery (1970 October 20–November 21), 1970
Correspondence re exhibition with Jean Fournier. List of paintings in American collections. Typescript of texts in French and translations in English. Clippings, ads, et cetera. Four large black‐and‐white photographs of installation of Hantaï works in Paris. Priced catalogue. Correspondence in French
- 13.31 Exhibitions: Paintings, Watercolors, 1971–1975, Pierre Matisse Gallery (1975 October 18–November 19), 1975
Exhibition expense list, photocopy of catalogue and announcement. Invoice and copies of other invoices. Catalogue rough proofs, typescripts of preface and translation of preface. Clippings. Priced catalogue.
- 13.32 Exhibitions: Musée National d'Art Moderne, Paris, loan, 1976–1977
Letters, loan form and shipping receipts related to the loan of Untitled, 1964 by Hantaï to the Musée National d'Art Moderne, Paris. Invitation card for the exhibition. Article from Art International, March/April 1976, "Un coup de pinceau c'est la pensée" by Dominique Fourcade. News clippings reviewing the exhibition at Muse–e National d'Art Moderne, Paris.
- Subseries: Hélion, Jean, 1904–1987
- 13.33 Correspondence, 1934–1987
Photocopies of letters as per included list. Receipts of a package sent to Jean Hélion at a prison camp in 1941. Letters (signed Jean, from Rockbridge Baths, Virginia) giving news of Hélion from the prison camp. Original note by Hélion to Pierre Matisse at his arrival in New York, 1942. Original letters and cables from 1944, referring to Hélion's work for the 1944 Pierre Matisse Gallery exhibition, Pictures Under Five Hundred. Original letters by Hélion from Paris, 1952. 1965 letter, review articles, copy of an exhibition catalogue (Galerie Yvon Lambert, 1964) sent to Pierre Matisse by David Finn with the suggestion that Hélion could be represented by Pierre Matisse Gallery. 1987 Pierre Matisse cable of condolences to Jacqueline Hélion. Obituary clippings (in French). Contains note written by the original project archivist ("OB") reporting on the letters in the folder
- Subseries: Ipoustéguy, Jean, 1920–2006
- 13.34 Correspondence, 1964–1968
- 13.35 Exhibitions: Catalogues, 1962–1985
- 13.36 Exhibitions: Art Institute of Chicago, 1967
- 13.37 Exhibitions: Ipousteguy, Pierre Matisse Gallery (1968 May 7–June 14), 1968
- 13.38 Correspondence, 1972–1985
Correspondence re Pierre Matisse Gallery loans of works to exhibitions. Letter of November 26, 1975 to artist from 41st International Eucharistic Congress about possible commission (via Pierre Matisse Gallery). 1985 exchange of letters with the Internal Revenue Service re appraisal of Remoulus. List of artist's exhibition. Nine black‐and‐white photographs, seven small, two 8 x 10 inches.
- Subseries: "J" and "K" miscellaneous
- 13.39 Clippings, 1977, 1980, undated
- Subseries: Knapp, Stefan, 1921–
- 13.40 Correspondence, 1957–1961, 1966–1968, 1970
Summaries of letters. Photocopies of Stefan Knapp's correspondence with Pierre Matisse. Correspondence re prosecution of Mr. Harold Kovner for nonpayment for sculpture. Letters form lawyers, Mr. Kovner. Correspondence with customs brokers re shipment of pieces. Shipping documents and papers. Inquiries re prices. Two photographs of sculpture. Originals of correspondence filed elsewhere in solander boxes
- 13.41 Exhibitions: Paintings on Metal, Sculpture, Pierre Matisse Gallery (1957 November 25–23), 1956–1957
Summaries of letters. Photocopies of Knapp's correspondence with Pierre Matisse re upcoming exhibition. 1956 correspondence re possible April exhibition. Long letter dated December 17, 1956 detailing pieces ready for exhibition. Original cables. Missive from Knapp dated March 12, 1957 re thoughts on exhibition which has now been scheduled for November. Letter of agreement dated July 16, 1957 from Pierre Matisse to Knapp re exhibition. Letters from interested collectors, names and addresses of people to be invited to exhibition, et cetera. Originals of letters filed separately in solander boxes
- 13.42 Exhibitions: Paintings on Metal, Sculpture, Pierre Matisse Gallery (1957 November 25–23), 1956–1957
Typewritten biographies of Stefan Knapp, typewritten lists of paintings. Clippings and press reviews. Two copies of priced Pierre Matisse Gallery catalogues. Insert from catalogue of color slides. Undated, handwritten notes by Pierre Matisse, including floor plan of the exhibition.
- 13.43 Exhibitions: Galeria de Arte Contemporáneo, Caracas, 1958
- 13.44 Exhibitions, 1958, 1966
- Subseries: Lam, Wifredo
- 14.01 Biography, undated
- 14.02 Correspondence, 1942
Pierre Matisse offers Lam to represent him. The contact was made via André Breton. Organization, shipments and terms. The first shipment of gouaches is under way, one is for Alfred Barr (for the Museum of Modern Art). André Breton is supposed to give titles to the gouaches. Pierre Matisse is increasing the prices on the gouaches he received and makes his choice for his exhibition. Pierre Matisse will represent Lam in the U.S. for all gouaches. Lam starts to paint with oils. Lam would like to have some French books on Henri Matisse whom he had met in Paris at the atelier Callery. Lam moves. He is waiting for reviews and photos of the exhibition at the Pierre Matisse Gallery. He also needs photographs for Cuadernos Americanos edited by the poet Carrea, friend of Picasso. The entire correspondence is in French Originals of the letters are in solander boxes
- 14.03 Correspondence, 1943
Lam is working for Pierre Matisse's next exhibition in 1944. He sends photos of the big oil paintings. Pierre has sold 2 Lams (L'Enfant au Miroir and L'Esprit du Matin). Lam paints oil on paper because canvas is too expensive. He would prefer to have a contract with Pierre with a certain guaranteed income instead of irregular sales. He wants Pierre Matisse to exhibit The Jungle plus ten small paintings and five fans. Lam has sold La Chaise to Alejo Carpentier in Paris. All letters are in French The original letters are in solander boxes
- 14.04 Correspondence, 1944
La Jungle is being shipped to New York. Lam has written to André Breton that he doesn't want to participate in the Cuban exhibition at the Museum of Modern Art. The Pierre Matisse Gallery exhibition will be in April. Lam prepares a monograph with text by Cesaire, Mabille, Sweeney and Duthuit. Copy of a letter to Alfred Barr. Explication of his refusal to participate at the Museum of Modern Art exhibition. It is a personal decision as he doesn't want to be an object of intrigue of Mr. Gomez and Mme Carreno. When Lam finally receives photographs of his exhibition at the Pierre Matisse Gallery he is very enthusiastic. His latest paintings are all tropical. Pierre Matisse wanted to cancel his agreement with Lam whereas Lam wants to modify it. A cancellation comes as a great shock to Lam, Lam asks whether Pierre Matisse would like to publish his books in the States. Pierre Matisse declines. Pierre Matisse wants to interrupt contract but will go on paying Lam a monthly fee for several more months. The correspondence is in French Originals of the letters are in solander boxes
- 14.05 Correspondence, 1945
A new arrangement between Lam and Pierre Matisse. Lam wants to finish his paintings and puts the monograph on the back burner. Pierre Matisse has sold The Jungle to the Museum of Modern Art. Lam is very happy about that. Mofumbe got damaged during the shipment because it was rolled. Mr. Lane of Penguin Editions would like to publish another monograph of Lam. Would Pierre Matisse please receive him and give him information? Lam has a group of oil paintings on canvas for Pierre Matisse's next exhibition. Picasso and Zervos want to have photos for reproduction in Cahiers d'Art. Pierre Matisse has sold Eggue Orissa. Pierre Matisse will have his Lam exhibition November 20th. Lam leaves to Haiti and will stay with Pierre Mabille. Pierre Matisse is reminded several times to send photographs for Cahiers d'Art and catalogues of the exhibition together with photographs of the exhibition. The entire file is in French Originals of the correspondence are in solander boxes
- 14.06 Correspondence, 1946
Lam has received the reviews of the Pierre Matisse Gallery exhibition. Lam would like the Gallery to give photos to Vogue for a scheduled article on "Seven Outstanding Cubans." Lam had an exhibition in Port‐au‐Prince. Lam will leave to Paris in May. Hopes to pass through New York to finally meet Pierre Matisse. Helena Lam writes that she would like to have Pierre Matisse's business proposal and a contract for Lam because he has other offers from New York dealers. She puts down a deadline and if this is not met by Pierre Matisse, Lam will leave Pierre Matisse Gallery. Matisse wants first option on Lam's work before Pierre Loeb, Lam's European dealer. Lam has had an exhibition with Pierre Loeb, very successful. Also had an exhibition in Havana. Mr. Steegmueller has bought Anamu The file is in entirely in French Originals of Wifredo Lam and Pierre Matisse correspondence are in solander boxes
- 14.07 Correspondence, 1947
Lam has finally met Pierre Matisse. Hopes that Pierre Matisse has seen L'Eternel Present, a big painting that he has sent to the gallery Hugo in Paris where Calas curates a Surrealist exhibition. Lam prepares for the next Pierre Matisse Gallery exhibition and also for another Surrealist exhibition in France. He has written to André Breton and states that he is willing to decorate an altar for Lautreamont. Lam would like Pierre Matisse to send him a certain canvas that he cannot get in Cuba. Helena Lam offers Pierre Matisse L'Eternel Present and sets a deadline before she sells it to someone else. The entire file is in French Originals of the Lam and Pierre Matisse letters are in solander boxes
- 14.08 Correspondence, 1948
Pierre Matisse has been in Cuba (Little snapshot black‐and‐white photograph enclosed). Pierre Matisse is revising the contract with Lam. Titles of the two big Lam paintings are La Noce and Belial (symbol of eternal rebellion). Helena would like them to be at the next Pierre Matisse Gallery exhibition. She will attend the opening bu Lam cannot. A formal letter "To whom it may concern" signed by Pierre Matisse and countersigned by Lam stating that Lam is under contract with Pierre Matisse Gallery. Helena Lam writes that she and Lam will come to New York because he has to see doctors. Helena wants Matisse's decision on L'Eternel Present. The correspondence is in French This correspondence is not part of the artist's letters in solander boxes
- 14.09 Exhibitions: Lam, Pierre Matisse Gallery (1942 November 17–December 5), 1942
- 14.10 Exhibitions: Lam, Pierre Matisse Gallery (1944 June 6–24), 1944
- 14.11 Exhibitions: Catalogues, 1944–1987
Catalogues from various Lam exhibitions, including Arts Club of Chicago (1944); Port‐au‐Prince (1946); Havana; Pyramid Galleries, Washington; Lyceum, Havana (1946); Milan (1959); Galerie Benador, Geneva (1962); Galerie La Cour d'Ingres, Paris (1962); Turin (1964); Maeght/Lelong, Zürich (1987); and a portfolio with photographs of Lam sculpture from Galerie Tronche (1972).
- 14.12 Exhibitions: Recent Paintings Pierre Matisse Gallery (1945 November 20–December 8), 1945
- 14.13 Exhibitions: Oils on Canvas and Drawings, Gouaches, Watercolors, Pierre Matisse Gallery (1948 April 20–May 8), 1948
- 14.14 Correspondence, 1950–1962
Lam prepares for the 1950 Pierre Matisse Gallery exhibition. He will not be able to come and is sorry that he never saw any of the Pierre Matisse Gallery exhibitions. A monograph on Wifredo Lam is commissioned by the Cuban government to be written by a Cuban writer. Lam needs photos from Pierre Matisse for the monograph. He also wants Pierre Matisse's opinion on his latest paintings. He writes Pierre Matisse about his divorce and that Pierre now will have to correspond with him rather than with Helena. Copy of a New Year's card designed by Lam. Lam is asking Pierre Matisse for information for a book on Lam that will be published in Italy (Ektachromes of Le Present Eternel which Pierre had bought in Cuba. The Musée de Poche in Paris is also publishing a book on Lam. He leaves to Italy. Lam writes Pierre Matisse that he got remarried to a Swedish girl, Louisa Gunilla (letter of May 18, 1962). He has two children one with a French girl and one with the Swedish wife who is expecting another child. He bought a house in Albissola Mare in Italy. The file is in French Originals of the letters are in solander boxes The original of the card has been moved to original artwork files
- 14.15 Exhibitions: Paintings, Pierre Matisse Gallery (1950 May 2–20), 1950
- 14.16 Correspondence: Helena Benitez, 1966–1987
Helena Benitez is inquiring about two paintings that were given to her by Lam in her divorce settlement, namely Sirena del Niger and Hermes Trimegiste. The first one was sent back to Lam after the exhibition in 1982. Pierre Matisse claims not to know anything about the Hermes painting. He offers Helena Benitez other Lam artwork instead of the two paintings she wanted. Letter from Lou Lam wanting some information because she wants to start work with the catalogue raisonné of Lam. Helena writes about a Mrs. Marta Garsd who want to write a monograph on Lam. Could Matisse please help her with information? Some of the correspondence is in French
- 14.17 Exhibitions: University of Notre Dame Art Gallery (1961), 1960
- 14.18 Paintings at auctions, 1975–1981
- 14.19 Authentications, 1976
- 14.20 Correspondence, 1972–1981
Pierre Matisse writes that in October 1972 Patricia, his wife, died. A list of photographs sent to Lam. Some of the paintings have no titles. Could Lam please fill in the missing titles? Lam gives Pierre advice as to how to repair a Lam painting Pierre bought from Mr. Gonzales. Matisse writes Lam about La Reunion which is so beautiful and why hasn't it been reproduced in the Leiris book on Lam. Lam writes about various books about him that have been published (Poligrafia, Spain; Filipachi, Paris; Nuovo Foglio, Italy). He also indicates the owners of various paintings reproduced in the Leiris book. The correspondence is in French Originals of the letters are in solander boxes
- 14.21 Inquiries, 1973–1989
Various inquiries for research and publishing purposes. Several requests to buy paintings by Lam. Correspondence with Erker Verlag about several details for a book on Lam (1976–1978). Correspondence with Helena Benitez about a probably fake charcoal drawing of Le Jungle belonging to George Nader in Santo Domingo (1987). Black‐and‐white photograph of that drawing included. Maria Gutierrez Fine Arts offers Pierre Matisse several Lam paintings for sale, slides and photographs included (1985).
- 14.22 Works of reference, Filipacchi edition, 1975
- 14.23 Exhibitions: Homenaje a Wifredo Lam 1902–1982, Museo Nacional de Arte Contemporaneo, Madrid (1982 October 20–December 12); Musée d'Ixelles, Brussels (1983 January 7–March 6); Musée d'Art Moderne de la Ville de Paris, Paris (1983 March 23–May 22), 1981–1983
Correspondence, loan forms, press clippings, invitations. Some correspondence is in French and Spanish The catalogue of the exhibition was found in the Pierre Matisse Gallery library
- 14.24 Exhibitions: Early Works, 1942–1951: Paintings, Gouaches, Watercolors, and Drawings, Pierre Matisse Gallery (1982 June 1–26), 1982
Three catalogues, two marked with prices. Newspaper reviews, announcements, press releases. See also installation shots in exhibition scrapbooks
- 14.25 Exhibitions: The Artists Language: African Traditional and Modern Art, Nassau County Museum (1986), 1986–1987
Correspondence, loan forms, invitation, catalogue, and pamphlet about an African‐American lecture series.
- 14.26 Exhibitions: The Latin American Spirit: Art & Artists in the United States, 1920–1970, Bronx Museum of the Arts (1988 September), 1987–1989
- 14.27 Exhibition: Kunstsammlung Nordrhein‐Westfalen, Düsseldorf (1988 July), 1988
- 14.28 Obituaries, 1982
- 14.29 Publicity, articles on Wifredo Lam, 1985–1988
- 14.30 Les Amis de Wifredo Lam, 1987–1988
Lam's widow, Lou Laurin Lam, formed the association of Les Amis de Wifredo Lam in 1987 and invites Pierre Matisse to be a member of it. One of the association's goals is the publication of a catalogue raisonné. The first volume will be done by Mme Maria Lluisa Borras and will span the Spanish years. Minutes of the meetings of the association. The file is in French
- Subseries: Laurens, Henri, 1885–1954
- 14.31 Correspondence, 1970
- Subseries: Léger, Fernand, 1881–1955
- 14.32 Correspondence, 1937–1938
- 14.33 Requests, 1955, 1956
- 14.34 Publicity, 1962, 1981, 1982
- 14.35 Fakes, 1982, 1986
- Subseries: Lipchitz, Jacques, 1891–1973
- Subseries: Lynes, George Platt, 1907–1955
- 14.37 1941–1942, 1945–1946, 1955, 1976, 1979, 1986
Missive dated August 5, 1941 from George Platt Lynes confirming details of exhibition at Pierre Matisse Gallery (Two Hundred Portraits, Plus an Assortment of Less Formal Pictures of People, 1941 November 5–15). October 23, 1941 message re ads and announcements. George Platt Lynes enclosing check for the same. Missive dated September 22, 1945 re sale of Tanguy. Miscellaneous letters with questions from students and researchers. News clippings about the exhibition at Pierre Matisse Gallery. Assorted papers with handwritten notes. Typed sheet of biographical information.
- Subseries: "M" miscellaneous
- 14.38 1947, 1962, 1970s
Primarily published materials re René Magritte, Kazimir Malevich, André Marchand, Marquet, Jean Milo (1 typed letter signed, 1962, in French), Modigliani, Henry Moore.
- Subseries: MacIver, Loren, 1909–
- 14.39 Biographical information, undated
Copies of biographies, chronologies, solo exhibition history, collection, et cetera.
- 14.40 Mailing list, undated
- 14.41 Various lists, undated
- 14.42 Publicity: Magazine article, undated
- 14.43 Exhibitions: Catalogues, 1938–1945
MacIver, East River Gallery (1938 March 29–April 16); Paintings, Pierre Matisse Gallery (1940 November 26–December 14); Loren MacIver, The Arts Club of Chicago (1941 January 31–February 28); Other Worlds, American British Art Center (1945 October 8–27).
- 14.44 Accounts, 1941, 1944–1983
- 14.45 Accounts, 1948–1970
Lists of various accounts. Bills for frames from Max Granick, Inc. Bills for exhibition catalogues (1956, 1961). Account of commission for murals done for S.S. Argentina and American Export Line. Exhibition expenses (1949).
- 14.46 Correspondence, 1940
- 14.47 Exhibitions, 1941, 1944
- 14.48 Exhibitions: Paintings, Pierre Matisse Gallery (1944 October 10–28), 1944
- 14.49 Accounts: Frames, 1957–1966, 1969–1970
Photocopies (poor quality) of invoices from Max Granick Framers for framing Loren MacIver's works. Photocopies in poor condition, disintegrating
- 14.50 Correspondence, 1951–1958
General, personal correspondence, mostly handwritten, between Loren MacIver and Lloyd Frankenberg and Pierre and Patricia Matisse. Correspondence concerned with MacIver's stay in France and travel to other parts of Europe. Some correspondence concerning plans for upcoming exhibitions.
- 14.51 Correspondence, 1956–1958
- 14.52 Exhibitions, 1950–1953, 1956–1959
Various correspondence, loan forms, shipping receipts re miscellaneous loans. 1950 exhibition at M. H. de Young Memorial Museum, San Francisco; 1952 at Mayo Hill Galleries, Wellfleet, Massachusetts; 1959 American Prints Today, Print Council of America, New York City. Also requests for photographs for articles.
- 14.53 Exhibitions: Catalogues, 1950–1958
MacIver Paintings, Vassar College Art Gallery (1950 May 8–June 13); Loren MacIver/I. Rice Pereira, Whitney Museum of American Art (1953 January 8 to March 1 [and travelling]); Loren MacIver, the Corcoran Gallery of Art (1958 October 15–November 16). Undated postcard of Manhattan, S. C. Johnson & Son, Inc. collection.
- 14.54 Exhibitions: Recent Paintings, 1953–1956, Pierre Matisse Gallery (1956 November 1–30), 1956
- 14.55 Publicity, 1956–1962
- 14.56 Clients, 1961–1990
- 14.57 Correspondence, 1960–1963
General, personal correspondence, mostly handwritten, between Loren MacIver and Lloyd Frankenberg and Pierre and Patricia Matisse. Correspondence concerning their stay in Paris and other travels in Europe. Missives from October 17 and November 5, 1961, pertain to conservation problems with the painting Irish Roses. 1961 correspondence re studio on Rue de la Tombe Issoire. Correspondence dated April 29, 1962 re film made by Maryette Charleton also re painting Blue Votive Lights. Correspondence from November 1962 re lithographs being Mourlot.
- 14.58 Correspondence, 1960–1965
Varied and miscellaneous correspondence re commissions, exhibitions refused, greeting card for UNICEF. Letter from Dorothy Miller of the Museum of Modern Art re murals done by MacIver for the S.S. Argentina. Conservation report and restoration estimate for several paintings (with 8 x 10 black‐and‐white photograph of Ashcan). Contributions of works of art to fundraising efforts.
- 14.59 Correspondence, 1966–1968
Correspondence, some handwritten, from Loren MacIver and Lloyd Frankenberg to Pierre and Patricia Matisse and to staff members of the Pierre Matisse Gallery. Correspondence sent from France. 1966 correspondence re transparency of Blue Votive Lights for exhibition Art Vivant in Toulouse, France. 1966 correspondence re drawing to be donated to Spanish Refugee Aid. Clipping dated September 16, 1966 from the Christian Science Monitor on MacIver with a reproduction of Le Lutin Joyeux. 1966 correspondence re house rented in Le Castellet. Postcards, cables. Missive dated November 1, 1967 pertains to Lyon exhibition, as do missives of December 4 and 27, 1967 and January 2, 1968. Names: Mrs. Bliss Parkinson, Mr. Prentice Bloedel, Diego Giacometti, Bernard Ceysson
- 14.60 Correspondence, 1968–1969
Correspondence between Loren MacIver and Lloyd Frankenberg and Pierre and Patricia Matisse. Mostly personal, sent from Paris and Provence where MacIver was living and working. Some correspondence from 1968 re Lyon/Paris/Nice exhibition. Correspondence re sale of paintings to Mrs. Roger St. Aubyn. 1969 correspondence re proposed book for Abrams. Cables, postcards. Three small black‐and‐white photographs of what appears to be a house in Provence, possibly the house where MacIver was staying. One small color photograph of MacIver palettes. Clippings. Invitation to opening of Nice exhibition. List of paintings being shipped from Paris to the Pierre Matisse Gallery. Price list of paintings.
- 14.61 Adelyn D. Breeskin, 1969–1971
Correspondence with Ms. Breeskin, author of unpublished book on Loren MacIver, re manuscript. Lists of paintings. Some correspondence between Loren MacIver and Pierre Matisse re manuscript for Abrams.
- 14.62 Exhibitions, 1960–1962
Miscellaneous correspondence, receipts, shipping records re various exhibitions. New Haven Festival of the Arts, CT (June 1960); Krannert Art Museum, Illinois (1960); Parents Association, City and Country School, New York City (December 1960); Art Institute of Chicago (January 1960); Colorado Springs Fine Arts Center, CO (February 1961); Knapik Gallery (April 1961); Pennsylvania Academy of the Fine Arts (April 1961) The Katonah Gallery, New York (June 1961); Silvermine Guild of Artists, CT (November 1961); Whitney Museum of American Art, New York City (November 1961); Art Institute of Chicago (January 1961); Louisiana State University (February 1962); The Virginia Museum (March 1962); Brooks Memorial Art Gallery, Memphis (April 1962); Katonah Gallery, New York (May 1962); Fine Arts Department, University of St. Thomas, Houston (May 1962); Silvermine Guild of Artists, CT (October 1962); Corcoran Gallery of Art, Washington, D.C. (November 1962); Dallas Museum of Fine Arts (November 1962); Whitney Museum of American Art, New York City (December 1962).
- 14.63 Exhibitions, 1963–1965
Correspondence, shipping receipts, receipts, announcements re various miscellaneous exhibitions. New School, New York City (January 1963); The Corcoran Biennial, circulating (February 1963); Dallas Museum of Fine Arts (February 1963); Terry Dintenfass, New York City (October 1963); Art Association of Indianapolis (December 1963); Institute of Contemporary Arts, Washington, D.C. (December 1963); Westerly Gallery, New York (January 1964); Museum of Modern Art, "Art in Embassies," Turkey (June 1964); The Katonah Gallery, New York (July 1964); Provincetown Art Association, MA (August 1964); Sacred Heart Seminary, MI (November 1964); Purdue University, IN (November 1964); Grand Rapids Art Museum (November 1964); American Federation of Arts, New York City (January 1965); Cleveland Museum of Art (February 1965); Patricia Moore, Inc., CO (July 1965); World Campaign for the Release of South African Political Prisoners, London (October 1965); Whitney Museum of American Art, New York City (December 1965).
- 14.64 Exhibitions, 1966–1968
Correspondence, shipping receipts, receipts, announcements re following exhibitions. Art Institute of Chicago (March 1966); Artists for Core, New York City (April 1966); Virginia Museum of Fine Arts, Richmond (May 1966); Flint Institute, First Invitational Exhibit of Contemporary Painting and Sculpture, MI (November 1966); American Federation of Arts, The Drawing Society National Exhibition, New York City (1966); Whitney Museum of American Art, Annual Exhibition of Painting, New York City (December 1967); American Academy of Arts and Letters, New York City (November 1967); Southern Vermont Art Center, Manchester (June 1968); American Academy of Arts and Letters, New York City (October 1968); New School Art Center (October 1968) Names: Leslie Cheek, Jr., The Virginia Museum of Fine Arts
- 15.01 Exhibitions: Catalogues, 1961–1962
Catalogues of the following exhibitions: Directions in 20th Century American Painting, Dallas Museum of Fine Arts (1961 October 7–November 12); Some Directions in Contemporary Painting and Sculpture, Art Institute of Chicago (1962 January 5–February 18); Quartet, Louisiana State University (1962 February 27–March 24); American Paintings, Virginia Museum of Fine Arts (1962 March 9–April 15); Woman Artists in America Today, Mount Holyoke (1962 April 10–30).
- 15.02 Exhibitions: Paintings, Collages, Pastels, Pierre Matisse Gallery (1961 April 11–29), 1961
- 15.03 Exhibitions: Venice Biennale, 1962–1963
Correspondence re XXXI Venice Biennale. Correspondence with the Museum of Modern Art, New York City, who was organizing the United States representation at the American Pavilion from June 16 to October 7, 1962. Selection of Loren MacIver paintings being curated by James Thrall Soby. Correspondence from August 29 through October 30, 1962 between Pierre Matisse, Director of the Sales Bureau of the Biennale and John McAndrew concerning confusion over the price of Grand Canal, which McAndrew wanted to purchase. Includes a handwritten letter from Loren MacIver and Lloyd Frankenberg. Also copies of cables. Loan receipts from the Museum of Modern Art, shipping receipts, lists of paintings and collectors. Photograph numbers. Cables. Names: Dorothy Miller, Mr. d'Harnoncourt Some discolored papers
- 15.04 Exhibitions: Catalogues, 1964–1966
159th Annual Exhibition of American Paintings and Sculpture, Pennsylvania Academy of the Fine Arts (1964 January 15–March 1); Golden Anniversary Exhibition, Provincetown Art Association (1964 August 2–October 6); 4th Biennial National Religious Art Exhibition, Sacred Heart Seminary Galleries (1964 October 8–25); New York World's Fair, Pavilion of Fine Arts (1964–1965); Paintings by Loren MacIver, The Phillips Collection (1965 November 20–1966 January 3); American Paintings from the Bloedel Collection, Leeds City Art Gallery (1965 April 10–May 16) and Chelsea School of Art (1965 May 31–July 3); The Lawrence H. Bloedel Collection of Modern American Art, The Berkshire Museum (1965 August 3–29).
- 15.05 Exhibitions: Notre Dame (1966 January–February), 1964–1966
General correspondence relating to exhibition, such as shipping, insurance, loans, et cetera. Five 8 x 10 inch black‐and‐white installation photographs of exhibition. Xerox copy of article from the South Bend Tribune, January 23, 1966 re exhibition.
- 15.06 Exhibitions: The Philips Collection (1965 November 20–1966 January 3), 1965–1966
Correspondence re solo exhibition of MacIver paintings at the Phillips Collection. Correspondence re continuation of exhibition at Notre Dame University after close in Washington. Shipping receipts from 7 Santini Brothers. Correspondence dated December 3, 1965 re damage to Bretagne. Lists of paintings with prices, copy of handwritten list. One copy of exhibition announcement and catalogue. Names: Duncan Phillips, Abram Lerner, Mrs. Bliss Parkinson
- 15.07 Exhibitions: Paintings, Pastels, Drawings, 1963–1966, Pierre Matisse Gallery (1966 March 22–April 16), 1966
- 15.08 Exhibitions: Paris; Lyon; Nice (1968), 1967–1968
Correspondence with Helene Baltrusaitis, Chargée des Beaux Arts re preliminary plans for exhibition and her desire that the Museum purchase a MacIver painting. List of suggested paintings for exhibition. Correspondence between Pierre Matisse and Loren MacIver re exhibition. Correspondence with insurance companies, shippers, et cetera, re exhibition. Handwritten thank‐you note to Pierre Matisse from Mme Baltrusaitis. Copy of letter to Loren re request to extend exhibition to Muse–e d'Art Moderne de la Ville de Paris from April 10 to the end of the month. Request to further extend exhibition to Galerie de la Marine in Nice in July. Clipping from International Herald Tribune (March 5, 1968) re exhibition. Clipping from Le Monde (May 16, 1968). Other clippings. Posters from Paris, Nice and Lyon advertising exhibition. Cables. Mimeographed copies of some correspondence. Catalogue USA Groupe 68: Hommage à Loren MacIver, Lyon Musée des Beaux‐Arts (1968). Seven 8 x 10 black‐and‐white installation photographs. Seven black‐and‐white photographs of opening in Lyon. Names: Alexander Calder See also Correspondence, 1966–1968 for letters from Loren MacIver re Paris; Lyon; Nice exhibition
- 15.09 Film by Maryette Charlton, 1962–1973
Correspondence (two letters) from Maryette Charlton re opening of film, invitations, et cetera. Film program from New York Cultural Center showing MacIver film. Copies of program for film. Four 8 x10 black‐and‐white photographs of Loren MacIver, her palette, et cetera.
- 15.10 Correspondence, 1970
Correspondence, mostly from France, some handwritten, between Loren MacIver and Lloyd Frankenberg and Pierre and Patricia Matisse. Some correspondence re purchases and payments. March correspondence re possibility of making lithographs, also correspondence re book for Abrams. May correspondence re Breeskin book for Abrams. Copy of June letter to Adelyn Breeskin re dissatisfaction with book. June missive from Pierre Matisse Gallery to MacIver re Premiere Neige going to the "Summer White House" in California. June missive re catalogue and exhibition scheduled at Pierre Matisse Gallery in November. Copy of letter from editor at Abrams re proposed book and lithograph. Postcards. Names: Douglas Cooper, Blanchette Rockefeller Some papers stained and/or frayed
- 15.11 Correspondence, 1971–1975
Some personal correspondence between Loren MacIver and Lloyd Frankenberg and Pierre and Patricia Matisse. July 1971 correspondence re Abrams book. December 1971 correspondence re commission arrangement with gallery. Order form for Lloyd Frankenberg's book Stain of Circumstance. Program from American Academy of Arts and Letters Ceremonial, dated May 16, 1973. Postcards.
- 15.12 Correspondence: Robert Frash, 1973, 1975–1978, 1980–1982, 1987
- 15.13 Correspondence, 1975–1979
Correspondence from December 1975 to April 1979 re Guggenheim Fellowship. Various requests for reproduction, applications to Who's Who. Correspondence from June 1977 re donation of two paintings to the Committee to Endow a Chair in Honor of Meyer Shapiro. Loan request from Library of the Boston Athenaeum, dated March 1978. Some handwritten notes.
- 15.14 Exhibitions: Recent Paintings, Pierre Matisse Gallery (1970 November 24–December 19), 1970
- 15.15 Exhibitions, 1970–1974
Correspondence, loan receipts, shipping receipts re various miscellaneous exhibitions: Contemporary Women Artists, Skidmore College (1970 January 6–29) and National Arts Club (1970 February 2–8); National Collection of Fine Arts, Smithsonian Institution, loan to White House (1970); Paintings, Drawings and Sculpture for Acquisition, Heckscher Museum (1971 January 16–February 21); American Drawings: The Last Decade, The Katonah Gallery (1971 September 24–November 7); National Institute of Arts and Letters (1972 November); 149th Academy Annual Exhibition, National Academy of Design (1974 February 23–March 16).
- 15.16 Exhibitions: Paintings by Some Contemporary American Women, Randolph Macon Women's College (1972 February 8–28), 1971–1972
- 15.17 Exhibitions: Drawings by Contemporary American Artists, Cranbrook Academy of Art Museum (1975 January 26–March 2); Flint Institute of Arts (1975 March 19–April 13), 1974–1975
- 15.18 Exhibitions: 150th Annual Exhibition, National Academy of Design (1975 February 22–March 16), 1974–1975
Exhibition prospectus. Correspondence re exhibition. Shipping receipts. Index card with title, price, et cetera, of painting.
- 15.19 Exhibitions: The Monclair Art Museum (1975 April 20–June 22), 1974–1975
- 15.20 Correspondence, 1980–1983, 1985–1988
- 15.21 Correspondence: Francis J. Greenburger Foundation Award, 1987
- 15.22 Exhibitions: Hope Makler Gallery (1980 January 7–February 2), 1979–1980
- 15.23 Exhibitions: Boston Atheneum Gallery spring exhibition (1980 April 1–26), 1979–1980
- 15.24 Exhibitions: Loren MacIver: Five Decades, Newport Harbor Art Museum (1983 April 14–June 12), 1980–1983
Correspondence between Robert M. Frash, guest curator, and Pierre Matisse Gallery re retrospective exhibition. Copies of letters to Loren MacIver and to lenders. Loan forms, receipts. Seven black‐and‐white installation photographs of exhibition. Postcard of Museum. Announcement and invitation to exhibition.
- 15.25 Exhibitions: Recent Paintings, Pierre Matisse Gallery (1981 April 14–May 2), 1981
- 15.26 Exhibitions: Patricia Moore Gallery (1982 summer), 1981–1982
- 15.27 Exhibitions: 20/20: 20 Galleries/20 Years, Grace Borgenicht Gallery and Terry Dintenfass Gallery (1982 January 9–February 4), 1981–1982
- 15.28 Recent Paintings and Pastels, Pierre Matisse Gallery (1987 April 15–May 9), 1987
- 15.29 Inventories, 1982, 1984–1985, 1988
- 15.30 Correspondence, 1990–1993
Miscellaneous correspondence re photographs, research questions. Correspondence re values for paintings. Letter from George Hofmann re possible book on Loren MacIver. Correspondence with Dorothy Thompson re proposed exhibition (unrealized) at Fitchburg Museum in Massachusetts. Correspondence with Linda Conti, University of New Hampshire, re photographs of MacIver works for bulletin covers.
- 15.31 Correspondence: Pollock‐Krasner Foundation Grant, 1991–1992
- Subseries: Maillol, Aristide, 1861–1944
- 15.32 Correspondence, 1932–1939?
Photocopies of letters as per included list. Cables. Obituary clipping, New York Times, October 6, 1944.
- 15.33 Correspondence: Lucien Maillol, 1948–1958
1948–1949 correspondence between Pierre Matisse and the artist's son Lucien regarding the casting of Mediterranée 2/4. Cables, shipping receipts. Letters related to a damage to the sculpture occurred before the shipment. 1952 letter from Pierre Matisse asking about a certain "Pierre agglomerée" (Monument C. Debussy) rescued by him after World War II from the garden in Marly. Letters from 1954 and on mentioning various works by Maillol that are either for sale or going to be cast: Fille à la colombe, Monument Blanqui (Action enchainée), L'air, La nuit. November 26, 1956 letter from Pierre Matisse asking Lucien for expertise on a small bronze bought in Paris. News clipping from New York Times on Dina Vierny, the sculptor's model from 1937 to his death.
- Subseries: Malraux, André, 1901–1976
- 15.34 Published biographical material, 1970s
- Subseries: Man Ray, 1890–1976
- 15.35 Exhibitions: Man Ray retrospective exhibition, Los Angeles County Museum of Art (1966 October 27–December 25), 1966–1967
Pierre Matisse loaned Optical Hopes and Illusions. Correspondence, loan forms, photocopies of correspondence between Pierre Matisse and Man Ray (February and March, 1967) re missing glass in piece. Man Ray's recommendations for repairing and exhibiting piece followed. Original correspondence moved to artists' letter boxes
- 15.36 Published biographical material, 1970s
- 15.37 Exhibitions: The New York Cultural Center (1974 December 19–1975 February 16); to Institute of Contemporary Arts, London, and Il Palazzo delle Esposizione di Roma, Rome, 1974–1975
- 15.38 Exhibitions: Surrealism and American Art: 1931–1949, Rutgers University Art Gallery (1977 March–June), 1977
Pierre Matisse loaned Optical Hopes and Illusions. Correspondence, loan forms, shipping records, review, announcement.
- 15.39 Biography by Neil Baldwin, 1988
- 15.40 Exhibitions: Man Ray: Objects of My Affection, Zabriskie Gallery (1985 January 23–February 23), 1985
Pierre Matisse loaned Optical Hopes and Illusions. Correspondence, loan forms, catalogues, announcement, photographs.
- 15.41 Exhibitions: Perpetual Motif: The Art of Man Ray, National Museum of American Art (1988 December 2–1989 February 2), 1988–1989
- Subseries: Marini, Marino, 1901–1980
- 15.42 Accounts, 1958–1966
- 15.43 Correspondence, 1955
On March 23 Pierre Matisse writes Marino Marini re closing of Curt Valentin New York gallery (Marini's previous dealer) and suggests that he would like to take on Marini's work. Marini cables acceptance. Arrangements develop over time, meetings are planned and held. Much of Marini's correspondence throughout is by Marini's wife Marina, in French, with frequent references to Patricia Matisse. September 22 letter from Pierre Matisse includes price list of bronzes. Marini's works are shipped, payments made by Pierre Matisse Gallery, sale made. Undated statement by Marini regarding editions of bronzes. Included Pierre Matisse Gallery exhibition catalogue First Showing of Recent Works (December 1955) featuring works by Dubuffet, Giacometti, Marini, Miró, and Riopelle. See also installation photos
- 15.44 Correspondence, 1956
January, Pierre Matisse pays for works received previous November, meeting planned. February, Pierre Matisse asks for info re Boccioni sculptures [Galleria del Milione]; reference to Hanover Gallery exhibition of Marini in London, May. In March, the Matisses travel, Saint–Jean and to Barcelona. Price list of works seen at studio, Pierre Matisse to buy. Correspondence re purchases, payments, shipping, et cetera. In May, Pierre Matisse introduces Sam and Florene Marx from Chicago, later correspondence re purchases, shipment, et cetera. In July, Pierre Matisse had seen Erica [Brausen], London, Hanover Gallery. Continuing correspondence re prices, purchases by Pierre Matisse Gallery, payments, shipments. Undated, unidentified, handwritten letter accompanies copy of catalogue of Hanover Gallery Marino Marini exhibition (1956 May–June), "Dear Dolly...Ma." Photocopies of dated and undated sketches of Marini sculptures (one copy). A sketch taped to photo of sculpture. One black‐and‐white photo. Original sketches removed to box of original works of art found in files
- 15.45 Correspondence, 1957
Correspondence re payments, Pierre Matisse Gallery purchases, shipments, et cetera. Pierre Matisse sometimes asking for adjustments in prices. In missive dated May 16, Pierre Matisse writes enthusiastically about new bronzes with traces of paint, which the publisher San Lazzaro wishes to reproduce in color, arrangements for Ektachromes, et cetera. Missive dated October 2, Pierre Matisse re Marini paintings, San Lazzaro, and plans for February 1958 Marini exhibition at Pierre Matisse Gallery. Matisse outlines what he intends to show and asks Marini to design catalogue cover. Shipping arrangements, et cetera. Letter from Darmstadt re Marini exhibition planned for August/September 1958.
- 15.46 Correspondence, 1959
- 15.47 Exhibitions: Sculpture, Paintings, Pierre Matisse Gallery (1958 March 11–29), 1958
Correspondence re delay in exhibition opening to 10 March, further re Marini works, purchases, shipments, payments. In correspondence dated 19 February, Pierre Matisse lists works included in exhibition, questions re bases, et cetera. Pierre Matisse asks Marini for a poster, after opening sends clippings. 12 April note in Italian from Marino that Marina ill in clinic in Lugano. 24 May she writes from Milan. 11 December [no year] Marina writes of her illness. Page of undated letter from Marina. Three priced catalogues, review clippings.
- 15.48 Catalogues and publicity, 1950s
- 15.49 Correspondence, 1960–1965, undated
From 1960–1963, correspondence, price lists, payments, et cetera. Correspondence between Pierre Matisse and Toninelli Arte Moderna, re prices on Marini works. Several letters from Marina with month and day but no year. Handwritten undated price lists. Four black‐and‐white glossy photos, various sizes. One negative, damaged. Catalogue: Milan, Toninelli: Marino Marini, 1963–1964.
- 16.01 Correspondence, 1966–1970
Letter from Carandente inviting Pierre Matisse to the opening of Marini exhibition in Venice. Correspondence from Marina to Patricia Matisse (Patricia Kane Matisse [née Matta]). Correspondence dated May 9, 1968 from Princeton University re commission to execute sculpture. Further correspondence of December 12, 1968 re Princeton sculpture. Correspondence of February 17, 1970 from Princeton turning down sculpture. List of negative numbers. Some correspondence in Italian and French
- 16.02 Exhibitions: Rome (1966) and Mexico City, 1965–1966
Correspondence relating to exhibitions at Quadriennale Nazionale d'Arte di Roma and the Mexico City Museum of Modern Art. December 28, 1965 missive from Pierre Matisse with the insurance value of L'idea del cavaliere. Missive of December 17, 1965 from Quadriennale di Roma with details of exhibition. Insurance certificate, shipping papers, cables. Poor quality photocopy of Marini sculpture.
- 16.03 Inquiries, 1965–1981
Miscellaneous inquiries re work of Marino Marini. Correspondence dated March 28, 1981 from Massimo Zelman re book on Marini's work. Postcard of Marini, L'idea del Cavaliere from Fine Arts Gallery, San Diego, Calif. Some correspondence in French File contains several poor quality photocopies
- 16.04 Publicity, 1960s
- 16.05 Exhibitions: Marino Marini, National Museum of Modern Art, Tokyo (1978 April), 1976–1978
July 29, 1976 statement by Marini agreeing to Tokyo exhibition. Inquiry re sculpture not Pierre Matisse Gallery‐affiliated. Copy of handwritten numbered list of works of art, dated April 1978. Invitation and calling cards.
- 16.06 Exhibitions, 1981, 1984
- 16.07 Publicity, 1980
Clippings of Marini obituary from the New York Times (August 7, 1980) and the International Herald Tribune. Note from Marina Marini and a draft of a Pierre Matisse cable to Marini. Some correspondence in Italian
- 16.08 Publicity, undated
- Subseries: Martin, Phillip, 1927–
- 16.09 Correspondence, 1953
Correspondence to and from Pierre Matisse and Martin re Pierre Matisse interest in Martin work and acquisition of several Martin paintings, in 1952. Pierre Matisse offers to exhibit them in 1954 (?) in a manuscript letter signed April 17, 1953. Pierre Matisse's arrangement to view more paintings and to visit artist in Positano, Italy. Paintings not ready in artist's view for Pierre Matisse to take with him. Original correspondence is located in artists' letter boxes
- 16.10 Correspondence, 1954
Copies of correspondence to and from Pierre Matisse and Martin re shippings of paintings, exhibition plans, Pierre Matisse dispute with Dorothy Hale over Hale's desire to have "private" show of Martin work and purchase at dealer, not collector, prices. Pierre Matisse strongly objects to this (August 31, 1954). Two‐page letter from Dorothy Hale to Phillip Martin (August 7, 1954). Accounting, payments. Original correspondence is located in artists' letter boxes Small signed painting/sketch removed to box of original artwork See also exhibition Scrapbook, 1950–1955 for installation photos
- 16.11 Correspondence, 1955
Copies of correspondence to and from Pierre Matisse and Phillip Martin re accounting, Martin's constant need for advance of funds, works in progress, Matisse's car accident, Martin family continual moves (Florence, Positano, plans for Greece, France). In missive of November 20 (1955?) Martin writes to Pierre Matisse requesting Matisse's decision whether to continue representing Martin. Martin desire to show in Paris?. Matisse response to Martin dated November 29, 1955 re difficulties selling Martin paintings due to huge dimensions, but still interested. Donation of Martin works by Dorothy Hale to the Museum of Modern Art and Art Institute of Chicago. Original correspondence is located in artists' letter boxes See also Martin, Exhibition file
- 16.12 Correspondence, 1956–1957, 1960–1968
Copies of correspondence to and from Pierre Matisse and Martin re Martin requests for funds, queries re Pierre Matisse plans for Martin's work, Martin's continual moves, mention of European galleries interested in his work, European exhibitions, Pierre Matisse's health problems, Martin's need to sell art at best offer to raise funds (January 3, 1960). In correspondence of March 3, 1960 from Pierre Matisse to Martin, Matisse not willing to purchase art. Original correspondence is located in artists' letter boxes
- 16.13 Exhibitions: First American Exhibition of Paintings, Pierre Matisse Gallery (1955 February 8–March 5), 1955
Copies of correspondence to and from Pierre Matisse and Martin re exhibition, press reviews, biographical material, list of works in show, possible catalogue cover art [?], excerpts of Martin remarks to Pierre Matisse from 1953 letter for possible use in catalogue, priced catalogue, photograph. Original correspondence is located in artists' letter boxes Original artwork filed elsewhere See also exhibition Scrapbook, 1950–1955 for installation photos, catalogue
- 16.14 Exhibitions, 1950s
- 16.15 Exhibitions, 1960s–1972
Catalogues. Exhibitions not Pierre Matisse Gallery‐affiliated. Helen Marshall and Phillip Martin: Peintures, Collages, Gouaches, Œuvres Joints, 1950–1966, Palais des Beaux‐Arts de Bruxelles (1966 April 14–26); Martin 1950–1971, La Galleria Gissi, Torino (1972 March 9–July 3?).
- 16.16 Correspondence, 1986, 1988
Martin, now in Australia, reestablishes contact with Pierre Matisse and Gallery in 1986; visits New York City and Pierre Matisse in 1988. Pierre Matisse returns paintings to him. Correspondence, shipping records, color snapshots of Martin's work, list of Pierre Matisse Gallery inventory and values for shipping.
- 16.17 Exhibitions: Catalogues, 1980s
- Subseries: Mason, Raymond, 1922–2010
- 16.18 Biographical material, undated
- 16.19 Accounts: Fonderia Bruni, 1966–1969
Correspondence, cables, invoices re payments to Fonderia Bruni for casting of Raymond Mason work. Work cast: Tramway de Barcelona, Carrefour de l'Odeon, La Strada, Piccola Folla, Boulevard St. Michel, Grande Pasaggio del Mezzodi, The Crowd. Some correspondence in Italian
- 16.20 Accounts, 1967–1969
Correspondence, receipts, expense summaries, invoices re Pierre Matisse Gallery advances, living expenses, travel, foundry work. Correspondence between Pierre Matisse, Raymond Mason, Westminster Foreign Bank, Irving Trust Co., re accounts, payments. Payments to Mason, expense lists, receipts. Receipt from Galerie Janine Hao. Miscellaneous handwritten notes. Invoice for artwork from Claude Bernard. One receipt includes Mason sketches on reverse side. Some material in French
- 16.21 Accounts: Shipments, 1968–1970
- 16.22 Correspondence, 1966 October–December
Correspondence between Pierre Matisse and Raymond Mason re Pierre Matisse representation; signed letter of agreement dated October 24, 1966. Mason descriptions of ongoing activities. Mason's European representative is Galerie Claude Bernard. Casting and patinating expenses, especially re The Crowd. Prices and expenses. Some correspondence in French See also Accounts: Fonderia Bruni, 1968–1979
- 16.23 Correspondence, 1967
Correspondence between Pierre Matisse and Raymond Mason re castings (especially The Crowd), upcoming spring 1968 Mason exhibition at Pierre Matisse Gallery, Balthus (April 8, May 4, December 15), Riopelle (April 26), Fonderia Bruni. Names: Balthus, Riopelle, Fonderia Bruni
- 16.24 Correspondence, 1968
Correspondence, cables between Pierre Matisse and Raymond Mason re castings at Fonderia Bruni (especially of The Crowd), preparations for Pierre Matisse Gallery exhibition (includes delays), Mason's comments on Pierre Matisse Gallery exhibition, Francis Bacon (December 28), sketches on February 19 letter to Pierre Matisse. Some correspondence in French See also Exhibitions, 1968
- 16.25 Correspondence, 1969
Correspondence between Pierre Matisse and Raymond Mason re The Departure of Fruit and Vegetables from the Heart of Paris 28 February 1969 ["Les Halles"] execution, Mason work at Fonderia Bruni. Mason assessment of The Crowd ("by its conception and by its technique one of the most important sculptures of this century" (March 16). Mason sketches in letters of February 23, March 13 and June 3. The Crowd shipping records, measurements. Miscellaneous cash advances to Mason. Correspondence between Pierre Matisse with Modern Art Foundry re casting of base for Falling Man. Some correspondence in French Photos in file
- 16.26 Exhibitions, 1964–1966
- 16.27 Exhibitions: Obsessive Image, Institute of Contemporary Arts, London (1968 May), 1968
Group show with The Crowd. Correspondence between Pierre Matisse and gallery director, Roland Penrose, re shipping of The Crowd, Mason's displeasure with sculpture's placement.
- 16.28 Exhibitions: Raymond Mason, Pierre Matisse Gallery (1968 October 15–November 2), correspondence and press, 1968
Correspondence, between Raymond Mason, press re exhibition preparation, photographs, layout of catalogue. Lists of works in show, list of catalogue recipients.
- 16.29 Exhibitions: Raymond Mason, Pierre Matisse Gallery (1968 October 15–November 2), announcement and final catalogue, 1968
- 16.30 Exhibitions: Raymond Mason, Pierre Matisse Gallery (1968 October 15–November 2), catalogue, 1968
- 16.31 Exhibitions: Raymond Mason, Pierre Matisse Gallery (1968 October 15–November 2), insurance and loan records, 1968
- 16.32 Exhibitions: Raymond Mason, Pierre Matisse Gallery (1968 October 15–November 2), shipment of The Crowd to France, 1968–1969
- 16.33 Exhibitions: The Crowd: an exhibition of sculpture, painting, and graphics, Arts Club of Chicago (1969 October 10–November 29), 1969
Group exhibition. Correspondence between Pierre Matisse, Mrs. Alfred P. Shaw (president of the Arts Club) re works for exhibition, shipping, catalogue. List of works with sales prices, press, shipping records, catalogue.
- 16.34 Accounts, 1970–1979
Correspondence, cables re advances, exhibition expenses, photography, fund transfers, payments for work sold (Mason unhappy May 7, 1975), Mason's break from Galerie Claude Bernard (addressed May 7 and 13, 1975), Mason apology to Pierre Matisse over characterizations in May 7, 1974 letter, record of payments to Mason (1975–1976), payment for The Aggression at 48 Rue Monsieur‐le‐Prince on 23 June 1975, March 10, 1978.
- 16.35 Accounts: R. Haligon, 1971
- 16.36 Accounts: R. Haligon, 1976–1979
Tragedy in the North: Winter, Rain, Tears, The Aggression. Correspondence, invoices, payments for fabrication. See also Exhibitions, 1977
- 16.37 Accounts: Sale of lithographs to Pierre Matisse Gallery, 1977
- 16.38 Clippings, 1975–1979
- 16.39 Correspondence, 1970
Correspondence between Pierre Matisse and Raymond Mason re 1969 Chicago exhibition (March 9, 1969 letter attached to March 2, 1970 letter), description of The Crowd in Paris (March 7, 1970), Claude Bernard and "Les Halles" drawings (March 7, 1970), "Les Halles" description (May 18), Francis Bacon (May 18), "Les Halles" fabrication (June 1, June 6, October 25, November 2), fire destroys Mr. and Mrs. Pierre Matisse's belongings (September 9), attempts to sell The Crowd Georges Pompidou] (September 14), exhibition planning, Mason disputes with Claude Bernard (October 25, October 31, November 27). See also Exhibitions: Arts Club of Chicago, 1969
- 16.40 Correspondence, 1971
Correspondence between Pierre Matisse and Raymond Mason re "Les Halles" casting (January 28), Riopelle (January 28),
"Les Halles" casting (April 14), exhibition (April 14, April 27), catalogues, finances (September 8), mounting of "Les Halles" (?), sketches, dispute with Pierre Matisse re watercolors (September 30), response to Pierre Matisse Gallery exhibition, Mason sketchbooks (December 7). Photographs in file. Some correspondence in French
- 16.41 Correspondence, 1972–1976
Correspondence between Pierre Matisse and Raymond Mason re St. Mark's Place, East Village, New York City (April 4, 1972, November 22, 1972, January 1, 1973). Raymond Mason/Pierre Matisse conflicts (October 5, 1972, October 10, 1972). Mason health problems (January 1, 1973), Claude Bernard exhibition (June 1973), sale of St. Mark's Place (February 7, 1975), John Russell (February 7, 1975), work on Tragedy in the North (November 28, 1976), Balthus (November 28, 1976). Photographs in file.
- 16.42 Correspondence, 1977–1979
Correspondence between Pierre Matisse and Raymond Mason re possible Pierre Matisse Gallery exhibition (October 12, 1977, April 9, 1979). Galerie Claude Bernard exhibition (1977 November 29–1978 January 25). Raymond Mason's essay, "La Donation Picasso," Mason work on Tragedy in the North (February 6, 1977), The Aggression (1977). Deteriorating relationship between Pierre Matisse and Mason (June 29, 1977). See also Accounts: R. Haligon, 1970s files; Exhibitions, 1970s files
- 16.43 Exhibitions: Le Déprat des fruits et légumes du coeur de Paris, le 28 février 1969 ["Les Halles"], Pierre Matisse Gallery (1971 November 2–30), 1971
Miscellaneous correspondence between Pierre Matisse, Raymond Mason, and Galerie Claude Bernard re exhibition. Lists of work in show, breakdown by room (two lists including prices). Exhibition announcement. See also Correspondence, 1971
- 16.44 Exhibitions: Le Déprat des fruits et légumes du coeur de Paris, le 28 février 1969 ["Les Halles"], Pierre Matisse Gallery (1971 November 2–30), catalogues, 1971
- 16.45 Exhibitions: Le Déprat des fruits et légumes du coeur de Paris, le 28 février 1969 ["Les Halles"], Pierre Matisse Gallery (1971 November 2–30), catalogue drafts, 1971
- 16.46 Exhibitions: Le Déprat des fruits et légumes du coeur de Paris, le 28 février 1969 ["Les Halles"], Pierre Matisse Gallery (1971 November 2–30), press and articles, 1971
Includes John Canaday review, Saturday Review article (April 22, 1972), ARTnews (November 1971) article is Raymond Mason's account of "Les Halles" sculpture, pages 72–74
- 16.47 Exhibitions: Eats: An Exhibition of Food in Art, Hofstra University (1972 June 18–August 31, 1972), 1972
Group show. Pierre Matisse Gallery lent Vegetable Crates, Mason watercolor. Correspondence, loan agreement, review of exhibition.
- 16.48 Exhibitions: Galerie Claude Bernard, 1974
Correspondence between Pierre Matisse, Raymond Mason and Galerie Claude Bernard re items in exhibition, Claude Bernard's difficulties with Raymond Mason [?] (July 18, 1974). Correspondence in French
- 16.49 Exhibitions: New York—The Luberon, Pierre Matisse Gallery (1974 November 5–29), 1973 October–1975 May
- 16.50 Exhibitions: New York—The Luberon, Pierre Matisse Gallery (1974 November 5–29),catalogue, 1974 July–November
- 16.51 Exhibitions: New York—The Luberon, Pierre Matisse Gallery (1974 November 5–29), expenses and shipping, 1974 July–November
- 16.52 Exhibitions: New York—The Luberon, Pierre Matisse Gallery (1974 November 5–29), press clippings, 1974 November–1975 June
- 16.53 Exhibitions: Tragedy in the North... (proposed), Pierre Matisse Gallery, 1977
- 16.54 Exhibitions: Festival d'Automne à Paris (1977 October 14–November 27), 1977–1979
Pierre Matisse Gallery loaned Mason gouache Midday at Menerbes, damaged. Correspondence, shipping records, forms.
- 17.01 Exhibitions: Tragedie dans le Nord..., Galerie Claude Bernard (1978 November 29–1978 January 25), 1977–1978
- 17.02 Accounts, 1980–1981
Records of gallery payments to Raymond Mason, payments for fabrications, photographs. Pierre Matisse Gallery purchase of lithographs (1980), Pierre Matisse Gallery purchase of Tragedy in the North cast 2 of 4 (May, 1980).
- 17.03 Clipping, 1983
- 17.04 Correspondence, 1980–1987
Long correspondence re lost transparencies, difficulty of photographing Mason's work, et cetera. Photographs finally found (October 27, 1980) and returned. Correspondence also re payments due, accounts. February 28, 1980 missive from David Tunkl Fine Art in Los Angeles re desire to exhibit Mason's work. May 4, 1982, Pierre Matisse decides that he can no longer represent Raymond Mason, writing "I have come to the conclusion that it has been on the whole, besides the artistic excitement, a rather costly endeavor, not with counting the competition encountered in Europe including your own and your international supporters. After much thought and consideration I have decided, very much to my regrets, that the gallery could not continue officially our relationship as it stood in the past." Unhappy correspondence from Raymond Mason. 1983, more amicable correspondence until 1987 and the question of the patina of a Mason sculpture sold to a client of Pierre Matisse.
- 17.05 Exhibitions: Polychrome Sculpture: A Tragedy in the North. Winter, Rain and Tears; The Aggression at Rue Monsieur‐le‐Prince, June 23, 1975; An Illuminated Crowd, Pierre Matisse Gallery (1980 April 15–May 3), 1979–1980
November 14, 1979, Mason writes of work for exhibitions, colors, chosen, suggestions for display. In missive dated March 18, 1980, Mason describes lighting for Tragedy in the North, including a small sketch. February 27, 1980, Mason writes with suggestions for catalogues. Numerous small sketches. In a missive marked "Paris. Saturday", Mason sends sketches with dimensions for sculpture bases. Color postcard from Raymond Mason with portion of Le départ ["Les Halles"], shipping receipts, cables. List of exhibition expenses. Letters in file are originals
- 17.06 Exhibitions: Polychrome Sculpture: A Tragedy in the North. Winter, Rain and Tears; The Aggression at Rue Monsieur‐le‐Prince, June 23, 1975; An Illuminated Crowd, Pierre Matisse Gallery (1980 April 15–May 3), 1980
- 17.07 Exhibitions: Polychrome Sculpture: A Tragedy in the North. Winter, Rain and Tears; The Aggression at Rue Monsieur‐le‐Prince, June 23, 1975; An Illuminated Crowd, Pierre Matisse Gallery (1980 April 15–May 3), 1980
- 17.08 Exhibitions: Polychrome Sculpture: A Tragedy in the North. Winter, Rain and Tears; The Aggression at Rue Monsieur‐le‐Prince, June 23, 1975; An Illuminated Crowd, Pierre Matisse Gallery (1980 April 15–May 3), 1980
- 17.09 Exhibitions: Polychrome Sculpture: A Tragedy in the North. Winter, Rain and Tears; The Aggression at Rue Monsieur‐le‐Prince, June 23, 1975; An Illuminated Crowd, Pierre Matisse Gallery (1980 April 15–May 3), 1980
- 17.10 Exhibitions: Polychrome Sculpture: A Tragedy in the North. Winter, Rain and Tears; The Aggression at Rue Monsieur‐le‐Prince, June 23, 1975; An Illuminated Crowd, Pierre Matisse Gallery (1980 April 15–May 3), 1980
- 17.11 Exhibitions: The Sculpture Center, New York City (1982 November 2–30), 1982
- 17.12 Exhibitions: Raymond Mason: coloured sculptures, bronzes, and drawings, 1952–1982, Serpentine Gallery, London (1983 November 27–January 9), 1982–1983
Loan forms. July 5, 1982 letter to request loans for exhibition, with list. Insurance policy. Miscellaneous correspondence re loans, shipping, et cetera. List of works with prices noted. One copy of Artscribe, no. 39 with review of Raymond Mason exhibition.
- 17.13 Exhibitions: Marlborough Gallery, New York City (1985 March 28–April 20), 1985
Review from Art/World, April/May 1985. Review from the New York Times, July 7, 1985. Advertisements.
- 17.14 Exhibitions: Raymond Mason, Musée National d'Art Moderne (Centre Georges Pompidou) (1985 September 11–November), 1985
Correspondence re loans. Loan forms. Xerox copies of photographs. Shipping papers, insurance certificates. September 2, 1985 missive from Bozo re desire to extend exhibition to Musée Cantini (1985 December 14–1986 February 17). New loan forms, insurance papers. Clippings, announcements, reviews.
- 17.15 Exhibitions: Narration Drawing, New York Studio School (1986 March 4–1986 April 3), 1986
- 17.16 Exhibitions: Sculpture and Drawings Birmingham Museum and Art Gallery (1989 April 28–June 18); Manchester City Art Gallery (1989 July 15–September 3); The City Art Centre, Edinburgh (1989 September 23–November 12), 1989
- 17.17 Announcements, 1980–1991
- 17.18 Inventories, undated
- Subseries: Masson, André, 1896–1987
- 17.19 Correspondence, 1932–1956
Letters to Pierre Matisse as per included list. Circular letter by Pierre Matisse to collectors introducing Masson's art. Also list of recipients. Catalogues: Arundell Clarke Ltd., undated; Michel Hertz Bremen Gallery, 1965. Articles: "Mediumistic Artist" by H. Rosenberg, The New Yorker, August 1976; "Homage to 45, rue Blomet" by W. Jeffett, Apollo, 1988. News clippings: 1933 review of the Paintings exhibition at Pierre Matisse Gallery (1933 January 17–February 11); 1987, obituaries.
- Subseries: Mathieu, Georges, 1921–
- 17.20 Correspondence, 1970
- Subseries: Matta Echaurren, Roberto Sebastián, 1919–2002
- 17.21 Exhibitions: Paintings and Oil Pencils, Pierre Matisse Gallery (1942 March 31–April 21), 1942
- 17.22 Exhibitions: Matta, Pierre Matisse Gallery (1944 February 15–March 11), 1944
- 17.23 Exhibitions: Paintings, 1944–1945, Pierre Matisse Gallery (1945 March 12–31), 1945
- 17.24 Exhibitions: Matta, Pierre Matisse Gallery (1946 April 15–May 4), 1946
Checklist (photocopy), Henry McBride review in The Sun, April 20, 1946. See also exhibition Scrapbook, 1946–1949 for original checklist
- 17.25 Exhibitions: Paintings, Pierre Matisse Gallery (1947 November 4–22), 1947
Four checklists, including priced checklists. See also exhibition Scrapbook, 1946–1949 for additional checklist
- 17.26 Exhibitions, 1940s–1950s
- 17.27 Exhibitions, 1960s
- 17.28 Correspondence, 1975, 1989
- 17.29 Exhibitions, 1970s–1990
- 17.30 Exhibitions: Matta: The First Decade, Rose Art Gallery, Brandeis University (1982 May 9–June 20), 1982
- 17.31 Exhibition: Retrospective, Centre Georges Pompidou 1985 October 1–December 16), 1985
Pierre Matisse loaned eleven works. Correspondence, announcement, shipping records, reviews, article "Prologomena to a Study of Matta" by Martica Sawin, Arts magazine, December 1985.
- 17.32 Exhibition: Retrospective, Centre Georges Pompidou 1985 October 1–December 16), 1985
- 17.33 Exhibitions: Palazzo Venezia, Rome (1988 March 16–April 30), 1988
Pierre Matisse loaned nine drawings and 20 paintings. Correspondence, invitation, shippings records, press.
- 17.34 Exhibitions: Palazzo Venezia, Rome (1988 March 16–April 30), 1988
- 17.35 Exhibitions: Roberto Matta: Works on Paper, 1937–1988, Museum Bochum, Cologne 1988 June 11–July 30), 1988
- 17.36 Inventories, 1984–1988, undated
- 17.37 Inventories, undated
- Subseries: Matter, Herbert, 1907–1984
- 17.38 1943–1977
Pierre Matisse Gallery exhibition announcement with text by James Johnson Sweeney (Herbert Matter: Photography, 1943 May 4–15). Spanish newspaper article on Matter. Thirteen black‐and‐white photographs by Matter. List of photographs exhibited, with titles and prices. 1976 brochure for the Matter portfolio 13 Photographs of Giacometti Sculpture. 1977 obituary of Herbert Matter. Manuscript of text by Mercedes Matter published by Abrams in 1987.
- Subseries: Millares, Manolo, 1926–1972
- 17.39 Biographical material, 1959–1965
Published writings re Millares and the El Paso group. Includes Papeles de Son Armanes issue re El Paso group, vol. 13, no. 37. Printed in Palma de Mallorca, 1959. Names: El Paso group, Antonio Saura, Manuel Rivera, Rafael Canogar Material in Spanish
- 17.40 Correspondence, 1959 August–December
Correspondence, cables between Pierre Matisse and Millares re Millares's representation at Pierre Matisse Gallery; Saura and other artists. Signed letter of agreement between Millares and Pierre Matisse Gallery dated November 20, 1959. El Paso group exhibition at the Museum of Modern Art (?), December 1959–?. Sales. Names: Museum of Modern Art, Antonio Saura Correspondence in Spanish and French
- 17.41 Exhibitions: Catalogues, 1958, 1960–1969
Catalogues for exhibitions unaffiliated with Pierre Matisse Gallery. Solo shows: Daniel Cordier (February 1961); Galleria Odyssia, Rome (1963); Galerie Latina, Stockholm (1964); Museum of Modern Art, Rio (1965); Galeria Rene Metrous, Barcelona (1966); La Pasarela, Seville (1968). Group shows: Arthur Tooth & Sons, Ltd. (1960, 1962); El Paso L'Attico Roma (1958, 1960); Exposicion de Arte Actual, San Sebastian (1962); Bundy Art Gallery, VT (1965); Galeria Juana Mordo, Madrid (1965); Foley's (1966).
- 17.42 Correspondence, 1960
Correspondence and cables between Pierre Matisse and Millares re prices for art, money transfers, El Paso exhibition at Museum of Modern Art, Frank O'Hara visits to Madrid to look at work for Museum of Modern Art exhibition (March 4), mention of Rivera as candidate for Pierre Matisse Gallery (April 8), Millares comments on Dore Ashton review (May 6), Millares's works in progress. Names: Frank O'Hara, Dore Ashton, Manuel Rivera, Museum of Modern Art, El Paso group Correspondence in Spanish and French See also Exhibitions: Museum of Modern Art, 1960–1961; Manuel Rivera files
- 17.43 Correspondence, 1961–1962
Correspondence between Pierre Matisse, Millares, and Galerie Daniel Cordier re payments, inventory at Pierre Matisse Gallery, Pierre Matisse selection of Millares work, Millares exhibitions, Saura (April 26, 1961). Names: Galerie Daniel Cordier, Antonio Saura Correspondence in Spanish and French See also Exhibitions files; Antonio Saura files
- 17.44 Correspondence, 1963–1969
Correspondence to and from Pierre Matisse, Millares, Elvireta Millares (wife) re exhibitions, payments, inventory, book on Millares's paintings in European and American museums (January 14, 1968). Names: Elvireta Millares Correspondence in Spanish See also Exhibitions files; Antonio Saura files
- 17.45 Exhibitions: Recent Paintings, Pierre Matisse Gallery (1960 April 12–May 7), 1960
Catalogues (two, both with price information), reviews, letters of invitation, shipping records, list of work in show. Material in Spanish
- 17.46 Exhibitions: New Spanish Paintings and Sculpture, Museum of Modern Art (circulating exhibition) (1960 June–1961 December), 1960–1961
Correspondence between Pierre Matisse, Millares, Frank O'Hara (Museum of Modern Art curator) re four Millares works to be in show. May 9, 1960 typed letter signed by Millares to Pierre Matisse includes paragraph relating Millares's assessment of progress from 1948. Clippings, including clippings re Guggenheim exhibition of related Spanish art. Names: El Paso group, Museum of Modern Art, Guggenheim Museum, Frank O'Hara Some correspondence in Spanish and French
- 17.47 Exhibitions: 1964 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, 1964
Correspondence to and from Millares and Pierre Matisse re Painting 1963 to be exhibited. Correspondence in Spanish See also Correspondence, 1963–1969
- 17.48 Exhibitions: "Los mutilados de paz," Paintings on Canvas and Paper, Pierre Matisse Gallery (1965 April 6–May 1), 1964–1965
Invitations, catalogue text, price list, correspondence between Manolo Millares and Pierre Matisse. October 21, 1964 letter includes Millares sketches. Clippings. See also photographs of installation, works exhibited
- 17.49 Correspondence, 1970–1976
Manolo Millares died in 1972. Correspondence to and from Manolo Millares, Pierre Matisse, Elvireta Millares re exhibitions, shipping, publications, sales. Pierre Matisse Gallery assistance with Millares catalogue raisonné, retrospective exhibition, squaring of Millares's accounts. Some correspondence in Spanish and French See also related Catalogue raisonné file; Exhibitions, 1974
- 18.01 Catalogue raisonné, 1973–1974
- 18.02 Exhibitions: Millares/Saura: Exhibition of Etchings, Lithographs, Seriographs, and Gouaches, Pierre Matisse Gallery (1971 March 16–April 10), 1971
- 18.03 Exhibitions: Homage to Manolo Millares: His Last Paintings, 1969–1971, Pierre Matisse Gallery (1974 May 21–June 7), 1972–1974
Correspondence between Pierre Matisse and Elvireta Millares re lists of work in show, sales, shipping, catalogue text. Records of expenses for exhibition, notice of exhibition. Some correspondence in Spanish and French See also Photographs; Catalogue materials
- 18.04 Exhibitions: Homage to Manolo Millares: His Last Paintings, 1969–1971, Pierre Matisse Gallery (1974 May 21–June 7), catalogue materials, 1973–1974
- 18.05 Exhibitions: Homage to Manolo Millares: His Last Paintings, 1969–1971, Pierre Matisse Gallery (1974 May 21–June 7), reviews, 1974
- 18.06 Exhibitions: Catalogues and notices, 1971–1974
- 18.07 Catalogue raisonné, Museo Nacional Centro de Arte Reina Sofía, 1987 October–1988
Correspondence to and from Pierre Matisse Gallery, Elvireta Millares, Centro de Arte re lists of works, announcements for published catalogue raisonné.
- 18.08 Exhibition notices, 1980–1989
- Subseries: Miró, Joan, 1893–1983
- 18.09 Accounts, undated
Miscellaneous undated and unidentified pieces of paper. Index card (Miró stencil) with numbers, dates, prices. Two pages that appear to be copies from stock or purchase book. Certificate of mailing to France. Bank signature card signed by Joan Miró and Pilar Miró. Five pages (very fragile) that appear to be torn from a stock book.
- 18.10 Authentications, undated
Photocopies of paintings signed "Miró" with photocopies of backs of paintings showing "Miró" signature, dates, gallery labels. Card from Galeria Jean Boghici and card from Miró introducing Mlle Lokolova.
- 18.11 Biographies, undated
- 18.12 Commissions, undated
- 18.13 Undated
Miscellaneous items without dates. Handwritten notes some with drawings—some possibly gallery layouts, designs for bases, et cetera. Two pages (photocopies) of drawings of sculpture with what appears to be handwritten notes by Miró. Page "Envoyer cartes" in Miró's hand with names and addresses. Piece of paper with Miró's signature, "J. Miro Ferra." Hand‐printed sign. Some French
- 18.14 Exhibitions, undated
- 18.15 Publicity, undated
- 18.16 Correspondence, 1920–1921
Photocopies of three letters to Josep Dalman from Joan Miró. Correspondence in Catalan Originals of letters filed elsewhere
- 18.17 Correspondence, 1921
Carbon copy of one letter to Miró dated April 26, 1921. No signature. Letter appears to be in Catalan. Correspondence in Catalan
- 18.18 Accounts, 1938
Invoices to clients for purchase of Miró works. Includes Swope, Anthony Smith, Tworkov, Olinski, Hodges.
- 18.19 Correspondence, 1930–1935
Typed list of "early Miró paintings from 1917 to 1935 with pencil notations. Carbon copy of same. Handwritten list of paintings (1931–1932). Photocopies of correspondence between Pierre Matisse and Miró. Missive of November 5, 1933 from Hotel Recamier. Exhibition at Galerie Georges Bernheim great success, although not financially. Understands that Pierre Matisse wants to organize and exhibition in New York. Wishes he could be there; he and Mme Miró hope to see Pierre Matisse in Europe in the summer. December 16, 1933, requests a program from the Ballets Russe. He was asked to do the cover but has not seen it. Also requests clipping from the New York press. Has included a list of people to be sent invitations to his exhibition. Pierre Matisse should tell Massine about exhibition. Also Ernest Hemingway, Henry McBride, the Shaw McKeans (who might buy a painting). With original list of names and addresses. February 7, 1934, pleased by article of Henry McBride. Wishes he could send him a painting. Pleased with catalogue, has sent one to Hemingway in Africa. Wishes Pierre Matisse had put "peinture" instead of "composition" for one of the works. Speaks of Calder and urges Pierre Matisse to go see his work. April 29, 1934, Miró wants Pierre Matisse to handle his work in America. Understands that handling his work requires "courage." Asks Matisse to confirm that as of April 1, 1934, for one year, for 2,000 French francs per month, Pierre Matisse with have a one‐quarter share in his production. In an undated missive from Matisse to Miró, Matisse speaks of the decision he and Pierre Loeb have come to regarding the division of Miró's production for the months of January to March 1934. Cannot plan exhibition before January. May 11, 1934 missive from Miró discusses exhibition being planned at Kunsthaus Zürich with Max Ernst. As of July 16, 1934, Miró in good form, his work is varied and his production abundant. As of October 10, 1934, pleased that his exhibition at Pierre Matisse Gallery will be in January because he has some new works he very much wants Matisse to include. Writes about the titles of his works. November 11, 1934, is sending Pierre Matisse his latest pastels which he believes to be important and sensational. December 17, 1934, Miró has shown some of his works to a few important people in Paris and everyone is talking about it. Hopes New York exhibition will be as successful. Zervos has taken Pierre Matisse's place in the "partage" since his sister was out of Paris. Has offered André Breton a pastel. Writes that perhaps Pierre Matisse should not show too many of his things to the American lest they think that Miró is depending on them too much. Has spoken to Sweeney who is in agreement. December 20, 1934, lengthy discussion of work he plans to do in the future. Missive dated February 8, 1932 re renewal of contract for another year. Missive from Pierre Matisse dated June 22, 1935 accepting terms of contract for another year. July 13, 1935, Miró has been approached by Marcel Duchamp to do a small exhibition in San Francisco. October 6, 1935, Miró begs Matisse not to press him for part of the work he has been doing, but to wait until the whole stage is finished before exhibiting them. Original cables. Correspondence in French Originals of letters filed elsewhere in solander boxes
- 18.20 Correspondence, 1935–1939
Correspondence with Ruthven Todd of London re proposed book on Miró. Pierre Matisse is to send photographs. List of photograph numbers. Some correspondence in French Originals of letters filed elsewhere in solander boxes
- 18.21 Correspondence, 1936
Photocopies of correspondence between Pierre Matisse and Miró. January 10 missive from Miró. Has been to Prague for his exhibition. In June he will send all of his work from this stage to Paris. Copies of correspondence with bank re payment of monthly fee to Miró. February 5, long description of Miró's working methods. Hopes Pierre Matisse will consider an exhibition at the end of the year in order to exhibit this whole stage of his work. Possible changes in the contract: Loeb wants half of Miró's production. They have not had enough paintings for European exhibitions. May ask for increase in monthly payment. February 19, Miró's work continues. Hopes he has succeeded in transporting the viewer into an unreal reality. April 14 missive from Pierre Matisse re painting for a client. Asks that Miró sign his paintings on the front. Paint on canvas since it is more solid. If he paints on wood to prepare the wood against humidity. April 28, has bound the method for signing his paintings on the front. List of paintings he plans to bring to Paris. Ideas for Pierre Matisse's next exhibition; hopes to come to New York. August 9, asks Pierre Matisse for dates of exhibition and when he will need paintings. Working on maquette for rug and painting that was commissioned then will start on a poster for the exhibition. August 15, has gone to Barcelona and spoken with some businessmen about his affairs. Has been advised to open accounts in London and New York. September 28 missive from Miró to Pierre Matisse. Lengthy discussion of his work and purpose, particularly regarding "objets." October 1 missive from Pierre Matisse, wants to be represented by someone at the "partage." Planning exhibition for November or December and awaits new paintings. Wants to put out an "important" catalogue. October 6, Pierre Matisse planing exhibition for December to take advantage of the stir the exhibition at the Museum of Modern Art will undoubtedly create in New York. Details of catalogue. October 28, Pierre Matisse has opened Miró's account at a bank in New York. Is planning exhibition for November opening. November 16, Miró has sent paintings. Trouble with customs delayed shipment. Matisse not to worry if a small stone should fall off the surface, that has been foreseen and will only add to the work. Frames should be simple. Writes of demonstration showing sympathy for Spain. Working on drawings for a dozen large paintings. Lengthy discussion of design of catalogue for exhibition. List of people to receive announcements of exhibition. Hew will return to Spain if his wife and daughter cannot get a passport to join him in Paris. Sets up code for requesting money. December 8, Pierre Matisse has sold a Miró painting to Walter Chrysler, Jr. Has heard from Douglas Cooper that Miró has had trouble getting his wife to Paris. December 18, Miró not pleased with catalogue. Signature does not resemble his. Not pleased with choice of paintings, colors, et cetera. December 18, has received the installation photos and finds them marvelous. Pleased to see that Pierre Matisse has exhibited also the paintings from that summer. His wife and daughter have arrived in Paris. December 26 answer from Pierre Matisse re questions of the catalogue, exhibition, et cetera. Description of Museum of Modern Art exhibition, details of bank account. Correspondence in French Originals of letters filed elsewhere
- 18.22 Correspondence, 1937
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. January 5, Pierre Matisse has sold another painting to someone from Chicago. Accounts. January 12, Miró has left all of his work in Barcelona. Had decided to therefore embark on something different: realistic still‐lifes. Things are horrible in Spain, although he misses his homeland. January 22, Pierre Matisse has sold several paintings and gouaches and is pleased. February 12, writes of Still Life with Old Shoe. February 15, Pierre Matisse preparing exhibition of Miró for Los Angeles and Honolulu. February 25, Matisse hopes to have exhibition of Miró next year. March 7, working on still‐life. Working harder than ever before in his life. Has designed stamp to aid Spain. Friends have given them an apartment. At the moment he no longer thinks of paintings left behind in Spain. March 21, totally engrossed in the still‐life and thinks it will be, along with La Ferme, one of his most important works. April 6, the still‐life almost finished. April 25, Calder is in Paris. Miró working well, drawing, planning to start a new series of paintings that will be done quickly. The Spanish government has asked Miró and Picasso to do the decoration of the Spanish Pavilion for the 1937 Exposition. November 3, working on his self‐portrait. December 14, if Miró will have some of the drawings and gouaches photographed, Matisse can give instructions to Marguerite to represent him at the "partage." Original cables. Correspondence in French Original copies of correspondence filed elsewhere
- 18.23 Correspondence, 1938
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. October 5 missive from Miró re Self‐Portrait. After having destroyed it several times, it has been drawn and he will have it photographed. The piece will sum up his whole life. February 11, Pierre Matisse asks about the portrait. Of course he will renew contract. March 4, portrait has been drawn. Has turned it against the wall to see it with fresh eyes when it is time to paint it. March 10, Pierre Matisse has received Balthus's portrait of Miró. March 11, Matisse wants to continue contract as before. Needs more of Miró's work as he has the whole continent to provide for. Misunderstandings with Pierre Loeb. May 5, Pierre Matisse has opened a Miró exhibition to end the season. Is showing the Still Life with Old Shoe which arrived too late for his January exhibition. Mr. Barnes purchased his first Miró pastel. August 10 from Miró re Carnegie exposition. October 11 missive from Pierre Matisse. Miró could consider going to Mexico where they have been very helpful to Spanish refugees. Has heard that Pierre Loeb and Breton have been mobilized. Correspondence in French Original copies of letters filed elsewhere
- 18.24 Correspondence, 1939
Photocopies of correspondence between Pierre Matisse and Miró. Original cables. January 2, Miró is worried about his mother who remains in Montroig. Panel for Pierre Matisse's children has been finished. Work goes well, he is in good form. January 16, Pierre Matisse needs work. Plans an exhibition for spring. January 20 missive from Pierre Matisse reminding Miró that if he needs money, he should ask for a catalogue, each catalogue representing $100. April 6, exhibition to open the 11th. Paintings have arrived. Will have pictures only from 1938. Undated missive from Pierre Matisse reports that Barnes has purchased two Miró paintings. May 5, Miró exhibition about to end. Painting sold to a good collection. Exhibition much admired. Two pieces of correspondence with R. Lacouriere, graveur. September 15, Pierre Matisse to please make it possible for Miró or Pilar to cash checks on American bank account. November 3 missive from Miró Decides to change contract and give all of his work to Pierre Matisse. December 14, work advances and more about Pierre Loeb. Correspondence in French Original copies of letters filed elsewhere
- 18.25 Exhibitions: Paintings, Pierre Matisse Gallery (1933 December 29–1934 January 18), 1933–1934
Exhibition announcement and brochure with pencil notations (possibly prices?) and excerpt from Ernest Hemingway. Clipping from New York Times, January 7, 1934 review of exhibition. See also installation photographs in exhibition scrapbooks
- 18.26 Exhibitions: Paintings by Joan Miró, Arts Club of Chicago (1934 March 16–30), 1934
- 18.27 Exhibitions: Paintings, Tempera, Pastels, Pierre Matisse Gallery (1935 January 10–February 9), 1935
Exhibition brochure with pencil notations of prices and collectors. Review from The New Republic, January 6, 1935 See also installation photographs in exhibition scrapbooks
- 18.28 Exhibitions: Retrospective Exhibition, Pierre Matisse Gallery (1936 November 13–December 26), 1936
Exhibition catalogue with "sold" notations in pen. Clipping of review in the Art Digest, December 1, 1936. See also installation photographs in exhibition scrapbooks
- 18.29 Exhibitions: Recent Works, Pierre Matisse Gallery (1938 April 4–May 7), 1938
- 18.30 Exhibitions: Paintings, Gouaches, Pierre Matisse Gallery (1939 April 10–May 6), 1939
- 18.31 Accounts, 1947–1949
Miscellaneous papers, receipts, et cetera, relating to accounts between Miró and Pierre Matisse Gallery. Invoices paid by Pierre Matisse Gallery on Miró's account. Letter dated June 13, 1947 from Pierre Matisse with accounting to date. Letters to banks re transfer of money. Bank advices. Handwritten notes. Some documents in French and Spanish Many fragile papers
- 18.32 Commissions: Terrace Plaza Hotel mural, Cincinnati, Ohio, 1947–1948
Correspondence relating to commission for mural for Terrace Plaza Hotel in Cincinnati, Ohio. Copy of signed agreement, dated April 15, 1947, between Miró and Thomas Emery's Sons Inc. and Pierre Matisse as agent for Miró. Signed amendment, dated October 22, 1947, to agreement. April 11, 1947 missive from Arthur Spingarn to Pierre Matisse re agreement and propose changes. Original cables. November 18, 1947 list of expenses paid by Pierre Matisse Gallery. Three black‐and‐white photographs of the site. Articles and clippings relating to hotel and Miró's mural. See also U.S. Museums and Art Institutions, Cincinnati Museum, 1932–1987, correspondence, July 1982 re transfer of mural to Cincinnati Museum; Correspondence, Jacques Dupin 1960–1969 for a letter of April 1961 re location of mural
- 18.33 Commissions: Harvard University Mural and Ceramic, 1949–1964
Correspondence relating to commission of mural for dining hall of Harvard University Graduate Center. Photocopy of November 11, 1949 letter from Walter Gropius to Miró re project of new Graduate Center. Requests that Miró consider commission for mural for dining hall. Project still needs approval of committee. March 16, 1950 missive from Gropius to Pierre Matisse advising that Miró has accepted commission. March 23, 1950 answer from Pierre Matisse advising that all payments made must go through him. January 9, 1951 missive from Gropius asking if Matisse knew of reason for delay in delivery of the mural. January 30, 1951 Gropius writes of suggestion of Galerie Maeght for special edition of Derrière le Miroir with reproduction of Harvard mural. Copy of letter dated May 8, 1951 to Gropius from Lefebvre‐Foinet re mural which has needs some restoration by Miró before being sent. May 18, 1951 missive from Gropius to Pierre Matisse regretting the delay and hoping that Matisse will be able to persuade Miró to deliver the mural by Harvard University Commencement Day in June. Copy of May 8, 1959 letter from James Thrall Soby to Agnes Mongan at the Fogg Art Museum re Miró's distress at the state of the mural in dining hall. Suggests its removal to the Fogg. Miró is willing to replace it with a ceramic mural. July 2, 1959 missive from Gropius to Pierre Matisse indicating that the mural will be the property of Miró when taken down. October 18, 1959 missive from Matisse to Miró suggesting terms for restoration and ultimate purchase of the mural being taken down from Harvard. April 13, 1960 from Miró to Matisse re possible ways of executing the ceramic for Harvard with the son of Artigas. May 3, 1960 missive from Pierre Matisse to Harvard re terms and conditions of ceramic. Formal agreement dated May 11, 1960 from Harvard. October 12, 1960 missive from Miró to Pierre Matisse. His self‐portrait and Le reveil de Mme Boubou à l'aube (started in 1939) are finished. Missive dated November 6, 1960 from Joan Artigas re mural for Harvard. Missive dated November 21, 1960 from Miró expressing his desire that the ceramic mural be exhibited in New York before going to Harvard. Ceramic has become not just a replica of the oil mural but a work in and of itself. December 4, 1960 missive from Artigas with measurements of the mural for possible exhibition at the Museum of Modern Art. December 11, 1960 from Miró indicating the firing of the ceramic has been a great success. January 1, 1960 [1961], missive from Miró re mural which is finished and will be exhibited in Barcelona before shipment to the U.S. Asks that Pierre Matisse makes certain payments due to various people for the mural, with a copy of a bank transfer advice. Postscript note from Pilar. April 1, 1961 missive from Pierre Matisse to Miró explaining that the ceramic will not be shown at the Museum of Modern Art after all. It will however, be shown at the Guggenheim together with other works in the Museum's collection. Correspondence re shipping of mural, accounts. Two color photographs of Harvard mural. Seven black‐and‐white photographs of Miró and another gentleman in front of mural. Note addressed "Dear Daddy" (Pierre Matisse) re viewing of painted mural in Harvard Graduate Center. With drawings of dimensions, placement, et cetera, and a photocopy of the same. Clipping from the New York Times re exhibition at the Guggenheim Museum. Correspondence in French
- 18.34 Correspondence, 1940–1944
Photocopies of correspondence between Miró and Pierre Matisse. Original cables. Some original correspondence from Pilar (with envelopes). February 19, 1940 cable from Pierre Matisse requesting works for exhibition. February 25, 1940, Miró has sent nine paintings. Pierre Matisse must put them under glass and take certain precautions. Picasso found them to be very strong. March 14, 1940, Pierre Matisse is sending Miró catalogue from his exhibition of older works; the new ones had arrived too late. April 14, 1940, Miró has received catalogue and is very pleased. Represents the spirit of his work perfectly. Teriade has reproduced a gouache of his which will serve as a study for the painting which will sum up his work the way The Farm [La Ferme] had done. June 6, 1940 cable from Miró returning to Barcelona. June 6, 1940 letter from Miró re his decision to return to Barcelona. August 22, 1940 missive from Pilar (original). They are established in Palma. Miró is working in his studio with a view of the water. March 25, 1941 missive from Pilar, her father has died. February 26, 1942 from Miró. He is in Barcelona and his mother is very ill. March 11, 1942 missive from Pierre Matisse to Pilar. Will try to send money, regulations have been imposed. Pierre Matisse has exhibition of exiled artists. Pierre Loeb and his family have arrived in Cuba. July 11, 1942 Miró has heard that his exhibition at the Museum of Modern Art has been a success. Urges Pierre Matisse to make his catalogues available to collectors so that they do not forget his work. June 1, 1943, the isolated life he is leading has helped to concentrate his paintings. Plans to do some sculpture on vacation in Montroig which will refresh him and will open new possibilities in his painting the way gravure did. Feels it would be too difficult to send work to Pierre Matisse at this point. March 5, 1944 carbon of typewritten letter to "Mr. Goodwin" (sender's signature illegible) re work of Miró who has given consent for an exhibition at the Museum of Modern Art. Long detailed letter re conditions, framing, paintings due Matisse, et cetera. Possibly refers to Constellations series. April 6, 1944, Pierre Matisse has heard form Sweeney that Miró is doing ceramics. Hoping to have some gouaches for the book he is planning. Pierre Matisse is moving gallery from the seventeenth floor to the sixth floor. Will inaugurate new space with Miró exhibition of paintings from 1934 to 1939. June 17, 1944, Miró's mother has died. Miró is working on ceramics, lithos, and sculpture. Re paintings for Museum of Modern Art exhibit. Hopes to come to New York as soon as possible. Typewritten list dated November 20, 1944, "Expenses to date on Miró shipment" with handwritten notes. December 20, 1944, two typed, notarized letters re agreement with Pierre Matisse on the sale of Miró works. December 21, 1944 schedule of expenses from the Museum of Modern Art. December 27, 1944 cable to Miró re new exhibition opening at Pierre Matisse Gallery in January. Handwritten draft of letter from Pierre Matisse to Miró. Correspondence in French Original copies of letters filed elsewhere
- 18.35 Correspondence, 1945
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. January 16 cable from Pierre Matisse to announce opening of exhibition. January 17, missive from Pierre Matisse. Exhibition a great success. Also re Museum of Modern Art exhibition and purchase of work. Had to lower prices on ceramics. March 26, Miró will continue to work on ceramics with Artigas. Also large paintings. April 23, more about exhibition from Pierre Matisse. Miro has seemingly not received previous letter. Museum has bought a gouache and Pierre Matisse gave Teeny one for her birthday. Matisse hopes to visit France in the summer. His parents are not well. His mother and sister were imprisoned during the war. May 13, Miró has received Pierre Matisse's letter of April 23 and is pleased to have news of the exhibition. Matisse should send further correspondence via diplomatic pouch. An exhibition has been proposed for next winter in Paris of all the work he did during the war. June 18, Miró has just received Matisses's letters of January 17 and February 2. Very sorry that Matisse did not receive his letter about the shipment of his works in the care of Duarte. September 12, from Downtown Gallery forwarding letter from Mr. Pinro re Miró "Cartones". With black‐and‐white photograph of one work. October 8, Miró very surprised by letter from Pinto. He would not sell his work like that. Wants to continue with Pierre Matisse and Pierre Loeb despite offers from other dealers. November 7, Miró has kept all his paintings with him waiting for Matisse to come see them. Hopes that Pierre Matisse has cleared up affair of fake paintings from Lisbon being offered for sale. Miró also received a letter from Paris with a photograph of a fake. November 18, Miró again asks when Pierre Matisse is coming to Barcelona. Asks that he come to agreement with Pierre Loeb. Correspondence in French Original copies of letters filed elsewhere
- 18.36 Correspondence, 1946
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. February 3, Miró is glad that Pierre Matisse and Pierre Loeb have come to an agreement. Prats and Gomis have taken numerous photos of his works that will constitute a photographic archive. July 20, Miró has Teeny Matisse for a visit. With attached handwritten notes from Miró. July 25 carbon copy of letter and contract from Pierre Matisse to Miró with conditions for the outright purchase of the works being produced during the war. Signed (original signatures) by Miró and Pierre Matisse. August 16 missive from Pierre Matisse with various requests for changes of painting, handling of commissions, et cetera. Plans a new exhibition of Miró to show the critics that European art is not dead. Has seen some more Miró fakes in Paris. Asks that he write to Mrs. Snow of Harper's Bazaar re gouaches (letter from Mrs. Snow included in file). September 3, Miró has received Pierre Matisses's letter and it is a good basis or an eventual agreement. Proposed to come to New York for his exhibition. Wonders if he should also bring Dolores and Pilar. Is in the country at the moment working on sculpture. Postscript to Teeny from Dolores. September 22, Miró to come to New York with Pilar and Dolores. Instructions for shipping of paintings. September 25 cable from Matisse. Hopes to open exhibition December 3. October 3 missive from Pierre Matisse re travel plans of Miró. Re possible commission for Cincinnati hotel dining room (handwritten draft of letter attached). October 13, Miró things December 3 might be too early for exhibition. Paintings still need to be sent, papers received. Very interested in commission from Cincinnati hotel. Correspondence with visa department of the Department of State of the U.S. and the American Consul at Barcelona re requirements for visas, passports, et cetera. Correspondence with the bank re payments. November 21, Miró has met the vice‐consul, Leroy Makepeace, and they have become good friends. Note signed with small drawing. November 29, Miró has begun process of obtaining papers for shipping works. December 20, 1946 missive from Pierre Matisse re handling of commissions, et cetera. December 22, Miró preparing for trip to New York. Gravures for Sert, problems with Pierre Loeb. Various handwritten lists. Correspondence in French Original letters filed elsewhere
- 18.37 Correspondence: Gomis‐Prats, 1946
Correspondence between Pierre Matisse and Gomis‐Prats Archive Photographique. Receipt signed by Gomis‐Prats, dated January 30, 1946 with various stamps affixed. Letter to Pierre Matisse from M. Prats. Cannot make color photographs because the materials are not yet available in Spain. Asks Pierre Matisse to bring the necessary equipment with him on his next trip to Spain. Correspondence re price of photographs, letter from Pierre Matisse marked "did not send." Correspondence in French
- 18.38 Correspondence, 1947
Photocopies of correspondence between Pierre Matisse and Miró. Original cables. Typewritten "contract" between Pierre Matisse and Miró, unsigned, undated. Correspondence from Miró re upcoming trip to New York, export of paintings, engravings for Sert, et cetera. Receipts from travel agents. January 26 missive from Miró re travel plans, date of exportation of paintings, re mural for Cincinnati and need for a period of silent reflection for "pre‐naissance" for such work. Export papers for paintings. Correspondence with shippers, insurance agents, et cetera re shipment. Correspondence with Harper's Bazaar re cover. March 6 from Pierre Matisse to Miró re contract that someone has drawn up on Miró's behalf. March 19 from Pierre Matisse with another offer for the outright purchase of paintings. June 4 and 13 from Matisse re ceramics (prices, expenses, et cetera). July 2 report on lithographs to Joan Prats. Correspondence from the U.S. Department of Justice re visas. December 16 photocopy of a letter to Miró from "Pierre" (Loeb) re contract. December 1, Miró has return home after trip to New York. Hopes to buy a small house near Barcelona. Arrangements for shipment of mural‐painting. Several propositions for Pierre Matisse. Handwritten lists of accounting with announcement from 1945 exhibition. Correspondence in French Original letters filed elsewhere Some papers in fragile condition
- 18.39 Correspondence, 1948
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. Cables from Miró requesting shipment of engraving to Cramer in Geneva for exhibition. Shipping documents and correspondence. February 2 re ceramics, with postscript from Artigas. February 21 missive from Miró re large exhibition planned for Paris next June. March 20 letter form Sert confirming that money should be given him by Pierre Matisse against sum his brother is giving Miró in Spain. April 10, Miró has heard of his exhibition chez Pierre Matisse Gallery and received from friends clippings about his mural‐painting at the Museum of Modern Art. Also re paintings for Mr. Makepeace and re‐exportation of paintings to Barcelona (final page of letter appears to be missing). June 2 missive from Pierre Matisse re paintings for Maeght exhibition, sale of ceramics, also June 8, 1948 re ceramic sales, prices, et cetera. August 30, from Pierre Matisse. Maeght work like to take up the contract abandoned by Pierre Loeb. Needs preface for catalogue that Miró is to write. September 12, re engravings and eaux‐fortes from Miró. September 29 missive from Pierre Matisse re delay in delivering the engravings. October 19, Miró in Paris awaiting the opening of exhibition. Assures Matisse he holds him in great esteem. Would like to see an accounting. November 23, Matisse reminds Miró that he has until the end of the month of December to pay his account. Wants "partage" to take place before that in Barcelona. Sending contract for mural‐scrolls. December 3, Miró exhibition a great success. Still feels the "partage" is useless unless all accounts are paid up in advance. December 15, copy of invoice to Galerie Maeght for shipping expenses. Two handwritten notes about accounts (appear to be in Miró's hand). Also other handwritten accountings. Correspondence in French Original letters filed elsewhere
- 18.40 Correspondence, 1949
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. Export papers from Felipe Rey, Barcelona. March 5, 1949, Pierre Matisse has sent the paintings to the Kunsthalle in Bern for exhibition. Correspondence with Kunsthalle Bern and shippers re shipment of paintings for exhibition. March 20 missive from Miró re accounts. October 31 from Miró. He needs more engravings for his book. Correspondence in French Original letters filed elsewhere
- 18.41 Exhibitions, 1940–1949
Catalogues: Miró Antes de La Masia, Museos de Arte de Barcelona (1948); Four Spaniards, the Institute of Modern Art, Boston (1946 January 24–March 3).
- 18.42 Exhibitions: Paintings, Gouaches, Drawings, Pierre Matisse Gallery (1941 March 4–29), 1941
- 18.43 Exhibitions: Paintings, Drawings, Gouaches, Pastels, Watercolors, Pierre Matisse Gallery (1942 December 8–31), 1942
- 18.44 Exhibitions: Paintings and Gouaches, Pierre Matisse Gallery (1944 May 2–June 3), 1944
Exhibition brochure with notations of prices, collectors, et cetera. See also installation photographs in exhibition scrapbooks
- 18.45 Exhibitions: Ceramics, 1944, Tempera Paintings, 1940 to 1941, Lithographs, 1944, Pierre Matisse Gallery (1945 January 3–February 3); Lithographs, 1944, Pierre Matisse Gallery (1945 February 5–25), 1945
- 18.46 Exhibitions: Exhibition of Paintings, Gouaches, Pastels and Bronzes, 1942–1946, Pierre Matisse Gallery (1947 May 13–June 7), 1947
- 18.47 Exhibitions: Joan Miró, Pierre Matisse Gallery (1948 March 16–April 10), 1948
Two copies of exhibition brochure with notations of photograph numbers, stock numbers, prices. Doodles on both covers. Both copies fragile, with tearing and some mending with scotch tape
- 18.48 Exhibitions: Miró: 1923–1927, Pierre Matisse Gallery (1949 April 19–May 14), 1949
- 18.49 Publicity, 1948
- 18.50 Accounts, 1950–1959
Papers, receipts, invoices, et cetera, relating to accounts between Pierre Matisse Gallery and Miró. Bank advices and receipts. Correspondence with banks re transfer of payments. Handwritten accounting from Miró. Some correspondence in French and Spanish Some fragile papers
- 18.51 Correspondence, 1950–1951
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. January 14, 1950 from Pierre Matisse to M. Ricart re sale of Miró painting. February 8, 1950 response from M. Ricart lowering price (letter partially torn). February 22, 1950, Miró sending mural‐painting to Walter Gropius in Massachusetts. Further correspondence from M. Ricart re painting. September 12, 1950 from Miró re contract. Correspondence with William Rugoff of Chanticleer Press re book on Miró. Miscellaneous handwritten notes. January 17, 1951 from Pierre Matisse. Has the maquette been sent to Gropius. They are planning an exhibition to coincide with it. Hopes Miró will be able to plan his visit for the same time. Also re book of Chanticleer Press. He and Patricia have been to Cuba to see Hemingway. He showed them La Ferme which is in good shape. Lam was there also. January 29, 1951 Miró is almost finished with the maquette for Cambridge. It would have been finished sooner but he has had "la grippe." He would like it exhibited at the Museum of Modern Art first. Also re book by Clement Greenberg to be published by Chanticleer. In the process of titling his painting. Import papers from American Consular Services. April 7, 1951 Miró has had great difficulty with the numbering of his sculpture. Very pleased with Pierre Matisse's catalogue. Correspondence with Banque Suisse. September 28, 1951 from Miró with sketches to indicate the mounting of his sculpture that was done incorrectly at Maeght. October 31, 1951 re mural‐scrolls at Katzenbach. December 7, 1951 from Miró re proposed exhibition in Paris in 1953 and the need for cooperation between Matisse and Maeght to make it a success. Correspondence in French Original letters filed elsewhere
- 18.52 Correspondence, 1950–1959
Miscellaneous correspondence re payments, permission to reproduce (with black‐and‐white photograph). Some correspondence in French
- 18.53 Correspondence, 1952–1953
January 28, 1952 Miró will not take his part of the "partage" in order to have paintings available for 1953 exhibition. February 5, 1952 missive from Miró re prices. March 19, 1952 missive from Pierre Matisse re commission for Miró to create a work for the United Nations. Urges Miró to come to New York to see the building himself. March 30, 1952, Miró has received Pierre Matisse's letter about the commission. Is still preparing for 1953 exhibition which he feels will be very important in his career. Has had a visit from one of the organizers of the Carnegie International. Pierre Matisse must loan a good painting. April 25, 1952 missive re titled of large painting from exhibition. Exhibition a success. Miró must consider coming to New York to demonstrate interest in the UN project. May 5, 1952, Miró is ready to come to New York if Pierre Matisse advises it. He would also like to go to Cincinnati and Harvard to see his works in place. Letter enclosed, dated May 5, 1952, verifying that Miró will not give permission to have his work reproduced by any process. Various cables re Miró's trip to the U.S. September 3, 1952 re discover of painting done at age 18 of a Catalan peasant. October 19, 1952 the maquette for the UN will be done in a few days. Journalist from LIFE has come to talk to him. November 25, 1952 missive from Miró re campaign against Léger murals, accounts, et cetera. Typed list of paintings for Maeght exhibition of June 1953. Correspondence with Le Soleil Noir re book on Miró. October 24, 1953 missive from Pierre Matisse re Bienal Internacional de São Paulo. Also cables to and from Miró. Also re exhibition at Pierre Matisse Gallery with Sweeney preface for catalogue. November 10, 1953 missive from Miró re dating ideas for UN mural, exhibition at Pierre Matisse Gallery, also to send catalogues to Germany, Italy and Japan. November 25, 1953 message from Pierre Matisse re his exhibition. December 13, 1953 from Pierre Matisse again re success of exhibition and re maquette and "decoration" for UN. Typed statement from Miró concerning "decoration" for UN. Correspondence in French Original letters filed elsewhere
- 18.54 Correspondence: Mourlot, 1953, 1956–1957, 1959
- 18.55 Correspondence, 1954–1955
April 17, 1954, Miró in process of purchasing house in Palma. May 26, 1954 from Pierre Matisse re commission for Mr. Pulitzer. June 8, 1954 from Miró re Venice Biennale, commission for Mr. Pulitzer, with copy of his letter to Joseph Pulitzer. September 14, 1954, Miró's daughter Dolores to marry in October. September 30, 1954 missive from Pierre Matisse. Unable to attend Dolores's wedding. Re commission for Pulitzer and another commission. Various handwritten and typed lists of Miró paintings. January 15, 1955 cable to Miró re death of Tanguy. January 21, 1955 letter form Esther Gentile to Miró re unauthorized piracy of prints and tight to sue. April 4, 1955, engravings for exhibition that Miró has asked Pierre Matisse to send have not arrived in Paris. June 7, 1955 cable from Pierre Matisse to Miró announcing the purchase of painting Cirque by the Guggenheim Museum. June 2, 1955, Miró's daughter is expecting a baby. June 15, 1955, the work Sert is doing in his studio in Palma is advancing. August 10, 1955, Miró is working on smaller canvases. Also working on ceramics, which calms him. August 29, 1955 cable announcing the birth of son to Dolores. October 20, 1955 from Miró re film of Bouchard. Also letter of Georges Salles about commission for mural for UNESCO. December 25, 1955, pleased to hear about the film. Has met with the architects for UNESCO. Correspondence in French Original letters filed elsewhere
- 18.56 Correspondence: Artigas, 1956–1957
Photocopies of correspondence between Pierre Matisse and original correspondence between Pierre Matisse and Artigas. Correspondence relates, in general, to ceramics by Miró and Artigas. Various handwritten and typed lists (some with sketches of pieces) of ceramics with figures, numbers, et cetera. February 5, 1956 missive from Artigas. Hopes to have Pierre Matisse's visit to show him the ceramics. April 29, 1956 missive from Miró on various topics including auction prices of his works, reproduction of his works and deal regarding his ceramics. May 26, 1956 answer from Pierre Matisse re questions of auction prices of his works, reproduction and ceramics which he believes fall under their contract. Also re questions of "Fuller Fabrics" and the authorization for the use of designs by various artists. With letter from Fuller Fabrics and signed contracts by Picasso, Miró, Chagall, et cetera. Extensive correspondence re entry of ceramics into United States. Correspondence with W.R. Keating & Co., Treasury Department, Bureau of Customs, et cetera. Also re transportation with Keating, Agence Maritime Delamare & Cie. Correspondence between Pierre Matisse and James Johnson Sweeney re proposed ceramics exhibition at Pierre Matisse Gallery and the Guggenheim. October 7, 1956 from Pierre Matisse re exhibition plans, catalogue, questions re UNESCO commission. November 8, 1956 missive from Miró re design he has done for catalogue and changes he has made. Disappointed that Pierre Matisse did not agree to hold exhibition at the Guggenheim. Measurements of UNESCO piece. Handwritten list of ceramic show reviews on torn piece of yellow paper. January 15, 1957 missive from Artigas re exhibition, catalogue, et cetera. March 8, 1957 from Pierre Matisse to Maeght re plans for exhibition at Guggenheim of which he had not been apprised. March 8, 1957 letter from Pierre Matisse to Miró re success of exhibition, question of misunderstanding concerning exhibition planned at Guggenheim, ink samples sent to Palma. March 8, 1957 missive from Pierre Matisse to Artigas also re success of exhibition, et cetera. Copy of page from magazine with photographs of ceramics. Six small black‐and‐white photographs of works, mostly unpainted. One black‐and‐white photograph of interior of house. One black‐and‐white photograph of Pierre Matisse, Miró, Mrs. Miró and Patricia Matisse posed behind a backdrop painted to look like an airplane. Most correspondence in French Some letters (mostly carbon copies) fragile and torn Originals of letters from Miró filed separately
- 18.57 Correspondence, 1956–1958
January 4, 1956 from Pierre Matisse re success of film and exhibition at Harvard. Also meeting with Maeght. January 16, 1956, Miró considers the years 1955 and 1956 to be a transition to another stage in his work. Re work with Artigas on ceramics. Has always had the impression that his ceramics do not interest Pierre Matisse commercially. Also re thoughts on UNESCO wall. January 26, 1956 from Pierre Matisse to Artigas re his regard for his work. January 26, 1956 from Pierre Matisse to Miró re ceramics, re Maeght. March 8, 1957 from Pierre Matisse re success of ceramics exhibition, problems with catalogue, critics, et cetera. Also re proposed exhibition at Guggenheim, paintings due Maeght from lot of Pierre Loeb, book by Dupin. March 28, 1957 letter form Artigas re work on UNESCO panel. Handwritten draft of letter to Miró with clipping attached. September 6, 1957 re Pierre Matisse's idea of publishing a book on the Constellations. Miró is very unhappy with the way his work is selling in New York. With a list of notes titled "Constellations" containing Miró's thoughts on the proposed book. October 3, 1957 long letter form Pierre Matisse re Constellations. Also re his continued enthusiasm for Miró's work and defense of what he has accomplished in America. October 11, 1957 missive from Pierre Matisse re exhibition of European paintings in Boston. January 29, 1958, Pierre Matisse has spoken to Breton about doing the text for the Constellations book. He has also spoken to Soby about Miró retrospective planned at the Museum of Modern Art for February 1959. March 24 1958 from Pierre Matisse. Bill Lieberman, under the direction of Soby, is to plan the exhibition. May 19, 1958, Miró has met with Breton and Jacomet in Paris re Constellations book. Finds Pierre Matisse's idea of an exhibition Peintures Sauvages excellent. Also re his suggestions. And re exhibition at the Museum of Modern Art. August 25, 1958, Miró pleased to learn he has been awarded the Guggenheim Prize. Many suggestions for Constellations album. Re project of another book. October 13, 1958 long letter form Pierre Matisse re Constellations exhibition at Berggruen, also re specifics of Constellations album. Preparing to open Peintures Sauvages on November 4th. October 29, 1958 from Miró with more suggestions for Constellations album. November 11, 1958, Miro is pleased with Pierre Matisse's catalogue. December 17, 1958 letter to Joan Prats requesting photograph. Response with a black‐and‐white photograph. December 20, 1958, from Miró with report of some decisions made and progress made with Jacomet on Constellations album. Correspondence in French Original letters filed elsewhere See also Dubuffet: Correspondence, 1958 for letter of "Tuesday, September" (no day) from Pierre Matisse to James Fitzsimmons asking him to write for the catalogue of the November 1958 Miró exhibition (folder 8.21)
- 18.58 Correspondence, 1957, 1961
- 18.59 Correspondence: Constellations, 1957–1959
Photocopies of correspondence between Pierre Matisse and André Breton re preface for Constellations album. March 27, 1958 correspondence with Marcel Duhamel of Librarie Gallimard re proposal to André Breton. August 22, 1958, from Pierre Matisse to Breton with detailed description of his plans for Constellations album. August 31, 1958 from Pierre Matisse to Miró re meeting with Jacomet. Correspondence from Breton (including copy for Miró), exhibition of Peinture Sauvages he is planning from Gallery. November 4, 1958 photocopy of Breton's letter to Miró re his preface for the Constellations album. Correspondence in French Originals of letters from Breton filed elsewhere
- 18.60 Correspondence: Constellations, 1957–1960
Correspondence relating to publication of Miró's Constellations album of 22 gouaches. Correspondence with various owners of Constellations gouaches re loan for publication of book. Letter details specifics of Constellations album: 22 gouaches reproduced by silk screen, touched up by hand, printed by Jacomet, Paris. 350 copies signed and numbered by the artist, 50 of which will contain an original lithograph in color done for the occasion by Miró, the "de luxe edition." Owners of the gouaches will be presented with a special copy with their name on it. Further correspondence re loan of gouaches to Berggruen in Paris. December 21, 1958 letter to M. Jacaves Didisheim re Constellations album detailing contents of various numbered editions. Proof of ad for Constellations album in Quadrum #6. Copies of ads. Typed list, with handwritten notations, of Constellations owners. Some correspondence in French Folder possibly missing (Post‐It note found 04 October 2010)
- 18.61 Correspondence: Constellations, 1958–1959
Correspondence re sale of Constellations album. Correspondence with Librairie La Hune re specifics of differently numbered albums (December 15, 1958). Phoebus‐Verlag GmbH (with notations of prices). Orders for albums. Black notebook with record of purchasers of album. Miscellaneous loose notes pertaining to same taken form album and placed in protective sleeve. Some correspondence in French and German
- 18.62 Correspondence: Jacques Dupin, 1957–1959
Correspondence between Jacques Dupin and Pierre Matisse. Undated, handwritten draft (?) of a letter written by Pierre Matisse to Miró re publication of Dupin's book. March 2, 1958 letter from Dupin to Matisse announcing project and possible ways of working together to accumulate all necessary documentation available via Pierre Matisse and Pierre Matisse Gallery. March 6, 1957 reply from Pierre Matisse pledging assistance. He will have a set of photographs made and looks forward to seeing Dupin in Paris. August 9, 1957 from Pierre Matisse to Miró re Dupin book. Also re Constellations album. Also writes of rumors that Miró will be switching his New York dealer to Paul Rosenberg and a request for an explanation. August 22, 1957, Dupin is spending long hours working with Miró. Typewritten list of color plates. List of Constellations. Typewritten list "Demander à Pierre Matisse." December 23, 1957, long letter from Pierre Matisse to Dupin detailing various paintings, whereabouts, collectors, et cetera. February 20, 1958, Dupin has spoken to publishers about Matisse's idea of asking collectors to pay to have their paintings reproduced in color. February 26, 1958, Dupin has taken Miró to Jacomet where Miró was thrilled to see his Constellations again. March 3, 1958 from Pierre Matisse re Peintures Sauvages exhibition he is organizing. March 15, 1958 missive from Dupin. Miró has made the choice of the color plates. March 23, 1958, Pierre Matisse is pleased that the publishers have agreed to allow collectors to pay for color reproduction of their work, but finds the price too high. Re exhibition at Museum of Modern Art and possibility of changing date to coincide with publication of book. Matisse feels they are afraid that Sweeney with then do and exhibition first. Lists of photographs, color plates, handwritten list of works compiled by Pierre Matisse. October 25, 1958 missive from Pierre Matisse to Miró. Re exhibition at Museum of Modern Art, Soby's text. Pierre Schneider to write article on Miró for Horizon magazine. Concerned about Constellations. Has no news from either Jacomet or Breton. October 31, 1958 from Pierre Matisse to Miró. He has seen Soby and has the news of the exhibition. Photocopies of pages from Pierre Matisse Gallery stock book, handwritten notes and lists. Correspondence in French
- 18.63 Correspondence: Harry N. Abrams and Verlag M. Dumont Schauberg, 1958–1961
Correspondence with Abrams re English version of Dupin book on Miró. Requests for photographs, correspondence between Pierre Matisse and collectors asking permission to reproduce their work, et cetera. Correspondence with Verlag M. Dumont Schauberg re German edition of Dupin book. Original cable to Dupin. Copies of proofs of two paintings for book.
- 18.64 Correspondence, 1958–1959
Miscellaneous correspondence concerning Miró. Letter (in Spanish with French translation) from El Mundo in San Juan, Puerto Rico proposing a commission to Miró, with black‐and‐white photograph of building. Other miscellaneous items. Some correspondences in French and Spanish
- 19.01 Correspondence, 1959
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of correspondence. Handwritten list of guest on yellow paper "Cocktails Miró April 27, 1959." Sketches of Miró sculpture on paper. February 11, 1959 missive to Miró re success of Constellation album. Re catalogue for Constellations exhibition planned by Pierre Matisse. Re exhibition at the Museum of Modern Art (Matisse has seen La Ferme) Painting in need of cleaning and some restoration. March 2, 1959, Miró will go to Washington to accept the Guggenheim Prize from President Eisenhower. October 18, 1959, Matisse is pleased with his project concerning the young Spanish painters (Millares and Saura). October 25, 1959, Miró is pleased with what Pierre Matisse has done for the young Spanish painters. He himself plans a trip to Madrid to see them. Asks Pierre Matisse to arrange a subscription to ARTnews so he can see what is happening in America Correspondence in French Originals of letters filed elsewhere
- 19.02 Correspondence: Museum of Modern Art, New York book on Miró, James Thrall Soby text, 1959
March 8, 1959, letter Jacques Dupin complaining that many of the color plates chosen for his book have also been chosen to appear in Soby's Museum of Modern Art book on Miró. March 28 letter from Soby re expected publication date of book. Also unrelated discussion of Kay Sage Tanguy. August 8 letter form Soby with unrelated discussion of Kay Sage Tanguy. Photocopy of typescript of Soby's text for the Museum of Modern Art book. Some papers brittle and fragile
- 19.03 Exhibitions, 1950–1959
- 19.04 Exhibitions: Exhibition of Painting and Sculpture: Calder, Miró, Contemporary Arts Association of Houston (1951 October 14–November 4), 1951
- 19.05 Exhibitions Paintings and Sculpture, 1946–1950, Pierre Matisse Gallery (1951 March 6–31), 1951
- 19.06 Exhibitions: The Early Paintings, Pierre Matisse Gallery (1951 November 20–December 15), 1951
Letters from Pierre Matisse to various collectors requesting the loan of early Miró paintings: Mrs. John Cowles, Earle Miller, Samuel Marx, Sydney Shoenberg, Mrs. Edwin Hokin, Leigh Block as well as various art organizations and institutions. Letters from same. Handwritten list of people who have received Miró catalogues. Typewritten list of paintings and handwritten lists of same. Copy of catalogue (small brochure) with notations of location of paintings. Original cables and telegrams. Some correspondence in French
- 19.07 Exhibitions: First Showing of Paintings, Gouaches, Pastels, and Drawings, Pierre Matisse Gallery (1952 April 15–May 17), 1952
- 19.08 Exhibitions: Joan Miró and Josep Llorens Artigas, Sculpture in Ceramic: Terres de grand feu, Pierre Matisse Gallery (1956 December 4–30), 1956
- 19.09 Exhibitions: Peinture Sauvages, 1934–1953, Pierre Matisse Gallery (1958 November 4–29), 1958
Various papers relating to exhibition. Rough proof of advertisement. Typescript of preface by James Fitzsimmons with printer's notes. Galleys of preface. Handwritten list of paintings with drawings (by Pierre Matisse?). One copy of catalogue with handwritten notations of prices. Clippings. See also Dubuffet: Correspondence, 1958 for letter of "Tuesday, September" (no day) from Pierre Matisse to James Fitzsimmons asking the latter to write for the catalogue for this 1958 exhibition (folder 8.21); installation photographs in exhibition scrapbooks
- 19.10 Exhibitions: Joan Miró, Museum of Modern Art, New York (1959 March 18–May 10), 1958–1960
Invitation to Contributing Members' Preview. Copy of letter from James Thrall Soby to Joan Miró apprising him of plans for exhibition and seeking his approval. Script of press footage of Mr. and Mrs. Miró, Mr. René d'Harnoncourt and Pierre Matisse on walk‐through of Museum of Modern Art exhibition (May 13, 1959). Script of press footage of Miró receiving the Guggenheim award from President Eisenhower (May 20, 1959). March 10, 1960 missive from Frederic von Stange offering Pierre Matisse print of a story done on Miró. Two copies of exhibition checklist.
- 19.11 Exhibitions: Constellations, Pierre Matisse Gallery (1959 March 17–April 11), 1959
Typescript of "Atmosphere Miró" by James Johnson Sweeney. Transparency copy of text. Exhibition brochure. See also Correspondence: Constellations, 1957–1959 (folders 18.59–.61)
- 19.12 Publicity, 1950–1959
Various clippings, articles, et cetera, including: ARTnews, October 1957; The New York Times; Time magazine; Horizon.
- 19.13 Authentications, 1960–1969
Requests for authentication of works, correspondence re authentications. Pages from Lefevre Gallery February 1962 catalogue XIX and XX Century French Paintings. Work signed "Miró" depicted on page 13. "Faux" (Fake) written in pencil underneath. Black‐and‐white photograph of painting with note handwritten and signed by Miró on the back and dated May 12, 1952, requesting that the painting be put aside until his visit to New York. Painting appears doubtful. Copy of affidavit from 1967 to be signed by Miró indicating that paint for sale at Christie's is not by his hand. November 12, 1967 original letter from Miró enclosing authentication photos, finishing work on Guggenheim mural, Pierre Matisse's exhibition in November. December 18, 1967 missive from Frank Perls re authentication for Billy Wilder with three black‐and‐white photographs and one Ektachrome. Other miscellaneous requests for authentications. Some correspondence in French
- 19.14 Commissions: Public area, Chicago, 1963–1981
December 16, 1963 from Skidmore, Owings and Merrill to Pierre Matisse outlining project and possible commission for Pierre Matisse to inform Miró. Copy of letter of March 24, 1964 to Miró from Skidmore re project (in Spanish). Copy of letter dated August 17, 1964 from Skidmore to Miró confirming that Miró will come to Chicago to work on his ideas. Original letter dated October 14, 1964 from Miró describing how he plans to approach Chicago project. Missive dated November 1, 1965 re visit of Matisse, Miró and Artigas to Chicago in relation to project. Missive from Pierre Matisse dated November 16, 1965 to Skidmore re estimates for casting costs. February 3, 1966 from Bensinger of Brunswick Corp. indicating that his board has turned down the Miró project. 1978, from Susse Fondeur re casting estimates of Miró's Moon, Sun and One Star. March 1981 invitation from the Mayor of Chicago to Pierre Matisse to the dedication of the Miró sculpture. Clipping from the New York Times dated April 21, 1981 re the dedication of Miró in Outdoor Art Plaza in Chicago. See also Correspondence, 1964–1965 (folder 19.24)
- 19.15 Commissions: Public area, Chicago, 1963–1981
Nine black‐and‐white photographs of floor plan, model of building site, et cetera. Three architectural plans and renderings. See also Correspondence, 1964–1965 (folder 19.24)
- 19.16 Commissions: Alicia mural, Solomon R. Guggenheim Museum, New York, 1967
Copies of correspondence between Miró and Guggenheim re commission of Alicia mural. February 11, 1966 missive to Miró indicating that the mural is to be in honor of Mr. Guggenheim's wife, Alicia, and would it be possible for Miró to somehow include the letter "A" in the design. Missive dated March 8, 1966 from Miró indicating that they will find a way to add the name "Alice" to the mural. March 14, 1966, Thomas Messer pointing out that the name is "Alicia." Correspondence and documents relating to the installation of the Alicia mural at the Guggenheim. Export documents, insurance certificates, airway bill. Correspondence between Pierre Matisse and Guggenheim re expenses of Sr. Artigas's travel and stay in New York. Copies of letters from Thomas Messer to Miró and Artigas detailing great success of unveiling of mural. Copies of hotel bills, air tickets, et cetera. May 1967 press release. Clippings and reviews. Some correspondence in French Documents in Spanish
- 19.17 Correspondence, 1960
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. February 1, 1960, Pierre Matisse has sent photos of the gallery showing the new wall and the architectural changes. Discusses plans he is making for exhibition, also importance of Paris exhibition. February 15, 1960 missive re ceramic for Harvard, exhibition at Pierre Matisse Gallery (has seen photos of gallery and has requested exact measurements). October 15, 1960 from Miró to Patricia Matisse requesting that she renew his subscriptions to Arts and ARTnews magazines so he will know what is happening in New York. Handwritten notes by Pierre Matisse with dates of forthcoming exhibitions. Correspondence in French Originals of correspondence filed elsewhere
- 19.18 Correspondence: Artigas, 1960–1962
- 19.19 Correspondence, 1960–1964
Miscellaneous correspondence relating to Miró such as requests for information, loans, various unrealized commissions and projects. Requests for insurance values. Including February 2, 1962 from Miss Mary Misson re Nocturne formerly in Stephen C. Clark collection. Correspondence with Ambrose Doskow, Esq. (May 2, 1963) re fake Miró used in an advertisement. July 19, 1963 missive from Martin Bush of Syracuse University with offer to house Miró "archives." Correspondence with bank re deposits in Miró account. Invoices from Maeght Editeur. Copy of letter from Dorothy Miller of the Museum of Modern Art to Miró re Harvard mural painting.
- 19.20 Correspondence: Jacques Dupin, 1960–1969
Correspondence between Pierre Matisse and Jacques Dupin. Requests for photographs for book. Correspondence from Pierre Matisse to other parties requesting photographs for M. Dupin's book. Correspondence with Cincinnati Art Museum re photograph of Terence Hilton Hotel mural which had been given to the Cincinnati Art Museum. Correspondence from Pierre Matisse with correction as to collections, et cetera. February 23, 1965 request for help in securing some photographs necessary to put together the catalogue for his Cartones exhibition. Photocopy of February 23, 1965 letter from Miró to Pierre Matisse re trip to Barcelona to work on the "cires perdues." Maeght has asked for an H.C. edition for the Fondation. Exhibition in Japan. Edition of his "oeuvre complete." April 27, 1965 correspondence between Pierre Matisse and Dupin re Giacometti's Femme de Venise series. April 20, 1966 missive from Pierre Matisse re exhibition of Miró at Marlborough in London and various rumors. Also includes typewritten list of works and original cables. Correspondence in French Some poor quality photocopies Originals filed elsewhere
- 19.21 Correspondence, 1961
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. List of expenses for Miró. Also prescription label, various doctors' addresses, et cetera. Draft of letter to Aime Maeght re health of Miró, visit to doctor in Barcelona, et cetera. April 1, 1961 re Pierre Matisse's efforts to find location for ceramics exhibition in New York City, re installation of Harvard ceramic. June 29 missive from Pierre Matisse re work on very important Miró catalogue. Possibility of printing a "de luxe" edition. October 31 missive from Miró re plans for trip to New York. November 3 missive from Miró indicating how many copies of the engraving being done for the catalogue he will need for his own use. Bill for Miró's consultation with the doctor. December 19 missive from Miró re trip to New York, how stimulating, et cetera. Two black‐and‐white photographs of Miró in front of Blue II (possibly at Pierre Matisse Gallery?). Four black‐and‐white photographs of Miró drawings. One black‐and‐white photograph of Pierre Matisse, Patricia Matisse, Pilar and Joan Miró with Leonard Lyons, columnist for the New York Post. Two clippings from Leonard Lyons of the New York Post re Miró visit to New York. One clipping from Time magazine. Correspondence in French Originals of letters filed elsewhere
- 19.22 Correspondence, 1962–1963
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Postcard from Artigas. February 9, 1963 invitation from Llorens Artigas to Pierre Matisse for his son's wedding. February 28, 1962, Miró's trip to American did him a lot of good. He is now in a period of "gestation" planning some large canvases. April 2, 1962, Miró impatient to see how the preparations for his retrospective are going. June 3, 1962 Miró going to Paris. Has sent three large mural paintings to the Museum for the exhibition Jaune Orange, Vert, Rouge. September 18, 1962, the large ceramics Miró is making with Artigas are going well, will be ready by the end of the year. Exhibition at Musée National d'Art Moderne is a success. This is the moment to do a book based on the drawings of the Grande Chaumière. Copies of bank drafts. December 8, 1962 Painting loaned to the exhibition in Paris by Charles Zadok has been slightly damaged. Pierre Matisse wonders if Miró would repaint a small part of it if the painting were sent to him. December 22, 1962, Miró would rather that the painting belonging to Zadok be restored in New York by one of the specialists (mentions restoration of La Ferme). Birth announcement with photo from Joanet Artigas. March 1, 1963 letter from the Museum of Modern Art thanking Miró for his contribution of a work to the Building Campaign. March 17, 1963, Miró has done some new ceramic pieces that Pierre Matisse has not seen. Painting also goes strongly. June 31, 1963 list of Miró's expenses. Also signed receipt for moneys received. November 9, 1963, Miró (to Patricia) has received the catalogue which he finds very successful. He warns that the ceramics will not endure harsh weather if placed outside, Artigas should be consulted for details. November 29, 1963 cable from Pierre Matisse announcing purchase by the Museum of Modern Art of the Harvard mural. December 17, 1963, Miró is at a turning point in his life, Has finished a series of large gouaches and paintings on cardboard. Must discuss exhibition of this stage of his work. Correspondence in French Originals of letters filed elsewhere
- 19.23 Correspondence: Institute of Contemporary Arts, London, 1964
- 19.24 Correspondence, 1964–1965
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. March 16, 1964 missive re maquette for Chicago. Re exhibition in Philadelphia, will leave it up to Pierre Matisse to decide whether he should exhibit, but he does not want to be involved with the prize. March 21, 1964, maquette for Chicago has been sent. Pierre Matisse has sent photos showing the placement of sculpture. Also re drawing‐collage that Pierre Matisse has given to Kay Sage and Yves Tanguy which had been left to the Museum of Modern Art. April 5, 1964 missive to Patricia Matisse. Miró sending a large canvas to the Salon de Mai which he has just finished and considers very important. Copies of bank drafts. December 17, 1964, Pierre Matisse sends photos of space at Guggenheim where Mr. Guggenheim wants Miró to create a mural. Matisse describes space. May 12, 1965, Miró is passionate about the work for Chicago but feels he must go there to receive a direct "shock." May 20, 1965, Miró is ready to help work on the catalogue Pierre Matisse is planning. Is thinking of coming to the United States. Needs to coordinate work in Chicago, exhibition at Pierre Matisse Gallery in New York, study for the wall at the Guggenheim. August 2, 1965, pleased with maquette of catalogue. Likes the idea of inserting Schneider's text. Attaches a great importance to this exhibition. He will bring maquette for Chicago with him when he comes in October. August 15, 1965 from Miró re Chicago project. September 19, 1965, Miró. Catalogue cover is going well at Mourlot. Possible changes in dates of trip to the U.S. September 27, 1965 estimate from R. Bousquet for enlarging of sculpture. Signed receipt from Miró for money received. Original cables. Handwritten list of works. Handwritten notes by Pierre Matisse. Correspondence in French Originals of letters filed elsewhere See also Commissions: Public area, Chicago, 1963–1981 (folders 19.14 and 19.15)
- 19.25 Correspondence: Artigas, 1964–1969
Postcard from Japan from Artigas. Copies of bank drafts. June 14, 1967 missive from Thomas Messer of the Guggenheim re Artigas expenses. Answer from Pierre Matisse, June 15, 1967. May 12, 1968 missive from Artigas re sculpture for Chicago which is almost ready. September 18, 1968, Miró had offered Artigas the sculpture in bronze of the maquette for the Chicago work. He plans to cast eight numbered ones, four for Pierre Matisse and four for Maeght. 3 HC for Fondation Maeght, Miró and himself. April 11, 1969, Pierre Matisse in agreement with casting of sculpture. May 19, 1969, working with Miró on the mural for the Barcelona airport. June 5, 1969 from Susse re sculpture casting and shipping. Correspondence in French
- 19.26 Correspondence: New York visit, 1965
List of invitees to Cartones exhibition. List of people to receive catalogues. October 25, 1965 letter from "Jim" (James Thrall Soby?) about his Miró painting Portrait of Mrs. Mills in 1750 purchased from Dudensing that was badly in need of restoration and had just been restored. Hopes that Miró will agree to take a look at it to see if he approves. Typed schedule for November 6 and November 8. November 4, 1965 letter form John Cage, addressed to Miró at Hotel Gladstone, requesting the donation of a drawing to benefit the Foundation for Contemporary Performance Arts, Inc. Clipping from the New York Herald Tribune, Paris edition, Saturday–Sunday, November 27–28, 1965 re Miró in New York City. Letter and copies of agreements from MGM [Metro‐Goldwyn‐Mayer] requesting the use of Miró reproductions as set dressing. Agreements not signed. Clipping from Vogue (March 1, 1966) wherein Miró is pictured at Pierre Matisse's New York apartment. Clipping from Domus 410 (gennaio 1964), "Miró a New York alla Pierre Matisse."
- 19.27 Correspondence, 1965–1967
Miscellaneous correspondence relating to Miró. Requests for commissions, information, catalogues. November 3, 1965 draft of letter to Spanish Ambassador to the UN re exhibition of fake Miró works at the Stooshnoff Gallery. December 2, 1965 missive from Vogue editor re interview and article on Miró. June 1, 1966 request for the Mirós from Leonard Lyons re sale of works from the film How to Steal a Million. Also two black‐and‐white photographs of Mr. Lyons in front of the faked Miró painting from film. February 16, 1967 missive from Dorothy Miller of the Museum of Modern Art re replacement of map in Miró's Objet Poétique. Some correspondence in French and Spanish
- 19.28 Correspondence: Stooshnoff Gallery fakes, 1965–1967
Correspondence relating to exhibition of fake Mirós at the Stooshnoff Gallery. Correspondence between Pierre Matisse and Ralph Colin. September 16, 1965, Colin to Pierre Matisse re opening at Stooshnoff. Klaus Perls saw works and deemed most of them to be fakes. Colin also visited gallery and confirmed Perls's opinion. Wants Art Dealers Association to bring case. Hopes Miró will fly to New York to see works. Includes a copy of opening invitation. Copies of letter to Spanish press, Spanish Ambassador, et cetera. May 28, 1966 letter from Pierre Matisse to Sergio Pogliani in Italy re his purchase of possible fakes. Clipping from the New York Times dated Friday, May 6, 1966 titled "Art Group Accused of Libeling Dealer." Letter from Bernard Reis (August 21, 1967) about the part Bernard Reis played in the organization of the Miró exhibition at the Stooshnoff Gallery. Answer from Pierre Matisse. Three photographs (one color, two black‐and‐white) of Miró's handwritten note. Some correspondence in French See also Correspondence, 1965–1967 for draft of letter to Spanish Ambassador to the United Nations (November 3, 1965)
- 19.29 Correspondence: Maeght, 1965–1970
Correspondence with Galerie Maeght. Two invoices from 1965. March 9, 1968 missive from Galerie Maeght with accounting. Also re choice of material for various Miró sculpture and a suggestion on how to proceed. September 16, 1968 list of paintings belonging to Pierre Matisse. November 4, 1968 letter from Pierre Matisse to Daniel Lelong with certified translation re painting seen by Joseph Hirshhorn at hanging of Miró exhibition at Maeght. November 29, 1968 to Aime Maeght re letter of November 4 to Lelong. October 19, 1970 original letter form Miró to Pierre and Patricia Matisse re "sad news." Correspondence in French One original letter from Miró
- 19.30 Correspondence, 1966
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. Original card from Miró & Pilar thanking Pierre Matisse for hospitality during trip to New York. Best wishes for 1966. Black‐and‐white photograph with note from Pierre Matisse attached. March 1 missive from Pierre Matisse re Chicago project, ceramic for Guggenheim, film by Bouchard. Question of authenticity of painting, with black‐and‐white photographs and transparency included. March 8, Miró feels passionately about Chicago. Sculpture mus be placed somewhere and not left in a corner of studio. November 24 missive from Pierre Matisse re question of tapestries. Request by a photographer from the New York Times for an interview with Miró. Would like new works from Miró for May exhibition that will give a foretaste of the coming 1967/1968 season. December 1 missive from Pierre Matisse. Hartman is still interested in Chicago project and is looking for money to continue it. December 27 missive re tapestries, one done by Goeblins after a work in Derière le Miroir, the other by Savonnerie after a foulard made from Miró's maquette. He has been to Riopelle's foundry to work on some sculpture. Handwritten notes by Pierre Matisse. Correspondence in French Originals of letters filed elsewhere
- 19.31 Correspondence, 1967
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. March 6, 1967 missive from Pierre Matisse re Miró's intention of establishing a foundation, and his request that Pierre Matisse be one of his executors. March 10 missive from Ambrose Doskow of Rosenman, Colin re case of exhibition of fakes at Stooshnoff Gallery. Also re Alicia mural for Guggenheim with rough sketch. Invoice from Susse Fondeur for casting of sculpture. April 21, from Pierre Matisse re inauguration of Alicia mural at Guggenheim, engraving of his catalogue at Maeght and organization of that exhibition. Correspondence with bank and copies of drafts and advances. April 25 from Pierre Matisse re case against Stooshnoff Gallery, question of painting owned by Otto Preminger. May 5 response to question of painting owned by Preminger from Galerie Maeght. Painting was cut in pieces by the Germans during the war. One piece had been conserved, the others had been used to make potato sacks. Receipt for cash received dated May 15, 1967 and signed by Miró. July 13 missive from Pierre Matisse with dimensions of catalogue and possible suggestions. November 2, long letter from Matisse re medal commissioned by International Collectors Society. November 12, original cable form Matisse re film made of delivery of Oiseau Lunaire through gallery windows. December 13 missive from Pierre Matisse re success of exhibition, Oiseau Lunaire has again departed through the windows. Delivery truck was robbed and Miró works stolen. List attached. December 13, from Pierre Matisse re painting owned by Otto Preminger. It is slightly too large for the space in question and there is a question of a new frame which might hide a small fraction of the picture. With three black‐and‐white photographs of prospective location. December 25 answer from Miró re Preminger question. Correspondence in French Originals filed elsewhere
- 19.32 Correspondence: Damaged sculpture Homme et Femme, 1967–1969
Correspondence re damage to Miró sculpture Homme et Femme, ceramic, 1962. Five black‐and‐white photographs showing damage. September 27, 1967 letter from Pierre Matisse Gallery staff to Pierre Matisse in Paris re damage to sculpture. Receipt from Art Institute of Chicago for sculpture which had been on loan with them. Correspondence with Art Institute of Chicago. Copies of their correspondence with insurers. Correspondence with Santini Brothers. Damage report from Joseph Ternbach, restorer, dated October 4, 1969.
- 19.33 Correspondence, 1968
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Correspondence with bank re payments to Miró. February 7, 1968, Miró complains about paintings being returned from Japan having been left out in the rain for days. March 12 missive re exhibition in Barcelona. Picasso will loan paintings. Perhaps Miró can this time prevail upon Mrs. Hemingway to loan La Ferme. April 1, Pierre Matisse is loaning Oiseau Lunaire for the Barcelona exhibition. Maybe Miró should write to Mrs. Hemingway re La Ferme. Also re letter in Newsweek signed Miró. Photocopy of photograph of Miró marked "Faux." With declaration handwritten by Miró on back. May 14 from Pierre Matisse re artists' rights. May 19, Miró offers maquette to Pierre and Patricia Matisse for garden in St. Jean. The finished work is being offered to the city of Barcelona. Also making a large mural to be seen at the airport. Miró being offered honorary degree from Harvard. Will make a trip to the United States. June 9, original cable from Miró. Unable to make visit to U.S. September 4, Pierre Matisse writes to Miró to introduce Jacques Gelman. November 29 missive from Pierre Matisse re La Ferme, Mary Hemingway and the Museum of Modern Art. Recommends that Miró have another artists' proof made of Oiseau Lunaire to see to the Museum of Modern Art. Photocopy of Christmas card, with original drawing, from Miró. Correspondence in French Originals of letters filed elsewhere See also Correspondence, 1968 for March 29, 1968 letter from Pierre Matisse sent to Newsweek re letter attributed to "Joan Miró" (folder 19.33)
- 19.33 Correspondence, 1968
Miscellaneous correspondence relating to Miró. March 29, 1968 letter to Newsweek re letter signed "Joan Miró, Barcelona" not actually sent by the painter Miró. Correspondence with International Collectors Society re medal to be designed by various artists. Requests for photographs. November 19, 1968 missive to Jacques Dupin re exhibition of Miró in Munich. Also letter for P.A. Ade of Ausstellungsleitung München E. V. Haus der Kunst. Some correspondence in French See also Correspondence, 1967 for more discussion of the International Collectors Society medal (folder 19.31)
- 19.34 Correspondence: Maeght Editeur, 1968–1973
- 19.35 Correspondence, 1969
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. February 4, 1969 missive from Pierre Matisse re accounts. March 31, missive to Patricia Matisse re state of ceramics in St. Paul [Saint‐Paul‐de‐Vence], with small sketch. Also re ceramic to be reworked and redone in bronze. May 4 missive from Miró. They have cast new sculpture to replace those stolen at Orly (they are marked with an extra star for differentiation). May 21 missive re medium used in a Miró work sold by Claude Bernard. June 15 response from Miró including photocopy of photograph with Miró's explanation on the back. July 8, Miró has been working on a mural for Osaka. The mural for the Barcelona airport is very advanced. Photocopy of postcard from Joan and Pilar Miró from Japan. Correspondence in French Originals of letters filed elsewhere
- 19.36 Correspondence, 1969
Miscellaneous correspondence relating to Miró. February 21, 1969 correspondence with Lefebvre–Foinet re Miró shipments. November 6, from Development Office of Harvard University re gouache Miró donating to Sert Scholarship Fund. Correspondence re "Miró otro" exhibition, Colegio de Arquitectos de Cataluna y Baleares, Barcelona (1969 April–May). Including poster, clippings and photographs. Some correspondence in French and Italian
- 19.37 Exhibitions, 1960–1969
- 19.38 Exhibitions: Recent Paintings and Ceramics, 1959–1961, Pierre Matisse Gallery (1961 November 7–25), 1961
Correspondence with bank re transfer of payments to Miró, Jacomet, et cetera. Correspondence with Daniel Jacomet et Cie, printers, re catalogue for exhibition. Typescript of catalogue preface by Yvon Taillandier. Correspondence from Taillandier concerning corrections needed in his preface. Letter from Pierre Matisse to Jacomet re delay in receiving paintings and catalogues and necessity of changing opening date for the second time. Various lists for color plates, works in exhibition, et cetera. Typescript of English translation of preface. Various galleys and proofs. Parts of the finished catalogue, in pieces. Correspondence in French See also installation photographs in exhibition scrapbooks
- 19.39 Exhibitions: Recent Paintings and Ceramics, 1959–1961, Pierre Matisse Gallery (1961 November 7–25), 1961
Price list (on index cards) of exhibition. 20 black‐and‐white photographs of varying sizes of works belonging to Maeght. Eight black‐and‐white photographs of varying sizes of works belonging to Pilar Miró. Five black‐and‐white photographs of varying sizes of works belonging to Pierre Matisse. Maquettes of catalogue, various lists. Correspondence from Artigas re shipment of works, shipping papers and documents. Various clippings and reviews of exhibition. Some correspondence in French See also installation photographs in exhibition scrapbooks
- 19.40 Exhibitions: Joan Miró, Musée National d'Art Moderne, Paris (1962 June 29–November 4), 1962
Invitation to opening of exhibition. January 12, 1962 missive from Pierre Matisse to museum putting his knowledge and documentation at their disposal in preparation of exhibition. Letter from Bernard Dorival of Musée National (February 23, 1962) confirming with Pierre Matisse that paintings coming from American collections will be packed and shipped from the gallery under Pierre Matisse's aegis. Various correspondence re transport, insurance and other details. Insurance certificate. November 5, 1962 missive from Bernard Dorival to Pierre Matisse re need for restoration of No. 67 Signes et figurations (1936). Loan forms. Various lists of collectors, paintings, et cetera. Receipt for return of paintings. Correspondence in French
- 19.41 Exhibitions: Joan Miró and Josep Llorens Artigas, Ceramics: Terres Nouvelles, Pierre Matisse Gallery (1963 November 5–30), 1963
Exhibition price list (on index card). Handwritten note of catalogues sent. List of color plates. September 20, 1963 long, detailed letter re catalogue specifics from Pierre Matisse to Draeger Frères (printers). Correspondence from Draeger Frères re catalogue progress. Invoices, correspondence re shipping details. Export and consignment papers from Galerie Maeght. Three copies of catalogue with various handwritten notations of prices, photograph numbers, et cetera. Clippings, reviews. Original cables. Correspondence in French See also installation photographs in exhibition scrapbooks
- 19.42 Exhibitions: Joan Miró (retrospective), Tate Gallery, London (1964 August 28–October 11); Kunsthaus Zürich (1964 October 31–December 6), 1963–1964
February 11, 1963 missive from Roland Penrose announcing exhibition plans, securing Pierre Matisse's support and requesting information re The Farm [La Ferme], from Hemingway's collection. June 12, 1963, from Penrose with further, more detailed plans for exhibition. April 17, 1964 correspondence with Joanna Drew of Art Department with list of paintings planned for exhibition. Further correspondence dated May 27, 1964, re loans, shipping plans, et cetera. Copies of correspondence to Mrs. Hemingway re loan of La Ferme. May 25, 1964 copy of letter to Miró from Mrs. Hemingway, in Spanish. Correspondence between Pierre Matisse and Mrs. Hemingway re shipment details, insurance, et cetera. Copies of correspondence between William H. Weintraub and Arts Council re loans. September 3, 1964 report from Joanna Drew, Arts Council, re damage to Miró ceramic and restoration plans. Letter from director of Kunsthaus Zürich re Miró exhibition's success in Zürich. Various lists, typewritten and handwritten (some poorly photocopied) of paintings, titles, insurance values, et cetera. Clippings and publicity, copy of Address by Sir Herbert Read prepared for the opening dinner. Invitation to exhibition preview. Original cables.
- 19.43 Exhibitions: Cartones, 1959–1965, Pierre Matisse Gallery (1965 October 26–November 20), 1965
- 19.44 Exhibitions: Cartones, 1959–1965, Pierre Matisse Gallery (1965 October 26–November 20), catalogue (Mourlot), 1965–1966
Correspondence with Mourlot Frères, Paris, France re printing of Miró Cartones catalogue for 1965 exhibition. Original cables. Invoices. Copies of bank advice. Correspondence also contains references to catalogue being printed for Giacometti Correspondence in French
- 19.45 Exhibitions: Cartones, 1959–1965, Pierre Matisse Gallery (1965 October 26–November 20), catalogue (Daniel Jacomet), 1965
Correspondence with Daniel Jacomet re printing of reproductions for Miró Cartones catalogue. Estimates, invoices, payments sent, et cetera. Original letter dated June 7, 1965 from Miró re maquette for catalogue. Correspondence in French Correspondence also contains references to catalogue being printed for Giacometti
- 20.01 Exhibitions: Ceramics, Los Angeles County Museum of Art, 1965
- 20.02 Exhibitions: Joan Miró Exhibition, Japan 1966 (retrospective), National Museum of Modern Art, Tokyo, Japan (1966 August 26–October 9); National Museum of Modern Art, Kyoto (1966 October 20–November 30), 1965–1966
Correspondence with Mr. Abo of the Special Projects department of Mainichi Newspapers re Miró project. Correspondence with Jacques Dupin re exhibition, including a list of collectors and addresses. Further correspondence and details re exhibition. February 1966, an English translation of Miró's letter to the collectors requesting their cooperation. March 11, 1966 missive from Ralph Colin re collection of his painting going to exhibition. Copies of Pierre Matisse's correspondence to collectors requesting approval of their loans. Correspondence with W.R. Keating, customs broker, re insurance and shipment. Insurance certificates, copies of loan forms, four small black‐and‐white photographs of opening. August 25, 1966 copy of letter from Miró to Pierre Matisse re plans to travel to exhibition in Japan. Hopes to see Matisse in Paris to talk. Original cables. Some correspondence in French Original Miró letter filed in solander boxes
- 20.03 Exhibitions: Joan Miró Exhibition, Japan 1966 (retrospective), National Museum of Modern Art, Tokyo, Japan (1966 August 26–October 9); National Museum of Modern Art, Kyoto (1966 October 20–November 30), 1966
Numerous newspaper clippings (most in Japanese, some in English) concerning exhibition of Miró works in Japan. Sticker. Invitation to opening. Announcement. Poster. Most clippings in Japanese
- 20.04 Exhibitions: Oiseau Solaire, Oiseau Lunaire, Etincelles, Pierre Matisse Gallery (1967 November 14–December 9), 1967
Estimate of catalogue costs from Daniel Jacomet. November 22, 1967 from Pierre Matisse to Jacomet re spots on the catalogue pages because the ink was not dry before they were put together. Invoice from Arte for the eaux‐fortes for the catalogue, invoice from Maeght Editeur for photographs, from Masure & Fils for exportation and Fequet & Baudier for printing. Handwritten copy of preface in French. Typescript of English translation. Handwritten notes on catalogue. Copies of color plates from catalogue. Correspondence in French See also installation photographs in exhibition scrapbooks
- 20.05 Exhibitions: Oiseau Solaire, Oiseau Lunaire, Etincelles, Pierre Matisse Gallery (1967 November 14–December 9), 1967–1968
Letter from David Sylvester agreeing to write preface for Pierre Matisse Gallery catalogue. Correspondence with Daniel Lelong re loans for exhibition. Correspondence re shipment of works. Correspondence with Jacomet re progress of catalogue, the eaux‐fortes, et cetera. November 16, 1967 missive from Daniel Lelong re price guidelines for the paintings. Response from Daniel Jacomet re ink stains on catalogue pages. December 7, 1967 letter from Daniel Lelong re recent visit to Miró, progress of paintings in the studio, et cetera. List of catalogue recipients, correspondence with catalogue purchasers, et cetera. Typewritten price list of Miró works, list of works stolen from APF framers truck (with prices). Sketch of gallery layout (by Pierre Matisse?) with small sketches of Miró sculpture in place. Diagram of sculpture platform. Various handwritten lists, diagrams, notes, et cetera. Binder with typewritten lists of purchasers of De Luxe Edition (I–XXV) of "Fowl of Venus" catalogue. Clippings, reviews. Correspondence in French See also installation photographs in exhibition scrapbooks; folder 20.04 for previous letter discussing ink stains
- 20.06 Exhibitions: Sculpture: A Generation of Innovation, Art Institute of Chicago (1967 June 23–August 27), 1967
Request from A. James Speyer to borrow three Miró ceramic pieces for exhibition. Loan forms. Correspondence re shipment. Missive of May 17, 1967 from Art Institute re extra pieces of Miró sculpture sent with shipment (with Xeroxes of photos). July 1967 correspondence from Speyer re desire of patrons (Mr. and Mrs. Leigh Block) to purchase Femme for the Art Institute. Copy of page from Pierre Matisse Gallery's Miró and Artigas ceramics catalogue of 1963 showing Femme purchased for Art Institute.
- 20.07 Exhibitions: Miró, Fondation Maeght, Saint‐Paul‐de‐Vence, France (1968 July 7–September 30); Museo de Arte Moderno, Barcelona (1968 November–1969 January), 1967–1969
December 26, 1967 missive from Mrs. Mary Hemingway explaining why she feels unable to lend her picture The Farm [La Ferme] to the exhibition. Correspondence with Jacques Dupin, Fondation Maeght, re exhibition plans, loans, et cetera. Requests for loans (some to Patricia Matisse). Copies of similar letters to other collectors. April 3, 1968, from Jacques Dupin re his visit with Miró and Miró's wish to include Blue I, II, and III in the exhibition. Copy of letter dated January 8, 1969, from William Rubin of the Museum of Modern Art to Miró and letter to Museo de Arte re delay in painting shipment due to lack of renewal of certificate of exportation. Letter dated March 15, 1969 from Mayor of Barcelona thanking Pierre Matisse for his collaboration with exhibition. Eight black‐and‐white photographs of exhibition location. Loan forms. Letter with shipping details including those paintings being sent on for exhibition at Haus der Kunst. Original cables. Correspondence in French and Spanish
- 20.08 Exhibitions: Sculpture in Bronze and Ceramic, 1967–1969, Recent Etchings and Lithographs, Pierre Matisse Gallery (1970 May 5–June 5), 1968–1970
Photocopy of September 22, 1968 letter from Miró to Pierre Matisse. February 5, 1969 correspondence from Galerie Maeght re four stolen Miró sculptures. To differentiate the new ones, they have been marked with a star next to Miró's signature. Correspondence with Jaime Batchilleri, Frenkel & Co. re shipment of sculpture, insurance, et cetera. February 27, 1970 missive from Galerie Maeght assuring Pierre Matisse that if his sculptures are not ready for his proposed exhibition, they will ship him theirs and the numbers can be changed to correspond to the numbers usually given to the Pierre Matisse Gallery. March 30, 1970 correspondence re John Russell re preface and payment for same. Original cables, some from Miró. Letter from Pierre Matisse to Artigas with an apology for having left his name off two of the sculptures in the catalogue. March 2, 1971 letter form Pierre Matisse to Miró discusses poster for Walker Art Center exhibition. Various lists of sculptures with numbers, foundries, et cetera. Original typescript of John Russell's preface. List of Miró sculptures being executed, signed by Miró. From Parellada Foundry, sketches of Miró pieces with titles given by Miró. Sketches of Miró works on yellow paper with pencil designs for bases. Copy of catalogue of Pierre Matisse Gallery exhibition with prices noted. Correspondence in French and Spanish
- 20.09 Exhibitions: Joan Miró, Haus der Kunst, Munich 1969 March 14–May 11), 1969
Shipping receipts, receipt from Haus der Kunst. Loan forms, insurance certificates. Correspondence re shipping instructions. June 16, 1969 letter from Toplis and Harding, Inc. (surveyors and adjusters) re water damage to two rolled paintings (Blue I and III per Pierre Matisses's letter of June 18, 1969). Condition report from Daniel Goldreyer, Ltd. re seven Miró paintings. From W.R. Keating, copy of surveyor's report on damaged works. Copy of report to W.R. Keating from Daniel Goldreyer. Correspondence in French and German
- 20.10 Exhibitions: Miró Sculpture, Walker Art Center, Minneapolis (1971 October 2–November 27); Cleveland Museum of Art (1972 February 1–March 12); Art Institute of Chicago (1972 April 5–May 15), 1969–1972
April 7, 1969, preliminary letter from Martin Friedman, Director, to Pierre Matisse proposing a Miró exhibition of sizable, new sculpture to celebrate inauguration of new building. Copy of Friedman's March 12th letter to Miró enclosed. Copy of letter dated April 21, 1969 to Jacques Dupin, Galerie Maeght re proposed exhibition. More detailed letter dated August 21, 1969 to Miró following personal meeting, from Martin Friedman. August 1, 1969 missive from Pierre Matisse to Dean Swanson, Curator, confirming loan of sculpture. April 8, 1970 missive from Friedman to Pierre Matisse re meeting with the Museum of Modern Art, questions re catalogue introduction, possibly John Russell to write introduction. June 11, 1970 confirmation from Pierre Matisse of Walker Museum's wish to purchase Miro Tête et Oiseau. June 23, 1970, from Pierre Matisse Gallery to museum re sculpture negative numbers, prices, et cetera. July 21, 1970 dated list of collectors to Dean Swanson. December 8, 1970 long letter from Pierre Matisse re history of Miró early sculpture. December 8, 1970 dated tentative list of works to be included. December 17 1970 missive from Swanson to Matisse with details of print project to be discussed with Miró by Pierre Matisse, also including copies of loan forms. March 10, 1971, original cable from Pierre Matisse confirming agreement with print and poster project. March 11, 1971 missive from Swanson re itinerary of exhibition. Invoice from Arte for Miró poster. Correspondence re shipping arrangements. August 18, 1971 letter authorizing Walker Art Center to paint Miró sculpture along Miró's guidelines. Paint being sent by Lefebvre‐Foinet. September 2, 1971 invoice from Fonderia Bonvincini for four sculptures. Correspondence re purchases, prices, et cetera. Correspondence re printing of Miró lithograph and posters, invoices for the same, et cetera. Copies of reviews sent by Martin Friedman. Delivery receipts.
- 20.11 Exhibitions: Miró Sculpture, Walker Art Center, Minneapolis (1971 October 2–November 27); Cleveland Museum of Art (1972 February 1–March 12); Art Institute of Chicago (1972 April 5–May 15), 1969–1972
Various papers relating to exhibition at Walker Art Center. Two postcards of Miró lithograph made for exhibition. Handwritten notes and sketches of poster. Various lists of works, handwritten and typed. Loan receipts, loan agreements, shipping receipts. Invitation to opening in Cleveland and invitation to opening at Walker Art Center. Clipping from the New York Times. Priced catalogue.
- 20.12 Exhibitions: Miró Sculpture, Walker Art Center, Minneapolis (1971 October 2–November 27); Cleveland Museum of Art (1972 February 1–March 12); Art Institute of Chicago (1972 April 5–May 15), 1969–1972
November 30, 1971 missive from Registrar requesting permission to stabilize snail shell element at the top of Woman [Femme] sculpture with a larger, stronger pin. "Receipt of delivery" form for sculpture Personnage (1969) with detailed report of damage to same. Includes description of restoration procedure. December 21, 1971 letter from Dean Swanson enclosing laboratory reports pertaining to the condition of Standing Woman (1971) and Lunar Bird [Oiseau Lunaire]. Includes one black‐and‐white close‐up photograph of damaged area of Standing Woman. February 25, 1972 letter from Registrar re Woman sculpture which was ultimately found not to need reinforcement. Includes reports of minor restorations to four other sculptures. Copies of loan agreement form for Monument, Déesse, Femme, and Personnage.
- 20.13 Foundries: Valsuani foundry, 1965–1971
Correspondence re casting of Miró sculpture among others. Invoices for casting of Daumier sculpture, Butler Musée Imaginaire, Mason sculpture, et cetera. Invoices and correspondence relating to casting of Miró sculpture. Correspondence in French
- 20.14 Foundries: Susse Fondeur, 1968–1973
Correspondence re casting of Miró sculpture at Susse Fondeur. December 9, 1968 invoice for casting Oiseau Lunaire 3/5 and Oiseau Solaire 3/5. December 15, 1970, Caresse d'un Oiseau 3/4 and Jeune fille s'evadant 3/4. January 10, 1972, with copy of October 11, 1971 letter from Susse with prices. February 4, 1972 from Pierre Matisse mostly concerning Butler sculpture and prices. Also re Miró casting which they spoke of on the telephone. November 12, 1973, cost of casting various Miró works. December 17, 1973 missive from Daniel Lelong, Galerie Maeght. Prices at Susse are very high, perhaps a communal demand will lower them. Also re casting of other sculpture, two for Pierre Matisse and two for Maeght. Copy of his letter to Susse (December 17, 1973). Copy of December 2, 1973 estimate from Susse for three Miró sculptures. Correspondence in French Some poor quality photocopies
- 20.15 Publicity, 1960–1969
Various clippings, articles, reviews, et cetera. Including Time magazine, New York Times and Herald Tribune. Articles in French and Spanish
- 20.16 Accounts, 1970–1971
Notebook containing papers relating to Miró/Pierre Matisse Gallery accounts. Title page states "Liste des documents expedies a Miró 30 Avril 1971." Correspondence and documents in French Notebook contains poor quality photocopies
- 20.17 Accounts: Ramon Viladas, 1970–1972
Correspondence with Ramon Viladas, Joan Miró's attorney, re Miró's affairs. Undated letter (circa April 30, 1971) from Pierre Matisse to Mr. Viladas summarizing the affairs and accounts between Pierre Matisse and Miró. With copy of Miró's letter of March 22, 1971 proposing that Viladas handle his affairs in the future to free him for his work. Also comments that he feels sculpture does not interest Pierre Matisse (with English translations attached). April 21, 1972 typewritten "précis" of accounts as they stand, with some handwritten notations. Typewritten sheet "Etat des Affaires en Cours Avec Joan Miró Arrete au 29 Avril 1971." April 29, 1971 letter from Pierre Matisse to Miró apprising him of what has been sent to Viladas. Pierre Matisse has send copy of Miró's letter of March 22, 1971 to Maeght who has been spreading rumors that Pierre Matisse does not pay his artists and Riopelle, Chagall and Miró have hired a lawyer to attack him. Correspondence re sending of checks, et cetera. December 21, 1971 copy of letter from Pierre Matisse to Miró explaining delay in payment, times are very difficult. May/June 1972 correspondence between Pierre Matisse and Viladas re payments to be made, list of "partage" April/May 1972 at Palma. November 27 1972 to Viladas re payments to be made to Royo for tapestries. List of works and photocopies from stock book. Correspondence in French Some poor quality photocopies
- 20.18 Accounts: Ramon Viladas, 1973–1975
Correspondence between Pierre Matisse and Ramon Viladas concerning Miró's affairs. Copies of correspondence with banks, copies of bank advices and bank checks, correspondence re transfer of money, et cetera, letters of receipt for transfers. October 1, 1973 statement of accounts. Copy of contract between Miró and Aime Maeght and Maeght Editeur. March 20, 1974, from Viladas re "partage" at the Grand Palais and new arrangements to be made. April 5, 1974 statement of accounts from Pierre Matisse. November 28, 1974 missive from Pierre Matisse re tapestry for National Gallery and question of Royo with whom Maeght claims to have a contact. Long document from Viladas re these and other questions. November 26, 1974, Pierre Matisse suggests an official contact between himself and Miró where commissions in the United States are concerned. Copy memo re "exclusive contract" with Maeght Editeur. May 19, 1975 re sculpture Tête that was wrongly attributed in a catalogue (to Maeght, but actually belongs to Pierre Matisse). Handwritten drafts of letters to Joan Miró. Paper with drawings (by Pierre Matisse?) of Miró sculpture. Correspondence in French
- 20.19 Accounts: "Partage," Grand Palais, 1974–1981
Correspondence, lists, photographs, et cetera, pertaining to the division of works between Galerie Maeght and Pierre Matisse at the Grand Palais in Paris in 1974. March 3, 1974 original letter from Miró informing him that in future M. Jacques Dupin would be representing his prints. He has signed a contract with Maeght to that affect. Also re ceramic to be done in bronze, and Mr. Rubin and the works he has chosen for his exhibition. Copies of correspondence from Viladas to J. P. Crozier (Miró's banker) in Switzerland re payment that was transferred by Pierre Matisse but not yet received. Correspondence from Pierre Matisse to Crozier, copies of bank advices, correspondence with Handelsbank, cables, Pierre Matisse's handwritten drafts of letters, et cetera. September 28, 1974 missive to Jacques (Dupin) re works going from Grand Palais to Louisiana Museum for exhibition. Correspondence with Lefebvre‐Foinet re shipments. January 22, 1975 correspondence with Galerie Maeght re Miró work that was stolen from the Grand Palais. With two black‐and‐white photographs. Copy of contract between Miró and Galerie Maeght. Numerous lists of paintings, sculpture and other works to be divided at the Grand Palais. List of accounts re 1974 division from March 1975 to December 1981. Packing lists. Numerous handwritten notes and scribbles by Pierre Matisse. Clipping in Italian. Numerous black‐and‐white photographs of work in division. Notebook with photographs between sleeves, also photographs inserted between pages, black‐and‐white, presumable of works in the "partage." Correspondence in French
- 20.20 Accounts: Ramon Viladas, 1976–1979
Correspondence between Ramon Viladas and Pierre Matisse concerning the affairs of Joan Miró. Receipts for payments, copies of bank advices, correspondence with banks, copies of checks. Correspondence re Miró projects and commissions: Wichita mosaic, Martha Graham poster, National Gallery tapestry, et cetera, terms and conditions (March 23, 1977). October 12, 1977 missive to Viladas. Pierre Matisse hopes to mount exhibition of smaller gouaches and paintings which he would like to choose from Miró's studio in Palma. Hopes Viladas will speak to Miró about it as well. March 7, 1978, Viladas wants an accounting from Pierre Matisse and the money due before the new selection of works can be sent. March 15, 1978 "Releve de Comptes Miró." March 17, 1978 missive from Pierre Matisse of counting of sculpture sales. April 19, 1978 missive from Pierre Matisse. List of paintings sold from the "partage" at the Grand Palais. June 6, 1978 letter forwarding check (with accounting). March 30, 1979 missive from Pierre Matisse re maquette originally prepared for Los Angeles which was returned to Maeght and then disappeared. March 31, 1979 long letter from Pierre Matisse re possible new arrangements for the works as yet unsold. They will revert to being the property of the artist and remain in the gallery on consignment. March 31, 1979 accounting of works from "Grand Palais partage." December 15, 1979 accounting of money paid to Margarita Juncosa Cirrer on behalf of Miró. Pierre Matisse's handwritten notes for above letter. Accounting of sculpture sold. Correspondence in French
- 20.21 Accounts, 1978
Correspondence relating to Miró accounts, lists, et cetera. List of "Cost Prices" Barcelona, June 27, 1978 (original and photocopy with notations of stock (?) numbers). Correspondence with Ramon Viladas re payments with photocopies of bank advices of transfers. Correspondence in French Some lists in Spanish See also Accounts: "Partage," Palma (folder 20.22)
- 20.22 Accounts: "Partage," Palma, 1978–1979
Correspondence, cables, lists, et cetera, related to the division of works in Palma, 1978. Customs invoices, shipping documents. Copies of bank advices. Lists of paintings and other works showing division. Contact sheets of photographs, negatives. Correspondence in French and Spanish Some photocopies of poor quality
- 20.23 Authentications, 1970–1979
Correspondence re authentications and requests for authentication. 1973 correspondence with Mrs. Karen Gold (copy of note from Miró). April 27, 1973 missive from Billy Wilder thanking Pierre Matisse for authentication he has received from Miró. Black‐and‐white photographs of gouache with original authentication handwritten and signed by Miró. Also one Ektachrome. 1977 correspondence with Jacques Dupin concerning Chien aboyant un cerf volant. With photocopies of Miró letters with excerpts pertaining to the same. Two newspaper clippings re lithograph forgeries including some attributed to Miró. Other miscellaneous authentication requests and attendant correspondence. Some correspondence in French Originals of letters filed elsewhere in solander boxes See also Authentications, 1960–1969 for further correspondence with Mr. Wilder (folder 19.13)
- 20.24 Commissions: Sculpture in Central Park, New York City, 1973–1975
Carbon copy of letter from Margit Rowell, Guggenheim Museum to Joan Miró proposing sculpture to be dedicated to the children of New York City. August 11, 1972 missive from Mrs. Donald B. Strauss, President of the New York City Cultural Council reiterating invitation to Miró to create a sculpture for New York. April 10, 1974 sculpture progress report for Visual Arts Committee of New York City Cultural Council. Copies of correspondence between Margit Rowell and Miró concerning project. Estimates from Susse Fondeur and Bousquet. November 25, 1974 missive from Pierre Matisse to Ramon Viladas re Miró's decision to make the sculpture in bronze instead of painted epoxy which has put the whole plan in jeopardy. Memo from Ramon Viladas in response to Pierre Matisse's letter. No indication that project was ever realized. Correspondence in French
- 20.25 Commissions: Tapestry, National Gallery of Art, Washington, D.C., 1973–1978
Copy of letter dated January 31, 1973 from Zao Wou‐ki to I.M. Pei re making of tapestries. December 4, 1974 missive from David Scott, National Gallery, re projected size, weight, wool, color, et cetera, of tapestry. February 18, 1975 missive from Carter Brown to Pierre Matisse re terms and conditions of tapestry commission. Estimate for fabrication of tapestry. Photocopies of clippings about and notes from inaugural meeting of National Gallery Collectors' Committee. June 11, 1976, from Carter Brown with information on Collectors' Committee, the expansion of the National Gallery, including 11 photographs of models and beginning construction. June 21, 1976, Carter Brown with a copy of his memo to the files re visit to Miró in 1975. June 22, 1976 drafts of contracts. December 10, 1976 copy of contract between Pierre Matisse and National Gallery. Bill of sale for maquette. Correspondence with Harry Torczyner, Esq. re possible working of contracts and agreements. Copy of check from National Gallery for $50,000. Two color photographs of Miró and tapestry. Clippings re National Gallery tapestry. Some correspondence in French
- 20.26 Commissions: Mosaic, Wichita State University, 1973–1987
February 11, 1973 missive from Miró to Pierre Matisse announcing his intention of beginning the design of the mosaic for Wichita. June 8, 1973, from Martin Bush to Pierre Matisse outlining mosaic mural project. June 11, 1973, from Bush to Miró asking that the price of the mosaic be lowered so that they do not have to abandon the project (in English with a copy translated into Spanish). January 23, 1975, from Martin Bush with brochures from university art center. March 29, 1976, Bush proposes a Miró exhibition at the time of the dedication of the mosaic. August 2, 1976 original cable from Bush agreeing to terms for mural and maquette. August 27, 1976 letter and check stub (with photocopy of check) for the first payment of $27,600. Copy of invoice for shipping charges of maquette (February 23, 1978). February 16, 1978, to Galerie Maeght from Bush with invoice for the balance due on mosaic. April 4, 1978, from Bush with payment (photocopy of check is attached). May 18, 1978 missive from Martin Bush with postcard of university museum showing eventual placement of mural. Shipping papers, invoices, copies of bank drafts. September 29, 1978, from Bush to Pierre Matisse with copies of articles on placement of mural. Also asking Pierre Matisse to speak informally at luncheon dedication. Papers, invitations, schedules, et cetera, relating to Pierre Matisse's trip to dedication. Announcement card of exhibition of Miró paintings and graphics at Wichita (1978 September 20–November 5). Some correspondence in French and Spanish In the cases of the photocopies of original letters from Miró, originals filed elsewhere
- 20.27 Commissions: Wichita State University, 1973–1987
- 20.28 Commissions: Lithograph for Martha Graham gala benefit, 1975–1977
Correspondence re creation of a poster to celebrate gala benefit and 50th anniversary of Martha Graham Dance Company. Correspondence to Miró re commission including original letter signed by Martha Graham. Correspondence with Alexander Racolin, Esq. re lithographs, posters, et cetera, and various agreements. Correspondence re payment of fee to Miró. Correspondence with Viladas re receipt of check. Photocopy of check. Invitation, Playbill for performance. Three black‐and‐white photographs of Martha Graham. Clipping and articles. Some correspondence in French
- 20.29 Commissions: Lithograph for Amnesty International, 1975–1977
Correspondence between Edith Gross of Amnesty International, Pierre Matisse and Miró re possibility of Miró creating a poster for their benefit. September 7, 1976 missive from Pierre Matisse to Edith Gross re process of lithograph. September 8, 1976 missive from Galerie Maeght re difficulty of getting to Miró to have the five hors de commerce lithos signed for by Amnesty International and Martha Graham. September 17, 1976 re exhibition planned in Barcelona at the Fundació Joan Miró. Also requests permission to use Miró designs on stamps, cards, et cetera, for further benefit. February 17, 1977 press release from Washington Post and photocopy of "Handbook for Groups." Some correspondence in French
- 21.01 Commissions: Fort Worth Art Museum, Texas, 1975–1978
May 12, 1975, from Richard Koshalek re "project" for the Fort Worth Art Museum. With eight black‐and‐white photographs of architect's site plan. June 27, 1977 missive from Pierre Matisse. Miró still interested in project. February 6, 1978, from Belloli, Director, with further measurements for Miró to consider in planning possible work. Also one architectural plan. No indication that the project was ever realized.
- 21.02 Commissions: Baltimore Convention Center, 1976
- 21.03 Commissions: Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1978–1979
July 28, 1978, from Charles W. Millard re possibility of commissioning a large scale version of Femme devant la Foule. October 17, 1978, to Gallery Maeght concerning return of maquette of sculpture originally being considered for Los Angeles County Museum of Art [LACMA]. Estimate form Robert Haligon. December 15, 1978 missive from Charles Millard as to whether or not their piece should be smaller since they have less space than the LACMA. March 2, 1979 letter of firm interest from Hirshhorn. May 7, 1979, form Millard indication that Miró maquette has safely arrived and will be shown to the Board at the end of June. Letter from Pierre Matisse (in St. Jean) to Robert Haligon with numerous questions concerning construction of large Miró sculpture. To now be presented to Secretary of Smithsonian. August 2, 1979 long, detailed letter from Haligon re construction of piece. August 8, 1979, Haligon, with sample contract. August 26, 1979 from Pierre Matisse to Millard with details of Haligon's letter and other information concerning Miró's fees, et cetera. November 8, 1979, from Millard to indicate that the Board had reversed their decision and abandoned commission. Some correspondence in French
- 21.04 Correspondence, 1970–1979
Photocopies of correspondence between Pierre Matisse and Miró. Summaries of letters. Original cables. February 17, 1970, Miró arranging for a shipment of works. The names are strictly a formality, he will be sending a list of titles for the catalogue "more poetic." Ideas for exhibition: color on the walls from the graphics, different patinas from different foundries, et cetera. Intends to come to New York for exhibition. May 22, 1970, Miró is pleased with the catalogue, had heard exhibition a great success. Has several "technical" remarks to make vis à vis the catalogue. Broken ceramics and those that have been "condemned" should be send to Clementi where he will rework them in bronze. July 19, 1970 original letter from Joan Miró to Patricia Matisse re receipt of check. September 9, 1970, Pierre Matisse has had to return to New York because of the fire at the warehouse where their things were stored. Has rescued some of Miró's books but they have been singed and also sprayed with water. February 7, 1971 original letter form Miró to Pierre Matisse forwarding copy of Miró's letter to Thomas Messer re exhibition at Guggenheim. October 7, 1971, from Miró re poster for Minneapolis. October 6, 1971 from Pierre Matisse re List Art Posters. Miró to be aware should he be approached that artists are being taken advantage of. December 21, 1971, affairs have been disastrous. May 17, 1972, from Pierre Matisse re new wing for the National Gallery of Art. David Scott will be in touch with Miró during the summer about the project. Pierre Matisse has seen the tapestries at Gaspar and finds them splendid. June 24, 1972, from Pierre Matisse. Sending photographs of the drawings for "La Reine de Prusse" which he asks that Miró sign. File contains ten black‐and‐white photographs of pages from sketchpad. Photos are signed and dated by Miró (original documents are in file). Also three large black‐and‐white photograph also signed and dated by Miró. With gray Pierre Matisse Gallery envelope with "14 dessins pour Reine M.L. de P." written by Miró. November 17, 1972, the Foundation in Barcelona is in good shape. Miró needs to finance fifty percent of it, and asks that Pierre Matisse send what is due him directly to the Foundation. February 11, 1973, beginning mosaic for Wichita. April 18, 1973, Pierre Matisse asks Miró for story of the painting Matisse gave to the Museum of Modern Art which was found by Joan Prats at a flea market. The project for Central Park is still pending, the large sculpture for Chicago is not yet dead. [for Washington]. November 17, 1973, from Pierre Matisse re success of exhibition. An article has just come out in Time magazine so he has kept some of the Sobreteixims up in the entrance of the gallery for the public to see. December 6, 1973, from Pierre Matisse with questions concerning the project of the mosaic for Wichita. Long December 13, 1973 letter from Pierre Matisse re success of Sobreteixims exhibition, question the exchange of "sacs," posters for the Museum of Modern Art, exhibition being arranged by Leymarie and including of certain works unknown in Europe. Also re ceramic Tête (photocopy of photograph attached) that the owner would like to have cast in bronze. March 20, 1975 letter sent by Miró from Centre d'Estudis d'Art Contemporani (CEAC), Fundació Joan Miró, re the drawing for "La Reine Marie Louise de Prusse" which are to be donated to CEAC where Miró hopes to have all his works together for students to study the creative process for each of his works. September 8, 1978 letter of introduction from Miró for a young relative coming to New York City to study ballet (in Spanish). October 16, 1977, from Pierre Matisse re Les Entretiens de Raillard: Ceci est la couleur de mes reves. Pierre Matisse not surprised to read that Miró felt that Henri Matisse invented pretexts not to see him. Pierre Matisse has again purchased Miró's Le Perroquet. He has sold the large bronze Mere Ubu to a museum in California. He has also sold the large Oiseau Lunaire to Philadelphia where it will be displayed in a public park next to a Moore sculpture. December 29, 1978, from Pierre Matisse re maquette taken to Miró by Margrit Rowell, replacement for Projet pour un monument. Hirshhorn Museum is anxious to have it. Also director of a large bank in the South, along with the architect I.M. Pei, want to visit Miró to discuss an immense sculpture. March 29, 1979 missive to Daniel Lelong re incorrect attribute of the Blues in a book on Miró. July 30, 1979, Pierre Matisse invites the Mirós to stay with him on their trip to New York. Also recapitulation of their last conversation: Project 1, sculpture Projet pour un monument for Hirshhorn Museum; Project 2, gigantic sculpture for Dallas; Project 3, discussion of payments and accounts. Several handwritten drafts of letters by Pierre Matisse (undated). Other handwritten notes and lists by Pierre Matisse. Also draft of cable. Correspondence in French One letter in Spanish Originals of letters filed elsewhere
- 21.05 Correspondence, 1970–1974
Miscellaneous correspondence relating to Miró. Letter from "The Collector's Guild" forward by Frank Perls. May 18, 1970 correspondence re Sert Scholarship Fund at Harvard University. July 22, 1970 missive to Hilton Kramer of New York Times re visit by photographer Jack Mitchell to Miró. March 9, 1971 missive from the Print Club of Philadelphia. June 22, 1971, from Mrs. Albert List of List Art Posters.
- 21.06 Correspondence: Maryette Charlton, 1970–1975
- 21.07 Correspondence: Artigas, 1970–1976
Correspondence with Artigas or relating to Artigas and ceramics. November 14, 2, 1970 recasting of Le Coq in bronze which was given to Artigas as a present from Miró. The ceramic for the Barcelona Airport is almost finished. Invoice from Susse for casting Le Coq. November 17, 1971 missive from Artigas re casting of some more sculpture, with black‐and‐white photographs. Correspondence with banks re transfer of money. Undated, re repair to sculpture. Christmas and New Year card with photograph. April 22, 1975 question of a repair to a sculpture which Pierre Matisse has asked Artigas to look at. Receipt from bank for deposit of money. September 29, 1975 missive from Pierre Matisse. Times are very, very hard. Wonders if Miró has not abandoned the idea of ceramics as too fragile. February 11, 1976, Pierre Matisse is preparing Miró sculpture show for April. Sending photos to Artigas so that he can indicate the colors used. Various handwritten notes and lists by Pierre Matisse. Correspondence in French
- 21.08 Correspondence: Clients and inquiries, 1970–1979
- 21.09 Correspondence: Fondation Miró [Fundació Joan Miró], 1971–1972
Correspondence pertaining to Fondation Miró. Constitution of foundation (in Spanish). Correspondence with Miró, Ramon Viladas. Some correspondence in French and Spanish
- 21.10 Correspondence: Sala Gaspar, 1972
Correspondence with Sala Gaspar re Sobreteixims. June 13, 1972 missive from Joan Gaspar. Exhibition a great success. One sold. Invoice for photographic expenses. Two black‐and‐white photographs, one slide. Correspondence in French
- 21.11 Correspondence: Restoration of Blue I and Blue II, 1972–1974
Correspondence re restoration of Miró paintings Blue I and Blue II on loan to Guggenheim exhibition. Copy of letter dated January 5, 1972 from Daniel Goldreyer to Guggenheim re delivery of paintings to his studio. Copy of Goldreyer letter dated October 24, 1972 to Guggenheim re restoration plans. Copies of invoices to Guggenheim. Conservation report from Daniel Goldreyer. Estimate from Goldreyer for packing and crating of two paintings for shipment to Paris. Airway bill from WTC International, Inc. October 18, 1974 missive from Goldreyer re precautions needed in packing and shipping of paintings for return to New York. See also Exhibitions: Magnetic Fields, Solomon R. Guggenheim Museum, New York City (1972 October 26–1973 January 21) (folder 21.22)
- 21.12 Correspondence: Miró album, 1973–1975
Correspondence relating to printing of Miró album Gravures pour une exposition 1973. Various notes and lists of people for whom albums have been reserved. Handwritten note on small cardboard by Miró (?) re composition of album. May 3, 1973 original letter from Miró. Has made arrangements with Dutrou and will start engraving in June. Also re sculpture for Central Park. Copy of bank advice for payment to Dutrou, Atelier Morsang. January 25, 1974 missive to Miró re portfolio for album. Wonders if Miró would like to write the title of the album by hand. Sending paper and ink samples. Also re "partage" at Grand Palais. Correspondence with Cartonnages Adine re portfolio design. April 16, 1974 missive to Mr. Dutrou re plates for engravings that belong to Pierre Matisse. Copy of bank advice for payment to Cartonnages Adine. Copies of invoices. Correspondence with Agence Maritime Delamare re shipping. Airway bills. Correspondence with Fequet & Baudier re envelopes for shipment of portfolios. Bank advice for payment to Fequet and invoice. March 21, 1975 letters to collectors who have reserved albums to indicate their readiness. Correspondence in French See also Exhibitions: Paintings, Gouaches, Sobreteixims, Sculpture, Etchings, Pierre Matisse Gallery (1973 May 1–May 25)
- 21.13 Correspondence: Fondation Miró [Fundació Joan Miró], 1973–1974
Copies of provisions for the liquidation of the art collection of the Centre d'Estudis d'Art Contemporani Joan Miró. Accounts, meeting agenda, et cetera. Copies of correspondence between Galerie Maeght and Joaquin Gomis, President re financial state of Centro. Correspondence re advertisement in bulletin. Copies of bulletin XIII Premi Internacional de Dibuix Joan Miró. September 18, 1974 missive from Pierre Matisse re details of his gift of Miró sculpture Femme. December 14, 1974, from Gomis re election of new president. Correspondence in French and Spanish
- 21.14 Correspondence: Fondation Miró [Fundació Joan Miró], 1975–1979
Correspondence relating to Fondation Miró. Correspondence re donation of Miró sculpture by Pierre Matisse Lune, Soleil et une Etoile. Correspondence re inauguration of foundation and people to be invited. News clippings re foundation. Correspondence in French and Spanish
- 21.15 Correspondence, 1975–1979
Miscellaneous correspondence relating to Miró. November 11, 1975 letter from Sylvia and Leonard Lyons re Miró coasters being sold in catalogue. June 24, 1977 missive from Grace Glueck requesting comment from ARTnews special issue. April 27, 1978, Joan Miró II "Trazos" emisio癝n, "Intervención de Pierre Matisse." Correspondence with Albright‐Knox Gallery and Editions. Ducolot re reproduction of Miró Carneval d'Arlequin in collection of Albright‐Knox. Magazine reproduction of A Drop of Dew Falling from the Wing of a Bird Awakens Rosalie Asleep in the Shade of a Cobweb, 1939 with photographic separations. No explanation or letter in file. Some correspondence in French and Spanish
- 21.16 Exhibitions, 1970–1979
Galerie Maeght/Zürich (1971 December), announcement; The Pulitzer Collection: Accessions, 1958–1971, The Fogg Art Museum (1972 November 14–1973 January 3); Sobreteixims i Escultures, Sala Gaspar, Barcelona (1972 May), invitation and catalogue; Artistes per l'Amnistia, Fundació Joan Miró, Barcelona (1976 December 10–177 January 9); Postcard "Composition;" Joan Miró: Peinture et Poésie (February 3), invitation; Miró, Galerie Maeght (1978 November 22); Jean Arp, Joan Miró, Galerie , Basel (1979 May–July); Joan Miró: Homenatage a Gaudí, Galerie Maeght, Barcelona (1979 May 29), invitation; Postcard, untitled lithograph, 1971; Theatre de la Claca, Fondation Maeght, Saint‐Paul‐de‐Vence (July 8–21); Gemalde, Skulpturen, Zeichnungen, Gouachen, Radierungen, Lithografien, Bücher und Plakate, Galerie Binhold, Hamburg (1979 October); Joan Miró, Fondation Maeght, Saint‐Paul‐de‐Vence (1979 July 7–September 30); La Bague d'Aurore, John Berggruen Gallery, California (1971 June 25–July 27); Joan Miró, Acquavella Galleries, New York City (1972 October 18–November 18); Esculturas y Aguafeurtes, Galerie Juan Mas (1976 Febrero/Marzo); Obra Grafica, Sala Celini, Madrid (1978 May); Tres Joans, Galeria Joan Prats, Barcelona (1978 May); Dibuixos, gouaches, monotips, Galeria Maeght, Barcelona (1978 May).
- 21.17 Exhibitions: A Show of Hands, California College of Arts and Crafts (1970 September 9–October 11), 1970
- 21.18 Exhibitions: Against Order: Chance and Art, Institute of Contemporary Art, University of Pennsylvania, Philadelphia (1970 November 13–December 22), 1970
Letter from Stephen Prokopoff, Director, re exhibition, requesting loan from Pierre Matisse. Loan form for Painting, 1927. Loan receipt and receipt of delivery.
- 21.19 Exhibitions: Joan Miró, Casino Knokke, Brussels (1971 June 26–August 29), 1970–1971
List of Miró paintings from André de Rache, Pierre Matisse to choose. February 1, 1971, from Em. Langui to Pierre Matisse with history of Festival Belge d'Ete. Miró chosen for this year's exhibition. Requests Pierre Matisse's help and advice. Correspondence re loans, shipping arrangements, et cetera. Insurance certificates, loan forms, shipping receipts. June 15, 1971 list of eight paintings going to exhibition. Original cables. Correspondence in French
- 21.20 Exhibitions: Sobre Papel: Oils, Mixed Media, Collages, Gouaches, Watercolors, Drawings, 1964–1971, Pierre Matisse Gallery (1972 March 21–April 15), 1971–1972
Correspondence between Pierre Matisse and Pierre Schneider re preface for catalogue. Exhibition expenses (copies of framer's bills, lists of expenses). March 26, 1972 missive from Miró to Pierre Matisse (photocopy). Has received catalogue and is very pleased. May 3, 1972, from Pierre Matisse to Miró (photocopy) re success of exhibition, collectors who have viewed it, et cetera. Shipping documents. Various handwritten notes re pricing of paintings. Hand‐drawn floor plan of gallery space with notes for hanging of paintings. Original cables. Clipping and reviews. Some correspondence in French Also some poor quality photocopies Originals of Miró's letters filed elsewhere in solander boxes See also installation photographs in exhibition scrapbooks
- 21.21 Exhibitions: Sobre Papel: Oils, Mixed Media, Collages, Gouaches, Watercolors, Drawings, 1964–1971, Pierre Matisse Gallery (1972 March 21–April 15), 1971–1972
Typescript of Pierre Schneider's preface in English. Handwritten notes of various matters relating to catalogue. Exhibition announcement. Typescript of preface with printer's notations. 12 black‐and‐white photographs of works in exhibition, also one color photo cut along the lines of the figure in the painting. Maquette of catalogue. Catalogue with typewritten insert of price list, notation of sales, et cetera. See also installation photographs in exhibition scrapbooks
- 21.22 Exhibitions: Joan Miró: Magnetic Fields, Solomon R. Guggenheim Museum, New York, 1971–1973
February 24, 1971, initial contact of Miró by Thomas Messer re exhibition proposed at Guggenheim. Assures Miró that contact has been made with Pierre Matisse. Proposed April 1973, Miró's birthday month, for exhibition. Copy of Messer's letter dated October 18, 1971. Spring 1973 has proved impossible for exhibition and one has already been scheduled at the Museum of Modern Art. An exhibition will follow in Paris in the autumn. Messer proposed September 1972 for exhibition. Rosalind Krauss and Margit Rowell will be doing the research. January 12, 1972, Rowell to Pierre Matisse. Dates have been finalized: October 16, 1972 through January 14, 1973. March 15, 1972 missive from Messer to Pierre Matisse detailing focus and purpose of exhibition. List of paintings considered essential. Loan forms, shipping receipts, delivery receipts. Correspondence re photograph requests. September 12, 1972, from Guggenheim including an extensive condition report on paintings on loan. Invitations. Various clippings and reviews. Guggenheim press release re purchase of Miró's The Tilled Field, 1923–1924. Some correspondence in French
- 21.23 Exhibitions: Presencia de Joan Prats Galería Joan Prats, Barcelona, 1971–1976
- 21.24 Exhibitions: Paintings, Gouaches, Sobreteixims, Sculpture, Etchings, Pierre Matisse Gallery (1973 May 1–May 25), 1972–1973
Correspondence re shipping of tapestries, shipping papers, airway bills, invoice, original cables. Correspondence (October 1972) among Pierre Matisse, Daniel Lelong, Juan Gaspar re price of Sobreteixims and amount due to José Royo for his collaboration. Detailed letter from Juan Gaspar (October 5, 1972) concerning technical problems of tapestries, extent of Royo's collaboration, et cetera. March 1973 correspondence with Robert Dutrout and Arte re catalogue for exhibition, specifically the lithograph for the cover. Original cables to John Russell, James Johnson Sweeney and Jacques Dupin requesting his permission to quote from prefaces to earlier catalogues for this catalogue. Correspondence (April 1973) with Marcus Ratliff re catalogue, including typed preface. Correspondence with collectors of limited edition catalogues. Drawing of gallery floor plan with placement of paintings and sculpture. Two handwritten drafts of letter by Pierre Matisse to Juan Gaspar concerning the question of payment to José Royo. It is not clear if they were ever typed and sent. List of paintings with prices. Catalogue with priced insert. Various clippings and reviews. Some correspondence in French See also installation photographs in exhibition scrapbooks
- 21.25 Exhibitions: Sculpture de Miró, céramiques de Miró et Llorens Artigas, Fondation Maeght, Saint‐Paul‐de‐Vence (1973 April 14–July 10), 1973
Correspondence re loan of sculpture and ceramics by Pierre Matisse to Fondation Maeght. February 2, 1973, from Pierre Matisse to Jacques Dupin re procedure for exhibition ceramics for their safety. Insurance certificates. April 26, 1973, from Jacques Dupin to Pierre Matisse re damage to Le Palmier during transport. Loan forms and photocopies (poor) of works. Correspondence in French Some poor photocopies
- 21.26 Exhibitions: Sobreteixims, Pierre Matisse Gallery (1973 October 19–November 9), 1973
April 12, 1973, from Daniel Lelong concerning terms of payment to Miró for Sobreteixims. June 11, 1973, from Pierre Matisse to James Johnson Sweeney. Pierre Matisse writes of success of previous Sobreteixims exhibition (Pierre Matisse Gallery (1973 May 2–25) and requests Sweeney write preface for upcoming exhibition catalogue. Correspondence with printer, Imprimeries Reunies Lausanne, and photographer re catalogue. Delivery receipts, shipping papers, et cetera, for announcements and catalogues. November 5, 1973 original cable to Miró requesting exchange of Sobreteixim from his collection for one of Pierre Matisse's because collector is interested in purchasing it. Miró accepts November 12 cable. Original not from Miró "Affecteuex souvenir." Invoices, bank draft copy. List of expenses, photocopies (poor) of checks. Accounting of Sobreteixims. Drawings of gallery floor plan, various handwritten notes. Announcement and catalogue (with prices). Original typescript of preface. Various clippings and reviews. Some correspondence in French and Spanish
- 21.27 Exhibitions: Primal Images, De Cordova Museum, Lincoln Massachusetts (1973 December 16–1974 February 3), 1973–1974
Correspondence from Carlo M. Lamagna, Curator, re plans for exhibition including Miró, Dubuffet, Appel and Calder. Loan forms, delivery receipt with condition report. Correspondence re prices of works, letters between Mrs. R. De Normandie re interest in possible purchase. Catalogue and announcement. Clippings.
- 21.28 Exhibitions: Joan Miró, Grand Palais, Paris (1974 May 17–October 31), 1973–1975
Correspondence with Hubert Landais, Inspection Général des Musées, re loans for Miró exhibition at Grand Palais. March 12, 1974, Pierre Matisse to James Laughlin re loan to exhibition. First painting, sold to James Laughlin's father, after Pierre Matisse's break with the Valentine Gallery (name of the painting is not mentioned). March 27, 1974 from Pierre Matisse to Jean Leymarie re shipping arrangements for Blue paintings and procedure for rolling and unrolling. Insurance certificate for Grand Palais, Paris and continuation at Louisiana Museum, Copenhagen. July 23, 1974 from Hanne Finsen re International Council of Museums meeting and conference, et cetera. Articles and clippings. Empty envelope with Miró stamp. Correspondence in French
- 21.29 Exhibitions: Joan Miró, Louisiana Museum, Denmark (1974 November 9 –1975 January 12), 1974–1975
- 21.30 Exhibitions: Miró: L'Oeuvre graphique, Musée d'Art Moderne de la Ville de Paris (1974 May 22–September 15); Fondation Gulbenkian, Lisbon (1974 November 25–December 31), 1974–1975
January 5, 1974 from M. Benhoura re scope of exhibition and with request for loans from Pierre Matisse. March 13, 1974, from Pierre Matisse Gallery with descriptions of graphic works available for loan. August 8, 1974, from President of Gulbenkian Foundation in Lisbon re continuation of exhibition in Portugal. Handwritten catalogues and description. Correspondence in French
- 21.31 Exhibitions: Paintings and Sculpture, 1969–1974, Pierre Matisse Gallery (1975 April 8–May 2), 1975
Material relating to preparation of exhibition. Letters from clients requesting copies of catalogue. List of exhibition expenses. Typed copies of preface. Various lists of sculpture with notations of price, foundry, et cetera. Cut out copies of works from catalogue with various information on back. Drawing of gallery floor plan with placement of works. Two priced copies of catalogue. See also installation photographs in the exhibition scrapbooks
- 21.32 Exhibitions: Sculpture, Pierre Matisse Gallery (1976 April 13–May 8), 1976
Material relating to preparation of exhibition. February 1976 correspondence with Lelong of Galerie Maeght re shipment of sculpture Mere Ubu to New York. March 25, 1976 from Jose Luis [Josep Lluis] Sert with copy of catalogue preface. May 14, 1976 invoice to Teplitz‐Brenner Gallery for purchase. With copies of cancelled checks. May 28, 1976 list of works sold (number, cast, purchaser, price). Expense list for exhibition. Receipts, shipping receipts, lists, et cetera. Colored tracings of works in catalogue, with description, size, date, et cetera. Proofs from catalogue. Announcement, three copies of priced catalogue. Five Polaroid photographs of gallery staff with Miró sculpture. Clipping and reviews. Some correspondence in French See also installation photographs in exhibition scrapbooks
- 21.33 Exhibitions: Aquatints: Grand Formats, 1974–1975, Pierre Matisse Gallery (1976 November 16–December 16), 1976
Material relating to preparation of exhibition. Correspondence with Fondation Maeght re works available for exhibition with list of prices, terms of agreement. Delivery receipts, shipping receipts. Correspondence with collectors re prices, availability, et cetera. Invoices from Maeght Editeur, draft of payment. List of exhibition expenses. Clippings and reviews. Priced exhibition folder and checklist. Some correspondence in French See also installation photographs in exhibition scrapbooks
- 21.34 Exhibitions: l'Espagne, Avant‐Garde Artistique et Réalité Sociale, Venice Biennale (1976 July 18–October 10), 1976‐1977
Correspondence with shippers and customs brokers. May 18, 1976, from Carlo Ripa di Meana, detailed letter re proposed exhibition. Insurance certificates. Cable dated October 14, 1976 requesting permission to transfer loans to Miró Foundation, Barcelona for continuation of exhibition. Cable dated October 16, 1976 from Pierre Matisse in agreement. Original cables. Three black‐and‐white photographs of works. Clippings and reviews. Some correspondence in French and Italian
- 21.35 Exhibitions: Paintings and Graphics, Edwin A. Ulrich Museum of Art, Wichita State University (1978 September 20–November 12), 1978–1981
Photocopy of article from Kansas Quarterly (Fall 1977) by Martin Bush. May 16, 1978, from Martin Bush to Pierre Matisse re exhibition. Requests Pierre Matisse's aid in bringing together 20 paintings and 15 to 20 large prints. Including four black‐and‐white photographs of gallery space. Correspondence with packers and shippers. July 3, 1978 letter and list of Miró paintings to be sent to Budworth & Sons, packers and shippers. November 21, 1978 missive from Chief Curator, Edwin A. Ulrich Museum of Art to Hahn Brothers with directions and list of paintings being returned. September 16, 1981, from Martin Bush with reprinted postcard of Miró mural at Wichita State.
- 21.36 Exhibitions: Joan Miró: Pintura, Museo Español de Arte Contemporáneo, Madrid (1978 May 4–July 23); La Llonja, Palma de Mallorca (1978 September 4–October), 1978
January 27, 1978 from Sr. Conde and Sr. Bauze re initial plans for exhibition to honor Miró with a retrospective exhibition. Spanish Ministry of Culture re 85th Birthday exhibition. Invite Pierre Matisse to choose two works to be included. February 28, 1978 and March 6, 1978 re plans to publish special editions to celebrate Miró's 85th birthday. Four black‐and‐white of Pierre Matisse and Pierre Matisse with Miró. Original cable from Pierre Matisse offering two paintings to exhibition, 1925 and 1938. Letter from Pierre Matisse confirming cable (dated March 14, 1978) and indicating that he will loan Ceci est la couleur de mes rêves and Une étoile carresse le sein d'une négresse. Loan forms, insurance certificates, invitations. June 15, 1978, from Paulino Buchens Adrover from Palma with handwritten note from Miró re preparations for continuation of exhibition in Palma. Miró asks for his total cooperation. July 6, 1978, Pierre Matisse agrees to loan same paintings as to Madrid. Correspondence re shipping. Shipping receipts. Clippings and reviews. Correspondence in French and Spanish
- 22.01 Exhibitions: Recent Paintings, Gouaches, and Drawings from 1969–1978, Pierre Matisse Gallery (1978 November 21–December 16), 1978
Correspondence, lists, et cetera, relating to 1978 exhibition. October 11, 1978 missive to Permissions Department at Harcourt Brace re Aragon piece. October 17, 1978, Pierre Matisse to Louis Aragon confirming phone call giving permission to reprint parts of his text. November 1, 1978, Pierre Matisse to André Gadaud re mention in CultureFrance. Correspondence with clients re purchases. List of clients and instructions re disposition of works. Miscellaneous list of works in exhibition some with prices. List of Miró exhibitions at Pierre Matisse Gallery. Rough proofs of catalogue. Clipping of Pierre Matisse Gallery ad in the Soho Weekly News. Priced catalogue. Some correspondence in French
- 22.02 Exhibitions: Miró exhibition, Gallery Kasahara, Japan (proposed for 1978 November/December), 1978
May 26, 1978 detailed letter from Ryunosuke Kasahara of the Gallery Kasahara re plans for exhibition of Miró works on paper in November and December 1978. Including all terms, agreements, et cetera. August 9, 1978, response from Pierre Matisse outlining his terms and any exceptions to the terms stated by Mr. Kasahara. August 21, 1978, from Mr. Kasahara indicating that he could not agree with Matisse's terms and offering his own. Handwritten note on letter paper indicates the project never went through.
- 22.03 Exhibitions: Selected Paintings, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1980 March 20–May 11); Albright‐Knox Art Gallery, Buffalo, N.Y. (1980 June 27–August 17), 1978–1980
March 22, 1978 missive from Charles Millard re two projects: exhibition relating to puppetry in June 1980 and Miró retrospective, including details relating to the latter. August 18, 1978, from Judi Freeman, curator with list of paintings to be located. Including handwritten notations (poor quality photocopy). Correspondence re photographs and reproductions. March 2, 1979, from Maria‐Gaetana Matisse re whereabouts of various paintings. Copies of loan forms. September 3, 1979 missive in answer to a request from Ms. Freedman re Miró's visits to the Unites States. Including list of people to contact. November 16, 1979, from Charcles Millard re change of venue of exhibition from San Francisco to Buffalo. Correspondence re shipping arrangements, shipping forms. Loan receipts, invitation to opening. Press release. Condition report on Woman before an Eclipse with her Hair Disheveled by the Wind (April 24, 1980) from Charles Millard re same. May 12, 1980 re travel of exhibition to Albright‐Knox Art Gallery. Invitation to opening at Albright‐Knox. Copy of catalogue, clippings and reviews.
- 22.04 Exhibitions: Joan Miró: Peintures, sculptures, dessins, céramiques, 1956–1979, Fondation Maeght, Saint‐Paul‐de‐Vence (1979 July 7–September 30), 1979
March 3, 1979 from Jean‐Louis Prat requesting the loan of paintings. Loan forms. Correspondence re shipping, pro forma invoices, shipping receipts, airway bill. Various clippings and reviews. Correspondence in French
- 22.05 Exhibitions: Spanish Sculpture of the 20th Century, National Gallery of Art, Washington, D.C. (1979 June 15–1980 January 10), 1979–1980
Lists of painted sculpture for loan together with photocopies of works bearing pencil notations of title, size, et cetera. Shipping receipts. Loan forms, insurance certificate. Delivery receipts. Folder contains poor quality photocopies
- 22.06 Exhibitions: Joan Miró: The Development of a Sign Language, Washington University Gallery, St. Louis, Missouri, 1979–1980
June 21, 1979, from Joseph Pulitzer, Jr. introducing Sidra Stich. Correspondence with Sidra Stich re whereabouts of certain paintings. August 26, 1979 missive from Pierre Matisse with collectors, et cetera. November 16, 1979 missive from Gerald Bolas, Director, re organization of exhibition with Sidra Stich as guest curator. Requests for loans. Loan forms, insurance receipts. May 1980 report from Gerald Bolas of tear in The Half Open Sky Gives Us Hope. Answer from Pierre Matisse. With four Polaroid photographs. Clippings and copy of catalogue.
- 22.07 Exhibitions: Miró: Una Realidad, un arte, Museo de Arte Moderno, Mexico City (1980 April–July), 1979–1980
Loan forms. December 6, 1979, from Pierre Matisse to Ambassador of Spain assuring his cooperation in Mexican exhibition. March 11, 1980, from SIT Transportes re shipping arrangements for works L'Homme à la Pipe and L'Addition. Original cables. Copy of letter dated April 9, 1980 to Hahn Brothers with explicit packing instructions. Some correspondence in Spanish
- 22.08 Foundries, 1970s
Black‐and‐white photographs of bronze sculpture from folder marked 'Clementi, Susse, Berrocal, Valsuani, Parellada.'
- 22.09 Foundries: Bronze sculpture, 1970–1975
Correspondence with various foundries re casting of Miró sculpture. July 5, 1973, Foundry Berrocal: Personnage, Femme, Deese, Monument, Bouteille Femme, Tête sur Tige, with prices. September 4, 1973 missive from Michele Venard, Galerie Maeght re several casting matters: Scuderi is to cast two new sculptures. There are seven plasters at Bousquet that Miró would like to cast in bronze for the exhibition at Grand Palais in 1974. Haligon is preparing the enlargement of the painted epoxy Personnage. Clementi will also have ready several pieces by the end of the month. November 5, 1973, from Galerie Maeght. Plasters being done at Haligon: La Pere Ubu, La Mere Ubu, Personnage (2), with black‐and‐white photos. March 4, 1974, from Galerie Maeght re estimate from Haligon for large sculpture for Central Park in New York City, with black‐and‐white photographs. June 8, 1974, from Michele Venard, Galerie Maeght, re sculpture being cast: La Mere Ubu at Haligon, Bousquet making small maquette of piece selected for Central Park, et cetera. June 19, 1975 invoice from Parellada Foundry in Spain. With letter from Lelong, Galerie Maeght. Bill has been paid by La Galerie de Barcelona. Also bank advice showing reimbursement to Galerie de Barcelona. Correspondence with Parellada re delivery of sculpture. "Joan Miró Bronze" account as of October 10, 1973. List of bronzes, handwritten notes. Correspondence in French and Italian
- 22.10 Foundries: Scuderi Foundry, 1972
January 5, 1972 invoice. May 10, 1972, Scuderi waiting for Miró's visit. He wants to do some retouching. May 10, 1972, invoice. Correspondence in French
- 22.11 Foundries: J. Bousquet, 1974
Correspondence with J. Bousquet Foundry. April 2, 1974 missive re reduction by half of Miró sculpture Femme Oiseau. May 23, 1974, re base for vase for Henri Matisse. With Pierre Matisse's handwritten draft and sketches. Bank advice of payment to Bousquet. July 16, 1974, copies of invoices. Photocopies of papers from Bousquet concerning the enlargement of various sculptures, with sketches details, estimates, et cetera. With some handwritten notes on photocopies (of poor quality). Correspondence in French
- 22.12 Publicity, 1970–1979
Numerous articles, clippings, et cetera, on Miró and Miró's art from worldwide sources including: New York Times, L'Express, People, The New Yorker. Articles in French, Spanish, and additional languages
- 22.13 Accounts: Ramon Viladas, 1980–1982
Correspondence re Miró's affairs with his attorney Ramon Viladas. February 8, 1980, list of exhibitions planned for Miró for spring/summer 1980. February 15, 1980, from Pierre Matisse reviewing meeting with Joan Miró and reviewing past questions concerning sculpture, Grand Palais "partage," et cetera, with Viladas. February 16, 1980 letter from Maria‐Gaetana Matisse to Joan and Pilar sending list of exhibition of Miró for spring/summer, copy of Pierre Matisse's letter to Viladas, Maria‐Gaetana Matisse's letter to Fondation Miró re two bronze Têtes. Copies of bank advices, correspondence re payments. November 18, 1980 statement of accounts. December 30, 1981 statement of accounts. April 23, 1982 statement of account. Correspondence in French
- 22.14 Accounts, 1981–1985
Various lists, invoices, correspondence, notes, cables, et cetera, relating to Miró/Pierre Matisse Gallery accounts 1981–1985. May/April 1983, correspondence with Chelsea Hotel re stay of friend of Miró's to be paid from Pierre Matisse Gallery account. June 1, 1983, missive from Farreras, Galeria Maeght, Barcelona to M. Maeght of Paris re situation with sculpture between Maeght and Pierre Matisse Gallery. August 26, 1983, from Pierre Matisse to Pilar Miró re sculpture at Parellada. Also letter to Viladas re same. March 7, 1984 missive to Viladas with accounting of amount due estate of Miró. July 18, 1984 agreement re sculpture between estate of Miró and Maeght gallery (with English translation). October 4, 1984, from Susse Fondeur re approach by interested party from Texas wanting to cast a Miró sculpture. March 14, 1985 from Pierre Matisse to Castaner re proposition for purchase of Miró sculptures. Numerous handwritten notes, lists, et cetera. Correspondence in French and Spanish
- 22.15 Accounts: Parellada/Galerie Maeght, Paris, 1985–1987
Correspondence and papers relating to purchase of sculpture by Pierre Matisse Gallery. March 14, 1985, from Pierre Matisse to Sr. Rullan Castaner re proposed purchase and payment plan of sculpture that had been mistakenly delivered to Galeria Maeght in Barcelona. With list of proposed prices. April 30, 1985 counter offer from Luis Juncosa on behalf of Miró family. August 2, 1985 new proposition from Pierre Matisse, with proposed price list. October 9, 1985, modifications from Luis Juncosa. December 2, 1985, from Pierre Matisse to Castaner with another proposition for purchase of sculpture, with list of proposed prices. January 22, 1986, from Juncosa accepting Pierre Matisse's final offer. February 19, 1986, shipping instructions to Farreras. March 13, 1986, from Castaner re changing of dollars to peso or pesos to dollars. November 11, 1986, from Farreras with export permit from Spanish Ministry of Culture. Also various lists, invoices for costs related to sculpture, et cetera. Miscellaneous handwritten notes, drafts, lists, et cetera. Correspondence in French and Spanish
- 22.16 Accounts: Parellada/Galerie Maeght, Paris, 1985–1987
February 2, 1985, to Mr. Farerras, Galeria Maeght re amount to be paid. With copy of accounting by Galeria Maeght. March 23, 1987, to Farreras from Pierre Matisse Gallery announcing payment to be made by bank. With copy of accounting, customs and shipping documents, insurance policies et cetera. Receipt from Farreras for said payment. List "Escultiras Joan Miró" with photocopies of sculptures. Correspondence in French, some in Spanish
- 22.17 Authentications, 1980–1984
- 22.18 Authentications, 1985–1986
Requests for and correspondence relating to authentications. Correspondence with Jacques Dupin sending photographs and documents for comment. Copy of New York Times article on Miró and Jacques Dupin. Copy of article on Miró fakes from Tiempo (March 1985). Some correspondence in French and Spanish
- 22.19 Authentications, 1987–1988
Requests for and correspondence and photographs relating to authentications. Copies of certificates of authentication (given by Pierre Matisse) for works purchased from Pierre Matisse Gallery. Some correspondence in French
- 22.20 Authentications, 1989–1990
Requests for and correspondence and photographs relating to authentication of works. Copies of certificates given by Pierre Matisse for works purchased from Pierre Matisse Gallery. Some correspondence in French
- 22.21 Commissions, 1980–1983
Miscellaneous Miró projects and suggested commissions, unrealized. Correspondence in French and German
- 22.22 Commissions: Texas Commerce Tower, Houston, 1979–1980
Correspondence re commission of a large Miró sculpture for Texas Commerce Tower in Houston. Photocopies of drawings of possible sculpture with various notations signed by Miró. Drawing of sculpture (by Pierre Matisse possibly) with various notations. Temporary import papers for Miró bronze. Correspondence with Clementi Foundry. Notes on phone call with Mr. Spring of Modern Art Foundry re information of enlarging Miró cast. May 27, 1980 missive from Pierre Matisse to Miró re progress of sculpture for Houston. Pei has decided on Personnage et Oiseau for enlargement to 15 meters. Pierre Matisse suggests several "colored" elements for sculpture. Discussion of construction questions. Cable to Miró re visit of Pierre Matisse, Loves, Hines, Peis. Correspondence re trip to Palma, schedule, reservations, et cetera. Copy of newsletter The Artist's Foundry from Modern Art Foundry with article on enlargement of Miró sculpture. Some correspondence in French and Spanish
- 22.23 Commissions: Texas Commerce Tower, Houston, 1981–1982
January 16, 1981 draft of agreement between Miró and Block 67 Limited and March 2, 1981 memorandum to agreement. March 13, 1981 proposed agreement from Bressler & Lowe Esq. Further correspondence between Pierre Matisse and Bressler & Lowe relating to agreement. April 27, 1981 signed copy of agreement between Pierre Matisse, Miró and Block 67 Ltd. Copy of check dated May 7, 1981 to Block 67 Ltd. June 17, 1981 memo re payment to Joan Miró. August 28, 1981 missive from I.M. Pei to Ben Love of Texas Commerce re fabrication of sculpture. September 1, 1981 missive to Pierre Matisse with architectural renderings. October 9, 1981, from Hugh Roff of Texas Commerce to I.M. Pei re schedule of possible visit by Miró to Houston. April 15, 1982 list of expenses from Pierre Matisse related to project. April 20, 1981 introduction to dedication of sculpture. Some correspondence in French
- 22.24 Commissions: Texas Commerce Tower, Houston, 1981–1982
- 22.25 Commissions: "Doors", Old World Gallery, 1983–1985
Correspondence between Pierre Matisse and Carlo Amato of the Old World Gallery re commission of Miró bronze "doors." December 22, 1983 (received) from Carlo Amato re details of project: size of doors, payment, payment schedule, et cetera. February 28, 1984, from Pierre Matisse to Amato for receipt of first payment. October 23, 1984 invoice from Parellada Foundry. Shipping papers, copy of draft for payment of foundry invoice, et cetera. Memo to the files dated February 4, 1985 re status of project to date. Five color photographs of bronze enlargement. One black‐and‐white photograph of Miró bas‐relief to be enlarged. Photocopies of bas‐relief with dimensions noted. Sketch and plan of proposed doors with size notations. Copy of check from Old World Gallery to Pierre Matisse Gallery. Handwritten notes by Pierre Matisse. Some correspondence in French
- 22.26 Correspondence, 1980–1989
Photocopies of correspondence between Pierre Matisse and Miró. March 27, 1980 missive to Miró re two sculptures Tête for Fondation Miró. Copies of letters to Ramon Viladas, Joan Teixidor of Fondation Miró, W.R. Keating re shipping, insurance certificates et cetera. April 28, 1980, to Miró re exhibition at Hirshhorn. Wedding invitation. September 23, 1980, from Miró thanking Pierre Matisse for Matisse drawing. Copy of letter dated March 12, 1981 from Miró to M. Paget authorizing casting of Oiseau Lunaire epreuve d'artiste 3/3 and also the eventual enlargement of the sculpture. August 26, 1982 correspondence with the Musée National d'Art Moderne re donation Miró drawings. Copies of correspondence with Viladas, Miró, et cetera. March 16, 1983, to Pilar re Pierre Matisse's dealings with Carla Panicali vis à vis the enlargement of Oiseau Lunaire for the conventions center in Miami. Also re Miró bas‐relief to be made into doors for bank in Miami. June 11, 1983, from Pierre Matisse to Pilar re sculpture exhibition at Pierre Matisse Gallery. "In Memorandum" card for Miró. Correspondence in French
- 22.27 Correspondence: Fondation Miró [Fundació Joan Miró], 1980–1984
Correspondence relating to Fondation Miró. March 6, 1980, from Joan Teixidor re creation of a Comite Consulatif to be made of some of the former members of the Patronat. Copy of "Memoria de L'Exercici 1981" (in Spanish). Documentation from meeting of March 30. Invitation to join the "Joan Miró Trust." Correspondence re exhibition Homage to Joan Miró. Clippings, brochures, et cetera. Correspondence in French and Spanish
- 22.28 Correspondence, 1980–1984
Miscellaneous correspondence relating to Miró. June 21, 1980 correspondence with Vogue relating to return of photos. Various requests to purchase works. Requests for information. September 1981 correspondence re maquette stolen from printer's. 1982 correspondence with Tambaran Gallery re costume designed by Miró for La Claca Dance Company of Barcelona. Some correspondence in French
- 22.29 Correspondence: Fire loss, 1981–1982
Correspondence and papers relating to loss of Miró Femme, revant de l'evasion in fire at restorer's studio, January 19, 1982. Shipping receipt. Black‐and‐white photograph of lost work. January 20, 1982 clipping from Daily News about fire.
- 22.30 Correspondence: Epreuves d'artistes, 1981
Correspondence relating to casting of epreuves d'artistes of various sculptures which Pierre Matisse is interested in purchasing. May 1, 1981, from Pierre Matisse to Miró. On various topics including poster for l'Hommage à Sakarof, Houston commission, inauguration of sculpture in Chicago and artist's proofs of various sculpture. Handwritten notes of Pierre Matisse. Matisse's handwritten drafts of letter to Miró, Viladas. Photocopies of sculpture in question from various books and catalogues. Correspondence in French
- 22.31 Correspondence: Fondation Miró, 1985–1987
Correspondence with Fondation Miró. January 17, 1985 letter from Ramon Viladas re reproduction of La Ferme. Agendas. Correspondence re donation by Pierre Matisse of various works to Fondation Miró for their permanent collection. Correspondence re shipping, shipping receipt, photocopies of works, et cetera. Tête de Femme, Henri Matisse, 1945; Le Minotaure, Yves Tanguy, 1943; Rhythme Mymethique, Wifredo Lam, 1945; Tête de juene garçon, Balthus, 1948. Correspondence, invitations, et cetera, re presentation of foundation's permanent collection. Original letters from Pilar Miró. September 8, 1986 missive re hiring Margit Rowell to work part‐time as director of exhibitions. Correspondence from Rowell re Miró International Drawing Prize. March 27, 1987, from Bohigas. Pierre Matisse to receive Oiseau solaire Prix d'Honneur. Various brochures, clippings, et cetera. Correspondence in French
- 22.32 Correspondence, 1985–1989
Miscellaneous correspondence relating to Miró. April 8, 1986, from Roberta Griffith with copy of Studio Potter and her article. Also with color photographs of Miró works used to illustrate article. September 21, 1988, from Million Jutheau, Paris re auction of three Miró mural paintings, with slides. Correspondence with Ariane Lelong re photographs for Jacques Dupin. Some correspondence in French
- 22.33 Correspondence: Fondation Miró [Fundació Joan Miró], 1988–1989
Agendas, announcements of meetings, et cetera. News clippings from Leroy Makepeace about robbery at foundation and cocaine found in stolen paintings. Copies of official documents concerning Pierre Matisse's donation of works to Foundation in 1985. Dossier of press clippings about foundation. News clippings. Correspondence in French and Spanish
- 22.34 Exhibitions, 1980–1989
Information, correspondence, et cetera, re various miscellaneous Miró exhibitions. La Mélodie Acide, Galerie Lucie Weill, Paris (1980 February–March), announcement; La Mélodie Acide, Galeria Joan Prats, Barcelona (1980 July); Sala Gaspar, Barcelona (1981), announcement; 25 Watercolor Studies for the Childhood of Ubu Series, 1953, Acquavella Galleries, Inc., New York City (1982 December), announcement. Missive dated February 8, 1984 from Susumu Yamamoto re proposed exhibition in Japan. Some correspondence in French
- 22.35 Exhibitions: Painted Sculpture and Ceramics, Pierre Matisse Gallery (1980 May 13–June 7), 1980
Material relating to preparation of exhibition. Correspondence with Charles Benenson re his loan of Girl Escaping, with insurance certificates. Original cables. Paint samples from Valerie Brillant. Small squares painted to display different colors. Presumably colors used in painting Miró sculpture. Material for catalogue. Pages from previous catalogues depicting Miró sculpture and ceramics, numbered with prices. Also one black‐and‐white photograph Tête et Oiseau and one drawing of sculpture. Photocopy of José [Josep] Lluis Sert's preface of March 1976. Galleys of preface and list of works. Index card with list of prices. Announcements and priced catalogue. Clippings, ads, two plasticized ads from Art in America. Some correspondence in French
- 23.01 Exhibitions: Designer showhouse, New York, 1980
Material relating to loan of Miró Sobreteixim No. 4 to Ruben de Saavedra, Interior Designer, for exhibition at Kips Bay Boys Club Decorator Showhouse at 13 East 66th Street. Correspondence with Mr. de Saavedra, shipping receipts. Clipping from Town & Country magazine showing decorated room with Miró tapestry. Other clippings.
- 23.02 Exhibitions: Jean Dubuffet and Joan Miró, Dubuffet: Early Drawings and Collages, 1943–1959; Miró: Early Drawings and Collages, 1919–1949, Pierre Matisse Gallery (1981 November 17–December 31 [extended until 1982 January 5]), 1981
- 23.03 Exhibitions: Miró in America, Museum of Fine Arts, Houston (1982 April 29–June 27), 1981–1982
March 18, 1981 press release from Museum of Fine Arts announcing Barbara Rose as curator of Exhibitions and Collections. August 19, 1981 missive from Judith McCandless requesting location of works. List with handwritten notations. November 22, 1981 list from Pierre Matisse of works and owners. Loan forms with photocopied pictures.
- 23.04 Exhibitions: Miró in America, Museum of Fine Arts, Houston (1982 April 29–June 27), 1981–1982
January 20, 1982 list of large sculpture available for loan. Requests for photographs. February 22, 1982 missive to Maggie Olvey re procedure for transport of Miró Blue II and Blue III. Shipping receipts. Press releases. Condition report with four black‐and‐white Polaroid photographs. Invitation to preview. May 12, 1982, from Charles Carroll re damage to Miró Female Torso, 1967. Including two Polaroid photographs of damage. March/April calendar/news bulletin from Museum of Fine Arts. Clippings.
- 23.05 Exhibitions: Miró's People: Joan Miró—Paintings and Graphics of the Human Figure, 1920–1980, Scottish National Gallery of Modern Art, Edinburgh, Scotland (1982 August 12–October 3), 1981–1982
November 13, 1981, initial request of loan of paintings for exhibition. Includes purpose and focus of exhibition. Correspondence re whereabouts of paintings no longer in Pierre Matisse Gallery collection. Correspondence re shipping arrangements. July 29, 1982 condition report on paintings. Insurance certificates, loan forms. Exhibition poster, announcements (two copies). Clippings and reviews.
- 23.06 Exhibitions: Four Modern Masters: De Chirico, Ernst, Magritte, and Miró, Museu de Arte de São Paulo, Brazil (1981 May 18–June 28); Museo Nacional de Bellas Artes, Buenos Aires, Argentina (1981 July 13–August 23); Museo de Bellas Artes, Caracas, Venezuela (1981 September 7–October 11); Glenbow Museum, Calgary, Canada (1981 November 23–1982 January 10), 1981–1982
March 30, 1981 missive from Waldo Rasmussen at the Museum of Modern Art re tour of Four Modern Masters exhibition through South America. First showing to be at the Museu de Arte in São Paulo after which it will travel to Buenos Aires and Caracas. Loan agreement, loan receipt. May 26, 1981 missive from Waldo Rasmussen re continuation of exhibition in Canada at the Glenbow Foundation Art Gallery in Calgary. Including loan amendment. Photocopies of publicity, reviews, clippings. Summary of critical reviews compiled by the Museum of Modern Art.
- 23.07 Exhibitions: Miró's Constellations, Neuberger Museum, Purchase, New York (1983 March 27–May 8), 1982–1983
Request for loan (October 26, 1982) of Miró's Constellations—Facsimile Edition for exhibition in conjunction with senior thesis of a student in the History of Art program. Loan forms, delivery receipts, receipt of return. Two copies of exhibition catalogue. Six smaller color photographs showing works displayed in the exhibition.
- 23.08 Exhibitions: Joan Miró: Anys vint—Mutació de la realitat, Fundació Joan Miró, Barcelona and Museo Español de Arte Contemporáneo (1983 April 20–July 8), 1982–1983
Copies of letters from Rosa Maria Malet to various people and institutions requesting cooperation with exhibition commemorating Miró's ninetieth birthday: Museum of Modern Art, Peggy Guggenheim Collection, Philadelphia Museum of Art, Solomon R. Guggenheim Museum, National Gallery of Art (The Farm [La Ferme] part of Mrs. Ernest Hemingway's collection), Yale University Art Gallery. November 1, 1982 response from Pierre Matisse with offer of loan of Ceci est la couleur de mes rẽves and Peinture, 1927 with insurance values (crossed out and corrected in ink on carbon copy in file). Loan form, insurance certificates. January 7, 1983, from Rosa Maria Malet to Pierre Matisse re further questions concerning whereabouts of various paintings, et cetera. Correspondence re shipping, shipping receipts. Exhibition brochure, invitation. Clipping. One small black‐and‐white photograph of preparatory drawing for Ceci est la couleur de mes rẽves. Correspondence in French and Spanish
- 23.09 Exhibitions: Miró retrospective, Winchester Gallery, Foundation Capa, England (1983 September 8–October 23), 1982–1983
November 17, 1982 request for loan of Mirós from Foundation Capa. January 24, 1983 list of works desired for exhibition. March 1, 1983 reply from Pierre Matisse indicating whereabouts of various works. Loan forms. Request for a catalogue from Pierre Matisse Gallery. January 20, 1984 missive from Director of Sutton Manor Art Centre, catalogue was not published. Difficulty obtaining loans for exhibitions. Focus of exhibition had to be changed. Postcards and brochures from Sutton Manor Arts Centre and Winchester Gallery. One letter in French
- 23.10 Exhibitions: Ninety Years: Sculpture, Gouaches, and Mixed Media, Pierre Matisse Gallery (1983 May 10–June 18), 1983
Material relating to preparation of exhibition. Original cable to Miró announcing successful opening of exhibition. Photocopies of photos of sculpture in exhibition, numbered and priced. Clipping and reviews. Some French See also installation photographs in exhibition scrapbooks
- 23.11 Exhibitions: Ninety Years: Sculpture, Gouaches, and Mixed Media, Pierre Matisse Gallery (1983 May 10–June 18), 1982
Correspondence between Pierre Matisse and Galerie Maeght concerning casting of sculpture (February 15, 1982). Also re Le Grand Personnage, casting price from Bonvicini the most reasonable. Casting a complete success. Correspondence between Pierre Matisse and Francisco Farreras of the Galeria Maeght re delivery of sculpture, Pierre Matisse's plans for exhibition and unveiling of large sculpture in Houston (April 1982). October 1982 list of casting prices for sculpture from Parellada. December 8, 1982 missive from Pierre Matisse to M. Farreras confirming his choice of sculpture for his exhibition. Various typewritten and handwritten lists by Pierre Matisse concerning sculpture, numbers, prices, et cetera. Drawing of gallery floor plan with placement notations. Original cables. Correspondence in French and Spanish
- 23.12 Exhibitions: Ninety Years: Sculpture, Gouaches, and Mixed Media, Pierre Matisse Gallery (1983 May 10–June 18), 1983
Correspondence mostly relating to accounts, drawings, et cetera. March 4, 1983 missive from Farreras of Galerie Maeght, has seen Miró who is a little better. With prices for drawings being purchased by Pierre Matisse. Invoice attached. Also Xerox copy of invoice with stock numbers noted and measurements converted to inches. Notice of payment for drawings and preliminary delivery of sculpture. Correspondence in French See also installation photographs in exhibition scrapbooks
- 23.13 Exhibitions: Retrospective, Pace Gallery, New York City, 1983–1984
November 22, 1983 missive from Arnold Glimcher outlining focus of exhibition plans. Confirmation of loan of Femme, 1950. Delivery and return receipts. Photocopy of piece. Typewritten price list. Clipping.
- 23.14 Exhibitions: San Jose Institute of Contemporary Art, 1983–1984
Correspondence re possible Miró sculpture exhibition (never realized). With folder of items relating to Institute, such as newsletter, exhibition announcements, et cetera.
- 23.15 Exhibitions: Twentieth century sculpture, Basel, Switzerland (1984 June 3–September 30), 1984
Loan form for loan of Lunar Bird [Oiseau Lunaire]. Insurance certificate. Pro forma invoice for shipping. Correspondence from Ernst Beyeler requesting extension of loan. Exhibition brochures and press kit. Some correspondence in French
- 23.16 Exhibitions: Fired Forms—Sculpture in Clay, First Street Forum, St. Louis, MO (1985 March 25–May 24), 1985
- 23.17 Exhibitions: Joan Miró and Josep Llorens Artigas, Terres de grand feu, Pierre Matisse Gallery (1985 November 12–December 7), 1985
Color photographs of Miró working on large ceramic walls, Miró with Artigas, Miró with Pierre Matisse, et cetera. Exhibition expense list. Handwritten and typewritten preface by J. Gardy Artigas. English translation of Artigas piece by Paul Auster. Typed preface by Rosamond Bernier. Typed list of Miró/Artigas ceramics, with drawings in pencil. Pieces from catalogue. Clipping and reviews. Priced copy of catalogue. See also installation photographs in exhibition scrapbooks
- 23.18 Exhibitions: Joan Miró and Josep Llorens Artigas, Terres de grand feu, Pierre Matisse Gallery (1985 November 12–December 7), 1985
Letters to collectors requesting loans to exhibition: Robert Osborne for Head; Grey Art Gallery for Plaque; Art Institute of Chicago for Stone; Richard Zeisler for Head. Requests for photographs including mural at Harvard. Loan forms from collectors. One black‐and‐white photograph of ceramic Stone belonging to the Art Institute of Chicago. Shipping papers and receipts. Certificates of insurance. Letters to lenders re extension of exhibition to December 14. Black‐and‐white photograph of Head sold to Richard Zeisler. Some correspondence in French See also installation photograph in exhibition scrapbooks
- 23.19 Exhibitions: No Pasaran, Museum Bochum, Bochum, Germany (1986 September 20–November 23), 1986
- 23.20 Exhibitions: Miró sculpture, Cento Reina Sofia, Madrid (1986 October 21–1987 January 18); Fundació Joan Miró, Barcelona (1987 January 29–March 29); Museum Ludwig, Cologne (1987 April 10–June 8), 1986–1987
Miscellaneous clippings and articles relating to sculpture exhibitions. Some photocopies, some originals. Invitations, announcements and checklists for exhibitions. Clippings in Spanish and German
- 23.21 Exhibitions: Miró sculpture, Cento Reina Sofia, Madrid (1986 October 21–1987 January 18); Fundació Joan Miró, Barcelona (1987 January 29–March 29); Museum Ludwig, Cologne (1987 April 10–June 8), 1986–1987
- 23.22 Exhibitions: Miró sculpture, Cento Reina Sofia, Madrid (1986 October 21–1987 January 18); Fundació Joan Miró, Barcelona (1987 January 29–March 29); Museum Ludwig, Cologne (1987 April 10–June 8), 1985–1987
Material relating to exhibition. Shipping receipts, cables, lists. Correspondence between Pierre Matisse and Gloria Moure re organization of exhibition. Correspondence re loan of photographs. Correspondence with Museum Ludwig re continuation of exhibition, loans of photographs, shipping, et cetera. Some correspondence in French
- 23.23 Exhibitions: Retrospective, Kunsthaus Zürich (1986 November 21–1987 February 1); Städtische Kunsthalle Düsseldorf (1987 February 14–April 20); and Joan Miró: A Retrospective, Solomon R. Guggenheim Museum, New York City (1987 May 15–August 23), 1985–1987
Correspondence, papers, et cetera, relating to organization of exhibition. Shipping receipts, delivery receipts. January 26, 1985 missive from Jacques Dupin acquainting Pierre Matisse with possible Miró project. Requests to forward letters requesting loans to clients or collectors. March 5, 1986 letter re exhibition from Kunsthaus Düsseldorf and Zürich with list of paintings. List of photos and transparencies on loan. Correspondence re invitations. openings, et cetera. Some correspondence in French and German
- 23.24 Exhibitions: Retrospective, Kunsthaus Zürich (1986 November 21–1987 February 1); Städtische Kunsthalle Düsseldorf (1987 February 14–April 20); and Joan Miró: A Retrospective, Solomon R. Guggenheim Museum, New York City (1987 May 15–August 23), 1986–1987
- 23.25 Exhibitions: Retrospective, Kunsthaus Zürich (1986 November 21–1987 February 1); Städtische Kunsthalle Düsseldorf (1987 February 14–April 20); and Joan Miró: A Retrospective, Solomon R. Guggenheim Museum, New York City (1987 May 15–August 23), 1986–1987
- 23.26 Exhibitions: The Last Bronze Sculptures, 1981–1983, Pierre Matisse Gallery (1987 May 26–June 20), 1987
Correspondence with Margit Rowell re preface. Note from Rowell with attached preface. Receipt from Rowell for payment of expenses. Exhibition expense list. Typed and handwritten lists of works. Priced copy of catalogue. Clippings and reviews. See also installation photographs in exhibition scrapbooks
- 23.27 Exhibitions: The Last Bronze Sculptures, 1981–1983, Pierre Matisse Gallery (1987 May 26–June 20), 1987
Correspondence re accounts with Miró. Typed list of payment made, payment due. December 2, 1985 list of prices for Miró sculpture proposed by Pierre Matisse Gallery. Photocopies of Miró sculpture with notations. One black‐and‐white photograph of Projet pour un Monumento. 27 color photographs of varying sizes by Catala Roca of Miró sculpture. Some correspondence in Spanish and French See also installation photographs in exhibition scrapbooks
- 23.28 Exhibitions: Miró in the Philadelphia Collection, Philadelphia Museum of Art (1987 October 1–November 29), 1987
- 23.29 Exhibitions: Impactes: Joan Miró, 1929–1941, Joan Miró Foundation [Fundació Joan Miró], Barcelona (1988 November 24–1989 January 15); [titled Joan Miró: Paintings and Drawings, 1929–1941] Whitechapel Gallery, London (1989 February 3–April 23), 1987–1989
- 23.30 Exhibitions: Impactes: Joan Miró, 1929–1941, Joan Miró Foundation [Fundació Joan Miró], Barcelona (1988 November 24–1989 January 15); [titled Joan Miró: Paintings and Drawings, 1929–1941] Whitechapel Gallery, London (1989 February 3–April 23), 1987–1989
Exhibition announcements, invitations. Bound book of press clippings. Photocopies of clippings. Some clippings in Spanish
- 23.31 Exhibitions: Impactes: Joan Miró, 1929–1941, Joan Miró Foundation [Fundació Joan Miró], Barcelona (1988 November 24–1989 January 15); [titled Joan Miró: Paintings and Drawings, 1929–1941] Whitechapel Gallery, London (1989 February 3–April 23), 1986–1989
Correspondence relating to organization of exhibition. February 6, 1986 missive from Rosa Maria Malet with list of paintings. Requests for loans. Correspondence re shipping. January 6, 1987, from Rosa Maria Malet re possible purchase of work to even out their collection. March 6, 1987 missive from Pierre Matisse with list of owners of Constellations. Correspondence with Whitechapel Gallery in London re exhibition. Some correspondence in French and Spanish
- 23.32 Exhibitions: The Ceramic Art of Joan Miró, Nelson‐Atkins Museum, 1987–1989
- 23.33 Publicity, 1980–1989
Various clippings, articles, reviews, et cetera, on Miró. Including New York Times; Article by Rosamund Bernier in Smithsonian magazine (April 1980); Article by Barbara Rose in Vogue magazine (March 1984); Others. Some clippings in French and Spanish
- 24.01 Publicity: Obituaries, 1983–1984
Obituaries following the death of Joan Miró, including New York Times, Le Monde, Time and Newsweek, L'Express, et cetera. January 26, 1984 letter from Leroy Makepeace enclosing clippings from the Washington Post. Including Miró's obituary, a column by art critic Paul Richard, and Makepeace's printed rebuttal. Some clippings in French, Spanish and German
- 24.02 Correspondence: Joan Miró Foundation [Fundació Joan Miró], 1990–1991
Miscellaneous correspondence with Miró foundation. February 22, 1990 request for a loan to Antiquity/Modernity in 20th Century Art exhibition of Delvaux La Prisonnière. Some correspondence in Spanish
- 24.03 Publicity, 1991
- Subseries: Mitchell, Joan, 1926–1992
- 24.04 1988–1989
Correspondence, loan forms for one painting (Sunflower) by Mitchell, and color transparency of same for exhibition shown in five venues. Invitations from each of the five, including a dinner invitation from Mr. and Mrs. Seymour Knox in Buffalo. Review clippings.
- Subseries: Motherwell, Robert and Frankenthaler Helen, 1928–
- 24.05 1959–1973
Correspondence, re purchase of small Henri Matisse collage and payment over time; Authentication by Marguerite Duthuit. Valuations by Pierre Matisse other works. Some 1967 correspondence re possibility of Robert Motherwell editing volume of Henri Matisse writings in his series Documents of Modern Art. Black‐and‐white photo of Henri Matisse collage. Clippings. Motherwell letters are photocopies (file includes an annotated listing of them); Originals are located in letter boxes
- Subseries: Nelson, Paul, 1895–
- 24.06 Correspondence, 1938–1941, 1960
Letters and cables related to the exhibition of the Suspended House model before it travels to the Golden Gate International Exhibition in San Francisco. Invoice of merchandise and declaration by Paul Nelson for customs purposes. Letter by Nelson to Dorothy Liebes, director of the Division of Decorative Arts, related to shipment problems involving Pierre Matisse Gallery. The Suspended House, text by Paul Nelson. Brief biography. Photocopy of a letter dated April 1960 asking an evaluation on the Project for a Statue to an Illustrious Person that the Boston Museum is interested in acquiring. See also Artists: Giacometti, Alberto, 1901–1966, Correspondence, 1957 letter number 145 [moved to Correspondence, 1960 (folder 11.37)] for more about Project for a Statue to an Illustrious Person
- Subseries: Picasso, Pablo, 1881–1973
- 24.07 Correspondence, 1934, 1948, 1964, 1981, 1983, 1988
1934 letter from Pierre Matisse to Pablo Picasso re the exportation of his work to New York and the Pierre Matisse Gallery. 1948 catalogue from Paul Rosenberg & Co. with handwritten notations of prices. Other miscellaneous correspondence re works for sale, authentication, et cetera.
- 24.08 Exhibitions: Picasso, Pierre Matisse Gallery (1943 November 30–December 31), 1943
- 24.09 Correspondence: Petrus Manach, 1951–1952
Correspondence with Mrs. Manach re her wish to sell Picasso portrait of her late husband, Petrus Manach. Correspondence back and forth with Pierre Matisse re prices, et cetera. Pierre Matisse's correspondence with Picasso's secretary re authenticity of this painting. Matisse's correspondence with Philadelphia Museum of Art re possible purchase of this portrait. Correspondence in French and Spanish
- 24.10 Publicity, 1973
- 24.11 Publicity: estate and "dation," 1973, 1976–1980, 1986
Various magazine and newspaper clippings re Picasso estate, French "dation," battles among heirs, et cetera. Some material in French
- 24.12 Publicity, 1973–1974, 1980, 1985, 1987
- 24.13 Correspondence: Jacqueline Picasso, 1981, 1983, 1986
- 24.14 Exhibitions: Retrospective, Museum of Modern Art (1980 May 22–September 16), 1980
- 24.15 Exhibitions: Opening of Picasso Museum (1985 September 25), 1985
- Subseries: Pollock, Jackson, 1912–1956
- Subseries: Quintanilla, Luis, 1895–1978
- 24.17 Correspondence, 1934–1936, 1961–1982
1934, Pierre Matisse letter to Ernest Hemingway reporting on sales and expenses for the Quintanilla exhibition at Pierre Matisse Gallery [Drypoints (1934 November 20–December 4)]. List of works on consignment to Pierre Matisse Gallery from Boyler Gallery, Philadelphia. Photocopies of letters by Quintanilla to Pierre Matisse as per included list. Also petition to free Quintanilla from prison signed by Henri Matisse and addressed to the President of Spain. Checklist of 22 etchings bought by Pierre Matisse Gallery. Negatives of three Quintanilla etchings. 1961–1982: enquiries about the exhibition catalogue. Original correspondence filed elsewhere See also Clients: Hemingway, Ernest, 1899–1961 for more discussion of the mentioned petition (folder 115.25)
- Subseries: Rey‐Millet, Constant, 1905–1959
- 24.18 1951–1953
Correspondence re two packages of gouache paintings sent to Pierre Matisse Gallery by the artist or his agent for exhibition [Gouaches (1951 October 16–November 3)]. The bulk of the correspondence, between Pierre Matisse and French shippers, Pierre Matisse and U.S. agent, et cetera, has to do with the confusion and misunderstandings about the return shipment of the pictures. The three letters from the artist are photocopies; Originals are in a letterbox (an annotated list of them is in file)
- Subseries: Riopelle, Jean Paul
- 24.19 Accounts, 1953–1963
Handwritten notes about payments to Riopelle, typed correspondence about payments, one handwritten list showing payments from 1953 to 1963, card showing prices of a 1955 Pierre Matisse Gallery exhibition [Recent Paintings and Watercolors (1955 March 15–April 15)]. The correspondence is in French
- 24.20 Biography, circa 1955
- 24.21 Correspondence, 1953
Letter from Georges Duthuit to Pierre Matisse about his article on Riopelle which will be translated into English by Beckett. 1953 list of Riopelle art that Pierre Matisse is interested in. They arrive in New York in November of 1953. Pierre Matisse includes Riopelle in a group show Selections (1953 October 26–November 14). Correspondence between Pierre Matisse and Riopelle about accounting matters. Matisse buys more paintings from Riopelle. George Duthuit acts as scout for Pierre Matisse. The entire correspondence is in French
- 24.22 Correspondence, 1954
Pierre Loeb is reported to have said that Riopelle will change his nationality to French (January 24th). Riopelle refutes this (January 28th). He describes "baguettes," certain frames for his paintings (March 18th). What are the plans for the Venice Biennale? He asks Pierre Matisse to send him money (April 27th). Riopelle has painted more than 40 paintings recently (June 5th). He has a studio in Vanves now (August 24th). He will have an exhibition at "Rive Droite" in December. Several lists of Riopelle paintings (undated). The correspondence is in French
- 23.23 Correspondence, 1954–1959
List of paintings bought by Pierre Matisse (September 1954 and January 1955). Riopelle paints a new series of watercolors and tells of the operation of Françoise's shoulder and leg (December 1955). He sold a painting to the Carnegie Institute (March 1959). Riopelle hurts his thumb and has to abandon sculpture but paints with the other hand (November 1959). The entire file is in French
- 24.24 Exhibitions: First American Exhibition, Pierre Matisse Gallery (1954 January 5–23), 1954
Letters from Pierre Matisse to Riopelle and vice versa; newspaper review (New York Herald Tribune, January 16). Catalogue with a preface by Georges Duthuit (translated by Samuel Beckett). Priced catalogues with old and new prices. The correspondence is in French See also installation shots in exhibition scrapbooks
- 24.25 Exhibitions: Recent Paintings and Watercolors, Pierre Matisse Gallery (1955 March 15–April 15), 1955
- 24.26 Exhibitions: Spring Exhibition of Painting and Sculpture, Pierre Matisse Gallery (1955 May 11–28), 1955
Catalogue of group exhibition. Other artists were Dubuffet, MacIver, Martin, Miró, Tanguy, Braque, Derain, Léger, Matisse, Picasso, Butler, Craig, Giacometti, Marini, and Roszak. See also installation shots in exhibition scrapbooks
- 24.27 Exhibitions: Paintings, Gouaches, and Watercolors, Pierre Matisse Gallery (1956 May 8–31), 1956
- 24.28 Exhibitions: Paintings, Pierre Matisse Gallery (1957 December 3–29), 1957
- 24.29 Exhibitions: Catalogues, 1958–1959
Various catalogues: Kestner‐Gesellschaft (September 1958); Svensk‐Franska Konstgalleriet; Kunsthalle Basel (January 1959); Arthur Tooth and Sons, London (June 1959); Galerie Anne Abels, Cologne (November 1959).
- 24.30 Publicity, 1952–1987
Canadian Art (October 1952): "A Painter of Awakening—Jean Paul Riopelle" by Georges Duthuit; Vie des Arts (Fall 1961): "Riopelle et le defi du peintre" by Jean Cathelin; Vie des Arts (Fall 1978): "Situation de Riopelle" by Monique Brunet‐Weinmann; Artscanada (November 1982): "Jean‐Paul Riopelle's Art of Affirmation" by David Craven and Richard Leslie; Canadian Art (Summer 1987): "The Lion in Autumn" by Lisa Rochon. Some of the articles are in French
- 24.31 Accounts, 1960–1969
- 24.32 Biography, 1960
- 24.33 Consignment: Galerie de Montreal, 1968–1976
In 1968 the then Galerie de France is approaching Pierre Matisse for loans of Riopelle paintings. Pierre Matisse sends a number of paintings but in 1975 the Galerie goes out of business and the account with Pierre Matisse is not yet settled. Some of the correspondence is in French
- 24.34 Correspondence, 1960
Letter from Riopelle expressing his wish to be a candidate for the "Prix Guggenheim" (February 1960). Painting with the title Sur Le Front is chosen for the Guggenheim price. Lists of art bought by Pierre Matisse from Riopelle dated October 9, 1960 (priced). The correspondence is in French
- 24.35 Correspondence, 1961
Correspondence Pierre Matisse to Riopelle about payments, bank transfers, et cetera. In one of the letters (October 27, 1961), Pierre talks about Alberto Giacometti having been awarded the Carnegie price for sculpture. The correspondence is in French See also Giacometti artist files: Correspondence, 1961
- 24.36 Correspondence, 1962
List of artworks chosen by Pierre Matisse in 1962. The sum of 27,036.00 new francs are being transferred to Riopelle. Riopelle gives Pierre Matisse titles for his paintings. Letter from the Curator of Canadian Art to Jacques Dubourg that the art exhibited in Venice has arrived in Canada and will go to the Phillips Gallery after the closing of the Toronto exhibition. The entire file is in French
- 24.37 Correspondence, 1963–1964
Personal letter to Patricia Matisse from Joan Mitchell. Riopelle is included in the Metro Catalog (directory of contemporary art). Baron Alain de Rothschild wants his sculpture Atlantide back from the Canadian exhibition. Hirshhorn is coming to the Pierre Matisse Gallery in May, Pierre asks Riopelle whether he could give him a 10% discount also quotes prices of each sculpture. Riopelle is candidate for the 1964 Guggenheim International Award. Pierre Matisse is writing Riopelle that he would prefer that Riopelle handles all sculpture sales, especially those to Hirshhorn. Letter to Mrs. Rubin about sculpture Sphinx and group of large sculptures. Ektachromes of these pieces. Some of the correspondence is in French
- 24.38 Correspondence, 1965–1967
- 24.39 Correspondence, 1968–1970
Letters about the correct hanging of Les Masques. Correspondence with Galerie Maeght about pricing of Riopelles, notes about Riopelle pastels bought in 1969. Most of the correspondence is in French
- 24.40 Exhibitions: Catalogues, 1960–1961
Various catalogues: Associazione Arti Figurative, Torino (December 1960); The Dayton Art Institute (September 1961); The Roberts Gallery, Toronto (September 1961); Associazione Arti Figurative, Torino (November 1961).
- 24.41 Exhibitions: Venice Biennale, 1961–1962
The National Gallery of Canada in Ottawa is having its own pavilion at the Biennale. List of art to be sent by Pierre Matisse to Venice. Loan forms. Catalogue with a preface by Franco Russoli. Titles of works loaned by Pierre Matisse Gallery are: Camarquais (1957), À la plante des pieds (1958), La Cote (1960), Vêtements des Îles (1960), Untitled "E" (1960). The correspondence is mostly in French
- 24.42 Exhibitions: Catalogues, 1962
- 24.43 Exhibitions: Peinture et sculpture, National Gallery of Canada, Ottawa (1963 January 10–February 3); Musée des beaux‐arts de Montréal (1963 February 14–March 17); Art Gallery of Ontario, Toronto (1963 March 29–April 28); Phillips Gallery, Washington, D.C. (1963 Mary 12–June 16), 1962–1963
Correspondence with Russell Harper (Curator of Canadian Art). Loan forms. Request from the National Film Board of Canada for permission to photograph paintings at the exhibition for a film on Riopelle. Invitation to the opening in Ottawa, January 10th, press reviews. Correspondence and lists of Riopelle sculpture being returned.
- 24.44 Exhibitions: Riopelle, Galerie Camille Hébert, Montreal (1963 January 14–February 6), 1962–1963
Agreement between Pierre Matisse Gallery and Galerie Camille Hébert. List of works sent for the exhibition, pro forma invoices, bill of lading. Announcements of other exhibition at Galerie Hebert. Black‐and‐white photographs of Galerie Hebert. Catalogue of Riopelle exhibition. Correspondence is in French
- 24.45 Exhibitions: Sculpture, Painting, Pierre Matisse Gallery (1963 April 23–May 18), 1963
Pierre Matisse desperately needs the sculpture that is presently exhibited in Montreal for his own Riopelle sculpture exhibition, Toronto therefore will not get to exhibit them. Catalog, priced catalogue, press reviews, poem by Frank O'Hara for the preface of the catalogue. Cables, including Joseph Hirshhorn to Pierre Matisse and Pierre Matisse to Hirshhorn quoting prices on several bronzes. Pierre Matisse will receive a 33% commission. Photograph of the bronze L'Aire. See installation shots in exhibition scrapbooks
- 24.46 Exhibitions: Catalogues, 1963–1964
Various catalogues: Jean Fournier (June and October), with announcement; Galerie d'Art Moderne, Bale, Switzerland (November 1963); Fifteen Canadian Artists, Museum of Modern Art, New York; National Gallery of Canada Bulletin featuring the acquisition of the Riopelle triptych.
- 24.47 Exhibitions: Sculpture, Paintings, Aquarelle, Pierre Matisse Gallery (1965 November 30–December 24), 1964–1966
List of art sold Pierre Matisse in 1964. Exhibition catalogue with preface by Pierre Schneider, press clippings, requests for catalogues. See also installation shots in exhibition scrapbooks
- 24.48 Exhibitions: 15 Paintings, Vancouver Art Gallery (1965 October), 1965
- 24.49 Exhibitions: Riopelle 67 retrospective, Musée de Québec (1967 Summer), 1965–1967
Correspondence with Guy Viau, Director of The Musée de Québec. Floor plan, list of works to be exhibited, correspondence with Riopelle collectors and with Maeght Editeurs, Paris, who publish the catalogue. Some of the correspondence is in French
- 24.50 Exhibitions: Riopelle 67 retrospective, Musée de Québec (1967 Summer), 1967–1968
List of works shipped by Pierre Matisse Gallery (prices marked), catalogue. Invitation to opening, press clippings. Letter from the curator about damage of one of Pierre Matisse's paintings. Correspondence is in French
- 24.51 Exhibition announcements, 1966
- 24.52 Exhibitions: Group exhibition, Musée de Québec (1967 February), 1966–1967
- 24.53 Exhibitions: Group exhibition, Canadian Government, Union Carbide Building, New York (1967 April), 1966–1967
- 24.54 Exhibitions: Dix Peintres de Québec, Musée d'Art Contemporain, Montreal (1968 March 20–April 14); Quebec (1968 April 18–May 12), 1968
Correspondence with Ministere des Affaires Culturelles (Quebec), loan forms, shipping instructions. Titles of art loaned by Pierre Matisse Gallery are Sans Titre (1964), Dans Les Friches (1966), Forestier (1967), Sud Sud‐Est (1967), Vexin (1967). The correspondence is in French
- 24.55 Exhibitions: Paintings, Pastels, Assemblages, Pierre Matisse Gallery (1969 October 28–November 22), 1969
Correspondence with Pierre Schneider, Jacques Dupin, Georges Duthuit, Franco Russoli, Pierre Boudreau (contributors to the catalogue). Original manuscripts, and translations of articles. Correspondence with various printers. List of art bought by Pierre Matisse from Riopelle. Press clipping. Catalogue marked with prices. Most of the correspondence is in French See also installation shots in exhibition scrapbooks
- 24.56 Exhibitions: Kent State University (1970 January), 1969–1970
- 24.57 Inquiries, 1963–1968
- 24.58 Accounts, 1971–1975
Payment advices, correspondence about payments, list of art priced, snapshot of several paintings, handwritten notes with calculations.
- 24.59 Accounts, 1976–1979
- 24.60 Correspondence, 1971–1972
Cable about Les Bourgeois. Six pieces of broken plaster of Les Bourgois being returned to Riopelle. Letter from Daniel Lelong (Galerie Maeght) that Riopelle wants to raise prices which are still the same as in 1960. Correspondence is in French
- 24.61 Correspondence, 1973–1978
- 25.01 Correspondence: The Fountain lawsuit, 1978–1980
In the fall of 1973 Pierre Matisse signs a contract with Renzo Michelucci (foundry) for the bronze casting of Riopelle's The Fountain consisting of nine subjects. The foundry is raising the price that was contractually agreed upon and a lengthy lawsuit ensues. The entire file is in French
- 25.02 Correspondence: The Fountain lawsuit, 1978–1980
In 1980 the Pierre Matisse Gallery is finally in the receipt of the two series of the nine elements and Matisse has won the case. Most of the file is French, some of the court opinions are in Italian
- 25.03 Correspondence: Damaged bronze sculpture, 1976–1977
- 25.04 Correspondence: Guy Robert, 1977–1982
- 25.05 Exhibitions: Panorama de la sculpture au Québec[, 1945–1970], Musée d'art contemporain de Montréal (1970 June 23–September 6); Musée Rodin, Paris (1970 October 27–1971 January 4), 1970
Correspondence with Musée d'Art Contemporain, Montreal. Shipping instructions, loan form. The correspondence is in French
- 25.06 Exhibitions: Terre des Hommes group exhibition, Montreal, 1971
Correspondence, loan form, shipping instructions. The correspondence is in French
- 25.07 Exhibitions: 25 ans de peinture, 1947–1972, Galerie Gilles Corbeil, Montreal (1974 May 16–June 4), 1974–1979
Pierre Matisse Gallery sends 34 Riopelles to Galerie Gilles Corbeil for an exhibition. List of artworks with titles and prices. These works are on consignment. Most of the correspondence is the reconciliation of the consignment account. Notes: some of the correspondence is in French
- 25.08 Exhibitions: Paintings from 1970–1973 and the "Roi de Thule" Series, 1973, Pierre Matisse Gallery (1974 October 8–31), 1974
Preface to the catalogue by Thomas B. Hess. List of paintings going to the framer. Color separations of Salut Gerard. Press reviews. Priced catalogue. The correspondence is in French See also installation shots in exhibition scrapbooks
- 25.09 Exhibitions: Paintings from 1974 and Pastels from 1975, Pierre Matisse Gallery (1975 November 25–December 18), 1975
Expense sheet for the exhibition, announcement, catalogue with preface by Paul Auster. List of artworks. List of Expenses. Press reviews. Priced catalogue. See also installation shots in exhibition scrapbooks
- 25.10 Exhibitions, 1975–1980
Various exhibition announcements: Galeria Maeght, Barcelona (March 1975); Gallery Moos, Toronto (April 1978); Riopelle, Icebergs, Galerie Maeght, Paris (opened January 25, 1979); Riopelle, Pastels, Galerie Maeght, Paris (October 1980).
- 25.11 Exhibitions: Grands Formats, 1952–1975, Pierre Matisse Gallery (1977 April 12–May 7), 1977
List of expenses of the exhibition, announcement, press clippings. Color photograph of Riopelle. Priced catalogue. See also installation shots in exhibition scrapbooks
- 25.12 Inquiries, 1971–1977
- 25.13 Publicity: Riopelle by Pierre Schneider, Maeght Editeur, 1972
Letter from Maeght Editeur to Pierre Matisse Gallery requesting information as to the ownership of some of the works to be reproduced in the book. Black‐and‐white photographs of three of the artworks. Announcement of the publication of the book. The correspondence is in French
- 25.14 Purchase of Les Ficelles, 1973
- 25.15 Accounts, 1980–1989
- 25.16 Biography, 1989
- 25.17 Exhibitions, 1980–1982
Various announcements, list of works to be sent on loan, list of photographs to be sent to Pierre Schneider, press reviews. Exhibitions include Paris (September 1981), Quebec (December 1981), Mexico (March 1982), and Montreal (July 1982).
- 25.18 Exhibitions, 1981–1990
Various exhibition announcements: Early Paintings and Works on Paper, Gimpel Fils, London (June 1981); Peintures Recentes, Galerie Maeght‐Lelong, Paris (November 1983); Recent Paintings, Gallery Moos, Toronto (June 1986); Gallery Moos, Toronto (December 1989); Grands Formats 1955–1960, Grand Palais, Paris (October 1990).
- 25.19 Exhibitions: Group exhibition, Keny and Johnson Gallery, Columbus, Ohio (1984 May), 1984
- 25.20 Exhibitions: The 1950s Painting in Paris, Denise Cadé Gallery, New York (1984 November), 1984
- 25.21 Exhibitions: Les Oies Sauvages: Paintings and Collages on Paper Mounted on Canvas, Pierre Matisse Gallery (1985 April 16–May 11), 1985
Expense sheet. Various preparations for the catalogue. Press reviews. Priced catalogues. Some of the correspondence is in French See also installation shots in exhibition scrapbooks
- 25.22 Exhibitions: Riopelle, Laves émaillées, terres, peintures, Château Musée de Vallauris (opened 1985 August 2), 1985
Invitation to the opening and press review. The exhibition was organized by Galerie Maeght‐Lelong, Paris. The material is in French
- 25.23 Exhibitions: Philippe Briet Gallery, New York (1987 November), 1987
Pierre Matisse Gallery lends two works of art to this exhibition, namely a bronze (B‐C) and a triptych (Les Masques). Correspondence, loan agreements, announcement for the opening.
- 25.24 Exhibitions: Une historie des prix Borduas group exhibition, Montreal (1988 May), 1988
- 24.25 Exhibitions: Paintings from the Fifties, Pierre Matisse Gallery (1989 April 18–May 20), 1989
Correspondence with Jacques Dupin and Zao Wou‐ki about the prefaces for the catalogue. List of works to be exhibited. Catalogue, announcement and invitation. Press reviews. List of expenses of the exhibition. The correspondence is in French See also installation shots in exhibition scrapbooks
- 25.26 Exhibitions: Paintings from the Fifties, Pierre Matisse Gallery (1989 April 18–May 20), sales, 1989
Various requests and correspondence regarding sales of Riopelles that have been exhibited. Priced catalogue. An article about a record price for a Riopelle at auction. Filets Frontiére was sold at $435,000. Some of the correspondence is in French
- 25.27 Fondation Jean‐Paul Riopelle Inc., 1981–1985
- 25.28 Inquiries, 1982–1985
- 25.29 Exhibitions: Jean Paul Riopelle, D'hier et d'aujourd'hui, Fondation Maeght, Saint‐Paul‐de‐Vence (1990 April), 1989–1990
Correspondence with Jean‐Louis Prat, loan forms, invitations. The correspondence is in French
- 25.30 Purchase of Les Oies Sauvages, 1983
Proposal from Jean‐Paul Ledeur (restorer) for the mounting on canvas of all of Riopelle's works on paper. List of Les Oies Sauvages with dimensions. Correspondence with Lefebvre‐Foinet about payments. Payment advices. Two press reviews of an exhibition of Les Oies Sauvages at the Galerie Maeght in Paris. The correspondence is in French
- Subseries: Rivera, Manuel, 1927–1995
- 25.31 Correspondence, 1959
Copies of correspondence to and from Pierre Matisse and Rivera re El Paso group exhibition at Pierre Matisse Gallery (Rivera work was replacement for works by Luis Feito). Handwritten, signed letter of December 22, 1959 to Pierre Matisse with mention of Porter McCray and Guggenheim show. Most material in French or Spanish See also artists' letter boxes for original Rivera and Pierre Matisse correspondence See also Artists: El Paso group
- 25.32 Exhibitions: Catalogues, 1958–1959
- 25.33 Accounts, 1964–1968
Correspondence to and from Pierre Matisse and Rivera re payments, transfer records, shipping records (Macarron), valuations for shipping. Correspondence in French and Spanish See also Correspondence files
- 25.34 Correspondence, 1960
Includes summary of correspondence contents (in French). Correspondence to and from Pierre Matisse and Rivera re exhibition at Pierre Matisse Gallery, upcoming exhibitions at the Museum of Modern Art, Guggenheim, Daniel Cordier. Shipping of paintings to Pierre Matisse Gallery (includes shipping values). April 1960 correspondence re Rivera signing with Pierre Matisse Gallery for representation. Typed letter signed by James Johnson Sweeney to Pierre Matisse re Guggenheim exhibition and Spanish art, dated May 2, 1960. F. O'Hara (of the Museum of Modern Art) re exhibition and Pierre Matisse Gallery loans. Typed letter signed by McCann‐Erickson Advertising to Rivera, dated August 16, 1960, re possible use by Rivera of Owens‐Corning fiberglass insect screening for art to be used in advertising. Correspondence in French and Spanish Most original letters removed to artists' letter boxes See also Exhibitions files
- 25.35 Correspondence, 1961
Summary of correspondence in front of folder (in French). Correspondence to and from Pierre Matisse and Rivera re Pierre Matisse Gallery exhibition, other upcoming exhibitions, works in progress, paintings shipped, interest of Emily Genauer in Rivera (undated January 1961?), Pierre Matisse trip to Madrid (September 9, 1961), payments to Rivera. Correspondence in French and Spanish Original letters removed to artists' letter boxes See also Accounts folders; Exhibitions folders
- 25.36 Correspondence, 1962–1963
Correspondence summary in front of folder (in French). Correspondence to and from Pierre Matisse and Rivera re exhibitions, Pierre Matisse in Madrid (September 6, 1962), payments to Rivera, shipping information, accounts, Rivera economic problems (February 13, 1963), exhibitions (Madrid, La Chaux‐de‐Fonds 1963), Pierre Matisse's plan to continue with Rivera at least one more year (May 18, 1963), two works, Metamorfosis (Heraldia) and Metamorfosis (Blaser) go to the Museum of Modern Art's permanent collection (July 23, 1963). Photographs and negatives in file. Correspondence in French and Spanish Most original correspondence removed to artists' letter boxes See also Accounts folders
- 25.37 Correspondence, 1964–1965
Correspondence summary located in front of folder (in French). Correspondence to and from Pierre Matisse and Rivera re exhibitions (Carnegie 1964, Tokyo Biennale 1964, possible Pierre Matisse Gallery 1965). Shipping records, Rivera visit to New York City (October 1964). Rivera received Honorable Mention at Tokyo Biennale (1964). Museum of Modern Art acquisition and exhibition of Metamorfosis (Heraldry) (May 13, 1965). October 1966 correspondence with Galeria Juana Mordo re dates for Rivera exhibition. Correspondence and materials re possible Rivera commission for Bank of California (did not occur), including photos and maps (Bergson Associates). Correspondence in French and Spanish Most original correspondence removed to artists' letters boxes See also Exhibitions folders
- 25.38 Correspondence, 1966–1969
Correspondence to and from Pierre Matisse and Rivera re exhibitions (Pierre Matisse Gallery and Juana Mordo 1966, Switzerland 1967, Houston circa 1967, Juana Mordo 1968). Shipping, payments, Bank of California project (September 5, 1966). Pierre Matisse sciatica attack, April and May, 1967. See also Exhibitions folders; Correspondence, 1964–1965
- 25.39 Exhibitions: Group exhibition, Museum of Modern Art (1960 June), 1960
- 25.40 Exhibitions: Before Picasso, after Miró, Solomon R. Guggenheim Museum (1960 June–August), 1960
- 25.41 Exhibitions: Recent Paintings, Pierre Matisse Gallery (1960 December 6–23), 1960
Press reviews, catalogue, biographical data. Exhibition of the Metamorfosis series. See also Correspondence folders; Exhibition Scrapbook, 1956–1960 for exhibition catalogue and installation photos
- 25.42 Exhibitions: Galeria Biosca, Madrid (1963 March 11–23), 1963
- 25.43 Exhibitions: Los Espejos, Galeria Juana Mordo, Madrid (1966 February 4–19), catalogues, 1963
- 25.44 Exhibitions: Los Espejos, Pierre Matisse Gallery (1966 November 8–28), 1966
Correspondence re exhibition traveling to Galeria Juana Mordo in Madrid before Pierre Matisse Gallery show. Catalogues (priced), announcement, record of work sold, lists of works in show, photographs of works and artist (for catalogue?). See also previous folder; Installation photos; Exhibition Scrapbook, 1961–1966 for catalogue and installation photos
- 25.45 Exhibitions: Los Espejos, Pierre Matisse Gallery (1966 November 8–28), 1966
- 25.46 Exhibitions: Feelies, Addison Gallery of American Art, Phillips Academy (1967 February 4–April 2), 1967
- 25.47 Exhibitions: Catalogues, 1962–1968
Exhibitions unaffiliated with Pierre Matisse Gallery. Galleries: Galeria Uno, Cadaques 1962; Galeria Il Segno, Rome 1962; Musée des Beaux‐Arts, La Chaux‐de‐Fonds 1963 (two); Galeria Liceo, Spain 1964; Galeria d'Arte Contemporanea,Turin 1964; Galeria Juan Mordo, Madrid 1968.
- 25.48 Correspondence, 1970–1986
Correspondence to and from Pierre Matisse, Rivera and others re Rivera exhibitions (non‐Pierre Matisse Gallery affiliated), articles, 1975 Juana Mordo gallery show, Rivera's European successes.
- 25.49 Exhibitions, 1970s
- Subseries: Roszak, Theodore, 1907–1981
- 25.50 Correspondence, 1947, 1950–1955
Photocopies of Theodore Roszak letters. September 29, 1947 asking to show photos of work to Pierre Matisse in the hope of an exhibition, at suggestion of Clement Greenberg and with endorsement of J.J. Sweeney. Re Pierre Matisse's insistence on receiving commission on sale of The Spectre of Kitty Hawk to the Museum of Modern Art. Agreement of April 26, 1950. Correspondence re Pierre Matisse Gallery handling loans of sculptures, payments to artist and from artist to Pierre Matisse Gallery for works individually sold, re works for Pierre Matisse Gallery exhibitions. Copy of Art Institute of Chicago publication with Theodore Roszak speech, "In Pursuit of an Image," given to students at the Art Institute, March 16, 1955. File contains annotated list of Theodore Roszak letters, originals in solander box
- 25.51 Accounts, 1951–1959
- 25.52 Correspondence, 1956–1959
Photocopies of Theodore Roszak letters, inquiries. Letter of July 23, 1956 from Pierre Matisse in Paris reporting on the International Sculpture Exhibition at Musée Rodin and his snapshots of Roszak piece. Theodore Roszak re preparations for 1956 Whitney Museum retrospective, re commission for Skidmore building, for Inland Steel building, Chicago. Payments to artist, including from other dealers, price lists, re shipping, et cetera. Two copies of advertising brochure for Art in America. File contains annotated list of Theodore Roszak letters, originals in solander box
- 25.53 Exhibitions: Roszak, Pierre Matisse Gallery (1951 April 3–20), 1951
- 25.54 Exhibitions: Drawings Pierre Matisse Gallery (1953 February 10–28), 1953
Price lists of handwritten slips, card, typewritten with locations of works. Two catalogues, one priced.
- 25.55 Exhibitions: Traveling exhibition, 1956–1957
Invitation and three exhibition catalogues, one priced. Walker Art Center, Minneapolis; Whitney Museum of American Art, New York City; Los Angeles County Museum of Art; San Francisco Museum of Art; Seattle Art Museum.
- 26.01 Exhibitions, 1957–1959
- 26.02 Accounts, 1961–1965
- 26.03 Biography, 1962
- 26.04 Correspondence, 1960–1961
Photocopies of three Theodore Roszak letters. Correspondence re eagle for American Embassy in London. Payments to artist. Request from individuals and institutions for photographs, permission to photograph and reproduce, for loans, et cetera. File contains annotated list of Theodore Roszak letters, originals in solander box
- 26.05 Correspondence, 1962–1965
Payments to artist. Inquiries from individuals, galleries and institutions for information, loans, et cetera. Information re award. Tear sheet of Rite of Passage reproduction. Two black‐and‐white glossy photos of two drawings.
- 26.06 Correspondence, 1966–1969
Inquiries re Theodore Roszak works, requests for photographs, permission to reproduce, borrow, et cetera. Pierre Matisse Gallery staff members to Mrs. Roszak. Tear sheet from Current Biography (June 1966), containing Roszak biography.
- 26.07 Exhibitions, 1960–1969
- 26.08 Exhibitions: Sculpture, 1956–1962, Pierre Matisse Gallery (1962 April 17–May 12), 1962
Four installation photographs. Price lists, invoices for printing, list of clients to whom catalogues to go (for 50 cents each), review clippings. Two priced catalogues.
- 26.09 Exhibitions: Catalogues, 1960–1969
- 26.10 Correspondence, 1970–1973
Photocopies of Theodore Roszak letters. Pierre Matisse Gallery staff members to Mrs. Roszak. Publishers' requests. Theodore Roszak (1972–1973) re working for possible exhibition Pierre Matisse Gallery, discussion of making an arrangement re distribution of prints. Black‐and‐white photograph of sculpture. File contains annotated list of Theodore Roszak letters, originals in solander box
- 26.11 Correspondence, 1974–1979
Photocopies of Theodore Roszak letters. October 12, 1974 congratulations to Pierre Matisse on marriage. Lists, shipping papers, payments to artist. Proof reproduction of Papillon. Theodore Roszak sends reviews of two Chicago exhibitions. Roszak letter of April 16, 1978 asks re possibility of Pierre Matisse Gallery exhibition of drawings at time of show of early pieces at Zabriskie Gallery. Two copies of catalogue and tear sheets of reviews of latter. Lists of works returned to Theodore Roszak dated October 25, 1979. File contains annotated list of Theodore Roszak letters, originals in solander box
- 26.12 Exhibitions: Lithographs and Drawings, 1971–1974, Pierre Matisse Gallery (1974 December 3–20), 1974
Eight installation photos, photocopies of Theodore Roszak letters. Roszak expresses concern re planning for November exhibition, sends photos. Lists and price lists, shipping papers, payments to artist, list of exhibition expenses. Inquiries following exhibition. Packing slip for six sculptures returned to artist. File contains annotated list of Theodore Roszak letters, originals in solander box
- 26.13 Exhibitions: Lithographs and Drawings, 1971–1974, Pierre Matisse Gallery (1974 December 3–20), 1974
- 26.14 Exhibitions: Arts Club of Chicago, 1976
- 26.15 Correspondence, 1980–1985
Photocopies of two Theodore Roszak letters, re his surgery on foot. Congratulations to Pierre Matisse on fiftieth anniversary of Gallery, July 5, 1981. Card for memorial service (October 6, 1981) for Roszak, who died September 2. Correspondence following between Maria‐Gaetana Matisse and Mrs. Roszak and daughter. File contains annotated list of Theodore Roszak letters, originals in solander box
- 26.16 Press, undated
- Subseries: Rothko, Mark, 1903‐1970
- Subseries: Rouan, François, 1943–
- 26.18 Accounts, 1974–1976
Payments in lire, French francs, or U.S. dollars to Rouan via Chase Manhattan Bank, or in cash when in United States, for paintings and drawings received 1974, 1975, 1976.
- 26.19 Correspondence, 1973–1979
Letters from François Rouan from 1973 to January 1978 from Rome; then Saint‐Maximin (Oise, France). Some Rouan letters bear only month and day, no year. 1973–1974: Initial arrangements re Pierre Matisse Gallery handling work in USA, Pierre Matisse choices of paintings, shipping arrangements, payments, et cetera. Summer 1973 plans to see each other when Pierre Matisse on way to visit Balthus. Possible dates for Rouan exhibitions at Pierre Matisse Gallery and at Musée National d'Art Moderne, Paris. In a missive of February 12, 1974, Rouan explains his work. 1975–1978: Arrangements continue re two exhibitions, photographs, transparencies, et cetera. Pierre Matisse and Dominique Bozo. Exchange problems, dollars, francs, lire. Rouan's time at l'Atelier Medici (French Academy) finished, found studio at Lunghezza, near Rome. Possibility of Rouan/Bozo trip to New York. Copies of catalogue to Rouan et al. November 1976, Rouan in New York, visit November 19 to Barnes Foundation with Claire Traub and Mr. and Mrs. Viallat. December 1976 notes and cards from Brigitte Courme Rouan and Alexandré. Balthus has returned from Paris. 1979: Plans for Rouan Düsseldorf exhibition in December. Correspondence re Rouan work. Includes announcements of Rouan Düsseldorf exhibition and of Brigitte Courme Paris exhibition, each in 1979. Black‐and‐white photo unidentified Rouan painting. See also Exhibitions: Paintings and Drawings, 1972–1976, Pierre Matisse Gallery (1976 May 18–June 12), 1976 folder
- 26.20 Exhibitions: Paintings and Drawings, 1972–1976, Pierre Matisse Gallery (1976 May 18–June 12), 1976
Seven installation photos. Correspondence between Pierre Matisse, François Rouan, Dominique Bozo, and translator. Bozo provided text for Pierre Matisse Gallery exhibition. Correspondence re payments. Rouan describes and sketches method of framing. Copies of Bozo text and of translation. Lists of works in exhibition. Rouan bio. Expenses of exhibition. Dummy of catalogue, color separations, page proof, invitations. Catalogue, ads, review.
- 26.21 Exhibitions: Bicentennial commemorative exhibition, United States and Canada, 1976
Exhibition to commemorate Independence Bicentennial,06 ART 1976, to be shown in three U.S. universities [University of California‐Berkeley (1976 October–December); University of Houston (1976 November–December); State University of New York College at Purchase (1977 January–February)] and Montreal museum, arranged by Association Française d'Action Artistique, Ministère des Affaires Etrangères. Correspondence re loans from Pierre Matisse Gallery and one from G. Gaussen, French Consul‐General in New York. Loan forms, shipping and insurance papers, references to photographs and transparencies. Invitation card to Montreal showing, two review clippings, exhibition catalogue.
- 26.22 Exhibition: Paintings and Drawings, 1972–1976, Arts Club of Chicago (1978 November 13–December 10), 1977–1978
Correspondence re loans of paintings, drawings, and photographs. Shipping arrangements, checklists. Copy of Pierre Matisse Gallery 1976 Rouan catalogue, biographical information. Two copies Chicago catalogue, one review clipping.
- 26.23 Exhibitions: Peintures, dessins, Musée Cantini, Marseille (1978 July–September), 1978
Correspondence re loans from Pierre Matisse Gallery, including transparencies, loan forms, shipping and insurance papers, et cetera. Two invitation cards, copy of catalogue, one review clipping.
- 26.24 Publicity, 1976
Pierre Matisse correspondence with James Fitzsimmons, editor of Art International, re possibility of publishing Dominique Bozo's article on Rouan. Article Pierre Matisse states was written for catalogue of Pierre Matisse Gallery 1976 exhibition, but not used (another Bozo article does appear), as too important. Six‐page typescript of article, April 1976. Proofs and tear sheets of article in December issue, tear sheet of cover reproducing the oval tondo in color. In correspondence, Fitzsimmons also mentions article on Hantaï by Fourcade.
- 26.25 Accounts, 1983
Few letters between Maria‐Gaetana Matisse and François Rouan, generally re payments. Banking, credit institutions papers, Lefebvre‐Foinet letters and forms. Handwritten list of Rouan drawings. Ten black‐and‐white 8 x 10 glossy photos, identified, of Rouan drawings. One small photograph of Rouan drawing
- 26.26 Accounts, 1984–1985
Few letters between François Rouan, Pierre Matisse, and Maria‐Gaetana Matisse re finances. Papers re various banks, credit institutions, payments to Rouan accounts, export papers.
- 26.27 Accounts, 1986–1987
Few letters between François Rouan, Pierre Matisse, and Maria‐Gaetana Matisse generally re prices, payments, et cetera. Payments made to Rouan accounts via various banks, financial institutions. September 29, 1986, Rouan handwritten list of gouaches and drawings, and two typewritten copies. Photocopy "Rouan list/September 1987," Four‐page handwritten list of 34 Rouan works.
- 26.28 Accounts, 1988‐1989
January 28, 1988 letter from Rouan and two photocopies. Handwritten list re payments and typed accounting dated April 1, 1988. Shipping, customs, et cetera, and bank papers.
- 26.29 Correspondence, 1981–1989
Correspondence between Rouan and Maria‐Gaetana Matisse (his are addressed to both Mr. and Mrs. Matisse), price list and two copies with notes. Museum of Modern Art inquiry to Rouan handled by Pierre Matisse; inquiry from Cultural Affairs Department, Picardy, Amiens, re purchase of Rouan painting from Pierre Matisse Gallery, invoice, shipping papers. 16 April, 1985 long letter from Rouan re his reactions to Balthus's new work, following Rouan's return from Rossiniere. 1988, Rouan and Isabelle's thanks to the Matisses for their hospitality. Inquiry from individual re Pierre Matisse Gallery selling Rouan. November 1989, gift form from Pierre Matisse Gallery to Rouan, three Mirós: two drawings and one gouache (as of June 14). Polaroid of Rouan, one of Miró gouache.
- 26.30 Exhibitions: Targoum: Paintings and Drawings, 1973–1981, Pierre Matisse Gallery (1982 February 6–March 6), 1980–1982
One of a series of 12 solo exhibitions of contemporary French artists shown in 12 New York City galleries, under the auspices of the French Ministère des Affaires Etrangers. M. Otto Hahn, commissioner of exhibition. Correspondence with various officials, also with Lucien Durand, Bella Meyer, and Edward F. Fry, who wrote text for Pierre Matisse Gallery catalogue, Paris photographer, et cetera. Lists, dated and undated, typed and handwritten. Three copies Fry's typescript, and proof. Rouan's handwritten text, "A propos des tableaux de six dernières annèes," and two typed copies. List of galleries.
- 26.31 Exhibitions: Targoum: Paintings and Drawings, 1973–1981, Pierre Matisse Gallery (1982 February 6–March 6), 1982
Six installation photographs. Correspondence with Edward Fry, lenders, shipping and insurance firms, banks re payments, et cetera, to do with exhibition. Rouan's notes re Targoums, and translation. List of galleries. Color swatches for paper, dummy and ad, catalogue.
- 26.32 Exhibitions: Targoum: Paintings and Drawings, 1973–1981, Pierre Matisse Gallery (1982 February 6–March 6), 1982
- 26.33 Exhibitions: Twelve Contemporary French Artists, Albright‐Knox Art Gallery Buffalo, N.Y. (1982 May 14–June 27), 1982–1983
Works chosen from among those shown in New York City tenȁgallery exhibition. 1982, Correspondence, loan forms, lists, shipping papers, two invitations, re three Rouan paintings lent.
- 26.34 Exhibition: François Rouan, Centre Georges Pompidou, Paris (1983 October 23–1984 January 2), 1983
Correspondence, loan forms (includes loans from Pierre Matisse Gallery clients), shipping and insurance papers. Three invitation cards, two tear sheets, one review clipping.
- 26.35 Exhibitions: Drawings 1974–1984, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1984 March 15–May 13), 1983–1984
Correspondence, loan forms, shipping papers re four Rouan drawings. Photocopy of 19 [III? VII?] 1983 letter from Rouan. Typescript of Rouan one and one‐half page text invitation, photocopies of two review clippings. An annotated note of photocopy of Rouan letter, "Lasergue" in error for "Laversine" Original in solander box (many other original letters from Rouan appear in the files themselves
- 26.36 Exhibitions: Paintings, Gouaches, Drawings, 1967–1983, Pierre Matisse Gallery (1984 May 15–June 9), 1984
Seven installation photographs. Correspondence François Rouan, Pierre Matisse, Maria‐Gaetana Matisse re artist's work on restoration of damaged paintings, plans for Pierre Matisse Gallery exhibition and catalogue, text, cover, et cetera. Lists and costs of exhibition. Rouan handwritten notes, with typed copies. Pages from 1976 Pierre Matisse Gallery catalogue, proof of text. Pierre Matisse Gallery advertisements, review clippings. Inquiry from Paris collector re acquisition of Rouan painting.
- 26.37 Exhibitions: Encaustic Paintings and Drawings on Paper Laid Down on Canvas, Pierre Matisse Gallery (1988 May 10–June 4), 1987–1988
Five installation photos. Letters from Rouan ("le 28 juillet," and "le 15 septembre" ostensibly 1987) re the works of art to be included in projected Pierre Matisse Gallery exhibition. Information re technique, suggestions for mounting, framing, prices, shipping, et cetera. Pierre Matisse explains change in opening date of exhibition. Conservation report, shipping papers, exhibition expenses. Numerous copies of Rouan handwritten catalogue lists, varying information. Handwritten slips, apparently names to whom catalogues to go.
- 26.38 Exhibitions: Encaustic Paintings and Drawings on Paper Laid Down on Canvas, Pierre Matisse Gallery (1988 May 10–June 4), 1988
Denis Hollier typescript of text for catalogue, in French and English translation, and copies with various marks. Two‐page text in French over name of Hubert Damisch. Page proof of text and checklist of catalogue. Two black‐and‐white glossy photographs Rouan work.
- 26.39 Exhibitions: Encaustic Paintings and Drawings on Paper Laid Down on Canvas, Pierre Matisse Gallery (1988 May 10–June 4), 1987–1988
- Subseries: Rouault, Georges, 1871–1958
- 26.40 Accounts, 1933–1939, undated
Handwritten, dated lists of Rouault works to Pierre Matisse for exhibition and sale, signed by both. Handwritten lists with columnar information re works of art. Sheet removed from ledger, debits and credits, G. Rouault. Handwritten, undated list of works of art apparently to be insured, including 10 Rouaults. Pages torn from notebook with columnar information apparently re Rouault works. Pages of graph paper sewn into copy of 1937 Pierre Matisse Gallery Rouault catalogue, with ruled columns for years 1900–1939, with what are apparently Rouault works of art in appropriate years. Other sheets of price lists, notes, including sketch
- 26.41 Correspondence, 1933–1939
Subjects include Pierre Matisse Gallery purchases, various aspects of Rouault's work, including retouching paintings, writings (Sam Lewisohn in 1936–1937), photographing, shipments, collectors (Barnes), tapestries made from the artist's designs (Mme Cuttoli), Pierre Matisse's inquiries to the Rouaults. The artist's health is referred to as well. Sheet of graph paper with handwritten list "Rouault Measurements." Undated or partially dated letters are filed here in the order in which they appeared in the original gallery filing system A set of photocopies of the letters listed in the annotated notes can be found in folder group indicated as "photocopies sent to Isabelle Rouault, June 1985" (folders 26.54 and 26.55, 27.01, 27.02, and 27.03) Originals can be found in the Rouault solander box See also Exhibitions: Paintings, Pierre Matisse Gallery (1933 October 30–November 23 [extended until December 2]), 1933; material re Early Paintings, Watercolors, Tempera Paintings, and Gouaches, 1904–1917, Pierre Matisse Gallery (1937 November 9–December 4)
- 26.42 Exhibitions: Paintings, Pierre Matisse Gallery (1933 October 30–November 23 [extended until December 2]), 1933
Six‐page typewritten manuscript "A Note on Rouault," by Sam A. Lewisohn, July 5, 1933. Announcement, price list, catalogue.
- 26.43 Exhibitions: Paintings,Pierre Matisse Gallery (1939 February 7–March 4), 1939
- 26.44 Publications, 1939
Letters to many clients (institutions and collectors) re two Rouault books published by Vollard: Passion and Cirque de l'Etoile Filante, copies of which Pierre Matisse Gallery offers for sale. Replies are addressed to Mrs. Alexina Matisse and, later, to Catherine Viviano. Lists, typed and handwritten, covering transactions re the books.
- 26.45 Accounts, 1945–1946
Papers re payment to Georges Rouault. Handwritten list "Prepared 7/27/45" and another, undated with columnar information re Rouault works, sales, et cetera, with dollars and francs. Sheet mended with discolored scotch tape
- 26.46 Correspondence, 1940–1941
Correspondence re Pierre Matisse Gallery acquisitions, shipping, et cetera (this is at the beginning of World War II). Pierre Matisse reassures Rouault via Isabelle Rouault [daughter] that all paintings are safe, but that he has a reliable restorer, a friend of his father's. Mention is made of the painting Mr. X. Four‐page Pierre Matisse transcript "9 4 Avril 1941" of three‐page Rouault letter. Original Rouault "fin mars 1941" two‐page letter and Pierre Matisse five‐page transcript, other original Rouault letters not on annotated list. 3 x 5 Black‐and‐white photo inscribed reverse with Henri Matisse name, "Nice le 8 novembre 1941." Original letters can be found in the Rouault solander box
- 26.47 Correspondence, 1944–1949
April 1945, Pierre Matisse re Museum of Modern Art Georges Rouault exhibition, death of President Franklin Roosevelt. Undated Isabelle Rouault missive re Georges Rouault Miserere et Guerre and Limited Editions Club (Macy) re Rouault illustrating Zola. Catalogue for Rouault Miserere exhibition, Paris 1948. October 1946 Isabelle Rouault re Ambroise Vollard's heirs. 1947 missive re Rouault expo Zürich for 1948, Matisses' packages of powdered milk, tea, coffee, et cetera. Mention Peggy Riley (now Rosamond Bernier Russell), Lily Pons Kostelanetz, Mme Ratton. 1947 and 1948 letters from publisher and French Ambassador to Pierre Matisse. Pierre Matisse letter "not sent." Clipping. December 18, 1944 Isabelle Rouault letter poorly mended with tape See also Exhibitions: Paintings, Pierre Matisse Gallery (1947 March 11–April 5) folder
- 26.48 Exhibitions: Landmarks in Modern Art group exhibition, Pierre Matisse Gallery (1940 December 20–1941 January 25), 1940–1941
Pierre Matisse letters, September 1940 to February 1941, to important clients calling their attention to works in exhibition, especially the large Rouault painting, The Wounded Clown, describing it at length and mentioning opinions from experts, such as Venturi.
- 26.49 Exhibitions: Paintings, Pierre Matisse Gallery (1947 March 11–April 5), 1947
Three exhibition catalogues, one of them priced, with notations. Tear sheet of catalogue listing, priced.
- 26.50 Correspondence: Isabelle Rouault, 1950–1959
Isabelle Rouault re long time with no news from the Matisses. She is restoring portion of photographic documentation (Marc Vaux) destroyed during war. March 1953, Rouaults had visited Henri Matisse in the Midi. Pierre Matisse apparently negotiating sale of Rouault painting to unnamed U.S. museum. Mention "Frenkenberg" visit. April/May 1956, Pierre Matisse inquiry about Rouault illness, reported to him by Carleton Smith, Isabelle Rouault assurance father better. 1957 Isabelle Rouault met Jean Matisse (Pierre Matisse's brother, sculptor) who had Paris exhibition. Rouault exhibition, Belgium. Invitation to Isabelle Rouault exhibition, Paris, Bernheim‐Jeune, 1955. Georges Rouault died February 12, 1958.
- 26.51 Exhibitions, 1953, 1955
Not Pierre Matisse Gallery‐affiliated. 1953, Buffalo, New York exhibition Recent Acquisitions: Rouault Portrait of Mr. X, Pierre Matisse handwritten notes "big black butterfly..." also typed, with Pierre Matisse comment. Tear sheet from catalogue and reproduction page. Handwritten slip with provenance of painting. Exhibition catalogue. 1955 correspondence re Milan Georges Rouault exhibition, Pierre Matisse loan et cetera.
- 26.52 Correspondence: Isabelle Rouault, 1960–1969, 1973
Correspondence re Isabelle Rouault's own painting (stained glass?), and a search for pictures of her father with and by Pierre Matisse taken in 1931 at St. Malo, finally found by Pierre Matisse and sent to Isabelle Rouault, 1967. Also Isabelle Rouault writes of visit from "Père Fletcher" from Connecticut, and his suggestion that he produce a catalogue raisonné of Rouault's graphic art. Pierre Matisse replies with some hesitation about any such arrangement. Poor photocopy of announcement of death of Madame Georges Rouault, June 22, 1973
- 26.53 Correspondence: Isabelle Rouault, 1985–1987, undated
Letters from Isabelle Rouault requesting photographs, information, et cetera, for the catalogue raisonné of her father's work that she is preparing for publication in 1987. Photocopies of photographs. Her letter of 24 March 1987 includes request that her original letters to Pierre Matisse be returned to her. Maria‐Gaetana Matisse reply of December 3 indicates Pierre Matisse's stipulation that for the time being at least Isabelle Rouault's letters are part of the gallery archives.
- 26.54 Photocopies sent to Isabelle Rouault, June 1985, 1933–1945 [1985]
First of five folders containing photocopies of correspondence between Georges/Isabelle Rouault and Pierre Matisse 1933–1969. The photocopies in this folder correspond to the letters appearing on the annotated lists in correspondence folders for the years 1933–1945, the originals are in the Rouault letter box. Pierre Matisse Gallery letter of June 1, 1985.
- 26.55 Photocopies sent to Isabelle Rouault, June 1985, 1933–1939 [1985]
Photocopies of some Rouault/Pierre Matisse Gallery correspondence, other copies of which were sent from Pierre Matisse Gallery to Isabelle Rouault, June 1985. See also Correspondence, 1933–1939 (folder 26.41)
- 27.01 Photocopies sent to Isabelle Rouault, June 1985, 1940–1941 [1985]
Photocopies of some Rouault/Pierre Matisse Gallery correspondence, other copies of which were sent from Pierre Matisse Gallery to Isabelle Rouault, June 1985. See also Correspondence, 1940–1941 (folder 26.46)
- 27.02 Photocopies sent to Isabelle Rouault, June 1985, 1944–1949 [1985]
Photocopies of some Rouault/Pierre Matisse Gallery correspondence, other copies of which were sent from Pierre Matisse Gallery to Isabelle Rouault, June 1985. See also Correspondence, 1944–1949 (folder 26.47)
- 27.03 Photocopies sent to Isabelle Rouault, June 1985, 1950–1969 [1985]
Photocopies of some Rouault/Pierre Matisse Gallery correspondence, other copies of which were sent from Pierre Matisse Gallery to Isabelle Rouault, June 1985. See also Correspondence, 1950–1959 (folder 26.50); Correspondence, 1960–1969 (folder 26.52)
- 27.04 Catalogues, 1930–1962
Various exhibition catalogues. Paintings by Georges Rouault, The Arts Club, Chicago (1934 January 2–16), two; Georges Rouault, Paintings Lithographs, Smith College Museum of Art, Northhampton, Massachusetts (1935 November 13–December 5), two catalogues, one invitation, review clipping; The Prints of Georges Rouault, Museum of Modern Art, New York (1938 September), one; Georges Rouault oeuvres récentes, Galerie des Garets, Paris (1947 February 7–March 1), one; Georges Rouault, Galerie Beyeler, Basel (1962 January–March, one; Georges Rouault, Musée National d'Art Moderne, Paris, invitation. Also contains minutes (?) of a meeting of Comité Rouault (undated).
- 27.05 Lists, undated
Handwritten (by Pierre Matisse, generally) lists, dates (sales?) with titles, dimensions, prices (?), and miscellaneous information.
- Subseries: "S" miscellaneous
- 27.06 1980s
1983 loan request for Seurat's Bateaux amarres et arbes from Kunsthalle Bielefeld. Pierre Matisse Gallery said no, work too fragile to travel. Other artists include Seurat, Nicholas de Staël, Kurt Schwitters, Sam Szafran. See also Artists: Daumier, Honoré, 1808–1879 for additional Sam Szafran material
- Subseries: Saura, Antonio, 1930–
- 27.07 Correspondence, 1959
Correspondence to and from Pierre Matisse and Saura. Includes original signed letter of agreement between artist and gallery dated October 8, 1959. Copies of correspondence re exhibitions, terms of representation. Correspondence in French See solander boxes for original correspondence
- 27.08 Accounts, 1960–1969
- 27.09 Correspondence, 1960
Correspondence to and from Pierre Matisse and Saura re exhibitions, El Paso group exhibition reviews, Frank O'Hara at Museum of Modern Art, Sweeney at Guggenheim Museum. Names: El Paso group, Frank O'Hara, Museum of Modern Art, Guggenheim Museum Correspondence in French See solander boxes for original Saura letters
- 27.10 Correspondence, 1961
Correspondence re exhibitions, catalogue text by Tapié, Carnegie exhibition, sales, Stadler Gallery in Paris and Pierre Matisse Gallery arrangements. Names: Michel Tapié, Stadler Gallery Correspondence in French See solander boxes for original Saura letters See also Exhibitions files
- 27.11 Correspondence, 1962
Correspondence to and from Saura and Pierre Matisse re upcoming exhibitions, art museum in Cuenca, Spain, finances, Pierre Matisse correspondence with shippers (Macarron) re shipments to U.S. of Millares and Saura works, list of values of Saura, Millares, and Rivera paintings. Names: Manolo Millares, Manuel Rivera Correspondence in French See solander box for most of the original Saura letters
- 27.12 Correspondence, 1963
Correspondence to and from Saura and Pierre Matisse re upcoming exhibitions, works in progress, Cuenca Museum of Spanish Abstract Art, Pierre Matisse's visit to Madrid, Saura paintings shipped to Pierre Matisse Gallery from Buenos Aires after exhibition at Instituto Torquato di Tella. Correspondence in French Most original Saura correspondence removed to artists' letter boxes (solander boxes)
- 27.13 Correspondence, 1964
Correspondence to and from Pierre Matisse and Antonio Saura re exhibitions (Pierre Matisse Gallery, Carnegie, Venice Biennale, Amsterdam), Cuenca Museum of Abstract Spanish Art, Fogg Art Museum letter of inquiry to Pierre Matisse Gallery re Pierre Matisse Gallery possible interest in purchase of 1959 Saura painting. Correspondence in French Most original Saura letters located in artists' letter boxes (solander boxes) See also Exhibitions, 1964; Installation photographs Exhibition Scrapbook, 1960–1964 for catalogue and photographs
- 27.14 Correspondence, 1965
Correspondence to and from Pierre Matisse and Antonio Saura re Saura move to Mallorca, Saura accounts with gallery, exhibitions (Paris [Stadler], Sweden, Germany), Nathan Olivera painting shipment to Saura, works in progress. Correspondence in French Original Saura correspondence located in artists' letter boxes (solander boxes)
- 27.15 Correspondence, 1966–1969
Correspondence to and from Pierre Matisse and Antonio Saura re Cuenca Museum of Spanish Abstract Art (including article), possible Pierre Matisse Gallery exhibitions, Saura trip to Cuba, assassination of Robert F. Kennedy, Saura and Stadler in Paris, Saura finances, Saura biography. Correspondence in French
- 27.16 Exhibitions: Recent Spanish Paintings ans Sculpture, Museum of Modern Art (1960 July–September, then circulating through 1961 December), 1960–1961
Correspondence to and from Saura, Frank O'Hara (Museum of Modern Art), Pierre Matisse re three Saura works to be in show, loan forms: Retrato Imaginario de Goya, Las Tres gracias, Crucifixion No. 12. See also Artists: Millares, Manolo, 1926–1972; Artists: Rivera, Manuel, 1927–1995; Artists: Canogar, Rafael, 1935–
- 27.17 Exhibitions: Antonio Saura, Pierre Matisse Gallery (1961 March 6–April 1), 1961
Catalogue, catalogue essay by Jose Ayllon, Michel Tapié introduction (includes one‐page manuscript introduction, as signed letter). Correspondence with Saura re works in show, shipping and other details. Names: Michel Tapié Correspondence in French See also exhibition Scrapbook, 1961–1966 for installation photos and catalogue
- 27.18 Exhibitions: Antonio Saura, Pierre Matisse Gallery (1961 March 6–April 1), 1961
- 27.19 Exhibitions: Recent Paintings, Pierre Matisse Gallery (1964 March 10–April 4), 1964
Priced catalogue, announcement, catalogue essay by Yvon Taillandier. Correspondence in French See also installation photographs; Exhibition Scrapbooks for installation photos, catalogue
- 27.20 Exhibitions: Recent Paintings, Pierre Matisse Gallery (1964 March 10–April 4), 1964
- 27.21 Exhibitions: Catalogues, 1960–1969
Exhibitions not Pierre Matisse Gallery‐affiliated. Galleries include Galerie Stadler, Stedelijk Museum Amsterdam, Galeria Juana Mordo (Madrid), Galeria Odyssia (Rome), Galerie Vande Loo (Munich).
- 27.22 Correspondence, 1970–1977
Correspondence to and from Pierre Matisse, Antonio Saura, Galerie Stadler re sales and accounts, lithographs deposited at Museum of Modern Art (1970), works in progress, Saura desire for Pierre Matisse Gallery assistance in gathering photos for monograph, list of photos sent by Pierre Matisse Gallery to Saura (August 1, 1976). Some correspondence in French and Spanish, with Spanish translations by Tana [Maria‐Gaetana] Matisse
- 27.23 Exhibition notices, 1970–1979
- 27.24 Exhibitions: Manolo Millares and Antonio Saura: Millares/Saura: Exhibition of Etchings, Lithographs, Seriographs, and Gouaches, Pierre Matisse Gallery (1971 March 16–April 10, 1971), 1971
Announcements, correspondence, review, catalogue draft. See also Artists: Millares, Manolo, 1926–1972; Exhibition Scrapbook, 1971–1976 for installation photos, catalogue
- 27.25 Accounts, 1980s
- 27.26 Correspondence, 1980–1990
Correspondence to and from Pierre Matisse, Maria‐Gaetana Matisse, Antonio Saura, Galerie Stadler re exhibitions, works in progress, accounts. October 13, 1987 editorial by Elviretta Escobio (Millares's widow) re El Paso group and Saura (in Spanish). Names: Manolo Millares, El Paso group Some correspondence in French and Spanish See also Artists: Millares, Manolo, 1926–1972
- 27.27 Exhibitions: Spanish Painting in New York: Two Eras, Baruch College (1987 September 18–October 30), 1987
- 27.28 Exhibitions: Antonio Saura: Paintings of the Sixties, Harvard University (1989 February 16–March 19), 1989
17 works loaned from Pierre Matisse Gallery. Correspondence, loan forms, list of works loaned, exhibition review.
- 27.29 Exhibitions: Saura Peintures, 1956–1985, Musée d'Art et d'Histoire, Geneva (1989 June 15–September 17), 1989
Show also traveled to Valencia, Madrid, Munich. Pierre Matisse Gallery loaned five paintings. Loan forms, correspondence, exhibition notices, shipping records, valuations.
- 27.30 Exhibitions, undated
- 27.31 Exhibitions, 1991
Exhibitions not affiliated with Pierre Matisse Gallery. Announcement, Jason McCoy, Inc., New York City
- Subseries: Setsuko, 1942–
- 27.32 Correspondence, 1973, 1978–1981, 1983, 1986, 1988
Miscellaneous correspondence between Pierre and Maria‐Gaetana Matisse and Setsuko. Correspondence re purchases. Copies of bank drafts for payment. Correspondence re Balthus. Correspondence with Il Gabbiano in Ital re purchase of a gouache. 14 small color photographs of gouaches, 1981. Set of four small color photographs of gouaches, 1983. Correspondence with Galerie Alice Pauli re their exhibition, including a copy of their exhibition announcement.
- 27.33 Exhibitions: Gouaches, Pierre Matisse Gallery (1984 September 25–March 24), 1984
Correspondence with Jean Leymarie re preface for catalogue. Original correspondence with Setsuko. Expense list for exhibition. Copy of French preface by Leymarie, and English translation. Handwritten copy of text by Professor A.L. Terego (and typed copy). Rough proofs for catalogue. Copy of catalogue with nots of prospective clients. Copies of announcements. Clippings.
- 27.34 Publicity, 1979, 1986, 1988
- Subseries: Severini, Gino, 1883–1966
- 27.35 1932, 1937, 1946, 1961
Photocopies of one letter from Severini from 1932, one from 1937, and one from 1946, concerning the artist's work, activities, personal life. 1961 exchange of letters between Pierre Matisse and the artist about the signature and dedication on a Severini work that the latter had given Henri Matisse. Annotated list of Severini letters, original in solander box
- Subseries: Shannon, Thomas, 1947–
- Subseries: Siqueiros, David Alfaro
- 27.37 1940, 1975–1976
Exhibition Paintings at Pierre Matisse Gallery (1940 January 9–February 3). Pierre Matisse correspondence to museums, checklist, reviews. 1976 query re Siqueiros exhibition history in U.S. for upcoming exhibition in Mexico City. Typed letter signed by Pierre Matisse date January 23, 1975 re 1940 show, one painting (Ethnography) sold to the Museum of Modern Art. See also exhibition installation boxes, 1931–1941 for checklist
- Subseries: Sklavos[, Gerasimos, 1927–1967]
- 27.38 1964, undated
Biographical material, manuscript, June 23, 1964 edition of Cahiers d'Art to Pierre Matisse re possible exhibition [?]
- Subseries: Soutine, Chaim, 1893–1943
- 27.39 Catalogue raisonne–, 1985–1986
- 27.40 Correspondence, 1957, 1972
- 27.41 Exhibitions: Orangerie des Tuileries, Paris, 1973
- 27.42 Exhibitions: Soutine retrospective, Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster, West Germany, 1981–1982
Show traveled to Hayward Gallery in London. Pierre Matisse Gallery loaned Chickens on White Cloth [Les Poulets à la nappe blanche] and Portrait of Madame Castaing. Correspondence, loan forms, printed material.
- 27.43 Exhibitions: Galleri Bellman, New York (1983 December–1984 January), 1983–1984
- Subseries: Stubbing, N.H.
- 27.44 1962–1967
Correspondence between Pierre Matisse, Patricia Matisse and Stubbing re works on consignment at Pierre Matisse Gallery, 1966 sale of a work, Stubbing desire for Pierre Matisse to assist with representation, Matisse clarification that Pierre Matisse Gallery would not buy Stubbing's paintings (circa January 1967). Clippings.
- 27.45 Materials, 1960s
- 27.46 1977, 1979, 1983
- Subseries: Surrealism
- 27.47 Exhibitions: Der Surrealismus—Le Surrealisme, 1922–1942, Le Cinquantenaire, Haus der Kunst, Munich; Musée des Arts Décoratifs, Paris (1972 March–September), 1972
Pierre Matisse loaned 11 Tanguy, Miró, and de Chirico paintings and arranged loan of de Chirico work belonging to Ruth Franklin. Correspondence, loan forms, inventories, shipping records.
- 27.48 1960s–1980s
- 27.49 Cadavre exquis, 1983
October 18, 1983 request for information on various Surrealist artists for Hirshhorn catalogue from Sally Chase Daniels. October 19, 1983 missive from Judith Cousings of the Museum of Modern Art with information on Surrealist artists and "cadavre exquis." Including Xeroxes of various articles and bibliographies.
- Subseries: "T" miscellaneous
- 27.50 1965, 1988
Correspondence 1965, between Pierre Matisse and Dr. Grimanis re Greek artist Theophilos. Tear sheet, John Gruen, "Among the Sacred Monsters," re Dorthea Tanning, ARTnews, March 1988.
- Subseries: Tamayo, Rufino, 1899–1991
- 27.51 1937–1939
November 27, 1937: one letter; February 21, 1938: one letter, one undated. Remaining correspondence 1939, generally concerning Pierre Matisse Gallery loan of 19 works of French art to Mexico City for exhibition by the Mexican government, apparently with some involvement of Tamayo. Correspondence between Catherine Viviano, for Pierre Matisse, and Tamayo, the Mexican Consul General, with shippers, insurance agents, customs, et cetera, about the loans and returns. Included are photocopies of letters from Tamayo, the originals of which are elsewhere, also the synopses of the letters
- 27.52 1940–1947
1940, Pierre Matisse recommendation apparently to Guggenheim Foundation re Tamayo. Original letters from Olga Tamayo. Papers re Pierre Matisse Gallery loans to exhibition of Tamayo paintings. Correspondence between C. Viviano and Ines Amor, Mexico City. Letter of November 15, 1947 from Amor also refers to shipment to Pierre Matisse Gallery of seven paintings by Leonora Carrington. Included is one photocopy of original letter from Rufino Tamayo, the original of which is elsewhere, also a synopsis of the letter
- 27.53 1948
Correspondence between Rufino and mostly Olga Tamayo, the latter complaining that they don't hear from Matisse, that Pierre Matisse is not handling their interests properly, misunderstanding about steamship tickets, et cetera, though always affectionately. Papers re Rufino Tamayo Mexico City exhibition and its extension and catalogue. Copies of signed contract fated June 12, 1948, Pierre Matisse Gallery and Tamayo re former handling latter's work. Undated handwritten and typed price lists, and list of U.S. museum directors and curators. Badly discolored review clippings, two copies of tear sheet of Look magazine review. Clippings and review photocopied to acid‐free paper Included are photocopies of letters from Tamayo, the originals of which are elsewhere, also the synopses of the letters
- 27.54 1949
Letters early in the year refer to Teeny Matisse visiting the Tamayos in Mexico City. Correspondence generally concerns Pierre Matisse attempts to arrange Tamayo exhibition at Maeght in Paris, and at his own gallery later, and Pierre Matisse monthly payments to Tamayo in accordance with contract. Throughout, the complaints increase from both Rufino and Olga Tamayo about Pierre Matisse's handling of the work. Pierre Matisse writes by hand a long letter of explanation November 1. By the end of the month arrangements had been made for Knoedler to handle Tamayo's work, apparently an amicable change. Names: Copley (suspending operations January 1949), E. Coe Kerr, for Knoedler Included are photocopies of letters from Tamayo and Matisse, the originals of which are elsewhere, also the synopses of the letters
- 27.55 1950–1952, 1955
Correspondence price lists of Tamayo works, handwritten and typed, generally regarding arrangements between Knoedler, Tamayo and Pierre Matisse Gallery. 1955, two papers re Pierre Matisse Gallery photograph for reproduction. Included are photocopies of two letters from Tamayo, the originals of which are elsewhere, also the synopses of the letters
- 27.56 1979, 1981
1979 correspondence, copies of loan forms, other papers regarding exhibition of Tamayo works on paper held at Center for American Relations, New York, including invitations, announcements, reviews. 1981, similar papers re exhibition at Queens College of work by Latin American artists done in U.S. before 1950, to which Pierre Matisse Gallery lent works by Tamayo and Matta.
- 27.57 Clippings, undated
- Subseries: Tanguy, Yves, 1900–1955
- 28.01 Correspondence, 1935, 1939
Photocopies of letters from Yves Tanguy (numbers 1 and 2 of included list). Pierre Matisse letter confirming he will donate the Gallery space for the Tanguy exhibition organized by Kay San Faustino. Letter to A. Barr asking for a preface to the exhibition. Same to J.J. Sweeney who will eventually write it. Letters referring to loans to the exhibition. Drafts of an introductory letter by Kay Sage San Faustino on the condition of art and artists in Europe at the outbreak of war. Letters from Bourlet and Sons Ltd. of London referring to a shipment of paintings by Tanguy from England directed by Mr. Onslow‐Ford and Miss Guggenheim. Lists of Tanguy's paintings for sale and on loan to the exhibition. Pages from the catalogue with prices and annotations, one copy of catalogue. Clipping of a short review of the Tanguy show from New York Journal and American, December 21, 1939 See also Exhibitions files
- 28.02 Correspondence, 1940–1942
Photocopies of Yves Tanguy letters to Pierre Matisse (numbers 3 to 16 of included list). Statements of expenses for the Tanguy Exhibition in December 1939. Proposed contract between Pierre Matisse and Tanguy. Correspondence among The Western Association of Art Museum Directors, San Francisco, Kay San Faustino and Pierre Matisse Gallery. Pierre Matisse becomes Yves Tanguy's agent and is taking over the planning of the exhibition that is travelling in the West Coast. Kay Sage exhibition in June 1940 [Paintings, Pierre Matisse Gallery (1940 June 3–15)]. Checklist of the paintings exhibited and copy of the catalogue, statement of expenses. Original letter from Kay Sage from Reno. 1941 accounting notes after the contract between Yves Tanguy and Pierre Matisse Gallery. List of payments made. October 8, Pierre Matisse letter of recommendation for Yves Tanguy, addressed to the Immigration Office. Four pages from a stock book, "Tanguy record—transferred into new book (black book)." 1942 checklist of paintings in 1942 exhibition with prices [Yves Tanguy Recent Paintings, Pierre Matisse Gallery (1942 April 21–May 9)]. Accounting letter of payments as for January 1942, copy of the contract between Pierre Matisse and Yves Tanguy. Letter from Kay Sage to Pierre Matisse asking for payment of balance. "List of pictures by Tanguy—given to him—July 21, 1942."
- 28.03 Correspondence, 1943–1948
Photocopies of Yves Tanguy's letters (numbers 17 to 53 of included list, numbers 36bis has been added to the list and is the original postcard). Some shipping receipts. Cables. Letters to Pierre Matisse from Kay Sage. List of painting by Yves Tanguy sold between 1940 and 1947 and accounting notes (this list was included in Pierre Matisse's letter of December 10, 1947 to Yves Tanguy "...les peintres ne devrait pas avoir par ami leur marchands." 1948, June 14, Pierre Matisse letter and new contract with Yves Tanguy. Also cable with unclear references to Aimé (Maeght) and Tanguy. Note about some paintings returned to Yves Tanguy in June 1948. List of Tanguy's collectors. A postcard, number 61 of complete list and misdated, has been added to the folder
- 28.04 Pierre Matisse Gallery exhibition catalogues, 1942–1946
- 28.05 Exhibitions: Catalogues, 1948–1957
Copies of catalogues of Yves Tanguy exhibitions at various galleries: Paintings and Gouaches, Copley Galleries, Beverly Hills, Calif. (1948 November 16), invitation card; Yves Tanguy, Galleria dell'Obelisco, Rome, essay by André Breton (1953 February 16); Exposition Yves Tanguy, Renou et Poyet, Paris (1953 March); Kay Sage—Yves Tanguy, Charles Hayden Memorial Library, Massachusetts Institute of Technology, Cambridge, Mass. (1955 January 5–30); Hommage à Yves Tanguy, Galerie Rive Gauche, Paris, France (1955 June); Connecticut Collects Wadsworth Atheneum, Hartford, CT (1957 October 4–November 3). See also Kay Sage Tanguy estate, personal papers: Correspondence, 1955 for comments of Galerie Rive Gauche exhibition
- 28.06 Publications: Yves Tanguy par André Breton, Pierre Matisse Editions, book orders, 1946
Various requests for the volume Yves Tanguy par André Breton. List of recipients of the book. Accounting notes related to the publishing of the Tanguy‐Breton and the Chagall‐Venturi volumes. See also relevant material in Pierre Matisse Editions record group
- 28.07 Publications: Yves Tanguy par André Breton, Pierre Matisse Editions, color reproductions, 1946
Copies of Divisibilité infinie, 1943 and Dame à l'absence, 1942 reproduced in color in Yves Tanguy par André Breton. Also printed page with reproductions. Four negatives and Six positives of paintings reproduced in blue in the De Luxe edition of the book. One print with stains is kept between archival paper
- 28.08 Correspondence, 1950–1954
Photocopies of Yves Tanguy letters (numbers 54 to 68 of included list, except for number 61 that was wrongly dated and has been transferred to the Correspondence, 1943–1949 folder). Original undated note from Yves Tanguy referring to a request by a dealer to exhibit his work. 1950 mailing list for the announcement and checklist with prices for the Pierre Matisse Gallery exhibition in 1950 [Exhibition of Paintings, Gouaches, and Drawings (1950 April 4–22)]. 1951, signed agreement to lend Tanguy works of art to the lending service of Museum of Modern Art. 1953, descriptive lists of paintings and gouaches going to Rome and Paris for exhibition. Sale of Suite illimitées to the Pennsylvania Academy. Letter from Kay Sage Tanguy mentioning a painting ready to leave for the Whitney exhibition and Yves Tanguy's sickness. 1954 sale of Temps egaux. Letters from Kay Sage Tanguy about the painting for the Whitney exhibition and (October 1) about the need for Yves Tanguy to enter hospital soon. Names: Seligman, Hugh Chrisholm
- 28.09 Correspondence: Kay Sage Tanguy, 1955
Selection of European papers for Tanguy's obituary. Cables and letters of condolences from J. Dubuffet and H. L. Beckwith, director of exhibitions at Massachusetts Institute of Technology. Letters from R. A. Augustinci of Rive Gauche Gallery and Simone Collinet of Furstenberg Gallery related to a Yves Tanguy memorial exhibition in Paris (the exhibition took eventually place at Rive Gauche Gry. See Kay Sage Tanguy letters to Pierre Matisse, June 11 and 18, 1955). Pierre Matisse correspondence with J. Cassou, Musée National d'Art Modern, Paris in reference to Yves Tanguy retrospective at Museum of Modern Art (also reference to Henri Matisse retrospective in Paris). Letters from Kay Sage Tanguy to Pierre and Patricia K. Matisse, mainly personal (especially re the Matta affair) with references to the preparation of the exhibition at Museum of Modern Art and, September 11, its opening (Penrose, Hersent and S. Collinet paintings on loan are "beautiful"). Also reference to collective efforts to involve Cassou in a retrospective of Yves Tanguy's work in Paris. September 23, cable and letter from Pierre Matisse announcing the exhibition in Paris. Kay Sage Tanguy letters to Patricia Matisse in Paris reporting news in New York. Kay Sage Tanguy is curious about what Queneau and Hughet own by Yves Tanguy. News clipping for the Museum of Modern Art exhibition. Names: Bernard Dorival, Mr. Hoppenot, Mr. d'Harnoncourt, Georges Salle, Marcel and Germaine Duhamel, Mr. Hersent, Mr. Darrow (photographer), Mr. Monagan (lawyer), Robert Coates, Robert Hale
- 28.10 Correspondence: J. Monagan re estate of Yves Tanguy, 1955, 1963
"Tangible personal property" lists, with inventory of Yves Tanguy's works and evaluation data. Letters between Pierre Matisse and Mr. Monagan, attorney at law and administrator of the estate of Yves Tanguy, on accounting matters. Tanguy's certified copy of death record, affidavit of cremation plus medal, no. 1136. 1963, same documents for Kay Sage Tanguy, medal no. 1577. See also Kay Sage Tanguy estate, personal papers: Documents, death
- 28.11 Correspondence: Emilie Tanguy, 1955–1963
Letters from Emilie Tanguy, Yves Tanguy's sister, on private matters with reference to Kay Sage Tanguy bequest, to Jeannette Ducrocq and her annuity from Kay Sage Tanguy and the sale of the "Prieuré" in Locronan. Because of problems within the family, Emilie Tanguy, owner of the family house, wishes to sell it. Eventually Pierre Matisse decides to buy it with the clause that Emilie Tanguy will have life usufruct on it. 1956, April 4th, wish for a retrospective in Paris, will contact A. Breton for help. 1961, September 22, reference to Dr. Desse of Quimper, France, and his commitment to Surrealist art. 1963, February 11, Pierre Matisse, February 16, reference to Yves Tanguy divorce and the dispersion of Yves Tanguy and Kay Sage Tanguy's ashes. September 18, Pierre Matisse reference to Yves Tanguy's Self‐Portrait gift from Emilie Tanguy See also folders relative to the transaction
- 28.12 Correspondence: Kay Sage Tanguy, 1956–1962, 1969, 1984
Letter from the Musée National d'Art Modern in Paris acknowledging receipt of Palais aux Rochers de Fenêtre by Yves Tanguy, gift of Pierre Matisse. Reference to a poetry book for which J. Dubuffet had at first agreed to do the frontispiece. Kay Sage Tanguy letter to J. Dubuffet on the same subject. June 22, Kay Sage Tanguy begins to gather information about Yves Tanguy's work. Related correspondence throughout the folder. Sale of a Max Ernst piece for Kay Sage Tanguy to Mr. Ulman. 1957, January 17, Pierre Matisse appraisal of Portrait by Magritte belonging to Kay Sage Tanguy. June 4, reference to Nombres Imaginaires, last painting by Yves Tanguy. 1958, February 4 letter from Gilbert Highet of Horizon magazine about an article on Yves Tanguy. 1960, April 7, Kay Sage Tanguy buys Rue de la santé through Marcel Duhamel. 1961, letters from Kay Sage Tanguy to Patricia Matisse with social gossip. 1962, copy of a review by Alain Bosquet appeared in Combat, January 2, 1962, on the Yves Tanguy—Max Ernst exhibition at Galerie Petit, Paris. 1969, December 4 letter from the Archives of American Art inquiring about Kay Sage Tanguy papers. 1971 catalogue of a Yves Tanguy exhibition at Galleria Galatea, Turin (April 5–May 3). Names: Clarac, Mrs. Bédouin, Seghers, the Duhamels, Poupard, Seligman, Reis
- 28.13 Exhibitions: Wadsworth Atheneum, Hartford CT (1954 August 10–September 28), 1954
- 28.14 Inventory and lists of works, 1955–1963
Various lists of works by Yves Tanguy in stock at Pierre Matisse Gallery, acquired or on consignment (estate of Yves Tanguy). Letters from Kay Sage Tanguy mainly on the subjects of accounting and inventory. Appraisal on Yves Tanguy paintings (by figure). Kay Sage Tanguy list of items sold in Europe during the exhibitions in Rome, Milan and Paris. List with reference to stock numbers and purchasers. Lists dated from December 1956, from Kay Sage Tanguy files (as per pencil notations in them) and related to the compilation of Yves Tanguy's catalogue raisonné. List of works by Yves Tanguy in consignment at the Pierre Matisse Gallery in February 1963 (estate of Kay Sage Tanguy). Also list of items not found. See also group of folders relating to the catalogue raisonné
- 28.15 Authentications, 1967–1979
Letters requesting authentication certificates. 1967, Eduard Loeb, Paris: watercolor, black‐and‐white photograph, authentication not certain. 1970, Garick Fine Arts, Philadelphia: gouache, black‐and‐white photograph. 1971, Marcel Fleiss, Paris: two watercolors and a drawing, black‐and‐white photographs. 1972, Dr. Ernst Hauswedell, Hamburg: drawing, black‐and‐white photograph, authentication not certain. 1979, Arthur A. Cohen, Ex Libris, New York: request of authentication for the volume Voliẁre no. VI. See also Inquiries, 1963–1969; folders of Catalogue raisonné: Addenda
- 28.16 Correspondence: Emilie Tanguy, 1964–1965
Letters from Emilie Tanguy to Pierre Matisse and Patricia Matisse on private matters especially Jeannette Ducrocq and her subsistence, the payment for the "Prieuré" and its upkeep. Also a gift to a niece, Françoise Tracey of San Francisco, to be delivered by Pierre Matisse (Pierre Matisse missive of March 3, 1965, F. Tracey missive of March 22, 1965). Mrs. Tracey received three works by Yves Tanguy. Black‐and‐white photograph signed as a receipt. Letter to Emilie from Jeannette Ducrocq. Also some letters of discontent for the low price paid by Pierre Matisse for the property. Group of receipt of payments to and from Emilie Tanguy. During the winter season of 1963 and 1964 Emilie Tanguy was guest at Saint‐Jean‐Cap‐Ferrat. Pierre Boudreau visited the "Prieuré" in summer 1964.
- 28.17 Correspondence: Emilie Tanguy, 1966–1971
Letters mostly to Patricia on private subjects. Mention to the "Prieuré" and its maintenance and Emilie Tanguy's wishes it should it be sold. Reference to a film by Mr. Pierre Hélias being shot in Locronan (11 February 1969) but soon interrupted. Emilie Tanguy meets P. Waldberg (Matisse, February 3, 1970).
- 28.18 Exhibitions: Catalogues, 1960–1963
Copies of catalogues of Yves Tanguy exhibitions at various galleries. Important Recent Acquisitions, Richard Feigen Gallery (1960 January); Yves Tanguy—Max Ernst, Bodley Gallery, New York (1960 January 18–February 13); Yves Tanguy—Max Ernst, Galerie A.F. Petit, with notations by Patricia K. Matisse (1961 December); Fine Art Works for Sale, The Salvador Dalí Museum, Cleveland OH (1962); Bellmer, Brauner, Dalí,..., Galerie André François Petit, Paris (1962 June); Bellmer, Brauner, Dalí,..., Galerie A.F. Petit, Paris (1963), two copies.
- 28.19 Exhibitions: Gouaches and Drawings, Pierre Matisse Gallery (1963 March 26–April 13), 1962–1963
Shipping receipt for the catalogue cover. Photocopies of J.J. Sweeney introduction to the first Yves Tanguy exhibition at Pierre Matisse Gallery (1939). Letters to Mr. H. Sage Goodwin and to Museum of Modern Art asking for loans to the exhibition. Receipts for the loans. Checklist. Specimen of catalogue cover with reproduction of Yves Tanguy signature. Clippings of reviews. Priced catalogue. See also Kay Sage Tanguy estate, personal papers: Photographs and drawings by Yves Tanguy
- 28.20 Exhibitions: 1945–1955—Dix ans d'Art Vivant, Galerie Maeght (1966 spring), 1966
- 28.21 Exhibitions: Labyrinthe, Kunstverein Berlin; Staatliche Kunsthalle Baden‐Baden; Stadt Nürnberg (1966 October–1967 April), 1966–1967
- 28.22 Exhibitions: Stedelijk Museum, Amsterdam, 1967
- 28.23 Exhibitions: Six peintres Surrealistes, Louisiana Museum, Copenhagen (1967 March 17–April 20); Societé des Expositions, Palais des Beaux‐Arts, Brussels (1967 May 9–June 18), 1967
Correspondence with Robert Giron, General Director of the Societé des Expositions du Palais des Beaux‐Arts in Brussels, related to the loan of four paintings by Tanguy for the group exhibition. Shipping letters and receipts.
- 28.24 Exhibitions: Focus on Light, New Jersey State Museum, 1967
- 28.25 Fakes, 1960, 1962, 1966
1960 Pierre Matisse letter to Gene [Taw?] in reference to a fake Tanguy sold to him by J. Mordo of Biosca Gry. 1962, photographs and letter to Berggruen & Cie attesting that Composition (18¼ x 24 ½ inches) will not be included in the catalogue raisonné of Yves Tanguy's work. 1966, photograph of a Composition, 1948, tempera on paper (3 ⅜ x 11¾ inches). Label from Parke‐Bernet Galleries, provenance given G. D. Thompson Collection.
- 28.26 Inquiries, 1963–1969
Requests of loans, provenance information and permission to reproduce. 1965, Pierre Matisse Gallery letter to Alex Darrow requesting prints of some works by Yves Tanguy. 1966 request from University Microfilms, Inc. for reproduction in microfilm of the Yves Tanguy par André Breton book, Pierre Matisse Editions. 1969 letter from Editions Seghers in reference to a projected publication on Yves Tanguy with text by P. Waldberg.
- 28.27 Paintings offered for sale, 1963–1964, 1984
Letters related to the offer of Tanguy paintings to Pierre Matisse Gallery: Untitled, 1929 from Mr. J.W. Gillon of New York for which the appraisal is also requested. La veille au soir, 1927 from A. Schwartz Gallery, Milan (black‐and‐white photograph). Unrecorded painting Le grand nombre, 1943 from Fredrick Page and Associates, Los Angeles (photocopy).
- 28.28 Permission to reproduce, 1963
- 28.29 Publications: Pierre Matisse Editions, Volière accounts, 1963
- 28.30 Publications: Pierre Matisse Editions, Volière, 1963
Manuscript introduction by A. Breton to the volume Volière. 20 black‐and‐white photographs of 28 drawing by Yves Tanguy. Letter from Dempsey & Carroll referring to the possibility of manually reproducing Yves Tanguy's signature. One original drawing (not two as referred in the letter) found with it has been removed and placed in the Original Art box
- 28.31 Acquisitions: Tanguy‐Sadoul (Le testament d'André Breton), 1974, 1976, 1979
Letters between Pierre Matisse and Mr. Salloch, acting as intermediary, related to the acquisition of an early Tanguy painting (later referred to as (Le testament d'André Breton, 1925) coming from the estate of George Sadoul. Photographs of the painting, one with provenance inscription by George Sadoul, Aragon and Elsa Triolet; one with inscription by G. Sadoul. Receipts. Clipping on George Sadoul, film director.
- 28.32 Correspondence Anne: Marie Tanguy, 1971, 1974
1971 letters from Mrs. Anne‐Marie Tanguy, Yves Tanguy's niece and student at Manitoba University in Canada, researching on Surrealism and Yves Tanguy for her thesis. 1974, letter mentioning Yves Tanguy's house in Locronan, acquired by Pierre Matisse in 1963, and the possibility of making a museum dedicated to Yves Tanguy.
- 28.33 Exhibitions: Acquavella Galleries (1974 November 7–December 7), 1974
- 28.34 Exhibitions: Surrealism exhibition, National Museum of Modern Art, Tokyo (1975 September 27–November 16); National Museum of Modern Art, Kyoto (1975 November 27–1976 January 11), 1975–1976
- 28.35 Exhibitions: Tendencies of the TwentiesStaatliche Museen Preussischer Kulturbesitz, Berlin (1977 August–October), 1976–1977
Correspondence related to the loan of Vieil Horizon and La fille aux cheveux rouge to the exhibition held in Berlin from August to October, 1977. Loan forms, shipping receipts and insurance certificates. Also some correspondence related to La rue by Balthus first version loaned to the same exhibition by Dr. John Cook. Some correspondence in German
- 28.36 Exhibitions: Through the big end of the opera glass Washburn Gallery (1977 February–March), 1977
Correspondence related to the loan of two small gouaches by Tanguy to the exhibition honoring J. Levy and held at Washburn Gallery's new location. Checklists, invitation card. Clipping of an extract from J. Levy memoirs, published the same year.
- 28.37 Fakes, 1970–1978
Inquiries on the authenticity of various pieces. Daniel Malingue Gallery, Paris: colored pencils drawing(photograph). Christie's, London: watercolour (photograph). Sotheby & Co., London: pen and ink drawing. Jean Claude Bellier, Paris: ink drawing. Galerie A.F. Petit, Paris: one painting and one ink drawing. It is not clear whether the painting has been considered a fake or not (photographs). Galerie di Meo, Paris: ink drawing (photograph).
- 28.38 Inquiries, 1971–1979
1971 letter from Philip Borak, Tri‐State Theater Service, Inc. inquiring about works by Yves Tanguy for sale. April 29 letter from S. William Hayter reporting the finding of some plates, among which three by Yves Tanguy, removed from Atelier 17 in Paris at the beginning of the war. Group of letters from Pierre Seghers referring to a project for a picture book on Yves Tanguy's work in collaboration with P. Waldberg. Cables. October 19 inquiry about the identification of a painting bought by A.F. Petit Gallery, Paris, with provenance information and black‐and‐white photograph. Various requests for permission to reproduce and research inquiries. 1979, May 8 letter from Mr. Olivier Mailliard, Paris, offering some Surrealist paintings. Undated letter from Isabel de Tramontana referring to a drawing by Yves Tanguy in her possession. 1974 or after, March 7 letter from Mr. Gordon Davy, London, asking for "Pierre Matisse's opinion" on a folder of 13 drawings found in 1944 in the SS headquarters in Paris which was apparently taken by the Germans from Yves Tanguy's studio and destined to be part of the Degenerate Art exhibition in Munich, 1941. Reproduction and clipping of two paintings by Yves Tanguy. Also included black‐and‐white photograph of a painting by Yves Tanguy not included in 1963 Pierre Matisse Editions catalogue raisonné [Yves Tanguy: Un recueil de ses oeuvres or Yves Tanguy: A summary of his works], bearing stamp from Galerie Rive Gauche, Paris. The photograph was found elsewhere without specifications. See also Publications: Wittrock‐Hayter; Dealers and galleries, international: A.F. Petit, Paris
- 28.39 Inquiries: Stephen R. Miller about Kay Sage Tanguy, 1974–1978
Letters from Stephen R. Miller researching on Kay Sage Tanguy for his project of a catalogue raisonné of her work and detailed biography. Also photocopies of letters to Mr. Miller from Dubuffet and Miriam Gabo consulted on the same subject. Black‐and‐white photograph of Passionement, pas du tout, 1961 by Kay Sage Tanguy and letter mentioning a missing piece on the collage. Article by S.R. Miller "The Surrealist Imagery of Kay Sage" appeared in Art International, September/October 1983. See also Catalogue raisonné: Addenda, 1984 for reference to Miller's research on Kay Sage Tanguy
- 28.40 Paintings offered for sale: Pierre Seghers, Paris, 1975–1976
- 28.41 Publications: Filipacchi, Paris, 1973
- 28.42 Publications: Patrick Waldberg, published by André de Rache, 1973–1978
Correspondence, mainly requests for Ektachromes from Pierre Matisse Gallery and its clients, related to the volume Yves Tanguy, by P. Waldberg published by A. de Rache, Brussels. Also letters related to the copyright matters, involving the Belgian Sabam and Museum of Modern Art, heir of the residuary property of the estate of Kay Sage Tanguy. See also Kay Sage Tanguy estate, legal documents: Bequests Distribution, residuary legatee, Museum of Modern Art
- 28.43 Publications: Wolfgang Wittrock and Bill Hayter, 1975–1976
Correspondence among Mr. Wittrock, J. Monagan and Pierre Matisse related to a small Tanguy etched plate found in the studio of William Hayter in Paris. The etching should be pulled in an edition of 30 prints to be included in the de luxe edition of a catalogue of Yves Tanguy's graphic work prepared by Mr. Wittrock. Black‐and‐white photograph of the etching. Agreement for the project. Letters to (the December 9th, 1975 letter mentions two more plates by Yves Tanguy) and from Bill Hayter and to Mr. Richard Koch, Administrative director of Museum of Modern Art, residuary legatee for the estate of Kay Sage Tanguy. Poster for the exhibition at W. Wittrock Gallery in Düsseldorf. The photocopy of a letter from Bill Hayter to Pierre Matisse dated April 29, 1971 and mentioning the finding of the plates has been included—original is filed in Inquiries folder. Of related interest S.A. Correspondence with Wittrock in German See also Dealers and galleries, International: Galerie A.F. Petit, Paris; Artists: Tanguy, Yves, 1900–1955: Kay Sage Tanguy estate, personal papers: Original art, metal plates
- 28.44 Visual material: Film, José Pierre À la recherche d'Yves Tanguy, letters and synopsis, 1976–1977
Letters to Pierre Matisse explaining the project for a film on Yves Tanguy. Color photograph of a shooting at Locronan. Synopsis of the film. The film was released in 1981 under the title of Esquisse Tanguy. See also Exhibitions: Musée National d'Art Modern, Paris, correspondence
- 28.45 Acquisitions, 1984
- 28.46 Authentications, 1988–1989
Letters requesting authentication certificates. 1988, Thomas Bruns Kunsthandel, Hamburg: watercolor and ink (black‐and‐white photograph). Cleto Polcina Artemoderna, Rome: gouache (black‐and‐white photographs). 1989, Bertil Diamant, Denmark: oil painting (color and black‐and‐white photographs of the painting, also contact of a drawing for which authentication was not asked). Galerie Wolfgang Ketterer, München: drawing (reproduction and black‐and‐white photograph). Galerie Sami Kinge, Paris: drawing (black‐and‐white photograph). Germaine Duhamel: two drawings (black‐and‐white photographs). Galerie Daniel Malingue, Paris: gouache (fax reproduction of authenticated photograph, probably released to Richard Feigen Gallery, New York, 1988). See also Inquiries, 1963–1969; folders of Catalogue raisonné: Addenda
- 28.47 Exhibitions: Tanguy retrospective, Musée National d'Art Moderne, Paris (1981 June–September); Staatliche Kunsthalle Baden‐Baden (1982 October 17–1983 January 2); Solomon R, Guggenheim Museum (1983 January 21–February 27), correspondence, 1977–1981
Letters, starting in 1977, related to the organization of the Tanguy retrospective at the Musée National d'Art Moderne in Paris (then traveling to Baden‐Baden and eventually also to the Solomon R. Guggenheim Museum, New York). Checklists of paintings and their location. Letter to François Chapon of the Bibliothèque Jacques Doucet asking permission for curators of the Musée to access Yves Tanguy's papers donated to the library. Transcript of an interview of Pierre Matisse by José Pierre on the occasion of a film about Yves Tanguy (never published as per Pierre Matisse request cable February 2, 1982). Group of photocopies of Yves Tanguy's works. January 5, 1981 letter with reference to Portrait of Pierre Matisse by Balthus which had disappeared during the 1950s Names: Dominique Bozo (director), Jean Lacambre (curator), Agnès de la Beaumelle (curator)
- 28.48 Exhibitions: Exhibitions: Tanguy retrospective, Musée National d'Art Moderne, Paris (1981 June–September); Staatliche Kunsthalle Baden‐Baden (1982 October 17–1983 January 2); Solomon R, Guggenheim Museum (1983 January 21–February 27), correspondence, 1982
Letters related to the exhibition and the preparation of its catalogue. Insurance certificates, shipping receipts. Pierre Matisse Gallery will loan 23 items plus three from the Gelman Collection. Cable mentioning two painting by Yves Tanguy (not within Pierre Matisse Gallery loan) and possibly their prices. Letter from Dominique Bozo announcing the intention to bring the exhibition in New York at the Guggenheim Museum. Invitation card. Clippings of reviews and articles.
- 28.49 Exhibitions: Tanguy retrospective, Musée National d'Art Moderne, Paris (1981 June–September); Staatliche Kunsthalle Baden‐Baden (1982 October 17–1983 January 2); Solomon R, Guggenheim Museum (1983 January 21–February 27), 1982
Loan forms and photocopies of all paintings lent to the exhibition by Pierre Matisse Gallery. Photograph of a painting, Untitled, 1926 withdrawn from the list. Also group of loan forms for works that not belonging to Pierre Matisse Gallery.
- 28.50 Exhibitions: Tanguy retrospective, Musée National d'Art Moderne, Paris (1981 June–September); Staatliche Kunsthalle Baden‐Baden (1982 October 17–1983 January 2); Solomon R, Guggenheim Museum (1983 January 21–February 27), 1981–1982
- 28.51 Exhibitions: Tanguy retrospective, Musée National d'Art Moderne, Paris (1981 June–September); Staatliche Kunsthalle Baden‐Baden (1982 October 17–1983 January 2); Solomon R, Guggenheim Museum (1983 January 21–February 27), 1982–1983
- 28.52 Exhibitions: À la rencontre de Jacques Prévert, Fondation Maeght, Saint‐Paul‐de‐Vence (1987 July 4–October 4); Musée du Québec, Quebec (1987 November 8–1988 January 10), 1987–1988
Letters, loan forms, insurance certificates and shipping receipts related to the loan of Fantômas to exhibition curated by Jean Luis Prat, director of Maeght Foundation. The exhibition traveled to the Musée du Québec. Clippings of reviews.
- 28.53 Exhibitions: "...and not the slightest trace of any direction"—position of independent art in Europe around 1937Kunstsammlung Nordrhein‐Westfalen, Düsseldorf (1987 December 4–1988 January 31), 1987–1988
- 28.54 Exhibitions: I Surrealisti, Palazzo Reale, Milan (1989 June 7–September 10); Schirn Kunsthalle, Frankfurt (1989 December–1990 January), 1989–1990
Letters related to the loan of Finissez ce que j'ai commencé, 1927 and Title unknown, 1927 to exhibition organized by Arturo Schwarz in Milan and traveling thereafter to Schirn Kunsthalle in Frankfurt. Photographs of the two paintings. Loan forms, insurance certificates and invitation cards.
- 28.55 Fakes, 1983, 1989
Requests of authentication. Galerie Marion Meyer, Paris: ink drawing (same that Jean‐Claude Bellier requested in 1977, photographs and color photocopies), also clipping of an article on the Surrealist game Cadavre Esquis with the reproduction of one. Christie's, Genève: oil on cardboard (black‐and‐white photograph). Guy Loudmer, Paris: oil on canvas (three transparencies).
- 28.56 Inquiries, 1980–1989
Research inquiries about Yves Tanguy and Kay Sage Tanguy (April Kingsley, Jennifer Mundi, Eleanor Flomenhaft, Anita Funk, Shane Dunworth, Peter Winkler). 1982 offer of a Yves Tanguy drawing by Mr. Embiricos, Paris. Photocopies enclosed. 1984 request of authentication of a painting (Untitled, 1927) by Yves Tanguy not illustrated in the catalogue raisonné from Sotheby's of London. Reproduction enclosed. 1985 request of authentication of a drawing from Mr. Patrice de Grancey, Paris. Black‐and‐white photographs enclosed.
- 28.57 Inquiries: Susan Nessen, 1981
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