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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, 1981–1991
- 28.58 "Prieuré," Locronan (Finistère), 1963–1964
Letters to Jean Crouan, Jean Cahané and Jacques Queinnec, notaries who followed the acquisition of the "Prieuré". Copy of the deed of sale dated December 23, 1963. Bills and receipts of payments. The "Prieuré" is the house that used to belong to the Tanguy Family. It became property of Emilie Tanguy (Tanguy's sister) after the death of Mrs. Tanguy (mother). Following Miss Tanguy's concern about the future of the house at her death, Pierre Matisse came to the decision of buying it. The following folders relate to the acquisition of the property, its maintenance and finally its sale. Although these are Pierre Matisse's private papers, they are momentarily kept with Pierre Matisse Gallery records See also Correspondence: Emilie Tanguy
- 28.59 "Prieuré," Locronan (Finistère), 1971–1975
Local tax bills. Cables, one undated, probably beginning of 1972, reporting the decease of Miss Emilie Tanguy. Letters to Jacques Queinnec, notary in charge of the property. Electricity bill. 1975, February 7 letter from Pierre Matisse to Sam Mercer, lawyer in Paris, in charge of selling the property.
- 28.60 "Prieuré," Locronan (Finistère), 1977–1979
Letters from various people interested in buying the "Prieuré". Mr. Jean Nicolas, cousin of Yves Tanguy will eventually buy it through the office of Mr. Queinnec. Receipts of payments of taxes and city dues. Insurance policy for the property. Correspondence related to the sale and photocopies of the contract.
- 28.61 "Prieuré," Locronan (Finistère), photographs and postcards, 1977–1979
Postcards and black‐and‐white photographs of Locronan, the "Prieuré" and its interior. Three black‐and‐white photographs depicting Tanguy with his relatives and Jean Nicolas as a boy (as in letter from Mr. Queinnec dated August 18, 1977). Mr. Nicolas eventually bought the property for his daughter. Color photographs of Pierre Matisse, Emilie Tanguy and P. Boudreau (probably 1965). Some negatives.
- 29.01 Catalogue raisonné: Addenda, 1963–1964
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addendum. Not all photographs of works mentioned in the letters are included. Some permission to reproduce forms, completed. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries
- 29.02 Catalogue raisonné: Addenda, 1969
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addendum. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries
- 29.03 Catalogue raisonné: Auction catalogues, 1971, 1985
1971, Palais Galliera, Paris (lot 104 and 105 by Yves Tanguy). 1985, Hotel Drouot, Paris (Lot 80, 82, 83 by Yves Tanguy).
- 29.04 Catalogue raisonné: Color reproductions, undated
- 29.05 Catalogue raisonné: Correspondence, Kay Sage Tanguy, 1957–1962
Letters from Kay Sage Tanguy to Pierre Matisse and Patricia K. Matisse mainly related to the compilation of the catalogue raisonné and the people involved in it. 1959 Pierre Matisse letter to Kay Sage Tanguy explaining his commitment to the publication of the catalogue. Letters from Emilie Tanguy reference Yves Tanguy's Self‐Portrait. Copies, in English and French, of Kay Sage Tanguy foreword and text by Yves Tanguy published in Art Digest, January 1954. 1962, June 24 letter mentioning Feigen and the New Gallery, involved in the sale of a Yves Tanguy (Dominguez ?) not authenticated. July 19, mention to "the painter Vulliamy, second husband of Éluard's daughter..." in relation to a drawing sent for authentication by Petit. Also reference to Philip Perkins. July 22, Mr. Karpel asks to keep the documentation on Yves Tanguy he and Ms. Lippard have being gathering for the archives of Museum of Modern Art library. Cables from Emilie Tanguy. See also Correspondence: Kay Sage Tanguy, 1956–1962
- 29.06 Catalogue raisonné: Correspondence, printers and distributor, 1960–1962, 1969, 1974
- 29.07 Catalogue raisonné: Correspondence, Lucy Lippard (chronology), 1962
- 29.08 Catalogue raisonné: Correspondence, 1962–1963
Letter from B. Karpel in reference to adding illustrative material to the bibliography. Letter to Pierre Matisse in Saint‐Jean‐Cap‐Ferrat from M.V. More, secretary at Pierre Matisse Gallery, relating to the Yves Tanguy catalogue. Also mention of L'empalmage by Yves Tanguy sold at Sotheby's. Cable with data about Vieil horizon, 1928. Letters from Mr. Poupard, to Pierre Matisse and L. Lippard, complaining about the omission of his name in the table of contents. Letters referring to Demain by Yves Tanguy, reproduced in the catalogue, offered to Pierre Matisse for sale. Black‐and‐white photograph and permission to reproduce form, signed. Memo to Pierre Matisse in Paris about the catalogue and other Yves Tanguy matters. Also enclosed are two black‐and‐white photographs of paintings by Yves Tanguy included in catalogue, bearing various data on back, found elsewhere without specifications.
- 29.09 Catalogue raisonné: Distribution and copyright, 1963–1966
Letters to and from Wittenborn & Co. about the terms of distribution. Accounting notes. Letters to Clarke & Way for delivery to Wittenborn. Forwarded requests for the volume. Certificate of copyright. Copies of the "Catalogue of Titles" distributed by Wittenborn including the volume on Yves Tanguy. List of recipients of free copies. Thank‐you notes from Mr. Karpel and A. Darrow. Review of the book by Jacques Lassaigne, in L'Oeil, September 63.
- 29.10 Catalogue raisonné: Errata, 1963–1970
Letters from collectors reporting incorrect information in the Yves Tanguy catalogue published in 1963 by Pierre Matisse Editions. Some permission to reproduce forms, completed, with corrections. Black‐and‐white photograph of Nombres complexes, 1946, listed but not reproduced. Black‐and‐white photographs and transparency of Titre inconnu, 1927 and certificate of its authenticity. Black‐and‐white photograph of De l'autre coté du pont. Black‐and‐white photograph of Ciel macabre, listed but not reproduced (about its title see Kay Sage Tanguy letter to L. Lippard July 17, 1962). Lists of addenda and errata.
- 29.11 Catalogue raisonné: Errata, undated
- 29.12 Catalogue raisonné: Expenses, 1963
Bills and invoices from Lucy Lippard, Clarke & Way, Connecticut Printers Inc., J.T. Soby, Y. Chermayeff. Summary of expenses.
- 29.13 Catalogue raisonné: Inquiries, 1964–1966
- 29.14 Catalogue raisonné: Lists from Kay Sage Tanguy, 1958–1961
Lists of paintings, gouaches and watercolors, drawings and miscellaneous objects, updating previous ones. Translation of titles. Photocopies of corrected preface and index of titles. Some of the above documents are old photocopies now kept between archival paper See also Inventory and lists of works, 1955–1963
- 29.15 Catalogue raisonné: Notes and lists from Kay Sage Tanguy, 1957–1958
March 1957, questions to A. Breton. Tentative outline of the catalogue. Biographical and bibliographical notes, list of Yves Tanguy's exhibitions, lists of European and American museums and collectors. Lists of paintings to be reproduced, in chronological order and with detailed information, with sections devoted to drawings and miscellaneous. List of reproductions to be in color. List of paintings without title. Also card with information about L'île d'un hour, 1938 ea‐forte by Yves Tanguy, not included in the catalogue. The contents of this folder appears to have been part of Kay Sage Tanguy's records related the catalogue raisonné
- 29.16 Catalogue raisonné: Notes, undated
- 29.17 Catalogue raisonné: Owners' permission to reproduce listing, undated
- 29.18 Catalogue raisonné: Owners' permission to reproduce listing, "A" to "L", 1963
- 29.19 Catalogue raisonné: Owners' permission to reproduce listing, "M" to "Z", 1963
- 29.20 Catalogue raisonné: Photographic reproductions, undated
Four black‐and‐white photographs of paintings by Yves Tanguy sent to Pierre Matisse Gallery by Kay Sage Tanguy. Some with information and notes on back. Black‐and‐white photographs and photocopies of three drawings by Yves Tanguy in the Dalí Collection. Material originally in the enclosed envelope, not filed. There are no indication as when sent to Pierre Matisse.
- 29.21 Catalogue raisonné: Proof of texts and index of titles, 1962
- 29.22 Catalogue raisonné: Texts on Yves Tanguy provided by Kay Sage Tanguy, undated
Group of texts and extracts from various articles on Yves Tanguy for possible inclusion in the catalogue. Versions in French and English. "Yves Tanguy," by P. Éluard, 1932. Excerpt from Surrealism by J. Levy, 1936. "The House of Yves Tanguy" and from "Recent tendencies in Surrealist Art" by A. Breton, 1939. From "Alone" by N. Calas, View magazine, 1942. From "Iconographer of Melancholy" by J.J. Sweeney, View magazine, 1942. From What Yves Tanguy veils and reveals by A. Breton, Pierre Matisse Edition, 1946. From "Double Solitaire" by J. T. Soby, Saturday Review, September 4, 1954. "Symposium: The Creative Process" by Yves Tanguy, Art Digest, January 1954. From Dialogue with the visible by R. Huyghe, 1955. From Yves Tanguy by M. Jean, 1955. See also Kay Sage Tanguy estate, personal papers: Writings by various authors for texts on Yves Tanguy
- 29.23 Catalogue raisonné: addenda, 1971–1974
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addenda. Not all photographs of works mentioned in the letters are included. Some permission to reproduce forms, completed. May 6, 1974 letters from Brook Street Gallery in London giving corrections on the measurements of a previously authenticated gouache. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries
- 29.24 Catalogue raisonné: Addenda, 1975–1977
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addenda. Not all photographs of works mentioned in the letters are included. June 20, 1975 authentication request referred to M. Duhamel. October 11, 1976, from M. Lefebvre, mention of two very damaged paintings by Yves Tanguy recently discovered in Douarnenez. For one painting a new certificate will be issued in 1988, after restoration). Catalogue of an exhibition of Yves Tanguy's prints at Blue Moon Gallery, New York City, October 1975. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries; Addenda, 1987–1989
- 29.25 Catalogue raisonné: Addenda, 1978–1979, undated
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addenda. Not all photographs of works mentioned in the letters are included. Group of photographs, some inscribed on the back and some with small notes attached. List of Yves Tanguy paintings sold through Pierre Matisse Gallery. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries
- 29.26 Catalogue raisonné: Addenda, 1980–1984
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addenda. Not all photographs of works mentioned in the letters are included. January 1984 letters from Stephen R. Miller referring to works by Yves Tanguy not included in the catalogue. Also some comments on his research about Kay Sage Tanguy. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries
- 29.27 Catalogue raisonné: Addenda, 1985–1986
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addenda. Not all photographs of works mentioned in the letters are included. In some instances mention of provenance. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries
- 29.28 Catalogue raisonné: Addenda, 1987–1989
Letters, black‐and‐white photographs and some slides related to works by Yves Tanguy not included in the catalogue published in 1963 by Pierre Matisse Editions. Most works were submitted to Pierre Matisse for authentication and black‐and‐white photographs were afterwards requested for inclusion in the addenda. Not all photographs of works mentioned in the letters are included. In some instances mention of provenance. December 1988 request for authentication for a painting first appeared, badly damaged, in 1976. Not all the requests of authentication in the addenda folders have the related certificate signed by Pierre Matisse See also Authentications; Inquiries; Addenda, 1975–1977
- 29.29 Kay Sage Tanguy, catalogue raisonné: Articles and translations, undated
Texts and extracts from various articles on Yves Tanguy for possible inclusion in the catalogue. Versions in French and English. Excerpt from Surrealism by J. Levy, 1936. From "Alone" by N. Calas, View magazine, 1942. From "Iconographer of Melancoly" by J.J.Sweeney, View magazine, 1942. From "Double Solitaire" by J. T. Soby, Saturday Review, September 4, 1954. "Symposium: The Creative Process" by Yves Tanguy, Art Digest, January 1954. From Dialogue with the visible by R. Huyghe, 1955. From Yves Tanguy by M. Jean, 1955. See also Catalogue raisonné: Texts on Yves Tanguy from Kay Sage Tanguy for complete selection; Kay Sage Tanguy estate: Personal papers, writings by various authors for texts on Yves Tanguy
- 29.30 Kay Sage Tanguy, catalogue raisonné: Biographical and bibliographical material, circa 1952, after 1955, 1963
Nine original pages, handwritten by Tanguy: biography, list of exhibitions from 1928 to 1953 and bibliographical information. Some pages bear a note by Kay Sage Tanguy: "Written by Yves Tanguy please return to K.S. Tanguy Woodbury, Conn." Carbon copy of detailed biography, used in Yves Tanguy: A summary of his works, Pierre Matisse Editions, 1963. See also Kay Sage Tanguy, catalogue raisonné: Correspondence with Chermayeff, Karpel, Lippard, 1961–1962 for letter to Chermayeff, June 13, 1962
- 29.31 Kay Sage Tanguy, catalogue raisonné: Alphabetical correspondence, "A" to "C", 1956–1962
Inquiries and requests of photographic material and documentation about Yves Tanguy's works. The letters were sent to collectors, art galleries and public institutions in the U.S. and abroad. Letters to various persons named Embiricos are kept under Consulate General of Greece from which the research initiated
- 29.32 Kay Sage Tanguy, catalogue raisonné: Alphabetical correspondence, "D" to "K", 1957–1962
Inquiries and requests of photographic material and documentation about Yves Tanguy's works. The letters were sent to collectors, art galleries and public institutions in the U.S. and abroad. Extensive correspondence with Richard Feigen of Chicago with mention (January 8, 1962) of a painting which Kay Sage Tanguy is doubtful about. Also catalogue of the "Gallery's Recent Acquisitions" (May 1962), with illustration of a gouache by Yves Tanguy. Extensive correspondence with Galerie Rive Gauche, Paris with reference to a painting that Kay Sage Tanguy believes not to be by Yves Tanguy, in spite of M. Duhamel's opinion, and about which she writes to Pierre Matisse. On the back of a letter (October 2, 1957) from Gilbert Highet there are handwritten drafts of poetry by Kay Sage Tanguy.
- 29.33 Kay Sage Tanguy, catalogue raisonné: Alphabetical correspondence, "I" to "P", 1956–1962
Inquiries and requests of photographic material and documentation about Yves Tanguy's works. The letters were sent to collectors, art galleries and public institutions in the U.S. and abroad. Some letters to Swiss collectors are grouped under the name of Karl Laszlo who was employed by Kay Sage Tanguy to help with researches in Switzerland. The letters grouped under Museum of Modern Art are addressed to different people at the Museum.
- 29.34 Kay Sage Tanguy, catalogue raisonné: Alphabetical correspondence, "R" to "Z", 1956–1962
Inquiries and requests of photographic material and documentation about Yves Tanguy's works. The letters were sent to collectors, art galleries and public institutions in the U.S. and abroad. At the end of folder Kay Sage Tanguy letters to "Kurt" [Seligman?]. Under the Wiley Gallery, letters related to a curious mistake about a painting by the Dutch artist Kristians Tonny believed by the owner to be a Yves Tanguy.
- 29.35 Kay Sage Tanguy, catalogue raisonné: Correspondence with Pierre Matisse Gallery, 1956–1962
Copies of letters from Kay Sage Tanguy to Pierre Matisse and Patricia K. Matisse related to the inventory and accounting matters concerning Yves Tanguy's work. Letters related to Yves Tanguy's catalogue raisonné. Various lists: Yves Tanguy's paintings in stock and on consignment (April 1955) at Pierre Matisse Gallery and list of work that went to Museum of Modern Art for the 1955 exhibition. Small black‐and‐white photograph of a gouache by Yves Tanguy belonging to Mr. Richard Ruppel. See also Inventory and lists of works, 1955–1962
- 29.36 Kay Sage Tanguy, catalogue raisonné: Correspondence with Mr. Poupard (Yves Lieussou), 1956–1962
Extensive correspondence between Kay Sage Tanguy and Mr. Poupard (pseudonym of Yves Lieussou) relating to his research on locating and gathering photographic material for the catalogue. Mr. Poupard volunteered to help Kay Sage Tanguy keeping contact with collectors in France. Also photocopies of sketches by Mr. Poupard Originals of sketches [photographs of sketches?] in Photographic reproductions, photo dessins en double, verifié Mars 1961
- 29.37 Kay Sage Tanguy, catalogue raisonné: Correspondence, 1958–1962
Letters requesting permission to reproduce. Request of authentication of a drawing from Gallery A.F. Petit, Paris. Two black‐and‐white photographs of the drawing. See also Catalogue raisonné: Correspondence, Kay Sage Tanguy; Dealers and galleries, international: France: Gallery A.F. Petit, Paris for reference to other works by Yves Tanguy
- 29.38 Kay Sage Tanguy, catalogue raisonné: Correspondence with Chermayeff, Karpel, Lippard, 1961–1962
Letters on matters related to the catalogue raisonné from Kay Sage Tanguy to: Chermayeff, designer for the volume; Bernard Karpel, bibliographer; Lucy Lippard, chronologist. January 1961, Mr. Karpel, librarian at Museum of Modern Art, is asked to write the bibliography. August 20, 1962, Kay Sage Tanguy donates to the Museum of Modern Art Library the manuscripts of Poème: Yves Tanguy by P. Éluard. Thank‐you note from Mr. Karpel also mentioning her previous donation of manuscripts by Breton. The group of letters to L. Lippard are mostly about details to be changed or checked in the illustration's captions. Mrs. Lippard was hired at first to do the chronology and later took over some of the editorial work.
- 30.01 Kay Sage Tanguy, catalogue raisonné: Lists of Yves Tanguy paintings 1924–1939 (périmé—out of date), 1956–1959
Chronological listing of works by Yves Tanguy with notes and addenda by Kay Sage Tanguy. Also list of works by Yves Tanguy by geographical location. Color photograph of Les oiseaux repentis, 1936. Outdated, as per Kay Sage Tanguy inscription on original folder, now discarded. Lists of Yves Tanguy's work can also be found under Inventory and lists of works, 1955–1963 See also Kay Sage Tanguy estate, personal papers: Binder, black plastic
- 30.02 Kay Sage Tanguy, catalogue raisonné: Lists of Yves Tanguy paintings 1939–1955 (périmé—out of date), September/October 1957
Chronological listing of paintings, gouaches, watercolors and drawings by Yves Tanguy with notes and addenda by Kay Sage Tanguy. Outdated, as per Kay Sage Tanguy inscription on original folder, now discarded. Lists of Yves Tanguy's work can also be found under Inventory and lists of works, 1955–1963 See also Kay Sage Tanguy estate, personal papers: Binder, black plastic
- 30.03 Kay Sage Tanguy, catalogue raisonné: Photographic reproductions, poetry and collages, undated
- 30.04 Kay Sage Tanguy, catalogue raisonné: Photographic reproductions, unused photographs, undated
Black‐and‐white photographs of drawings and gouaches by Yves Tanguy. Unused, as per Pierre Matisse inscription on discarded envelope. Also cut reproduction of a Surrealist spherical object (bowling ball) by Yves Tanguy. See also Kay Sage Tanguy estate, personal papers for similar cut‐out
- 30.05 Kay Sage Tanguy, catalogue raisonné: Photographic reproductions, photos dessins en double, verifié Mars 1961, undated
Black‐and‐white photographs of drawings and collages by Yves Tanguy. Also photographs of manuscripts by A. Breton and P. Éluard and music score by J.‐P. Diéterlin, with drawings by Yves Tanguy. Groups of photographs, some with notes, together in the original folder have been kept in separate mylar sleeves. See also Kay Sage Tanguy estate, personal papers: Photographs of artworks
- 30.06 Kay Sage Tanguy, catalogue raisonné: Photographic reproductions, photos dessins en double, verifié Mars 1961, undated
Black‐and‐white photographs of drawings, gouaches and oil paintings by Yves Tanguy. Sketches by Mr. Poupard describing works by Yves Tanguy. Copy of a catalogue from the exhibition Yves Tanguy—Max Ernst at Bodley Gallery in 1960. Groups of photographs, some with notes, together in the original folder have been kept in separate mylar sleeves. See also Kay Sage Tanguy estate, personal papers: Photographs of artworks
- 30.07 Kay Sage Tanguy, catalogue raisonné: Photographic reproductions, selection of drawings suggested for reproduction in book, undated
- 30.08 Kay Sage Tanguy, catalogue raisonné: Photographic reproductions, large format, undated
Reproduction of two gouaches by Yves Tanguy Untitled, 1943 and 1944 (plates number 338 and 324 in Yves Tanguy: A summary of his work, Pierre Matisse Editions, 1963). On cardboard.
- 30.09 Kay Sage Tanguy estate, legal documents: Accounts, Chemical Bank, 1963 January–June
- 30.10 Kay Sage Tanguy estate, legal documents: Bequests, acknowledgments, 1963–1964
Receipts and acknowledgments of bequests: M. Jean, C. Solimano, Pierre and Patricia Matisse, M. Jean, N. Calas. Also letter from P. Perkins thanking Pierre Matisse for sending back a drawing by Yves Tanguy probably found in Woodbury.
- 30.11 Kay Sage Tanguy estate, legal documents: Bequests distribution, allocation of Kay Sage Tanguy works, 1963–1964
Copies of letters from J.T. Soby to museum and institutions of his choice throughout the U.S. as recipients of works of art by Kay Sage Tanguy bequeathed as per her will. Letters of acceptance were addressed to Pierre Matisse and are attached. Under "Mattatuck Historical Society," mentions of works of art and objects by various artists bequeathed to the Museum from Kay Sage Tanguy estate. File organized alphabetically by museum or institution
- 30.12 Kay Sage Tanguy estate, legal documents: Bequests distribution, allocation of Yves Tanguy works, 1963–1964
Copies of letters from J.T. Soby to museum and institutions of his choice (as per paragraph 43 of Kay Sage Tanguy will) throughout the U.S. as recipients of works of art by Yves Tanguy from the estate of Kay Sage Tanguy. Letters of acceptance addressed also to Pierre Matisse are attached. Under "Museum of Modern Art," also correspondence related to works by various artists also bequeathed to the Museum. Bequests other than works by Yves Tanguy also under: the "Museum of Primitive Art" (5 tribal objects); "Ringling Museum" (Eugene and Leonid Berman); "Smith College Museum" (Max Ernst); "Wadsworth Atheneum" (Magritte); "Williams College Museum of Art," (Matta); "Yale University Art Gallery" (Miró, de Chirico). File organized alphabetically by museum or institution
- 30.13 Kay Sage Tanguy estate, legal documents: Bequests distribution, gouache to P. Blume, correspondence, 1965–1966
Correspondence among J.S. Monagan, Kay Sage Tanguy estate attorney, P. Blume, and Pierre Matisse on a gouache by Yves Tanguy willed by Kay Sage Tanguy to P. Blume and wrongly assigned. Black‐and‐white photograph and negative of the mentioned gouache (Untitled, 1947) and installation shot of the Yves Tanguy exhibition at Pierre Matisse Gallery in 1963 including it. Copy of the catalogue of the Gouaches and Drawings by Yves Tanguy exhibition at Pierre Matisse Gallery (1963 March 26–April 13). Originals and copies of inventory lists and letters from and to J.S. Monagan useful to the search of the missing gouache. Also copies of the official inventory of the estate and of Kay Sage Tanguy will.
- 30.14 Kay Sage Tanguy estate, legal documents: Bequests distribution, gouache to P. Blume, correspondence with Boston Museum and Carpenter Art Gallery, 1965–1966
Correspondence among J.T. Soby, Pierre Matisse and the Boston Museum of Fine Art (Perry T. Rathbone) in reference to a gouache by Yves Tanguy apparently given to the Museum instead of Mr. Blume as per Kay Sage Tanguy will. Eventually it was discovered that the misplaced gouache had been given to the Carpenter Art Gallery, Dartmouth College and Pierre Matisse offered to exchange it with a gouache from his collection. Also black‐and‐white photograph of La Tour Marine, gouache, 1947 in the collection of the Boston Museum.
- 30.15 Kay Sage Tanguy estate, legal documents: Bequests distribution, Pierre Matisse working notes, 1965–1966
- 30.16 Kay Sage Tanguy estate, legal documents: Bequests distribution, library correspondence with Monagan, 1963–1965
Working copies of Kay Sage Tanguy library inventory. Correspondence between Pierre Matisse and J. Monagan (Kay Sage Tanguy estate lawyer) related to the distribution of the books among the three institutions chosen by Pierre Matisse, namely Museum of Modern Art, Yale University and Bibliothèque Littéraire J. Doucet (Paris). July 7, 1963 letter from Pierre Matisse to Jim [T. Soby] describing Pierre Matisse's trip to Douarnenez with Yves Tanguy and Kay Sage Tanguy's ashes. Volume of poetry, Demain Monsieur Silber by Kay Sage, edition Pierre Seghers (Paris), 1957. Numbered 3 of 500, pages uncut. See also Kay Sage Tanguy estate: Legal documents, last will and codicils; Legal documents, correspondence between Pierre Matisse and J. Monagan
- 30.17 Kay Sage Tanguy estate, legal documents: Bequests distribution, library correspondence, Museum of Modern Art, Yale University, Bibliothèque Doucet, Paris, 1963–1964
Correspondence related to the distribution of Kay Sage Tanguy library amongst the libraries of Museum of Modern Art (letters to and from B. Karpel, librarian), Yale University (letters to and from A. Ritchie, director of Yale Art Gallery; G. Hamilton) and Bibliothèque Littéraire J. Doucet, Paris (letters to and from G. Blin, director; F. Chapon, librarian; E. Morot‐Sir, French Cultural Counselor in the U.S.).
- 30.18 Kay Sage Tanguy estate, legal documents: Bequests distribution, residuary legatee—Museum of Modern Art, 1974–1975
Letters among Pierre Matisse, J. Monagan and R. H. Kohl of Museum of Modern Art relating mainly to royalties from the reproduction of paintings by Yves Tanguy due to Museum of Modern Art. Document signed by Pierre Matisse stating the clause in Kay Sage Tanguy will bequeathing all residuary property and rights to Museum of Modern Art. Royalties accounts, copies of checks. Letter from Marcel Jean asking copyright indications.
- 30.19 Kay Sage Tanguy estate, legal documents: Bequests distribution, residuary legatee—Museum of Modern Art, 1976–1982
Letters and accounts related to payments of royalties from the reproduction of Yves Tanguy paintings. 1978, May 10th letter from R.H. Koch acknowledging receipt of the final payment to the Museum of Kay Sage Tanguy legacy. 1982, group of letter from Mr. J‐C Gateau requesting Museum of Modern Art to wave its royalties on the reproductions of works by Yves Tanguy included in his theses. See also Trusts, Jeanne D. Tanguy
- 30.20 Kay Sage Tanguy estate, legal documents: Correspondence between Pierre Matisse and legatees, 1963–1964
Letters to and from the legatees of Kay Sage Tanguy bequests (Mrs. H.M. Sage; Prince Ranieri di San Faustino, M. Duhamel, H. Chrisholm, N. Calas, N. Gabo, Mr. H. Sage Goodwin, M. Jean, G. Gaudin, C. Solimano, M. Maurogordato.) April 5 [1963] letter from F.M. Tracey requesting copy of her aunt (Kay Sage Tanguy) will. December 14, 1964, letter from Prince Ranieri di San Faustino in reference to Kay Sage Tanguy's early photo albums.
- 30.21 Kay Sage Tanguy estate, legal documents: Correspondence between Pierre Matisse and J. Monagan, 1963
Letters from J. Monagan to Pierre Matisse related to the administration of Kay Sage Tanguy estate. Signed statement from Mrs. and Mr. J. Darrow indicating their selection and receipt from D. Krieger for Kay Sage Tanguy bequest. March 1 letter from the Consulat Generale de France à New York referring to bringing Yves Tanguy and Kay Sage Tanguy's ashes to France. Also three copies of an Application for Bond from Fidelity and Deposit Company of Maryland, two of which signed by Pierre Matisse. See also Pierre Matisse letter of July 7, 1963 about the actual deed in Bequests distribution, library correspondence with Monagan
- 30.22 Kay Sage Tanguy estate, legal documents: Correspondence between Pierre Matisse and J. Monagan, 1964
- 30.23 Kay Sage Tanguy estate, legal documents: Correspondence between Pierre Matisse and J. Monagan, 1965, 1974, 1980
Correspondence between Pierre Matisse and J. Monagan related to the administration of Kay Sage Tanguy estate and its closing. Letters to Museum of Modern Art, recipient of the residuary estate of Kay Sage Tanguy. Also mention of the Jeanne D. Tanguy Trust. Copies of Museum of Modern Art's checklist of Kay Sage Tanguy bequest. Mention of an apparently early Yves Tanguy drawing found amongst the papers given by Monagan to the Mattatuck Museum. 1974 letters requesting access to Kay Sage Tanguy estate papers from Mr. T. Solley, Indiana University Art Museum. Clippings from the September and October 1965 issues of "Congressional Records—House" about the bequests of Kay Sage Tanguy to Museum of Modern Art and to the Mattatuck Museum in Waterbury.
- 30.24 Kay Sage Tanguy estate, legal documents: Correspondence between Pierre Matisse, J.T. Soby, J. Monagan, 1963'1964, 1966
Copy of list of paintings and drawings by Yves Tanguy on consignment at Pierre Matisse Gallery dated April 1, 1955. Copy of list of Yves Tanguy bequests to Museums. Letters from J.T. Soby to Pierre Matisse or J. Monagan relating to the allocation of the works of art by Yves Tanguy and Kay Sage Tanguy. 1963, October 30, J.T. Soby to J. Monagan giving "a little more information as to the distribution" of the artwork in Kay Sage Tanguy estate. December 1964 letters relating to "Ajourer les étoiles" by Yves Tanguy, given damaged to the Art Institute of Chicago. 1966 June 20, J. Soby updating Pierre Matisse on the purchases made by Museum of Modern Art with Kay Sage Tanguy bequest.
- 30.25 Kay Sage Tanguy estate, legal documents: Correspondence between Pierre Matisse, Catherine Viviano Gallery, J. Monagan, 1963
Photocopies of letters from C. Viviano to J. Monagan relating to the works by Kay Sage Tanguy in possession of her gallery. Also detailed report of the Gallery accounts with Kay Sage Tanguy. Some copies are barely legible
- 30.26 Kay Sage Tanguy estate, legal documents: estate inventory, drawings by Yves Tanguy, [1963]
- 30.27 Kay Sage Tanguy estate, legal documents: estate inventory, household possession, [1963]
Two copies of Kay Sage Tanguy household inventory. Page with notes by Pierre Matisse on the content of Kay Sage Tanguy's studio. Letters to Patricia Matisse from J. Monagan with a tentative value for some items of her choice from the household inventory. Invoice for the moving of miscellaneous goods from Kay Sage Tanguy house in Woodbury to Santini Warehouse, New York. See also Bequests distribution, gouache to P. Blume, correspondence for copy of official inventory of the estate
- 30.28 Kay Sage Tanguy estate, legal documents: estate inventory, library, 1963
- 30.29 Kay Sage Tanguy estate, legal documents: estate inventory, Yves Tanguy and Kay Sage Tanguy personal papers, 1963 February 19
- 30.30 Kay Sage Tanguy estate, legal documents: estate inventory, unsold paintings by Yves Tanguy, [1963]
Photographs of ten unidentified works by Yves Tanguy from the vault at Waterbury National Bank. Also printed negatives of same photographs. The present folder retains the title of the original, now removed
- 30.31 Kay Sage Tanguy estate, legal documents: Trust, Jeanne Ducrocq Tanguy, 1964–1968
Letters and documents between Pierre Matisse, trustee, and J. Monagan related to the administration of the Trust intended by Kay Sage Tanguy in benefit of Jeanne Ducrocq Tanguy, first wife of Yves Tanguy and since long in a mental hospital. Letters to and from Jeanne Ducrocq Tanguy, Emilie Tanguy and Lucien Lefebvre‐Foinet (entrusted by Pierre Matisse with making the monthly payments to Jeanne Ducrocq Tanguy from Paris). Balance statements from Irving Trust Company. Checkbooks and deposit slips. Some photocopies almost illegible
- 30.32 Kay Sage Tanguy estate, legal documents: Trust, Jeanne Ducrocq Tanguy, 1970–1976
Letters and documents related to the administration of the Trust intended by Kay Sage Tanguy in benefit of Jeanne Ducrocq Tanguy. Annual accounts of the Trust filed at the Probate Court for the District of Waterbury. Accounts of payments from L. Lefebvre‐Foinet. Envelope with temporary checks from Irving Trust Company and key labeled "estate Tanguy file" stapled on the original folder. This folder seems to belong to another set of filed documents[ not Pierre Matisse Gallery?]
- 30.33 Kay Sage Tanguy estate, legal documents: Trust, Jeanne Ducrocq Tanguy, 1971–1978
Letters and accounts from L. Lefebvre‐Foinet in reference to payments to Jeanne Ducrocq Tanguy throughout the years and until her death in September 1977. Copies of her death certificate and of the burial expenses. Black‐and‐white photograph of her tombstone. Letters and documents between Pierre Matisse, trustee, and J. Monagan related to the closing of the Trust intended to benefit Jeanne Ducrocq Tanguy. Copy of May 1978 letter from Mr. Richard Koch of Museum of Modern Art acknowledging receipt of balance of the Museum residuary interest in the estate of Kay Sage Tanguy.
- 30.34 Kay Sage Tanguy estate, legal documents: Will and codicils, 1958–1961
Copies of Kay Sage Tanguy last will dated December 10, 1958 and of the two successive codicils (January 7, 1960 and September 8, 1961).
- 30.35 Kay Sage Tanguy estate, personal papers: Announcements, 1955, undated
Undated announcements for the book Le grand passage by Jean Laude with four drawings by Yves Tanguy, published in France for the series INSTANCE directed by Max Clarac‐Sérou. Two announcements for Kay Sage—Yves Tanguy, Cambridge, Massachusetts, Charles Hayden Memorial Library, Massachusetts Institute of Technology (1955 January 5–30).
- 30.36 Kay Sage Tanguy estate, legal documents: Correspondence, Yves Tanguy letters from André Breton, 1938, 1939–1949
Original letters from André Breton, some from Jacqueline Lamba Breton to Yves Tanguy. 1938 manuscript by Breton titled "Prologue," later used also for the volume Yves Tanguy par André Breton Pierre Matisse Editions. 1939, October 24 note by Breton, "Mon ami Y. Tanguy parle en mon nom." 1940, Poitiers January 19, Breton has been assigned to a medical center in Poitiers, intellectual solitude; Jacqueline and Aube at Royan. Cahiers d'Art and the new review of Hugnet and Éluard. Mention to Masson, Mabille, Bachelard, Matta. Poitiers April 11, copy of a letter, handwritten by Yves Tanguy, from Breton to N. Calas advising for a selection of Surrealist writings for the magazine New Direction. Also mention to Yves Tanguy, Matta, Kurt (Seligmann) and Wolfgang (Paalen). Royan, April 15, from Jacqueline Breton, in Royan with Dora Maar. Yves Tanguy's travel to Mexico. Mention to Péret, Aube, Jeannette (Ducrocq Tanguy), Esteban (Frances), Frida (Kahlo) and Diego (Rivera), Pajarito and Matta. Royan, June 21, from J. Breton. No news about Jeannette, maybe with Marie‐Thérese? J. Breton doesn't know her address, will ask Remedios (Varo) who's with Rius in Perpignan. Mention to Magritte and Scutenaire. Undated missive to Kay Sage Tanguy from Pierre Mabille and A. Breton asking for help to expatriate to the U.S. Marseille, October 19, A. Breton complaining to Yves Tanguy for not receiving detailed news after Mabille letter. Breton will write to Barr on the same subject. L. Venturi could also be of help. Maybe Pierre Matisse has an idea? 1941, Ciudad Trujillo (?), May 29, A. Breton preparing to leave for New York; doubts about his future. 1942, New York, January 12, Yves Tanguy has left New York, disappointment of Breton. Nothing is happening. Received news and address of Péret in Mexico. Skira is asking for the 14th issue of Minotaure, subject the Devil. Yves Tanguy should do the cover for it and also one or two illustration for the poetry of Valentine Penrose. Mention also to other artists asked to collaborate. New York, August 27, copy of circular letter outlining the project of a Surrealist exhibition (First Papers of Surrealism) proposed by Mme Schiaparelli within the Coordinating Council of French Relief Societies. Yves Tanguy is invited to present a work related to the myth of Orpheus. New York, September 4, Breton apologizes for omitting to invite Kay Sage Tanguy to exhibit at the Surrealist exhibition. Reproaches Kay Sage Tanguy for keeping Yves Tanguy away from him. Drawing of Orfhée very beautiful. 1944?, Port‐au‐Prince (Haiti), December 17, postcard from Breton and Elisa. 1945, Reno (Nevada) June 1, postcard from Breton and Elisa. 1947, La Chaise Dieu, August 4, Breton comments on the Surrealist exhibition in Paris and its reviews, Kiesler; vernissage Yves Tanguy—Victor Brauner at Cahiers d'Art, very nice but small. Exhibition in Avignon, Palais des Papes. Ratton bought a painting by Yves Tanguy titled by Breton Légendes ni figures from Nancy Cunard. Re‐edition of Arcane 17. Paris, December 22 Breton's health. Problems with Jacqueline and David. Aube to the States, could Yves Tanguy give him news of her? First issues of Superieur Inconnu, Neon and a Portuguese magazine in three languages published by Antonio Pedro. Plan magazine will issue a special number on Surrealism. Projects for an International Surrealist Exhibition in Venice, Milan and Rome. Yellow gouache (Minotaure) and two drawings by Yves Tanguy lent to Pierre Matisse never received back. 1948, Paris, August 3, sad news from Woodbury: Gorky. Misunderstanding with Mme Matta, comments about Instead magazine. Preparing an Almanac de l'art brut with Dubuffet. La lampe dans l'horloge will soon be published. Reference to an enclosed press clipping explanatory of the climate in Paris. 1949, Paris, October 3, Yves Tanguy should publicly oppose the exhibition of his works at Nina Dausset. Incomprehension of Yves Tanguy's choice to illustrate Ivan Goll's poetry. See also Box, green with black spine; Press clippings, 1946–1954
- 30.37 Kay Sage Tanguy estate, personal papers: Correspondence, Yves Tanguy miscellaneous, 1947–1950
General correspondence addressed to Yves Tanguy. 1947, copy of a circular letter of invitation to the International Surrealist Exhibition 1947, from A. Breton and addressed to Miró. 1948 letter from Pierre Matisse referring to a change of their agreement. Circular letter from Solution Surrealiste signed Béduin and Seigle with handwritten note by A. Breton. Sketches of a property (Town Farm?). 1949, University of Illinois reference acquisition of Yves Tanguy Le Malheur adoucit les pierre. Manuscript letter signed by T. Tzara mentioning the volume Antitête. Also (1950) letter from Bordas Editeur reference to shipment of the same volume with notes by Yves Tanguy on back. 1950 letters, among others, from: Nina Dausset, C. Dotremont of Cobra magazine; Commonwealth of Virginia reference to award of J.B. Payne medal for "real merit." Batch of letters from H. Saint‐Gaudens of Carnegie Institute dating back to 1947. Statement on Modern Art released by the Institute of Contemporary Art, Boston, Museum of Modern Art and Whitney Museum of American Art in New York. Robert Lee reference a projected book Artists on art for which Yves Tanguy was asked to submit a statement. Manuscript of reply and translation by Kay Sage Tanguy. Hans Bolliger for Skira reference biographical informations. André Heinrich reference sketch of Yves Tanguy's house in Rue du Château, Paris to be used in a book on A. Prévert. Prospectus and entry form for American painting today, 1950, competitive exhibition organized by the Metropolitan Museum in New York and manuscript reply to the invitation: "...Je me refuse absolument a [sic] accepter l'autorité d'un jury, quel qu'il soit. See also exhibition Scrapbook, 1947–1949 for poster
- 30.38 Kay Sage Tanguy estate, personal papers: Correspondence, Yves Tanguy miscellaneous, 1951–1954
General correspondence addressed to Yves Tanguy. 1951 letters from Frederick W. Richmond on accounting, Carnegie Institute; Robert (and Maida Richman) of the Institute of Contemporary Arts in Washington and Yves Tanguy's replies reference to a projected exhibition; Pierre Matisse reference sale of drawing. Statement by Yves Tanguy in support of J.M. Glasco who applied for the J.S. Guggenheim Memorial Foundation fellowship; Lyman Allyn Museum. 1952, Robert (Richman) of Institute of Contemporary Arts, Washington, A. Barr of Museum of Modern Art, C. Schniewind of the Art Institute of Chicago in reference to drawings loaned. At back of page manuscript list of titles. H. Chisholm. University of Illinois. Typed biography for entry in Who's Who in the East. 1953, Schniewind of the Art Institute of Chicago reference to sale of Yves Tanguy drawing. Small pad of paper with two pages of notes. Belle Krasne of Art Digest inviting Yves Tanguy to comment on "The Creative Process;" list of questions and Yves Tanguy's draft replies and statement, handwritten by Kay Sage Tanguy. Renou et Poyet checklist from the exhibition catalogue, Mars 1953. Photocopies of letters to Yves Tanguy and Pierre Matisse reference paintings received for exhibition plus Yves Tanguy's list of works sent to EU. 1954, Max Clarac‐Sérou in reference to a volume published in France and a projected book of drawings by Yves Tanguy and about which Pierre Matisse was consulted. French standard table of measurements for paintings. Originals of letters found in Correspondence between Kay Sage Tanguy and the Museum of Modern Art, and others See also copy of Art Digest, January 15, 1954
- 30.39 Kay Sage Tanguy estate, personal papers: Correspondence between Kay Sage Tanguy and Pierre Matisse, Patricia Kane Matisse, 1955
Letters and cables from Pierre Matisse to Kay Sage Tanguy mainly related to a projected Yves Tanguy retrospective exhibition in Paris (J. Cassou, R. d'Harnoncourt, Galerie Rive Gauche), and about the location of Yves Tanguy's paintings to be included in Kay Sage Tanguy catalogue. Also mention to the gouache La grande fenêtre and Pierre Matisse's interest in it. July 19th, detailed description of the car accident occurred to Pierre Matisse and Patricia Matisse on their way to St. Jean. Letters from Patricia Matisse, about the accident and the Matta affaire; also (undated letter) reference to Dubuffet and the division of his work between Pierre Matisse and Udi (Augustinci?). Same reference in Pierre Matisse letter of August 1955.
- 30.40 Kay Sage Tanguy estate, personal papers: Correspondence, Kay Sage Tanguy miscellaneous, 1955–1962
Miscellaneous correspondence and photographs from Kay Sage Tanguy desk in Woodbury. Letters and postcards: 1955 original letter of condolences for Yves Tanguy's death from Miró. 1956 missive from J. Cassou, Musée National d'Art Moderne, Paris (copy); 1960, from J. Dubuffet, referring to Kay Sage Tanguy poetry and Pierre Matisse's attitude. 1961, to and from J. Drucker, Trianon Press; group of letters related to four early paintings by Kay Sage Tanguy, two of which bearing fake Yves Tanguy signature (M. Kuntz, Kay Sage Tanguy and Marcel Jean); postcard from J. Dubuffet. 1962 missive to J.T. Soby in reference to Kay Sage Tanguy donation of a Masson drawing to Museum of Modern Art; to Catherine Viviano; copies of letters to Patricia and Pierre Matisse with reference to Yves Tanguy catalogue raisonné from Julien ____ ; to Marcel Duhamel; to Mimi (Emilie Tanguy); to Dr. Fasanella, M.D.; to ____ Heinz; from H. Henghers; P.A. Benoit; J. Dubuffet. Kay Sage Tanguy notes to Pierre Matisse dated 1959 (and confirmed 1961 and 1962) indicating locations of documents; from P.A. Benoit in reference to Mordicus; from J. Dubuffet. December 1962, January 1963 letters from Emilie Tanguy. Text of a cable to Pierre Matisse and Barnet Hodes, dated January 4 (1963?). Typescript page with directions to Town Farm from New York. Yves Tanguy's address book, brown leather jacket. Black‐and‐white photographs of Town Farm in winter. The young boy and lady in two of them are unidentified. Group of photographs of a sail boat, some depicting Pierre Matisse. Candid portrait of a child (Ian Henghes? See letter H.H., 1962, mentioned above). Two photographs of a sculpture by H. Henghers. Photocopies of all letters and postcards from J. Dubuffet and P.A. Benoit in this folder also in Correspondence between Kay Sage Tanguy and Jean Dubuffet folder
- 30.41 Kay Sage Tanguy estate, personal papers: Correspondence between Kay Sage Tanguy and the Museum of Modern Art re exhibition and location of Yves Tanguy's paintings, 1955
Letters to and from Kay Sage Tanguy related to the preparation of the Yves Tanguy's retrospective exhibition at the Museum of Modern Art (1955 September 7–October 30). On the same subject copies of letter from J.T. Soby of the Museum of Modern Art to various owners of artworks by Yves Tanguy. February letters to and from Poyet et Renou and J. Dausset (for Nina Dausset), M. Clarac‐Sérou, in reference to some paintings by Yves Tanguy on consignment at their galleries. Also list of paintings sent to EU for exhibition, handwritten by Yves Tanguy. June letter from M. Duhamel; letters to and from Simone Collinet. July letters to and from Galerie Rive Gauche (R.A. Augustinci), Kay Sage Tanguy comments on the exhibition Hommage à Yves Tanguy. August letter from Emilie Tanguy. Invitation and catalogue lists for the exhibition at the Museum of Modern Art. Text, in French and English, of the J.T. Soby interview on Yves Tanguy. November letters from E.L.T. Mesens and J. Mayoux. Also copy of a letter from J. Cassou to Mr. A. Ritchie of the Museum of Modern Art reporting that the Yves Tanguy exhibition in Paris has been postponed. Invitation card to Yves Tanguy—A Retrospective Exhibition, Museum of Modern Art(1955 September 7–October 30). See also Box, green with black spine; exhibition shots in Portfolio, beige
- 30.42 Kay Sage Tanguy estate, personal papers: Correspondence between Kay Sage Tanguy and Jean Dubuffet (also between Pierre Matisse and Pierre‐Antoine Benoit), 1959–1962, 1963
Cable and letters to and from Jean Dubuffet mainly relating to the volume Mordicus, 15 pieces of poetry by Kay Sage Tanguy illustrated with ten drawings by J. Dubuffet. Also some letters to and from Pierre‐Antoine Benoit, printer and publisher of the book. 20 black‐and‐white photographs of the printed poetry by Kay Sage Tanguy plus nine of the drawings by Dubuffet. 1963, letters to and from Pierre Matisse and P.A. Benoit in reference to the copies of Mordicus, published after Kay Sage Tanguy death, which Kay Sage Tanguy had asked for. The photocopies in this folder are from the originals in Correspondence, Kay Sage Tanguy miscellaneous, 1955–1962
- 31.01 Kay Sage Tanguy estate, personal papers: Yves Tanguy's official documents, 1920–1954
1920, 1922 and 1927, military identity booklet and certificates. 1939–1940 letter requesting a visa of leave from France from the Foreign Affairs Ministry and letter from René Huyghe, curator of paintings at the Louvre Museum; certificate of military exemption in French with English translation. 1940, certificate of divorce, II District Court of Nevada State. 1941, certificate of enrollment at the French Consulate, passport extension (?), visa (?). Request of passport or renewal form, not completed. 1952, identity card; 1953, American passport, 1954, French passport. International Certificate of Inoculation and Vaccination. Also included an envelope with some Yves Tanguy's documents found within Kay Sage Tanguy estate legal documents. 1940, translation of Yves Tanguy's previous marriage document, marriage certificate in different copies. 1942, registration certificate, notice of classification. 1948, naturalization certificate and receipt of application for it. Undated receipt for fee for certificate of arrival in the U.S.
- 31.02 Kay Sage Tanguy estate, personal papers: documents, medals, 1950, 1953
Virginia Museum of Fine Arts, John Barton Payne Award. Inscribed to Yves Tanguy, 1950. Metal Medal. Pennsylvania Academy of the Fine Arts, The Jennie Sesnan Prize. Inscribed to Yves Tanguy, 1953. Gold medal.
- 31.03 Kay Sage Tanguy estate, personal papers: Documents, Kay Sage Tanguy death, 1963
- 31.04 Kay Sage Tanguy estate, personal papers: List of Surrealist books
- 31.05 Kay Sage Tanguy estate, personal papers: Art supplies, undated
- 31.06 Kay Sage Tanguy estate, personal papers: Original art, undated
- 31.07 Kay Sage Tanguy estate, personal papers: Original art, metal plates, etched, undated
Two metal plates, etched by Yves Tanguy and invalidated by scratching. See also Artists: Tanguy, Yves, 1900–1955: Publications: W. Wittrock and B. Hayter
- 31.08 Kay Sage Tanguy estate, personal papers: Photographs of artworks, undated
13 black‐and‐white photographs of works by Yves Tanguy. Seven black‐and‐white photographs of works by various artists (Kay Sage Tanguy Collection?). These photographs were originally in a Kodak box titled by Kay Sage Tanguy "Photos en double." See also Legal documents: Estate inventory, household possessions
- 31.09 Kay Sage Tanguy estate, personal papers: Photographs of artworks, undated
Black‐and‐white photographs (Alex Darrow) of 38 drawings by Yves Tanguy probably in the collection of Kay Sage Tanguy. Photographs numbered on back. Originally in an envelope inscribed by Kay Sage Tanguy "Photos en double—Dessins moyens et petits (K.S.T.)." The folder may be related also to numbers 14 and 15 in the Kay Sage Tanguy section of the Catalogue raisonné
- 31.10 Kay Sage Tanguy estate, personal papers: Photographs of artworks, drawings by Yves Tanguy, undated
26 black‐and‐white photographs of drawings by Yves Tanguy. Envelope titled by Kay Sage Tanguy "Photos et liste de: Dessins Yves Tanguy moyen et petits pour exposition—Coll. K.S.T." All photographs numbered by Kay Sage Tanguy. Alex Darrow photographer. The exposition mentioned above refers probably to the one planned to coincide with the publication of the volume Yves Tanguy, a summary of his work at Pierre Matisse Gallery See also Artists: Yves Tanguy: Exhibitions: Gouaches and Drawings, Pierre Matisse Gallery (1963 March 26–April 13), 1962–1963 (folder 28.19)
- 31.11 Kay Sage Tanguy estate, personal papers: Photographs, group and individual, Yves Tanguy, family, 1878–circa 1940?
Ten black‐and‐white photographs of Yves Tanguy's parents and family, individual and group. Some mounted on photographer's board. Four black‐and‐white photographs, of individuals or groups, mostly unidentified, apparently taken in Locronan. Dates unspecified. Some photographs not in good condition
- 31.12 Kay Sage Tanguy estate, personal papers: Photographs, group, Yves Tanguy, France, circa 1922–1934
16 black‐and‐white photographs of people (Yves Tanguy, J. Prévert, M. Duhamel), some unidentified. Taken circa 1921–1934, Paris, Locronan, Douarnenez. Seven black‐and‐white photographs of Jeannette Ducrocq Tanguy, some with Yves Tanguy and his mother, circa 1925, Locronan, Paris.
- 31.13 Kay Sage Tanguy estate, personal papers: Photographs, group and individual, circa 1940–1960
15 black‐and‐white photographs of various people (Max Ernst and Dorothea Tanning in Woodbury?; Pegeen Guggenheim with her infant son Fabrice, Port Navalo, France) some unidentified, circa 1940–1953. Series of five black‐and‐white photographs taken in 1953 in Bretagne, unidentified person. Two black‐and‐white photographs of Kay Sage Tanguy, circa 1935 and circa 1960.
- 31.14 Kay Sage Tanguy estate, personal papers: Photographs, Kay Sage Tanguy and Keben, undated
Four black‐and‐white photographs of Keben (Tanguys' cat). One black‐and‐white photograph of Kay Sage Tanguy in front of her Suspension bridge for the swallows, 1957. Photograph signed and dated by A. Darrow, 1957.
- 31.15 Kay Sage Tanguy estate, personal papers: Photographs, individual, Yves Tanguy, circa 1905–1936
Four black‐and‐white photographs of Yves Tanguy as a young boy, one of which cut out, circa 1905–1910. Ten black‐and‐white photographs, three of which reprints, circa 1920–19361 negative of a reprint.
- 31.16 Kay Sage Tanguy estate, personal papers: Photographs, individual, Yves Tanguy, circa 1939–1955
Six black‐and‐white snapshots of Yves Tanguy. Some dated on back by Kay Sage Tanguy. Various sizes. One negative of Yves Tanguy as a cowboy, Reno, Summer 1940. 29 passport photographs of six different sittings (3+13+3+6+3+1).
- 31.17 Kay Sage Tanguy estate, personal papers: Photographs, Yves Tanguy by Jacques‐André Boiffard, undated
- 31.18 Kay Sage Tanguy estate, personal papers: Photographs, Yves Tanguy by Man Ray, 1928, 1936
Black‐and‐white photographs of Yves Tanguy by Man Ray. Two prints of the same negative, one enlarged, signed and dated by Man Ray. Note by Kay Sage Tanguy reads "Only copy—extremely precious. Please return to: Kay S Tanguy Woodbury Conn" on the back of each.
- 31.19 Kay Sage Tanguy estate, personal papers: Photographs, Yves Tanguy by George Platt Lynes, undated
Three black‐and‐white photographs, of Yves Tanguy in front of his Dame à l'absence, 1942. Eight black‐and‐white prints of the same photograph, setting as above. On the back of one, note by Kay Sage Tanguy: "Photograph of Yves Tanguy by George Platt Lynes 1942(?) (Courtesy of Bernard Perlin) Please return to Mrs. Y. Tanguy Woodbury, Conn." On another: "Please return to Pierre Matisse Gallery." Reproduced in View, December 1945 and Yves Tanguy, A summary of his work, Pierre Matisse Editions, 1963. See also Publications, periodicals, 1945–1946
- 31.20 Kay Sage Tanguy estate, personal papers: Photographs, Yves Tanguy by Shelburne Studios, New York, undated
- 31.21 Kay Sage Tanguy estate, personal papers: Photographs, sites, undated
- 31.22 Kay Sage Tanguy estate, personal papers: Press clippings, 1946–1954
Clippings of articles, pages and some complete issue of newspapers or periodicals mainly with writings and articles by or about A. Breton. October 1946, Littéraire, two complete issues and clipped article (with handwritten note by A. Breton). January 1948, Neon no. 1 (with a note by Yves Tanguy reading "Priére de faire passer à Calas—Merci Y.T.) and no. 5. June 1948 Instead no. 4. July 1948, article on A. Breton with corrections and notes by him. Publication unidentified. March 1953, Jonas no. 3. Clippings and full issues often folded; paper not in very good condition
- 31.23 Kay Sage Tanguy estate, personal papers: Press clippings (coupures—doubles), 1948–1954
Various news clippings on Yves Tanguy. The original folder read "Clippings—Doubles"). Double copy of J. T. Soby's article "Inland in the subconscious: Yves Tanguy." All in English. Five copies of the catalogue for the Yves Tanguy Retrospective Exhibition of Paintings and Gouaches, 1927–1946, Pierre Matisse Gallery (1946 November 5–30), and one copy of Still life and the School of Paris exhibition catalogue, Pierre Matisse Gallery (1952 December 9–31). The Waterbury Republican, February 15, 1948 reproduces two photographs of Yves Tanguy and Kay Sage Tanguy one of which retouched with pencil, possibly by the artist.
- 31.24 Kay Sage Tanguy estate, personal papers: Press clippings, 1954–1955, 1958–1959
Clippings about Yves Tanguy or Surrealism, some mention of Kay Sage. Clippings for the years usually from Romeike agency. Most clippings folded, paper generally in good condition
- 31.25 Kay Sage Tanguy estate, personal papers: Press clippings, 1960–1962
Clippings about Yves Tanguy or Surrealism, some mention of Kay Sage. Clippings usually from Romeike agency. Some clippings folded, paper generally in good condition When photocopy of clipping it has been re‐photocopied on archival paper
- 31.26 Kay Sage Tanguy estate, personal papers: Publications, book on Paolo Uccello, undated
Book about Paolo Uccello, The Rout of San Romano in the National Gallery in London, introduction by John Pope‐Hennessy. Torn apart. Originally in an envelope titled by Pierre Matisse "Found in Yves Tanguy studio."
- 31.27 Kay Sage Tanguy estate, personal papers: Publications, Fables of Æsop, illustrated by A. Calder, undated
Volume, boxed with red dustcover: Fables of Æsop according to Sir Roger l'Estrange. 200 fables with 50 drawings by A. Calder. Edition de Luxe Harrison of Paris. Inscribed to the Tanguys, Noël 1943. Upper edge of box damaged
- 31.28 Kay Sage Tanguy estate, personal papers: Publications, Yves Tanguy par André Breton, Pierre Matisse Editions, 1963
One volume of Yves Tanguy par André Breton in blue box, De Luxe edition on hand made paper, without number, signed by both artists.
- 31.29 Kay Sage Tanguy estate, personal papers: Publications, undated
- 31.30 Kay Sage Tanguy estate, personal papers: Publications, Volière, Pierre Matisse Editions, 1963
One volume of Volière, red bound and boxed, that appears to be one of the I to XXII numbers, which would include an autograph text by A. Breton and an original drawing by Yves Tanguy, both missing. Also missing first double page with colophon and copy number. Two pages, "Suite des prodiges," 1924–1925, one missing dates on top; small envelope containing date 1936 (missing on page).
- 31.31 Kay Sage Tanguy estate, personal papers: Publications, Volière, Pierre Matisse Editions, 1963
Two volumes of Volière, Editions Pierre Matisse, New York, 1963, numbers 30 and 36 of 250. Cover of number 30 in very bad condition, some pages stained.
- 32.01 Kay Sage Tanguy estate, personal papers: Publications, calendar, 1943
Calendar, France in America published by Coordinating Council of French Relief Societies, 1943. Opposite July/August page, reproduction of a drawing by Yves Tanguy.
- 32.02 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1937
Trois Peintres Surrealistes—René Magritte, Man Ray, Yves Tanguy, curated by E.L.T. Mesens, Bruxelles, Palais des Beaux+‐arts (1937 December 11–22); texts by J. Scutenaire, A. Breton, P. Éluard.
- 32.03 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1940–1949
Esposicion internacional del Surrealismo, Mexico DF, Galeria de arte mexicano (1940 January–February), curated by A. Breton, W. Paalen, C. Moro. European artists in America, New York, Whitney Museum of American Art (1945 March 13–April 11), foreword by H. More. Peintures d'aujourd'hui, Cannes, Galerie des Etats‐Unis (1947 June 26–?), foreword by R. Renne. International Surrealism, Prague, Topicov Salon (1947 November 4–December 3), curated by J. Heisler. Contemporary American Paintings, Toledo, OH, The Toledo Museum of Art (1948 June, July, August). Towards a new subject in painting—Gordon Onslow‐Ford, San Francisco, Calif., San Francisco Museum of Art (1948 November 9–December 12)> text by G.O.Ford, inscribed to Kay Sage and Yves Tanguy.
- 32.04 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1947
Le Surrealisme en 1947, Paris, Galerie Maeght (1947 June), curated by A. Breton and M. Duchamp. Text by A. Breton, et al.
- 32.05 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1950–1951
Exhibition of Paintings, Gouaches, and Drawings, Pierre Matisse Gallery (1950 April 4–22), text by Nicolas Calas. 5th Biennial Purchase Exhibition—Contemporary American Paintings, Walker Art Center, Minneapolis (1950 October 15–December 10), foreword by H.H. Arnason. I Bienal do museo de arte moderna de São Paulo, Museo de Arte Moderna, São Paulo (1951 October–December). "Connecticut Contemporary Painting" Connecticut Building Eastern States Exhibition, West Springfield, Massachusetts (1951 September 16–22), foreword by R.F. Logan. Dynaton, The San Francisco Museum of Art, San Francisco (1951 circa January?), texts by W. Paalen and J. Johnson. Choix de la collection Peggy Guggenheim—Surrealisme + Abstraction, Stedelijk Museum, Amsterdam (1951 January–February). Auction catalogue of sale at Parke‐Bernet Galleries, New York (November 19, 1951) of books with illustrations by Yves Tanguy (lots 344 to 348).
- 32.06 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1952
Surrealistische Malerei in Europa, Saarbrücken, Germany (1952 May?), text by A. Breton, copy for the artist numbered IV of XXX. Phantastische Kunst des XX. Jahrhunderts, Basel, Kunsthalle Basel (1952 August 30–October 5). L'Œuvre du XX. siècle peintures, sculptures, Musée National d'Art Moderne, Paris (1952 May–June). Contemporary Drawings from 12 Countries, 1945–1952, the Art Institute of Chicago, Chicago, foreword by C.O. Schniewind.
- 32.07 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1954–1957
Object and Image in Modern Art and Poetry, Yale University Art Gallery, New Haven, CT (1954 April 30–June 14), texts by E.E. Cummings, et al. Reality and Fantasy, 1900–1954, Walker Art Center (1954 May 23–July 2), introduction by H.H. Arnason (two copies). Yves Tanguy—Kay Sage, Wadsworth Atheneum, Hartford (1954 August 10–September 28), text by C.E.B. Page after cover missing. Contemporary American Painting and Sculpture, University of Illinois‐Urbana (1954 February 7–April 3), text by A.S. Weller. 20th Century Works of Art, University of Illinois‐Urbana (1954 September 29–October 27), text by A.S. Weller.
- 32.08 Kay Sage Tanguy estate, personal papers: Publications, catalogues, 1961
Your Move: Kay Sage—Exhibition of objects, collages, Catherine Viviano Gallery, New York (1961 November 6–25).
- 32.09 Kay Sage Tanguy estate, personal papers: Periodicals, assorted, 1941
Each magazine has a mention, article or publicity about Yves Tanguy. View vol. I, no.6, June 1941. ARTnews, December 1–14, 1941.
- 32.10 Kay Sage Tanguy estate, personal papers: Periodicals, assorted, 1945–1946
Each magazine has a mention, article or publicity about Yves Tanguy. Tricolor, vol. III, no. 13, April 1945. Pictures on Exhibit, vol. 6, no. 8, May 1945. Vogue, September 1945. View, series V, no. 5, December 1945. Gallery Notes (The Buffalo Fine Arts Academy, Albright Art Gallery) vol. XI, no. 1 July 1946.
- 32.11 Kay Sage Tanguy estate, personal papers: Periodicals, assorted, 1949
Each magazine has a mention, article or publicity about Yves Tanguy. The Tiger's Eye, vol. 1, no. 7, March 1949.
- 32.12 Kay Sage Tanguy estate, personal papers: Periodicals, assorted, 1950, 1954
Each magazine has a mention, article or publicity about Yves Tanguy. The Harp, vol. Nine no. Two, Spring 1950. Art Digest, vol. 28 no. 8, January 15, 1954 (two copies). Saturday Review, September 4, 1954. Time, vol. LXIV no. 9, August 30, 1954 Arts Digest, vol. 28 no. 20, September 15, 1954. ARTnews, vol. 53 no. 5, September 1954. Time, vol. LXIV no. 12, September 20, 1954.
- 32.13 Kay Sage Tanguy estate, personal papers: Periodicals, assorted, 1955, 1959
Each magazine has a mention, article or publicity about Yves Tanguy. ARTnews, vol. 54 no. 5, September 1955 (two copies). L'Oeil, no.10, October 1955. Seydell Quarterly, vol. 12 no. 1, Autumn 1959.
- 32.14 Kay Sage Tanguy estate, personal papers: Periodicals, assorted, 1960
- 32.15 Kay Sage Tanguy estate, personal papers: Publications, photocopies of Instead, undated
- 32.16 Kay Sage Tanguy estate, personal papers: Surrealists documents, affaire Carrouges—Pastoureau, 1951
Documentation relative to "L'affaire Carrouges—Pastoureau." Copy of "À la niche les glapisseurs de Dieu!" 1948 Edition Surrealistes. Cyclostyle copies of: Letter from Adolphe Acker and Marcel Jean to A. Breton, February 22, 1951. "Aide‐Memoire relatif à l'affaire Carrouges" by Henry Pastoureau, Paris, February 29, 1951, with handwritten corrections and notes. "L'affaire Pastoureau & Cie (Tenants et Aboutissants)" by André Breton and Benjamin Péret, Paris, March 16, 1951. Signed, with handwritten notes. Minutes of the Surrealist assembly on March 19, 1951. "Observation relatives à l'opuscule de Breton‐Peret: L'affaire Pastoureau & Cie et au compte‐rendu de l'assemblée du 19 mars 1951" by Henri Pastoureau, March 23, 1951. "Lettre à André Breton" by Maurice Henry, March 24, 1951. "Aide‐Memoire—Pour servir à la compréhension de l'Aide‐Memoire sur l'affaire Carrouges' de H. Pastoureau, suivi de 'L'affaire Pastoureau et Cie' de A. Breton et B. Péret, suivis de etc." by Patrick Waldberg, April 23, 1951. Also handwritten note de‐codifying the names in it. "Haute Frequence," Paris, May 1951. Document, printed on red crepe paper and signed by the Surrealist group. In an envelope addressed to Yves Tanguy. Also poster "À l'ombre de lion...." Folded, fragile paper. Four press clippings on the incident. Letter from Toyen to Yves Tanguy, July 23, 1951 with mention to the "affaire." Also announcement for her 17 drypoint album Ailes et pierre. Copies of letters from K. Seligmann to H. Pastoureau, signed and with notes, July 14 and August 24, 1951.
- 32.17 Kay Sage Tanguy estate, personal papers: Surrealists documents, 1947–1959
One printed wire signed Rrose [Selavy, alias Marcel Duchamp] and seven envelopes, sometime titled, each containing a printed document. "La perle fine" by Alain Joubert, four pages. "Strictement personnel" envelope, inside glossy page, signature not identified. "Avez‐vous pensé à donner un peu de sang?" envelope with "La pointe" by Joyce Mansur, Paris 1959, 30‐page booklet. "Usage externe envelope" containing "La Marée" by A. Pieyre de Mandiargues, 28‐page booklet. "Huis Clos" aerogramme with Edelmira B. story. Four glossy pages. "A n'ouvrir sous aucun prétexte" envelope containing "Le Corridor" by Robert Benayoun, double fold page. "Avis de suffrance" envelope with "Lettre d'un sadique", author unknown, eight‐page booklet. Poster, "Liberté est un mot vietnamien" with handwritten note by A. Breton on back and press clipping from Combat, March 18, 1947, dated by Breton. Catalogue of the International Surrealist Exhibition, Dédalo, Santiago de Chile, November 22–December 4, 1948. Essay by Braulio Arenas, poetry by A. Breton, Jorge Cáceres, B. Péret, Enrique Rosenblatt and Teófilo Cid. Folded, fragile paper. Printed document "Les surréalistes à Garry Davis", Paris February 1949. On rice paper. Single fold with inserted page "Hommage du groupe surréaliste de belgique àSaint‐Just."
- 32.18 Kay Sage Tanguy estate, personal papers: Writings, Kay Sage Tanguy plays, undated
- 32.19 Kay Sage Tanguy estate, personal papers: Writings, Kay Sage Tanguy poetry, undated
- 32.20 Kay Sage Tanguy estate, personal papers: Writings, "Reference Expositions," 1939–1940
Composition book titled "Reference Expositions, 1939–1940" with seven manuscript pages of texts relating to the project of helping French artists during World War II, and specifically Yves Tanguy. Texts of letters sent to the Ministry of Education in France, the American Embassy and Yves Tanguy. Also variations of an introductory text proposed for publicity and for the catalogue, eventually not used as per Kay Sage Tanguy indication. In French and English.
- 32.21 Kay Sage Tanguy estate, personal papers: Writings, Kay Sage Tanguy short stories, 1959–1962
Five short stories by Kay Sage Tanguy: "This is the End of My Story," 1959, one page (with confirmation dates 1960, 1961 and 1962); "The Man in the Street," 1961, one page; "Romaine", 1961 ¼page; "Lucy", October 1962, three pages; "Fire‐Screen", page. In English.
- 32.22 Kay Sage Tanguy estate, personal papers: Writings, short story by François Tuefferd, 1959 February 27
- 32.23 Kay Sage Tanguy estate, personal papers: Writings, various authors, undated
Texts and poetry by various authors: "Yves Tanguy" by Yvan Goll, November 5, 1946 (two pages). Two versions of "Ode solennelle à Yves Tanguy" by René Renne (two pages). Typescript of "Tanguy Star" by Gordon Oslow Ford (four pages). Some corrections. In English. Two copies of "La prière du matelot", not signed. Carbon copy of "IV: Pierre Vive..." Manuscript of "À la manière de... Inventaire de Noël" poetry, not signed. See also Personal papers: Correspondence between Yves Tanguy and André Breton, 1949; Personal papers: Scrapbook 1950–1951
- 33.01 Kay Sage Tanguy estate, personal papers: Binder, black plastic ("Tanguy Drawings Kay Sage File" indicated on spine), undated
Black‐and‐white photographs of drawings by Yves Tanguy, not consecutively numbered. Two lists titled by Kay Sage Tanguy: "Collection complete dessins" and "Disponible pour exposition de dessins," both March 1961 plus one "À ajouter list dessins mars 1961." Black‐and‐white photographs of Yves Tanguy drawings, list and notes by Pierre Matisse. Probably addendum from Pierre Matisse Gallery files. Material possibly relating to the compilation of a catalogue raisonné of drawing. The exposition mentioned above refers probably to the one planned to coincide with the publication of the volume Yves Tanguy, a summary of his work at Pierre Matisse Gallery See also Catalogue raisonné files
- 33.02 Kay Sage Tanguy estate, personal papers: Box, green with black spine, undated
Contents of the box: Black binder with last six pages handwritten by Yves Tanguy with titles and some reference to purchasers and prices. One loose sheet also handwritten by Yves Tanguy with listing of titles and dates of expeditions. Black‐and‐white photographs (by Alex Darrow) of 43 + 1 drawings by Yves Tanguy from Kay Sage Tanguy collection; Kay Sage Tanguy notes on cardboard are unclear. Circular letter explaining the Exposition Internationale du Surrealisme, 1947. Cut photographic reproduction of a spherical object (by Yves Tanguy?). Green composition book with Yves Tanguy handwritten page listing a shipment of gouaches sent to Julien Levy in 1943. Alphabetical file with Kay Sage Tanguy correspondence related to the gathering of information on Yves Tanguy works and one random letter on the same subject to Mr. Hodes. Yves Tanguy's black plastic notebook with detailed accounts of his trip to EU with Kay Sage Tanguy in 1953. Yves Tanguy's brown leather diary for 1939 with address books, one loose, in it also two scraps of paper with annotations, negative of a photograph of Yves Tanguy as a young boy, passes and cards. Small white parchment sketch book in red leather case. Not used, it includes four black‐and‐white photographs of Jeanette Ducrocq Tanguy plus a scrap piece from a pencil drawing and a note by J. Ducrocq Tanguy on the reverse. Kay Sage Tanguy's black plastic pocket book with annotations and poetry.
- 33.03 Kay Sage Tanguy estate, personal papers: Box, orange cloth (inscribed "Yves Tanguy" on spine), undated
Contents: Yellow envelope, titled by Kay Sage Tanguy "K.S.T." containing originals and photographs of two drawings plus a very small cut‐out from a photograph of a painting by Yves Tanguy. Yellow envelope titled by Kay Sage Tanguy "YT Catalogues" with catalogues dating 1927 (Galerie Surrealiste, May and October, catalogues and invitation card); 1928 (Expo Surrealiste au Sacre du Printemps, invitation card); 1933 (Pierre Colle, catalogue and invitation cards); 1935 (Cahiers d'Art, invitation card); 1936 (New Burlington Galleries, London); 1938 (Galerie Jeanne Boucher‐Myrbor); 1940 (Arts Club of Chicago); 1945 (Pierre Matisse Gallery); 1947 (Topicova Salonu, Praha); 1950 (The London Gallery, three copies); 1956 (Comité voor artistieke werking, Antwerpen; Zaal C.A.W., Antwerpen, two copies). Seven pages of typewritten Q/A (after the Surrealists) among Yves Tanguy and K[S]T and unidentified D.H. and S.H. In French and English. Three photographs of Yves Tanguy (circa 1928 and 1954). Brochure of a "Bleun‐Brug" in Locronan, 6–7 August 1949. Emilie Tanguy notes on Yves Tanguy's biographical data. Also handwritten letter from Yves Stèphan, Yves Tanguy's cousin, with his recollections about Yves Tanguy. Group of Yves Tanguy handwritten notes, some concerning Pierre Matisse Gallery. Originals of drawings moved to original artwork boxes A small volume, La première main, copy for Yves Tanguy, by T. Tzara has been transferred to original art box Also ten pages of Yves Tanguy handwritten notes and a Surrealist document ("André Marchand je vous admire" by Abbé Souricel, 1947) oversizing the box when unfolded have been filed in Box, orange cloth (inscribed "Yves Tanguy" on spine), oversize papers
- 33.04 Kay Sage Tanguy estate, personal papers: Box, orange cloth (inscribed "Yves Tanguy" on spine), oversize papers, undated
Ten pages of notes handwritten by Yves Tanguy: quotations from A. Breton (one page); a [Surrealist] bibliography (four pages); list of titles (two pages); list of museums with works by Yves Tanguy (two pages, numbered "4" and "5"); listing of private collectors (one page). Also scrap of paper with a quotation from Apollinaire: "Pour depeindre le caractère fatal des choses modernes, dira‐t‐il à propos de Chirico, la surprise est le ressort le plus moderne auquel on puisse avoir recours." Printed letter "André Marchand je vous admire" by Abbé Souricel, May 1947. See also Box, orange cloth (inscribed "Yves Tanguy" on spine)
- 34.01 Kay Sage Tanguy estate, personal papers: Photographs, Kay Sage Tanguy photo albums, circa 1898–1925
Four albums, leather‐bound, one brown, one light‐brown and two black, different sizes. Kay Sage Tanguy early personal and family photographs, with some notes of names, dates and places. Some loose photographs within the albums. Also two loose photographs kept in the light‐brown leather album (one of Kay Sage Tanguy as a child, mounted and signed on board and one a reprint of a family portrait, unidentified, late nineteenth century?). Except for the brown, albums are in bad or very bad condition See also Legal documents: Correspondence between Pierre Matisse and Legatees for letter from Prince Ranieri di San Faustino
- 35.01 Kay Sage Tanguy estate, personal papers: Photographs, Kay Sage Tanguy photo albums, 1920–1930
Four albums, paper bound, three with parchment spine, same size. Kay Sage Tanguy personal, family, locations and landscape photographs, with some notes of names, dates and places. Some historical shots (1922, Vittorio Emanuele II, King of Italy; B. Mussolini). Some loose photographs within the albums. One scrapbook, paper bound with parchment spine. Clippings about Kay Sage engagement with Prince Ranieri di San Faustino. Albums in fairly good condition See also Legal documents: Correspondence between Pierre Matisse and Legatees for letter from Prince Ranieri di San Faustino
- 36.01 Kay Sage Tanguy estate, personal papers: Portfolio, beige cloth with gold imprint "Yves Tanguy," undated
Two small etchings plus 14 with some color. Loose pages and color reproductions of the book Yves Tanguy par André Breton. Photocopies (reduced 10 percent) of 12 pages with collage some with handwritten notes by A. Breton, some with inscription in English, a few of which used for the issue of View dedicated to Yves Tanguy and Tchelichew, May 1942. Group of catalogues: (Graphisches Kabinett München), 1939 (Pierre Matisse Gallery), 1942 (Pierre Matisse Gallery, invitation card), 1942 (View, also catalogue of exhibited works at Pierre Matisse Gallery), 1946 (Pierre Matisse Gallery, connected with the Yves Tanguy par André Breton publication; two copies), 1948 (Copley Gallery, Los Angeles, catalogue and invitation card), 1950 (Pierre Matisse Gallery, catalogue and invitation card), 1953 (Galleria dell'Obelisco, Rome; Galleria del Naviglio, Milan). Installation shots: Pierre Matisse Gallery 1945; Carnegie Institute, 1949; Galerie Rive Gauche, Paris, 1955; others unidentified. Color reproduction of Minotaure by Yves Tanguy and reproduction of a drawing (printed in reverse). Original artwork removed and place in original art box See also Exhibitions: Recent Paintings, Pierre Matisse Gallery (1942 April 21–May 9)
- 36.02 Kay Sage Tanguy estate, personal papers: Portfolio, blue‐black spine, titled "Photos—Toiles, undated
Poster of Yves Tanguy—Victor Brauner exhibition, Cahier d'Art, Paris, 1947. Six original drawings by Kay Sage Tanguy; Two cut‐out drawings (plus one, bright colors). Two drawings plus drawings of two alphabetical letters (J–A) by Yves Tanguy. Illustrated letter and dedicated drawing by Matta (five pages), drawings by Gordon Oslow‐Ford, Pajarito, one signed E.B. (Eugene Berman?). Engraving by K. Seligman. All originals stored in original art box
- 37.01 Kay Sage Tanguy estate, personal papers: Scrapbook, 1939 December–1943
Clippings relating to Yves Tanguy exhibitions, some invitations cards and catalogues. Articles about or mentioning Yves Tanguy, Surrealism or people connected to it (extensive clippings on the opening of Art of this Century). Some articles on subjects of interest. Pierre Matisse Gallery exhibitions catalogues or cards: Paintings, Gouaches, Drawings (1939 December); Group show (1940 February 2–27); (Landmarks in Modern Art group show (1940 December 30–1941 Jan 25); Small Pictures by French Painters group show (1941 April 15–May 3); French Modern Paintings group show (1941 October 7–November 1); Recent Paintings (1942 April 21 to May 9); Small exhibition during Alexander Calder's Constellations (1943 May 18–June 5); Watercolors and Drawings(1943 October 5–23).
- 37.02 Kay Sage Tanguy estate, personal papers: Scrapbook, 1944–1946
Clippings relating to Yves Tanguy exhibitions, some invitations cards and catalogues. Articles mentioning or about Yves Tanguy, Surrealism or people connected to it. Some articles on subjects of interest. Pierre Matisse Gallery exhibitions catalogues or cards: Ivory Black in Modern Painting group show (1944 March 21–April 15); Homage to the Salon d'Automne 1944, Salon de la Libération group show (1944 December 9–30); Paintings (1945 May 8–June 2); Pictures Under Five Hundred (1945 December 11–31); Paintings, Gouaches, Drawings group show (1946 March 12–30); First Showing group show (1946 October 10–November 2).
- 38.01 Kay Sage Tanguy estate, personal papers: Scrapbook, 1947–1949
Clippings relating to Yves Tanguy exhibitions, some invitations cards and catalogues. Articles mentioning or about Yves Tanguy, Surrealism or people connected to it. Some articles on subjects of interest. Signed poster for "L'Antitête" by T. Tzara illustrated by M. Ernst, Y. Tanguy and J. Miró, January 1950. Also page with poetry "The Stone Man—Variation on a theme for Yves Tanguy," Fontaine l'Abbe, 1948.Pierre Matisse Gallery exhibitions catalogues or cards: Paintings group show (1948 June 8–July 2; Summer Exhibition: Paintings, Gouaches, Drawings, Sculptures group show (1949 May 23–June 18). See also Writings, various authors, "IV—Pierre Vive..."
- 38.02 Kay Sage Tanguy estate, personal papers: Scrapbook, 1950–1951
Clippings relating to Yves Tanguy exhibitions, some invitations cards and catalogues. Articles mentioning or about Yves Tanguy, Surrealism or people connected to it. Some articles on subjects of interest. Pierre Matisse Gallery exhibitions catalogues or cards: Exhibition of Paintings, Gouaches, and Drawings (1950 April 4 to 22); Contemporary Art—Painting and Sculpture group show (1950 June 1–30); Selections group show (1950 October 30–November 30); Spring Exhibition group show (1951 May 3–June 30).
- 39.01 Kay Sage Tanguy estate, personal papers: Scrapbook, 1952–1955
Clippings relating to Yves Tanguy exhibitions, some invitations cards and catalogues. Articles mentioning or about Yves Tanguy, Surrealism or people connected to it. Some articles on subjects of interest.
- 39.02 Kay Sage Tanguy estate, personal papers: Scrapbook, three ringed, 1955
Press clippings, mostly photocopies, of reviews of the exhibition at Museum of Modern Art: Yves Tanguy (1955 September 8–October 30). Press releases for the exhibition and for the volume on Yves Tanguy by J.T. Soby. Also text of an interview to James Thrall Soby on Yves Tanguy. Two black‐and‐white installation shots. Additional group of photocopies of review from Museum of Modern Art.
- 39.03 Kay Sage Tanguy estate, personal papers: Scrapbook, 1955 September–1958 January
- Subseries: Tàpies, Antoni, 1923–
- 40.01 1960–1966
One letter, from Gaspar, Barcelona, with descriptions of four Tàpies works. Two announcements of Stockholm 1966 exhibition. Two small black‐and‐white photographs
- Subseries: Urban, Riva
- Subseries: Viallat, Claude, 1936–
- 40.03 Exhibitions: Paintings, 1973–1975, Pierre Matisse Gallery (1976 March 16–April 2), 1976
Correspondence with dealer and client, price lists of Viallat works; export and shipping papers. Artist's biography, two copies typescript of catalogue text. Announcement and advertisement for Pierre Matisse Gallery exhibition. Catalogue is poster; reverse black‐and‐white offset photo of painting on poster. Two copies of Artists review Art, review clippings. Announcement of exhibition in Nice, with swatch of painted fabric stitched on.
- Subseries: Zao, Wou‐ki, 1920–
- 40.04 Correspondence, 1967, 1979
1967, one letter from artist, and catalogue of his exhibition at Galerie de France, Paris, 1967. 1979 correspondence, shipping papers, et cetera re two Zao paintings from Paris to New York for Pierre Matisse Gallery exhibition; artist's listing of prices for each canvas size. 1967 letter is photocopy, original is in letter box Many other original Zao letters in these files
- 40.05 Correspondence, 1980 January–April
Correspondence between Pierre Matisse, Maria‐Gaetana Matisse and the Zaos, generally re upcoming Pierre Matisse Gallery exhibition, payments to Zao through Swiss bank. Copy of letter from Samuel M. Kootz to Zaos, and Kootz's letter to Pierre Matisse with list of owners of Zao paintings and copies. Artist's lists of names and addresses, with copies.
- 40.06 Correspondence, 1980 May–December
- 40.07 Correspondence, 1981–1982
Account statements, price lists, payments to Swiss banks, correspondence artist, Pierre Matisse, Maria‐Gaetana Matisse and others; copies of forms re loans from Pierre Matisse Gallery, shipping papers, schedule of Zao exhibition Japan.
- 40.08 Correspondence, 1983
Correspondence and forms, Galerie de France and Pierre Matisse Gallery re return of loans to Japan. September/October postcard, clippings, re artist and wife in China and exhibition there. Correspondence and papers with shipper re disappeared painting. Some Pierre Boudreau correspondence.
- 40.09 Correspondence, 1984
Further correspondence, forms, re disappeared painting and eventual insurance payment; correspondence, artist, Pierre Matisse and Maria‐Gaetana Matisse. Clippings, invitations, three snapshots.
- 40.10 Correspondence, 1985
- 40.11 Correspondence, 1987
- 40.12 Correspondence, 1988–1989, 1991
- 40.13 Exhibitions: Paintings and Drawings, 1976–1980, Pierre Matisse Gallery (1980 November 6–23), 1980
Lists, price lists, slips and cards "sold", "reserved", names of clients. Nine 5 x 7 inch black‐and‐white photos of paintings, identified by artist reverse. See also album of installation shots
- 40.14 Exhibitions: Paintings, 1980–1985, Pierre Matisse Gallery (1986 May 6–31), 1986
Correspondence, including artist's listing of names and addresses, ostensibly for invitations to exhibition, statement of account, papers re payment to artist.
- 40.15 Exhibitions: Paintings, 1980–1985, Pierre Matisse Gallery (1986 May 6–31), 1986
Lists, typescripts of catalogue introduction in French and English translation and printer's galleys of same, artist's biography, list of past exhibitions, clipping reviews of Pierre Matisse Gallery exhibition, tear sheets of Pierre Matisse Gallery ads and color separations for same. 11 5 x 7 inch photos of exhibition in file. See also album of installation shots
- 40.16 Publicity, 1980s and undated
Photocopies of two (books? catalogues?), one unidentified of 40 pages, another (Leymarie) of 43 pages, with F. Marquet card attached. Photocopies of 1988 press clippings, et cetera, in acetate sleeves, bound.
- 40.17 Publicity, undated
Miscellaneous clippings, advertisements, tear sheets, announcements, catalogues, et cetera.
- Subseries: Artists' manuscript letters
- Series: Clients
-
This series is arranged alphabetically by the client's last name. Files include correspondence, account records, loan and exhibition information, biographical material, some publicity, Pierre Matisse authentications and valuations for estate and insurance purposes. Notable clients include Dr. Albert Barnes (1931–1987), Mr. and Mrs. Sidney Brody (1951–1989), Walter M. Chrysler, Jr. (1935–1961), Ernest Hemingway (1934–1983), Joseph Hirshhorn (1944–1981), Wright S. Ludington (1935–1976), Joseph Pulitzer, Jr. (1936–1988), Norton Simon (1956–1981), and James Thrall Soby (1932–1979).
Although Pierre Matisse's clients ranged geographically from Europe to Mexico to Japan, the majority of them resided in the United States, and numbered among the country's most influential. Many of them had close ties to major art institutions, to whom they were generous.
See also the Administration series: Indexes of sales for clients' card files which include varying information concerning acquisitions made through the gallery.
Selected financial files dating from 1980 to the end will be restricted as follows until 2020.
- Subseries: "A"
- 111.01 1960–1969
Exchange of letters with various individuals, such as inquiries regarding works of art, photographs, catalogues, restoration, et cetera. Purchases and loans from Pierre Matisse Gallery, authentications and valuations by Pierre Matisse. Contains three small black‐and‐white photographs of Picassos, one color photograph of Rouault, and clippings (Edward Albee).
- 111.02 1970–1979
Exchanges of letters (some correspondents the same as the other "A" folders): Inquiries re art and artists, catalogues, photographs, et cetera. Pierre Matisse Gallery sales to clients, including invoices, provenance, shipping papers. Works to Pierre Matisse Gallery on consignment, Matisse valuations, et cetera. Photocopy of Sotheby's catalogue (July 1, 1975) cover and page of Riopelle item. Color snapshot of Riopelle painting in sale above.
- 111.03 R 1980–1989
Some correspondents same as in other "A" folders. Inquiries re art and artists, thanks from clients for catalogues. Pierre Matisse valuations, sales, et cetera.
- Subseries: Aberbach, Joachim Jean
- 111.04 1958–1969, 1985
Correspondence re works of art acquired by Aberbach and his brother, Julian, sometimes paid over period of time. Periodic Pierre Matisse valuations. 1959 purchase Giacometti Femme Léonie. 1960 purchase of Giacometti Le Chat, Brauner painting, and Giacometti Le Chien 8 of 8 casts. 1968 purchase of Dubuffet, Portrait Joe Bousquet au lit.
- Subseries: Abrams, Harry N.
- Subseries: Acheson, George and Helen
- 111.06 1939, 1941, 1950–1969
Photocopy of 1939 letter from Henri Matisse to George Acheson re finances. 1941 invoice to George Acheson for two paintings. 1951–1958, five pieces, includes Pierre Matisse's appraisal of works in Acheson collection. 1961–1969 correspondence between Pierre and Patricia Matisse and Helen Acheson, personal and re loans from the Acheson collection. Includes letters of request from institutions for loans, et cetera. Pierre Matisse's valuations for insurance purposes. The works acquired by the Achesons from Pierre Matisse are Henri Matisse's Reclining Nude and Derain's The Coral Necklace (in 1941); Tellem Big Animal (1960), and Butler bronze "#2" (1962, other information is unclear). The handwritten letter from Henri Matisse to George Acheson, dated September 29, 1939 was once moved to the Henri Matisse correspondence files (archivist note of January 1, 1994)
- 111.07 1970–1979
Correspondence between Pierre, Patricia, and Maria‐Gaetana Matisse and Helen Acheson, personal and business. Requests from various institutions for loans from Helen Acheson's collection, purchases made by Helen Acheson from Pierre Matisse Gallery, and the handling of sales of works from Acheson's collection by Pierre Matisse Gallery. Pierre Matisse and Eugene Thaw valuations for Helen Acheson's insurance and papers re same. 1976 request from the Museum of Modern Art to Pierre Matisse for values of Helen Acheson's works at the Museum. Papers and receipt from Jackie Monnier for Maria‐Gaetana Matisse's deliver of jewelry from the Helen Acheson estate. Four black‐and‐white glossy photos and one color transparency of works of art. Undated lists and notes. Unused sheer and envelope of Helen Acheson's personal stationery. Helen Acheson purchased Dubuffet Femme aux bras croises from Pierre Matisse Gallery in 1971. Pierre Matisse Gallery also sold Prendergast Women on a Beach in 1972.
- Subseries: Acoca, Anne Hawkes and Miguel
- 111.08 R 1965–1982, undated
- Subseries: Adler, Thomas
- 111.09 1941–1966
1944 purchase of Matta painting. Strong interest in Miró. December 16, 1944 purchase of Miró Farmer's Meal. February 15, 1947 invoice for Dubuffet Scorieuse. March 25, 1964 missive re loan of Miró Farmer's Meal. One letter in French
- Subseries: Adler family (Siegfried, Mario, Siegfried)
- 111.10 1951–1977
1951–1956 correspondence including cables because of slowness of airmail with Siegfried Adler, São Paulo, Brazil, re his purchases of works from Pierre Matisse Gallery; friendly bargaining. 1960 correspondence with Mario Adler, São Paulo, referring to "my late father;" valuations from Pierre Matisse. 1967–1971 correspondence with Siegfried Adler, Lugano, apparently a dealer. Offers works of which Pierre Matisse purchases Miró La Course de Taureaux, 1925 oil on canvas (23⅝ x 36¼ inches), signed and dated?. 1977 inquiry from Mario Adler. Three snapshot negatives, two small color prints. Siegfried Adler purchases: Henri Matisse Rumanian Blouse, 1938 oil on canvas (21½ x 18¼ inches) in 1951; Miró La chanson du bleu de la lune à verte robe aux etincelles jaunes, 1952 (5½ x 9¼ inches) in 1953; Miró Payson catalan inquiet par le passage d'un vol d'oiseau, 1953 oil on canvas (36¼ x 28⅝ inches) in 1954; Rouault Rigelboche in 1954.
- Subseries: Aga Khan, Sadruddin, Prince, 1933–
- 111.11 R 1983–1985
Correspondence with Aga Khan and his secretariat re his purchase of two Setsuko gouaches and a Diego Giacometti table (console) Soleil couchant. Invoices, shipping papers. August 1984–1985 correspondence between Maria‐Gaetana Matisse and Paola Ghiringhelli re book as gift for Aga Khan. Undated dinner invitation to Pierre Matisse and map to Aga Khan's Swiss castle.
- Subseries: Agnelli, Giovanni, 1921–2003
- 111.12 R Correspondence, 1973–1986
Correspondence related to the acquisition of Nude in Profile by Balthus. Invoice, moving instructions, receipts. 1985 letters addressing some restoration problems of the same painting. Clippings of articles on Marella and Gianni Agnelli.
- Subseries: Agoos, Herbert M. (Boston, Allied Kid Co.)
- Subseries: Alsdorf, James W. (James William), 1913– (Cory Corporation, Chicago)
- 111.14 1953–1962
Correspondence re works apparently acquired from other sources, Miró Signs & Graphics and Modigliani Raimonde, and many from Pierre Matisse Gallery. In 1953 the Alsdorfs send Cory coffeemaker to the Matisses, a second one in 1955. Alsdorf purchases included: Two Giacometti drawings in 1954 (wants more); lengthy negotiations in 1956 re exchange of Giacometti new cast (Pierre Matisse has made) or Man Falling for Alsdorf Giacometti painting Atelier, oil (23½ x 18½ inches), 1951, signed and dated, lower right. Finally reached agreement. In 1957, James W. Alsdorf wants more Giacomettis, another exchange for Standing Woman. The following year, Pierre Matisse sends price list of works in Alberto Giacometti exhibition. In 1962, James W. Alsdorf sends photos of his 25 Giacomettis for reproduction in his "definitive work."
- Subseries: Loring Andrews Co., Inc. (Cincinnati, Ohio)
- 111.15 1933, 1940
1933 Pierre Matisse Gallery report of sales made during last visit to Cincinnati [Andrews jewelers, silversmiths]. 1940, arrangements re exhibition at Andrews store, because of Alexina Matisse's Cincinnati origins, to benefit Friends of France, including the loans of 37 pictures from Pierre Matisse Gallery (Alexina in charge), admission fees, commissions, shipping, advertising and publicity, social events. April 22, 1940 letter from Alexina to her mother re admittance fees. Receipts for sales, commission payments. Exhibition checklist. Clippings from Cincinnati papers (including photographs of Alexina Matisse).
- Subseries: Annenberg family
- 111.16 1962
Pierre Matisse Gallery letters to Mrs. Moses Louis Annenberg [Sarah], New York and Palm Beach, and Mrs. Walter H. Annenberg [Lee/Lenore], Wynnewood, Pa., re purchase of an unnamed Giacometti sculpture being sent to Mr. Walter Annenberg. Map of routes to Annenberg Wynnewood residence. Handwritten notes. Clippings from 1991 re Walter Annenberg's gift of his collection to the Metropolitan Museum of Art.
- Subseries: Antheil, George, 1900–1959 and Böske
- 111.17 1937–1940
Correspondence re opening of Siegel‐Antheil Galleries, Hollywood, with the Antheils' requests for exhibitions from Pierre Matisse Gallery, of which Pierre Matisse sent a Miró/Calder show, as well as much encouragement. March 15, 1938 notice of bankruptcy of Yvonne Eleanor Siegel, owner of Siegel‐Antheil Galleries, which meant its closing. May 1940 inquiry from Boske Antheil re Pierre Matisse selling works from private collection. Handwritten price list.
- Subseries: Appel, Sheldon
- 111.18 R 1984–1985
Correspondence between Pierre Matisse and client re latter's purchase of Modigliani Jeanne Hebuterne à la cloche from Eugene V. Thaw through Pierre Matisse Gallery, payment made in three installments, copies of provenance from Thaw. Correspondence between Pierre Matisse and E.P. Lee of Frenkel & Co., Inc. re insurance values on Appel collection. Two copies of schedule.
- Subseries: Arenberg, Albert L. and Milton K.
- Subseries: Arensberg, Walter, 1878–1954 (Los Angeles, Hollywood)
- 111.20 1933–1941, 1951, 1986–1987
April 1933, Pierre Matisse approaches Arensberg, on advice from Maurice Sachs re Masson paintings, and sends examples on approval. Also bringing other Pierre Matisse Gallery artists and works to Arensberg's attention, with transparencies. Later correspondence deals with Negro sculpture of which the Arensbergs had a small collection. Pierre Matisse continues to try to interest Arensberg in Pierre Matisse Gallery works. Mention of Howard Putzel, then Hollywood dealer, re works originally from Pierre Matisse Gallery and then sold to Arensberg through Putzel, and 1951 reference to latter's death. Pierre Matisse letter of September 27, 1951 lists the works Arensberg acquired from Pierre Matisse Gallery, either directly or through Stendahl and Putzel. 1986–1987 correspondence with Arensberg scholar Naomi Sawelson‐Gorse. Inquiries and replies re relationship of Arensbergs and Pierre Matisse Gallery for thesis.
- Subseries: Ascher, Ernest (Paris)
- 111.21 1931–1946
Ascher, dealer in modern art and antiquities, ethnographic pieces. November 31, 1938, inquiries from Pierre Matisse re New Zealand jade and Mexican, South American jade and gold, photos price list, information from Ascher. February 1941, Ernest Ascher from Sanary (Var), urgent need of visa to travel to New York, where he is sure he (and Pierre Matisse) can do business, extreme difficulties of situation, mention of Dr. Barnes, Otto Kahn, Ratton, for help. June 1941, Pierre Matisse sends money via Thomas Cook and Son for Ascher's travel, but the latter cannot get a visa, about which Cook and Matisse correspond. September 1941 missive from Chicago attorney for Ascher re Pierre Matisse's sponsoring of Ascher with State Department, Pierre Matisse cannot take on another. To June 1946 correspondence between Pierre Matisse and Cook trying to get a refund of the money he had deposited, Pierre Matisse's and Ascher's relatives in Long Island City, Matisse and Ascher after latter's return to Paris in 1945 and Ascher's hopes to help Matisse get his money back from Lyons.
- Subseries: Audra, Pierre (Montreuil, France)
- 111.22 1968–1969
Audra and Pierre Matisse had known each other when young men in Nice, where Audra's parents were neighbors of Henri Matisse. In 1917, Henri Matisse had given Audra père a small painting of a head of a young woman, oil on wood, done during his student days in Gustave Moreau's classes, which he inscribed and added the 1917 date of gift. Audra asks Pierre Matisse if he will sell the painting as it will be easier for the Audra heirs to divide the money. Pierre Matisse purchases the painting, through Berggruen in Paris. As a souvenir of thanks, Audra sends a postcard that Henri Matisse had sent his father, and two small notes from Renoir. Pierre Matisse expresses his thanks. Three color slides and two black‐and‐white photos of Henri Matisse painting. Two letters signed by Renoir, 1919. Henri Matisse postcard (showing maquette of Barnes mural to be files with the Henri Matisse material
- Subseries: Ault, Lee
- 111.23 1937–1939
October 22, 1937 missive from Pierre Matisse re money Ault has lent to buy paintings which, when sold, would give Ault 25% of the gross profit. Financial arrangements continue re various artists, periodic reports from Pierre Matisse Gallery, sales to Lee Ault. Undated, handwritten price list. Typed five page list of works of art with provenance of each, various artists.
- 111.24 1940–1949
April 2, 1940, Pierre Matisse makes and offer of four paintings at special prices to have immediate cash because he may be recalled to French armed forces. June 1941, Pierre Matisse takes Rouault The Judge from Lee Ault on consignment to sell. Letters from and to Mrs. Ault (Dotty, Cincinnati). Lee Ault in American Field Service, et cetera, November 1942 through at least 1944. September 1, 1944 reference to Pierre Matisse and Calder parting ways. March 8, 1948, Lee Ault at Quadrangle Press, New York. November 1948, Pierre Matisse writes re Miró book Lee Ault (and Oliver Brooks?) plan to publish; Pierre Matisse gave up his idea of producing one.
- 111.25 1954–1955, 1961, 1975
Miscellaneous transactions. Handwritten list. Auction catalogue, Kende Galleries New York, 23 April 1951, Lee Ault and others.
- Subseries: Auproux, Nina
- 111.26 Auproux, Nina, 1932–1945
Auproux apparently handles some Pierre Matisse affairs in Paris during the time he was in the U.S., reference to Bernheim‐Jeune, de Chirico, "chez Gold/M.Blot," Mrs. Maitland, "les petits Perls," sends Pierre Matisse photos, reports on his apartment. January/February 1938 problems re Balthus. He wishes to postpone exhibition, does not wish to release paintings, then all is well. Describes opening of Surrealist exhibition Wildenstein, including Breton "à les cheveaux de plus en plus longs et ondulés." 1939, Balthus and problem getting Wuthering Heights drawings, Noailles, et cetera; wartime experiences. 1940, sees Ratton and Brancusi, Pierre Loeb difficulties, severe winter. Miró, Paris. Pierre Matisse's brothers with her husband in armed forces. August/September, writes from Marseille, then Vauxcluse, ill, asks for tee, coffee, cigarettes. 1944 still Vauxcluse, following letters after Liberation, still no soap, meat, sugar, et cetera. Her husband going to Tunis to work (architect). Final letter dated February 1946 from Tunis.
- Subseries: Avedon, Richard
- 111.27 R 1981–1987
Correspondence between Pierre Matisse and Avedon staff re Marino Marini sculptures, on of which Pierre Matisse Gallery took on consignment, with out success. When returned, piece was found to be damaged. Photocopied papers from Sotheby's sale of Marini Cavaliere. Five black‐and‐white photos and four transparencies of Marini bronzes.
- Subseries: Azcárraga Milmo, Emilio and Paula [Cussi]
- 111.28 R 1981–1985
Correspondence re possible Miró restoration, Balthus loan (from client), Lam and Calder acquisitions. November 1982 price lists (typed and handwritten) of Henri Matisse and Giacometti sculptures "cast during lifetime of artist." January 24, 1984, Maria‐Gaetana Matisse re Miró death. June 1985, Dubuffet painting from client to Pierre Matisse Gallery on consignment and for sale. Ten black‐and‐white condition snapshots of Miró painting before restoration. Photocopies of photograph of Calder Tower, and photocopy of Pierre Matisse sketches of its parts.
- 111.29 R 1986–1991
February 7, 1986, Pierre Matisse Gallery sale of and payment for Dubuffet Deux personnage dans un paysage. November 1986, Pierre Matisse Gallery purchase for account of P.C. Arts of Gris Bouillotte et Bol, and restoration reports. April 1987, client purchase of two Setsuko drawings. November 1987 price list of Matta works, with photocopies of photographs; client purchase of Matta Girl Crying. June 1988, Pierre Matisse Gallery missive re Rouan paintings valuation and shipping, et cetera. February 1990 correspondence, photocopied Pierre Matisse Gallery installation shots, et cetera, to Robert Littman, Mexico City, re Henri Matisse. November 1991 re Maria‐Gaetana Matisse purchase at auction of Malcolm Morley S.S. France for P.C. Art, Ltd. Los Angeles. Color snapshots of Azcarraga house and of Rouan painting. Clippings, tear sheet, black‐and‐white photos of Centro Cultural...
- Subseries: "B"
- 111.30 Babcock to Barbee, 1960–1969
Correspondence with various clients. Invoices. Correspondence re payment, requests for authentication, insurance values, et cetera. Cables. Shipping papers.
- 111.31 Barnes to Berger, 1960–1969
Correspondence with various clients. Invoices. Correspondence re payment, requests for authentication, insurance values, et cetera. Cables. Shipping papers.
- 111.32 Berger to Budworth, 1960–1969
Correspondence with various clients. Invoices. Correspondence re payment, requests for authentication, insurance values, et cetera. Cables. Shipping papers.
- 111.33 Bluds to Booz, 1960–1969
Correspondence with various clients. Invoices. Correspondence re payment, requests for authentication, insurance values, et cetera.
- 111.34 Borman to Brown, 1960–1969
Correspondence with various clients. Invoices. Correspondence re payment, requests for authentication, insurance values, et cetera. Shipping papers.
- 111.35 Borman to Brown, 1960–1969
Correspondence with various clients. Invoices. Correspondence re payment, requests for authentication, insurance values, et cetera.
- 111.36 Bakalar to Beaulieu, 1970–1979
Correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains 23 black‐and‐white photographs of Ward Bennett collection, clipping on Luigi Barzini. Some correspondence in French
- 111.37 Belmont to Breton, 1970–1979
Correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Request for research information. Magazine article on Breton and Brancusi.
- 111.38 Broad to Burnham, 1970–1979
Correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Correspondence with Mr. Broido, president of Franklin Mint, re purchase of Chagall gouache and reproduction rights thereof.
- 111.39 R Babcock to Bird, 1980–1989
Correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains obituary clipping for David Bird, obituary of Luigi Barzini and magazine article, one color photograph and one Ektachrome (Beaumont).
- 111.40 R Bjorkegren to Blatas, 1980–1989
Correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains clipping on Blatas. Some correspondence in French
- 111.41 R Bollt to Burke, 1980–1989
Correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains news clipping and magazine article on Eli Broad.
- 111.42 R 1990
- Subseries: Baer, Werner
- 111.43 1959–1962
March 25, 1959 missive from Pierre Matisse re Giacometti, Butler and Marini. List of Giacometti sculpture with prices. Some correspondence in French
- Subseries: Baker, Richard Brown
- 111.44 1960–1962
May 11, 1960 re purchase of a Saura oil. August 30, 1960 request from Richard Baker Brown for statement of his account and his purchases. Press release concerning exhibition of Baker collection at Walker Art Center dated March 12 [no year].
- Subseries: Band, Charles S.
- 111.45 1956–1959
Correspondence between Pierre Matisse and Charles S. Band re Riopelle paintings. Correspondence with City of Montreal Parks Department re shipment of painting to Band after close of exhibition. Numerous piece of undated correspondence from Band. Cables. Some correspondence in French
- Subseries: Bareiss, Walter
- 111.46 R 1956–1985
1956 letter of receipt for payment of Balthus Le Salon and Matisse and Giacometti bronze drawing. February 2, 1957 missive from Pierre Matisse re Giacometti bronzes and price of Balthus The Room. June 25, 1958 missive from Walter Bareiss re difference in prices quoted by Pierre Matisse and noted on the invoice. February 14, 1959 quotes from Pierre Matisse on Butler pieces. 1973 receipt for Miró drawings. 1978 correspondence with Bareiss and Elizabeth McAndrew re sale of MacIver Naples Aquarium to benefit the "Save Venice" fund. October 21, 1983 request from Pierre Matisse to check on cast number of Giacometti bronze due to a discrepancy in the edition numbers. November 9, Bareiss writes that he traded the Giacometti to Sidney Janis. May 15, 1985, value on Saura.
- Subseries: Barish, Keith
- 111.47 1971
April 27, 1971 receipt for payment. July 29, 1971 receipt for return of Dubuffet to the gallery. Shipping receipts. Cables. Some correspondence in French
- Subseries: Barnes, Albert C. (Albert Coombs), 1872–1951
- 112.01 1931–1939
1931, Barnes working on Henri Matisse book. Pierre Matisse helpful with information (paintings in Moscow) and photos. Pierre Matisse provided information on three Henri Matisse works: Grand Intérieur à Nice, Collioure, 1907, and Etretat. February 10, 1932, Barnes purchases Etretat. May 1932, Pierre Matisse in financial straits, offers paintings at cost, Barnes not interested. May 1933, Barnes re broker meeting Henri Matisse at New York pier to get murals to Philadelphia, then Henri Matisse being ill at Foundation. January 1934, Barnes purchases Henri Matisse Nu aux poissons rouge. Pierre Matisse re devaluation of the dollar. May 1938, Barnes purchases Miró pastel, Woman Surrounded by Birds. May 1939, Barnes purchases two unnamed Mirós. Throughout, Barnes invitations to the Matisses to visit Foundation, attend concerts, supper, et cetera. Prices are given for all purchases.
- 112.02 1940–1949
January 29, 1940, Pierre Matisse is back from Europe, its "stifling atmosphere." March 13, 1940, Pierre Matisse has received Henri Matisse's La Desserte, 1897, reproduced in Barnes book. April 1940, Barnes bringing Charles Laughton to Pierre Matisse Gallery. Barnes purchases Henri Matisse Femme au bouquet. September 1940, Pierre Matisse writes of news form Europe and various mutual friends. February 1941, Barnes sends sympathy for Henri Matisse's poor health. Pierre Matisse buying small farm in New Jersey, circa 60 miles from New York City. March 1941 missive re Barnes and Alexander Woollcott. April 1942 re series of three Saturday Evening Post articles "The Terrible–Tempered Dr. Barnes." Some correspondence intervening years to 1948 correspondence and much material re controversy between Barnes and Philadelphia Museum re latter's Henri Matisse exhibition. April 1948, Barnes purchases Henri Matisse Intérieur corail, 1947. Prices of purchases give, throughout. See also copies of articles in Publicity folder
- 112.03 1952–1987
April 1952, Pierre Matisse re reproductions for book on Henri Matisse portraits. 1960s–1970s, very few letters, usually De Mazia re reproduction rights, et cetera and Pierre Matisse's requests for permission for friends' visits to the Barnes Foundation. April 1985–1987 correspondence with Howard Greenfield re his biography of Albert C. Barnes (he purchased a Riopelle) and Pierre Matisse thanks for copy.
- 112.04 Publicity, various
Printed material describing Barnes Foundation, policies, arrangements for visits, er cetera. Printed material re Dr. Barnes's controversy with Philadelphia Museum (1938). Three copies of three Saturday Evening Post article series, "The Terrible‐Tempered Dr. Barnes" by Carl W. McCardle (March 28, April 4 and 11, 1942 [missing March 21]). Miscellaneous clippings.
- Subseries: Barr, Alfred Hamilton, 1902–1981
- 112.05 1964, 1976, 1979, 1981, 1987
Newspapers clippings, magazine articles, et cetera about Alfred Barr. Obituaries. Obituary of Margaret Barr. Memorial tribute booklet. ARTnews magazine article, "The Museum of Modern Art at 50."
- 112.06 1974–1975, 1977, 1981–1982, 1988
Correspondence between Pierre Matisse and Mrs. Alfred Barr re sales of Tanguy Les Amoureaux, 1929, jointly to Gene [Eugene] Thaw and Pierre Matisse. Copies and draft copies of contract, correspondence between Pierre Matisse and Thaw and Pierre Matisse and attorney Ralph Colin. Questions of conservation and condition of painting. Letters re payment, et cetera. Provenance of painting. Receipt for painting. Signed agreements. 1977, copies of correspondence from Sybil Kantore (1981) re dissertation on Alfred Barr. Correspondence with Mrs. Barr re chronology of Alfred Barr and the Museum of Modern Art. See also Museums and art institutions, United States: New York: Museum of Modern Art; Museums and art institutions, United States: New York: Museum of Modern Art, Alfred Barr, 1931–1956
- Subseries: Bartlett, Frederic Clay
- 112.07 1936–1943
March 9, 1936 statement with list of de Chirico paintings and prices. Correspondence re pictures sent on approval. May 18, 1942 telegram from Frederic Clay Bartlett, Sr. re approval of Tamayo for Museum's purposes.
- Subseries: Bartlett, Clay, 1907–1955
- 112.08 1936–1953
1936 cables and correspondence re purchase of Braque. 1943 re Pierre Matisse's wish to purchase Bartlett's Matisse for a client. October 14, 1943, Bartlett cables acceptance of cash offer. April 5, 1948, current value of Braque painting. September 21, 1951 receipt for Gris painting to be sold by Pierre Matisse. 1952, re possibility of Bartlett selling Braque painting. December 16, 1952, Pierre Matisse sends check for sale of Gris. May 2, 1953, Pierre Matisse sending check for sale of Braque.
- Subseries: Bartos, Armand P.
- 112.09 1949–1956
January 2, 1952 invoice for Miró painting Baigneuse. February 3, 1954 re authenticity of African sculpture sold to Mrs. Bartos. May 23, 1956, list of paintings in Bartos collection.
- Subseries: Belenius, Kent
- 112.10 1974–1975
Correspondence re sale of Matta. Shipping papers, bank drafts. July 11, 1975 from Belenius re Riopelle painting with Pierre Matisse Gallery provenance. Two black‐and‐white photographs: Giacometti and Riopelle.
- Subseries: Bergman, Edwin
- 112.11 1960–1984
April 27, 1962 invoice for Matta oil. 1967 re purchase of Miró. 1972 re purchase of Mason. February 24, 1972 from Pierre Matisse re proposed deal for Matta, Giacomettis. 1982 purchase of Dubuffet. Shipping receipts. Seven black‐and‐white photographs.
- Subseries: Benenson, Charles B.
- 112.12 1959–1976
1959 payment for Miró. 1961, sending invoice for Riopelle painting. September 29, 1969 evaluation of Ipousteguy sculpture. May 12, 1976, re purchase of Miró sculpture. Shipping receipt.
- Subseries: Berliner, Alexander
- 112.13 1958–1965
February 1, 1958 memo for Miró, Lam, Dubuffet. Correspondence re payment. May 20, 1961 invoice for purchase of paintings by Dubuffet, Saura, Riopelle.
- Subseries: Bernier, Rosamond
- 112.14 1972–1973, 1978–1979, 1987
February 4, 1972 receipt for payment of half‐share in Tanguy gouache. June 18, 1973 notice of payment to Bernier for sale of Giacometti drawing. Correspondence with Galerie de l'Ile de France re Giacometti drawing. December 8, 1978, Bernier sends check to purchase Pierre Matisse share of Giacometti drawing (with black‐and‐white photograph). March 14, 1987 list of slides requested from Pierre Matisse Gallery.
- 112.15 1974–1975, 1978, 1980, 1982–1983, 1985–1988
Newspaper clippings, magazine articles, et cetera on Rosamond Bernier. Miscellaneous invitations to lectures, schedule of lectures.
- Subseries: Bernoulli, Christoph, b. 1897 (Basel)
- 112.16 1939–1940
Correspondence, cables, shipping, customs and insurance papers, re Pierre Matisse Gallery purchase of Henri Matisse's La desserte.
- Subseries: Bilotti, Carlo F.
- 112.17 1971–1975
Correspondence, invoices, receipts, shipping papers, conservator's report and condition photographs, all re works of art from Pierre Matisse Gallery or, in one case, a painting to Pierre Matisse Gallery on consignment. Contains three black‐and‐white glossy photographs. Artists: De Chirico, Miró, Henri Matisse, Tanguy, Chagall, Sam Francis
- 112.18 1975–1979
Correspondence, invoices (sometimes unpaid over several years), shipping papers, re works of art on approval, on consignment to Pierre Matisse Gallery, purchased, lent, reproduced. Artists: Sam Francis, Miró, Chagall, Matta, Giacometti, Marini, Balthus
- 112.19 R 1980–1984
Correspondence, invoices, receipts, shipping papers, largely Maria‐Gaetana Matisse, re acquisitions, exchanges, et cetera. Pierre Matisse Gallery certificates of authentication. Contains two black‐and‐white photos, one color transparency. Artists: Chagall, Miró, Henri Matisse, Dubuffet, Tanguy, de Chirico, Giacometti, Riopelle, et cetera
- 112.20 R 1985–1989
Correspondence, invoices, receipts, shipping papers re acquisitions, exchanges, et cetera (largely Maria‐Gaetana Matisse), request from Tina Filotti for Pierre Matisse Gallery donation of work of art for Hewitt School Benefit. Obituary of Lisa Bilotti, daughter, age 20.
- 112.21 R 1990–1991
- Subseries: Bisset, Joseph, Mr. and Mrs.
- 112.22 1940–1965
Correspondence generally regarding acquisitions, including Pierre Matisse letters to interest clients in particular works, and making special arrangements about works on approval, payment, framing, et cetera. Pierre Matisse valuations. Artists: Chagall, Modigliani, Dubuffet, Henri Matisse, Miró, Picasso, Dufy, et cetera
- Subseries: Bliss, Robert Woods, 1875–1962
- 112.23 1936, 1938–1940, 1943, 1948, 1962
- Subseries: Block, Joseph
- 112.24 1952–1955
Correspondence regarding works of art sent on approval, purchased or returned, and a loan. Artists: MacIver, Dubuffet, Miró, Riopelle
- Subseries: Block, Leigh B., 1905–
- 112.25 1944–1949
Correspondence regarding works of art sent on approval, purchased by clients, or sometimes returned. Pierre Matisse sends provenance and history of most works, and goes out of his way to acquire paintings by artists in which clients express interest, including Henri Matisse. Shipping papers, et cetera. March 1948, Pierre Matisse visits Block's apartment in Chicago, sends red roses to Mrs. Block afterward. Includes undated, unidentified tear sheet of article re Block's apartment. Artists: Derain, Henri Matisse, Miró, Picasso, Degas, Rouault
- 112.26 1951–1959
Continuing, very friendly correspondence re works of art not only in relation to Block's own collection but to the Art Institute of Chicago also, Leigh being chairman of the board and Mary on it. Another connection: February 1951 Pierre Matisse writes enthusiastically about a major Chagall which apparently Mrs. Block suggested the Brodys would like to know about (Mrs. Sidney Brody was Mary Lasker Block's sister). The initial letter in the Brody correspondence concerns the Chagall, which the Brodys bought. Pierre Matisse continues to bring works to the Blocks' attention, many are sent on approval, he borrows back for Pierre Matisse Gallery exhibitions, et cetera. Artists: Henri Matisse, Miró, Giacometti, Derain, Naum Gabo, Dufy, Vlaminck, Marini, Dubuffet, Léger
- 112.27 1960–1969
Correspondence, shipping papers, et cetera, re works sent on approval, purchased, lent, et cetera, including Art Institute acquisitions. Artists: Miró, Picasso (rug), Butler, Riopelle, Giacometti (table), et cetera
- 112.28 1970–1979
Correspondence, shipping papers, invoices, receipts re works of art, Block and Art Institute of Chicago collections, some exchanges. Artists: Miró, Henri Matisse, Giacometti, Balthus, et cetera
- 112.29 R 1983–1986
Few letters between Pierre Matisse and Leigh B. Block (now Santa Barbara, California), then correspondence with IRS re Block audit after wife's death Artists: Miró, Picasso, Giacometti
- Subseries: De Bloe, Serge (Bruxelles)
- 112.30 1961–1970
1961: Letters, invoices, shipping instructions related to the sale of Cuadro 80 by Millares. Letters and cables related to works of art by Dubuffet, Riopelle, Miró offered to Pierre Matisse Gallery. 1970: Letters, cables, shipping receipts related to the acquisition of a painting by Riopelle from Ms. Betty Barman and with Mr. de Bloe mediation. Photograph of a work by Riopelle and one by Dubuffet. Ektachrome of a work by Tobey.
- Subseries: Bloedel, Prentice, 1900–1996
- 112.31 Correspondence, 1956–1967
Letters related to works of art, all by Loren MacIver except for a work by André Dunoyer de Segonzac, being bought from Pierre Matisse Gallery or lent to it for exhibition. Folder with a list of paintings by MacIver in the Bloedel collection, some photographs of works by her and catalogue of the 1956 exhibition at Pierre Matisse Gallery.
- Subseries: Bradley, Margaret and Harry L.
- 112.32 R Correspondence, 1951–1984
Letters, cables, invoices, receipts generally regarding acquisitions by the client. Requests at various times (1959, 1962, 1965, 1968, 1973, 1981, 1984) of evaluations of works in the Bradley collection purchased from Pierre Matisse Gallery. 1965 clipping of Mr. Bradley's obituary. 1968 letter from Pierre Matisse introducing the work of Raymond Mason. Artists: Utrillo, Miró, Léger, Matisse, Marini, Giacometti, Butler, Riopelle, Calliyannis, MacIver, Stubbing, Etrog, Chagall
- Subseries: Braverman, A. Martin
- 112.33 1960–1972
Shipping papers. 1960, re purchase of Butler bronzes. Correspondence re outline for base for Giacometti bronze. 1961–1962 purchase of Butler bronze. 1963, re damage to patina of Giacometti bronze. Shipping papers for shipment of bronze to Pierre Matisse Gallery. February 19, 1963, Pierre Matisse answer re bronze. April 5, 1963, Pierre Matisse missive re current value of bronze. August 11, 1967, current value from Pierre Matisse on Giacometti Bust of Diego. 1968 correspondence re purchase of Butler bronze. June 14, 1969, updated evaluations on three Butler bronzes and one Giacometti. August 1, 1969, insurance value on Butler Girl on a Wheel. May 17, 1971, updated insurance values on Braverman collection. Copy of outline on newspaper filed in archival sleeve at back
- Subseries: Bright, David E.
- 112.34 1958–1959
Correspondence, October 1958–January 1959, concerns confusion re shipment and return of two Miró paintings on approval to client, not purchased. November 25, 1959, David E. Bright purchase of Riopelle.
- 112.35 1960–1962
Correspondence re works of art purchased by client, by Miró, De Stael (Pissarro exchanged by client as partial payment). November 1961 request from Los Angeles County Museum of Art for information on Bright collection for exhibition and catalogue. December 1961–January 1962 re Giacomettis. March 1962, re Rivera.
- 112.36 1963
- 112.37 1964
Correspondence re works of art bought by client from Pierre Matisse Gallery. January–May, re conservation of Miró Formes animées, client's concern for value and Pierre Matisse's responsibility. Painting returned to New York, restored by S.J. Fishburne. Report in file. Correspondence re Butler and Giacometti sculptures.
- 112.38 1967–1968
Correspondence between Pierre Matisse and Frank Perls, Hollywood, re works of art from Mrs. Dolly Bright's collection, being sold by Perls and Pierre Matisse Gallery.
- Subseries: Bright [Carter], Dolly
- 112.39 1971–1979
- 112.40 R 1980–1989
Correspondence between Pierre Matisse Gallery and Mrs. Bright‐Carter's secretary re valuations. Clipping of David Edward Bright obituary, April 1965, 57 years old. Three black‐and‐white glossies, one transparency.
- Subseries: Brody, Sidney, Mr. and Mrs. (Los Angeles)
- 112.41 1951–1952
February 29, 1951 Pierre Matisse to Mrs. Brody re shipment on approval of Chagall painting The Circus of 1926, which Brodys purchased. Subsequent correspondence through 1952 covers Pierre Matisse's attempts to interest clients in other works, without success. Artists: Miró, Giacometti, Vlaminck, Derain, Dufy
- 112.42 1953–1954
Correspondence further re Dufy oil, Pierre Matisse's purchase of it, shipment to Brodys on approval, their final decision against it and return to Pierre Matisse Gallery. March 24, 1953 appears to be first mention of the "tile, designed by your father," and correspondence continues about the arrangement, including involvement of Alfred Frankfurter in early plan, and Pierre Matisse's desire not to have the Brodys mention it to anyone, including Frank Perls. Price and payment plans outlined by Pierre Matisse. Contract between Henri Matisse and Brodys regarding maquette and tile is dated August 28, 1953. Details of transaction given in subsequent correspondence, September 28, 1954 Pierre Matisse explains delay in starting work on ceramic. Works by Rouault, Riopelle, Laurencin, Giacometti were sent on approval and/or sold to Brodys. Mention of Dufy's death, March 24, 1953. See also Henri and Pierre Matisse and Matisse Family: Henri Matisse: Commissions
- 112.43 1955–1958
Correspondence, shipping papers, et cetera, further re Henri Matisse ceramic, including letter of May 11, 1955 with "Marche a suivre pour la pose et mise en place du tableau le gerbe" in two pages, from Marguerite Duthuit. Correspondence of 1957–1958 generally Pierre Matisse appraisals of Brodys' works. Photo of packing and crate with apparently one piece of ceramic. See also Henri and Pierre Matisse and Matisse Family: Henri Matisse: Commissions
- 112.44 1964–1975
Correspondence and papers re University of California, Los Angeles Arts Council, re Reg Butler Musée Imaginaire as well as Henri Matisse, Miró. Pierre Matisse appraisals; reference to tenth anniversary of LACMA [Los Angeles County Museum of Art], 1975. Names: Frank Perls
- 112.45 R 1981–1989
Copy of letter dated September 17, 1981 from Mrs. Brody to Marguerite Duthuit asking for particulars regarding small repairs needed on the Henri Matisse ceramic. Correspondence re Butler, et cetera, and appraisals.
- Subseries: Brown, John Nicholas, 1900–1979
- 112.46 Correspondence, 1931–1935, 1979
Correspondence between Pierre Matisse and John N. Brown. March 23, 1931 letter from Pierre Matisse and introducing himself and announcing his departure from the Valentine Gallery. Letters re works for sale: Matisse, Maillol, pre‐Columbian. Correspondence re proposed exhibition of Matisse at Rhode Island School of Design. October 11, 1979 copy of obituary.
- Subseries: Bunshaft, Gordon, 1909–1990
- 112.47 1954–1969
Correspondence regarding acquisitions from Pierre Matisse Gallery. Pierre Matisse's annual valuations of Bunshaft collection. Letter from Gordon Bunshaft of July 1960 re Giacometti's failure to produce sculpture ideas for Chase Bank Plaza. Letters re social events, Bunshafts' travels, et cetera. Five color snapshots of Giacometti sculpture on Bunshaft's property (Easthampton?) Artists: Giacometti, Dubuffet, Miró, Corbu, Modigliani
- 112.48 1970–1979
Correspondence, bills, payments re Bunshaft acquisitions from Pierre Matisse Gallery, Pierre Matisse evaluations. 1973–1976 exchanges of letters among Bunshaft, his accountant, three dealers, Art Dealers Association of America, Inc., re disallowing of appraisal of a Bunshaft Giacometti by IRS. Invitation to dinner at Museum of Modern Art (November 5, 1979) honoring Bunshaft.
- 112.49 R 1981–1990
Few copies of Pierre Matisse valuations, et cetera, and his congratulations on Bunshaft (and Oscar Niemeyer) receiving Pritzker prize, 1988. Card re Bunshaft Memorial Tribute at Museum of Modern Art (September 19, 1990).
- 112.50 Various dates
- Subseries: Buol, Ruth
- 112.51 Correspondence, 1962, 1966
Correspondence between Pierre Matisse and Mrs. Buol re arrangement for sale of her sculpture by Giacometti Place to Pierre Matisse for one of his clients. Correspondence re payment arrangements, shipping arrangements, er cetera. Correspondence from Peter Selz, University of California Art Museum re Mrs. Buol's desire to have her Giacometti plaster head of 1928 cast in bronze. Small photograph attached.
- Subseries: Burden, William A. M. (William Armistead Moale), 1906–1984
- 112.52 R 1939, 1942–1943, 1945, 1947, 1951–1954, 1956–1957, 1962–1964, 1975, 1981, 1985
Correspondence between Pierre Matisse and Mrs. William Burden re various pictures such as Miró, Matisse. Correspondence with Mr. Burden re various pieces of artwork, Giacometti (Man Pointing). Request to see MacIver's Paris. Re sale of Giacometti Homme qui Marche. Requests for photographs of works in the Burden collection. Telegrams. Letters to Mr. Burden from Pierre Matisse Gallery. Requests for the loan of various paintings, such as MacIver's Albi. Requests for insurance values. Copy of Mrs. William A. M. Burden, Senior's [Florence Vanderbilt Twombly's] obituary.
- Subseries: Bürgi, Sandro, 1904–
- Subseries: "C"
- 113.01 Cage to Cluett, 1960–1969
Correspondence re works of art offered, acquired, or returned either to or from clients, re conservation, Pierre Matisse valuations, invoices. July 9, 1963 re remodeling of gallery and December 22, 1969 mention of Matisses' new home (Caproni).
- 113.02 Cohen to Corcera, 1960–1969
- 113.03 Costanzo to Cutting, 1960–1969
- 113.04 Cage to Cowles, 1970–1988
Clients: Croce Rossa, Cage, Calderone, Cameo, Caplain, Cartier, Cartwright, Chanin, Caston, Chase Manhattan Bank, Chase, Charnoff, Chi‐Chi Ming, Christensen, Cohen, Commercial Office Supply, Cook Cowart, Cowles, Chickering. Artists: Manzu, Matta, Matisse, Butler, Millares, Chagall, MacIver, Rouan, Viallat, Miró, Dubuffet, Riopelle, Marini
- 113.05 R Cam to Chas, 1988–1990
Clients: Campbell, Canter‐Rothschild, Caplain, Cartwright, Cates, Cato, Chase‐Manhattan. Tanguy, Picasso, Matisse, Miró, Millares, Zao Wou‐ki, Giacometti, Lam, Marini
- 113.06 R Chud to Cran, 1980–1990
Clients: Chudnoff, Church, Clark, Coch, Cohen, Conant, Conarck, Cook, Curtis, Cranston Artists: Mason, Roszak, Matisse, Miró, Dubuffet, Balthus, Lam
- 113.07 R 1990–1991
- Subseries: Campbell, Arthur Bradley
- 113.08 Correspondence, 1943–1945, 1947, 1949, 1951, 1953
Correspondence, cables, p0ostcards, shipping receipts. Correspondence re various purchases including Matisse (with Gris and Léger taken in part payment). Correspondence re purchase of Derain, Modigliani.
- Subseries: Cantor, Joseph
- 113.09 1951–1959
May–June 1951 correspondence re damage and restoration of Giacometti Three Men Walking, casts 2 and 4. February 1952, re client purchase of Dubuffet Carnation Sanguine, oil. 1958–1959 re Lam paintings.
- 113.10 1960–1969
September–November 1960 re Lam exhibition at Notre Dame University. March 1962–November 1963, re client's purchase and loan of Balthus Le bouquet de roses dur la fênetre. May 1964, Saura Cantamina. 1965 and 1969, Pierre Matisse Gallery valuations.
- 113.11 1970–1979
- 113.12 R Foundation, 1982–1983
Correspondence with Katheryn Simmons (formerly Mrs. Joseph Cantor), consultant to Joseph Cantor Foundation, re valuations. Catalogue of Wifredo Lam exhibition at University of Notre Dame, January 1961. Two color transparencies of Lam paintings.
- Subseries: Chapman, Gilbert W., Mrs.
- 113.12 Correspondence, 1936–1937, 1940–1946, 1951–1954, 1956–1958, 1962, 1974
Correspondence between Pierre Matisse and Mrs. Chapman re possible purchases (including Matisse Grand Interieur. Correspondence with Alice Roullier re same. Request for loan of Mrs. Chapman's Matisse painting for exhibition in Paris, 1937. Requests for values of paintings. Two black‐and‐white photographs in file. Shipping receipts, telegrams. Catalogue of sale of Mrs. Chapman's collection at Phillips in 1981. Mrs. Chapman is the former Mrs. Charles Goodspeed of Chicago; she was President of the Arts Club of Chicago
- Subseries: Charlton, Maryette
- 113.14 R Correspondence, 1965–1970, 1972, 1974–1977, 1981–1983, 1985–1987
Correspondence between Mrs. Charlton, Pierre and Patricia Matisse. Mostly personal, some correspondence relating to her purchase of MacIver's Halloween. Correspondence re requests for use of Mrs. Charlton's photographs of Loren MacIver.
- Subseries: Chisholm, Hugh, 1913–1972
- 113.15 1943–1968
Correspondence re works by Miró, Giacometti, Tanguy. May 5, 1949 re Yves and Kay Sage Tanguy. January 10, 1956 missive from Pierre Matisse re Tanguy affairs being in order, he can sell pictures. Pierre Matisse valuation on Yves Tanguy drawing and other works. Mention Mrs. Millicant Rogers and Paul Ramos.
- Subseries: Chrysler, Walter P. (Walter Percy), 1909–1988
- 113.16 1935–1939
Correspondence re following artists and works of art on dates given. 1935, Gris and Miró Chrysler had recently purchased. 1936, another Miró apparently, and Gleizes. 1937, Picasso Mother and Child, de Chirico Le Voyage émouvant. May 1937, Pierre Matisse missive re Henri Matisse La danse. October 1937, Pierre Matisse suggests Chrysler see Henri Matisse Les demoiselles à la Rivière at Mme Guillaume's, Pierre Matisse "worked with him on it." Also re Calder mobile, Picasso Femme aux poires. January 1939, Pierre Matisse makes offer on Henri Matisse Dance and Olga, Picasso Nude in Grey and Miró Portrait of the Chauffeur. Chrysler eventually takes them all. March 1939, Pierre Matisse re de Chirico Melancholy of Departure, plus Picassos, Mirós, and Rouaults. Two undated, handwritten price lists.
- 113.17 1940–1961
Correspondence re artists and works of art for dates shown: January 1940, Pierre Matisse re Henri Matisse Dahlias and Picasso collage. March 1940, Pierre Matisse re Van Gogh, Gauguin, Picassos of 1908 and 1914. Lists with provenances. April 1941, Pierre Matisse saw Chrysler collection in Philadelphia. November 1950, Pierre Matisse re Henri Matisse Van Gogh again. June 1954 proposal by Pierre Matisse re exchange of Chrysler paintings, Léger, Mirós and Picasso drawing, for Van Gogh, plus cash. March 1955, proposal accepted. May 1955, Pierre Matisse re Riopelle. December 1955, Pierre Matisse re La Fresnaye Marie Ressort. 1961 re Millares payment overdue. Clipping (portion). Chrysler obituary, September 19, 1988.
- 113.18 Chrysler Collection exhibition, 1962
Miscellaneous clippings, newspaper and magazine articles on an exhibition of the Chrysler collection at the Chrysler Museum, Provincetown, Massachusetts.
- Subseries: Claflin, Agnes Rindge, 1900–1977
- 113.19 Estate, 1977–1978
Photocopy of estate appraisal re estate tax, fifteen pages dated August 8, 1977. Original Pierre Matisse returned May 11, 1978 to Philip Claflin, New Paltz, New York. Correspondence re memorial exhibition and catalogue of exhibition at Vassar Art Gallery, Poughkeepsie, New York (1978 April 30–June 4).
- Subseries: Clark, Stephen Carlton, 1882–1960
- 113.20 1931–1938
March 18, 1931 missive from Pierre Matisse, no longer with the Valentine Gallery, has paintings to show, among them Picasso The Sad Mother from Quinn Collection. January, 1932, re Henri Matisse, Gauguin, Maillol, including the beginnings of arrangements re a Maillol commission that continues to September 1933, when Clark withdrew. Meantime did buy Crouching Nude. Continuing negotiations re Rouaults, Clowns sent on approval. November 1935, Pierre Matisse re de Chirico. January 1937, Pierre Matisse re Henri Matisse's Green Dress. March 1937, Miró Carnaval d'Arlequin to Clark on approval. November 1937 through January 1938, Pierre Matisse strong attempts to sell Rouault.
- 113.21 1940–1958
Clark purchases include Siqueiros The Sob (February 1940), Maillol Mediterranée (October 1948, paid installments), Roszak Skylark (May 1951). November 1950, Pierre Matisse re casts of Maillol Mediterranée, including full list of locations of our bronzes and two stones. 1958 arrangements for Pierre Matisse to borrow Miró Nocturn for publication of Constellations. Clark obituary clipping (September 18, 1960). Client file card.
- Subseries: Clifford, Henry
- 113.22 1933–1935
1933 correspondence re Braque Still Life (purchased by Henry Clifford), de Chirico, Henri Matisse, Rouault, Miró Baigneuse (negotiations). April 1934, Pierre Matisse offers Picasso La Legende de la Source. November 1935, de Chirico exhibition negotiation re painting continue to February 1937.
- 113.23 1940–1953
1940, re de Chirico exhibition, negotiations, also re Mirós, including La Terre labourée. 1942, re Lam, Calder, Esteban Françes. October 1943, Pierre Matisse re Crowninshield sale. November 1945, Clifford purchase of Miró Baigneuse and Chagall Mariée à deux visages (latter returned January 1946). April 1953, Pierre Matisse sells de Chirico Sailors' Barrack for Clifford.
- Subseries: Cohn, Sidney
- 113.24 1968–1977
December 1968 purchase of Saura Cocktail Party. November 1969 and following deal with Pierre Matisse's efforts to develop provenance of Cohn's Henri Matisse Odalesque, which required correspondence with Charles Nilsson and Moderna Museet, Stockholm. Includes mounted photos of six exhibition labels. Pierre Matisse to M. Duthuit re Henri Matisse Le Turban blanc, Cohn purchase in installments (February 1971). Financial negotiations, insurance, valuation throughout. December 1976, Miró Constellations. April 1977, Giacometti Cat and Diego Giacometti tables, lamps. Photos (two 8 x 10, three 5 x 7 inches) and negatives.
- Subseries: Colby, Margaret V. [Mrs. Stoddard Colby]
- Subseries: Colin, Ralph F., 1900–1985
- 113.26 1942–1944, 1950–1959
Correspondence with both Ralph and Georgia (Tallmey) Colin re works of art acquired by them, invoices, receipts, et cetera, including works lent back to Pierre Matisse Gallery for exhibition. Undated letter of thanks to Pierre Matisse from Barcelona for arranging for the Colins to visit the Mirós, and Sr. Prats. Letters apparently regarding settlement of Curt Valentin's estate in 1955, in which Pierre Matisse is willing to take on Butler and Marini. Copies of Pierre Matisse 1959 letters to Belgian collectors and art officials introducing the Colins. 1959 note re Knoedler exhibition of Colin collection (spring 1960). Artists: Rouault, Miró, Henri Matisse, Dubuffet (one from 1950 exhibition, five from 1952), Picasso, Giacometti, Soutine, Riopelle, Butler
- 113.27 1960–1969
Correspondence re works of art acquired from Pierre Matisse Gallery, also re meeting of Art Dealers Association. Letters relating to Pierre Matisse/Dubuffet separation in 1960, 1962 and 1966. Correspondence between Ralph Colin and Pierre Matisse, et al., re Dubuffet lithographs in the Silkeborg Catalogue. Clippings re Pamela Colin's marriage to Lord Harlech (1969), and re Knoedler exhibition of Colins' collection (1960). Artists: Butler, Saura, Riopelle, Henri Matisse, Giacometti, et cetera
- 113.28 R 1970–1989
Correspondence includes mention of authentication from Mme Duthuit on Henri Matisse work. March 23, 1973, Pierre Matisse writes of his inability to reply to friends' letters following Patricia's death, and mentions kind note received from Dubuffet. Pierre Matisse valuations on Mirós. Various notices of Ralph Colin's death March 19, 1985. Letters between Pierre Matisse and Mrs. Colin, 1986 and 1989.
- Subseries: Collectors Guild (New York, N.Y.)
- Subseries: Cook, John A.
- 113.30 R 1957–1987
Correspondence, invoices, receipts, shipping papers, for works of art sent on approval, purchased, exchanged. Also Pierre Matisse valuations. Photocopy of news clipping. Artists: Giacometti, Henri Matisse, Dubuffet (1961, 1966, 1969), Millares, Saura, Butler, Sam Francis, Balthus, Hantaï, Miró, MacIver, Lalanne
- Subseries: Cooley, Paul
- Subseries: Cooper, Douglas, 1911–1984
- 113.32 Correspondence, 1936–1941, 1952–1953, 1982
Correspondence between Pierre Matisse and Douglas Cooper. Receipts for paintings, payment receipts, shipping receipts. Mostly personal correspondence, some about conditions in Europe during the war. Others, observations on the art scene in Europe and abroad. Letter from Cooper on trip to Mexico. Telegrams and cables. Clippings and articles (including obituaries). Correspondence in French, one telegram in German
- Subseries: Copley, William Nelson, 1919–1996, Mr. and Mrs.
- Subseries: Corning Glass Works
- 113.34 1965
Letters, cables, order forms and invoice related to the sale of six lamps by Alberto Giacometti. Some old photocopies are kept between archival paper
- Subseries: Couten, André (Saw S.A.)
- Subseries: Cowles, Gardner and Fleur
- Subseries: Cowles, John, 1898–1983 and Elizabeth Bates (Minneapolis)
- Subseries: Crane, Louise
- 113.38 R 1940, 1956, 1959, 1961–1962, 1968, 1970–1971, 1975, 1978, 1981
Correspondence between Pierre Matisse and Crane re purchases. December 18, 1940, purchases of MacIver to be included in Museum of Modern Art tour. 1956, purchase of MacIvers. 1959, Wisteria by MacIver. 1961, Jonquils by MacIver. 1968, Almond Orchard by MacIver. 1970, Cerisier sous la neige by MacIver. Wood & Coal by MacIver. 1978, Sand Dunes by MacIver. 1981, Paves er Clous by MacIver. Clipping of obituary of Crane's mother [Josephine Porter Boardman, a founder of the Museum of Modern Art]. New York Times article on Lawrence Brinn, Crane's attorney. Shipping receipts. See also client cards
- Subseries: Crowninshield, Frank, 1872–1947
- 113.39 1931–1938, 1943
November 9, 1931, Pierre Matisse writes re opening of gallery, group show opening November 14. March through May 1932, re Crowninshield loan of Pascins for Pierre Matisse Gallery exhibition. 1933 re Dufys on approval to Crowninshield, Crowninshield suggestion re color reproduction of Henri Matisse Barnes mural in Vanity Fair. May through the remainder of correspondence, arrangements for Pierre Matisse Gallery staff and Marguerite Duthuit to identify and catalogue Crowninshield's numerous Henri Matisse lithographs and etchings, many delays, explanations, et cetera. Two copies of list. 1934, further re Dufys, possible reproduction for cover of Vanity Fair, et cetera. 1935, November 15, Pierre Matisse re Peruvian textiles, including two‐page treatise on ancient Peru. 1937 re Matie Laurencin law suit against Paul Rosenberg and Pierre Matisse for payment for reproduction of her painting [Pierre Matisse's] in Vogue. 1943, August 25, Frank Crowninshield re auction of his paintings to be held in October. Clippings.
- Subseries: Culberg, Maurice (Chicago)
- 113.40 1947–1953
Correspondence, invoices, shipping papers. Pierre Matisse letters include copies of the "form letters" he appears to have sent to clients re particular artists and exhibitions. Culberg's first name consistently appears in Pierre Matisse Gallery letters as "Morris," even though "Maurice" is clear from his letters. Culberg purchased Dubuffet Violoniste from Pierre Matisse Gallery first, 1947 Jean Dubuffet exhibition, then subsequently acquired Le Metro, Dialogue in the Country, Menage en gris, outremer et carmine, Tete Diaphane, et cetera. Works by Miró, Giacometti, Chagall, et cetera, were also acquired. A clipping apparently to do with the Art Institute of Chicago, appears in the album of review clippings for 1950s, "Maurice Culberg, Collector," regarding his death in the fall of 1953 at the age of 47, and his generosity to the Art Institute, as well as his friendship with Dubuffet.
- 113.41 Estate, 1953–1955, 1969
Correspondence between Pierre Matisse and Culberg estate lawyers, Mrs. Ruth Culberg (later Mrs. Arthur C. Rosenberg), including arrangements for Pierre Matisse to re‐purchase a number of works of art from Culberg collection. Artists: Giacometti, Dubuffet, Marchand
- Subseries: Cummings, Nathan, 1896–1985
- 113.42 Correspondence, 1934–1982
1934 letter from Pierre Matisse inviting Mr. Cummings to see a Matisse exhibition at Pierre Matisse Gallery. 1954 letters related to Mr. Cummings request to meet Henri Matisse. 1965 letter to Pierre Matisse announcing the purchase of Henri Matisse's Still life with lemons. 1968–1979, various enquiries about artists or works of art. 1980 letters related to Henri Matisse's Nature morte aux pommes and its history. The painting was acquired by Mr. Cummings and reproduced as a holiday greetings card. Copy of the card and reproductions of the painting. News clippings.
- Subseries: Cutting, C. Suydam (Charles Suydam), Mrs.
- Subseries: Cuttoli, Marie
- 113.44 Correspondence, 1931–1953
1935, Pierre Matisse's letter related to Mme Cuttoli desire to make a tapisserie by Henri Matisse. 1939, Mme Cuttoli is lending two paintings for an exhibition at Pierre Matisse Gallery, Interieur Hollandais and Fleurs dans une vase, which she is willing to sell, plus one tapisserie by Miró. 1940, Pierre Matisse cable offering to buy Interieur Hollandais. 1951–1952, Cables and letters related to Miró's Les fleurs which Pierre Matisse eventually acquires. 1953, letters from Lucien Lefebvre‐Foinet referring to shipping and money transactions matters. May 8, 1953, reference to a painting from Mme Cuttoli that should be sent to Pierre Matisse Gallery but cannot be found (also reference to a Matisse papier‐collé and to a conservation problem of a collage by Martin).
- Subseries: "D"
- 113.45 Daniel to Diener, 1960–1969
Miscellaneous correspondence with clients including requests for insurance values, authentications, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Some correspondence in French Some papers fragile
- 113.46 Dobkin to Dupuy, 1960–1969
Miscellaneous correspondence with clients including requests for insurance values, authentications, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains four black‐and‐white photographs and one transparency. Also contains some correspondence that predates 1960 Some correspondence in French
- 113.47 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentications, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains catalogue of works by Lindy Guiness with note. Some correspondence in French
- 113.48 R 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentications, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Research request. Some correspondence in French
- 113.49 R 1991
- Subseries: Dale, Chester, 1883–1962
- 113.50 1932–1955
In 1932 Pierre Matisse offers Dale Matisse drawings. Pierre Matisse invites Dale to see his 1933 Rouault exhibition. In 1955 Dale becomes President of the National Gallery of Art. Artists: Matisse, Rouault
- Subseries: David, E.
- 113.51 1946–1950
David offers two Rouaults to Pierre Matisse (one of them being Les Juges but then says that it was sold to an American collector). Pierre Matisse gets a landscape with a handwritten poem on the back. Pierre Matisse also buys a Gris from David (1946). In 1950 Pierre Matisse buys a Modigliani from David. Artists: Rouault, Gris, Modigliani
- Subseries: Davis, Richard
- 113.52 1948–1980
In 1948 Davis buys Picasso's Deux Femmes and a Miró drawing as well as a Totonac head and Matisse's Dancers. In 1949, Pierre Matisse offers Davis Maillol, Gris, Rouault, Matisse and in 1950 he offers him Matta drawings. In 1951 Pierre Matisse offers Davis Miró's The Farmer's Wife. Letter from Pierre Matisse about the whereabouts of Maillol drawings. Davis buys Man Walking by Giacometti and would like to buy Le Manteau Bleu by Matisse and The Old Musician by Picasso. Davis is Assistant Director of the Minneapolis Institute of Arts and wants to acquire MacIvers for the museum. He wants to buy a large Derain drawing for his own collection (1955). He also buys a Matisse drawing (Seated Figure). In 1958 Pierre Matisse offers Davis a Courbet painting La Source de la Loue for the Minneapolis Institute of Art and Rodin bronzes for his own collection. Artists: Picasso, Miró, Matisse, Maillol, Gris, Rouault, Derain, Courbet, MacIver, Giacometti, Rodin
- Subseries: Deering, J.B.
- 113.53 1943–1973
Pierre Matisse offers Deering Tanguy's Reponse au Rouge but ends up selling it to someone else. Pierre Matisse offers Deering Par les oiseaux... instead, which he buys (photograph enclosed). Deering is co‐founder of United Modern Art in Boston. List of paintings bought by Deering from Pierre Matisse Gallery (1973). Deering is owner of the Stuart Art Gallery in Boston Artists: Dufy, Tanguy, Matta
- Subseries: Delpech, Jean (France)
- Subseries: Deutsch, Richard, Mrs.
- 113.55 Correspondence, 1950–1953, 1957–1958
- Subseries: Dreyfus, Rene
- 113.56 R 1972–1984
In 1972, Dreyfus buys Chagall's Mere et Enfant and Le Taureau. Invoice to Dreyfus, dated January 1973, for two Chagalls and two Mirós. Dreyfus buys two more Chagalls: Jour et Nuit and Orphee. In 1977, Dreyfus buys Chagall's L'Ete, les amoureux, Figure a l'ane vert and Bouquet dans l'atelier. In 1978, Dreyfus buys Entre l'hiver et le printemps and L'Ete, les recoltes. In 1979 he buys les amoureux aux fleurs and five more Chagalls. In 1981 he buys Riopelle's Mendou Jazz and in 1983 Chagall's Le violoniste a l'ane jaune. Artists: Chagall, Riopelle, Miró
- Subseries: Drouin, René, 1905–1979
- 113.57 1946–1947
Pierre Matisse inquires whether Drouin has Rouaults for sale. Drouin answers negatively. 1947 cable asking Pierre Matisse to send a Matta. Artists: Rouault, Matta, Dubuffet
- Subseries: Duchamp, Marcel, 1887–1968
- 113.58 1938, 1956–1958, 1976, 1988
March 18, 1938, handwritten missive from Marcel Duchamp to Pierre Matisse. Remainder of contents is miscellaneous correspondence with various writers, including Xenia Cage, Teeny Duchamp, Marie‐Louise Dufrenoy (re Henri Matisse and La Bastide Rouge). Also a photocopy of Museum of Modern Art Mastercard for Duchamp's 1943 Valise. Clippings, party invitation, exhibition announcement.
- Subseries: "E"
- 114.01 Eastman to Einstein, 1960–1969
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contain numerous color photographs (under Einstein, William). Some correspondence in French
- 114.02 Elisofon to Ewing, 1960–1969
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices.
- 114.03 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains correspondence with Marguerite Duthuit re authentication of Matisse drawings. Also black‐and‐white photographs (two) and small color photographs. Some correspondence in French
- 114.04 R 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Extensive correspondence with Stefan Edlis re purchase of Dubuffet, Giacometti and Miró. Correspondence with Brigitte Eitingon re certificate for Chagall (with black‐and‐white photo). Correspondence re Matisse authentication, including copies of correspondence between William Ewald and National Gallery of Art (with slide).
- Subseries: Eaton, John D., Mr. and Mrs.
- 114.05 Correspondence, 1963–1964, 1967–1968
Correspondence between Pierre Matisse and Mr. and Mrs. Eaton. Canadian customs invoice for Miró Femme et fillette devant le soleil. April 1967, re damage to Miró painting. May 1967, Pierre Matisse correspondence with Toronto Art Gallery re same. Condition report from Daniel Goldreyer, Ltd. re Miró. Correspondence re shipment of two small Giacometti bronzes, drawing by Matisse, gouache by Chagall, glass by Diego [probably Giacometti] taken as credit for Miró painting.
- Subseries: Eisendrath, William
- 114.06 1935–1957
Pierre Matisse would like to have Maillol's Sanguine Nude from Eisendrath for an exhibition (1935). In 1950, Pierre Matisse writes a long letter promoting Dubuffet to Eisendrath. In 1952, Eisendrath would like two Matisse drawings included in the Matisse catalogue raisonné. Evaluation by Pierre Matisse of a Lipschitz sculpture. Mrs. Eisendrath would like to have a Pueblo mask on approval (1957). Eisendrath was exhibition chairman of the Chicago Arts Club and later Assistant Director of the Arts Museum of the City of St. Louis Artists: Maillol, Dubuffet, Matisse, Lipschitz See also correspondence in Museums and art institutions, United States
- Subseries: Eisenstein, Julian Calvert, 1921– and Elizabeth L.
- Subseries: Éluard, Paul, 1895–1952
- 114.08 1935–1936
Letters from Éluard and André Breton asking to see Pierre Matisse. Éluard owns de Chiricos which Pierre Matisse is interested in. Correspondence with Gala Dalí about the de Chirico exhibition making reference to Julien Levi. Pierre Matisse gets offers for de Chirico he had exhibited and which belongs to Éluard. Legal name of Paul Éluard is Eugene Grindel. Cables back and forth between Éluard and Pierre Matisse about prices for the de Chiricos. A 1936 letter from Pierre Matisse to Éluard asks whether he would give Pierre Matisse several Dalí paintings to sell. Artists: De Chirico, Dalí
- Subseries: "F"
- 114.09 1931–1969
Clients: Falck, Feigl, Ferry, Feuer, Finch, Fink, Fischback, Fisch, Fisher, Fleischman, Florsheim, Forman, Foshay, Franc, Frankel, Franklin, Frash, Freccia, Freeman, Freedman, Fiedman, Fidanque. Artists: Marini, Matisse, Butler, Riopelle, Miró, Masson, Diego Giacometti, Etrog, Rivera, Saura, MacIver, Millares, Riopelle, Dubuffet, Lam, Marchand, Francis, Alberto Giacometti
- 114.10 1969–1977
Clients: Falk, Federer, Feilchenfeldt, Feldstein, Feuer, Field, Finn, Fidanque, Fischback, Fishman, Fiterman, Fitzsimmons, Fleming, Foster, Fradkoff, Frank, Franzka, Freed, Freedberg, Freeman, Frenkel, Fridenbergs, Freund. Artists: Miró, Chagall, Matisse, Butler, Diego Giacometti, Marini, MacIver, Dubuffet, de Chirico, Balthus
- 114.11 R 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, including invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Correspondence with Fairmount Park Art Association re purchase of Miró Lunar Bird (Oiseau Lunaire). File also contains magazine article on Daniel Filipacchi. Some correspondence dates from the 1970s Some correspondence in French
- 114.12 R 1993
- Subseries: Feldman, Charles K., 1904–1968
- Subseries: Fischbach, Mrs. Harry
- 114.14 Correspondence, 1961
- Subseries: Fish, Elliot Gould
- 114.15 Correspondence, 1951–1955, 1957–1960, 1964–1965
- Subseries: Flechtheim, Alfred
- 114.16 1929–1931, 1933, 1936
- Subseries: Ford, Edsel, 1893–1943
- 114.17 1936–1938
Correspondence, invoices, et cetera, re ethnographic objects sent on approval, acquired, returned, et cetera. Original connection between Pierre Matisse and Edsel B. Ford made through Walter Dorwin Teague, Detroit collector Tannahill also appears.
- Subseries: Ford, Henry, 1917–1987, Mr. and Mrs.
- Subseries: Ford, Walter B. Mrs.
- 114.19 1951–1952, 1962–1963, 1968
Correspondence with client and her assistants re works of art sent on approval, returned or acquired. Pierre Matisse correspondence with Agnes Gorky Phillips, London, regarding Gorky paintings for Mrs. Ford. Pierre Matisse valuations. Artists: Henri Matisse, Miró, Riopelle, Gorky, Dubuffet, Roszak
- Subseries: Fradkin, Samuel, Mr. and Mrs.
- 114.20 Correspondence, 1944, 1957–1960, 1966, 1972
- Subseries: Franzke, Andreas
- 114.21 R 1981–1988
Requests prices on Dubuffet paintings for colleague, own inquiries re Dubuffet drawings. Tells Pierre Matisse of his book on the drawings of Dubuffet, organization of retrospective in Cologne. June 18,1981, Pierre Matisse answers with prices on various Dubuffet works. Correspondence re monograph Franzke is preparing on Dubuffet (requests for photographs, et cetera). Requests for works in exhibition. Questions on Henri Matisse on behalf of Mrs. Franzke. August 18, 1983, from Franzke re acquisition of Dubuffet drawing Paysage prise ein gelee du ciel. Questions re Matisse ceramics for monograph Mrs. Franzke is writing. April 4, 1984, from Pierre Matisse re shipment of Dubuffet drawing. July 6, 1984, Pierre Matisse sends prices of Miró ceramics. December 7, 1984, from Franzke. Museum is still interested in acquiring a Miró ceramic. May 27, 1985, Franzke sends his wife's text on Matisse ceramics (text in German). April 28, 1986, Franzke writing paper on influence of Dubuffet on American artists. Copy of text included in file (text in German). File also contains printed excerpt with color reproductions of Mrs. Franzke's tract on Matisse ceramics (in German), color photographs of Matisse ceramics. Correspondence and other documents in French and German
- Subseries: French Embassy
- 114.22 Correspondence, 1957
- Subseries: Friedman Roy J., Mr. and Mrs.
- 114.23 1949, 1954, 1964–1965, 1967, 1980
- Subseries: Fukushima, Shigetaro and Keiko (Tokyo and Paris)
- 114.24 1931–1955
Through 1936, the correspondence is between Pierre Matisse and both Shigetaro and Keiko Fukushima, in Paris and Tokyo, regarding works of art from Fukushima collection that Pierre Matisse would try to sell, either in Paris or New York. The paintings were sent from Paris to New York, later to Tokyo; only one appears to have been sold. In 1938, Pierre Matisse writes Fukushima asking if any of the paintings are for sale. In 1941, Matisse writes to a Mr. Tanaka in Tokyo, in an attempt to trace Fukushima paintings, apparently. In 1950s some brief negotiations. Undated price lists and Christmas greetings. See also Dealers and galleries, international: Fujikawa and Kabutoya
- Subseries: Furthman, Jules
- 114.25 Correspondence, 1935–1936
- Subseries: "G"
- 114.26 Gabo to Gordon, 1960–1969
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains part of a New York Times clipping of an obituary for Adam Gimbel and clipping of Goetz obituary. Some correspondence in French
- 114.27 Grady to Guttentag, 1960–1969
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains two small black‐and‐white photographs (Dubuffets). Some correspondence in French File contains some correspondence dating from the 1950s
- 114.28 Gash to Ginter, 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains newspaper clipping on Gaussens, personal invitations. Some correspondence in French
- 114.29 Glass to Gruen, 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains correspondence re works received on approval at Pierre Matisse Gallery (with slide of work), Gonzales. Correspondence with Mme Duthuit re authentication of Matisse works. Newspaper clipping on Julien Green. Some correspondence in French
- 114.30 Grunewald to Guthman, 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains correspondence from 1950s and 1960s under Grunewald, color photographs. Some correspondence in French
- 114.31 R Gage to Givenchy, 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Research requests (Gibson). File also contains black‐and‐white photos (Fondation Gianadda) and brochure. Some correspondence in French
- 114.32 R Glass to Grandchamp, 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains black‐and‐white and color Polaroid photos (Goodman). Some correspondence in French
- 114.33 R Greenberg to Gutner, 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers: invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File also contains news clippings and magazine articles by and about Clement Greenberg. Some correspondence in French
- Subseries: Gaffe, Rene
- 114.34 1936–1967
Gaffe has a large collection of paintings: Modigliani, Chirico, Masson, Ernst, Magritte. Pierre Matisse is interested in the de Chiricos. Correspondence back and forth about prices. Pierre Matisse buys La Fermiere by Miró and Le portrait du chauffeur. Artists: Modigliani, Chirico, Masson, Ernst, Magritte, Miró
- Subseries: Gallagher, Edward Joseph, Jr.
- 114.35 1953–1981
Extensive correspondence between Pierre Matisse and Edward J. Gallagher, Jr. re additions to his collection. The Edward J. Gallagher III Memorial which is being started at various museums including the Baltimore Museum of Art and the Metropolitan Museum of Art, New York City , and the collection of the University of Arizona. December 8, 1953, Pierre Matisse recommends the work of Tanguy. Purchases Temps Egaux by Tanguy. January 2, 1954, Pierre Matisse writes about Riopelle. March 5, 1954, Pierre Matisse writes about May 1955 buys MacIver Au Revoir. June 1955, Pierre Matisse requests loan of MacIver Au Revoir for the Carnegie International. 1956 inquiries about life‐sized Giacometti or Marini figures. February 2, 1956, Pierre Matisse writes about Le Corbusier. January 1957 correspondence re Balthus Figure in Front of Mantel. April 30., 1966, from Pierre Matisse re Giacometti bronzes. May 1966 correspondence re purchase of Miró Female Torso. February 20, 1981 request for information re Giacometti from University of Arizona. Miscellaneous, together in folder, two copies of catalogue from the Baltimore Museum of Art The Edward Joseph Gallagher III Memorial Collection. Eleven small color photographs of various artworks. Two black‐and‐white small photos labelled "Ile de France 1929" and "On Terrace of Negresco Hotel, Nice, France 1925." Artists: Tanguy (Temps Egaux), Miró (Birth of Day, Female Torso), Matisse (Girl with Gold Necklace), MacIver (Au Revoir), Giacometti (Annette VIII)
- Subseries: Garcia, Mario
- 114.36 1967–1979 March
Correspondence with and relating to Mario Garcia. Pierre Matisse received works on consignment from Mario Garcia to be sold for his clients, including Picasso pastel Head of Dora Maar (sold for amount of Daisy Thorel, money paid to Garcia), Tàpies oil Black with two slots, Dubuffet sculpture Cursed Gossip, Giacometti drawing. Correspondence with attorney Robert Broglia re ownership of Dubuffet sculpture. Receipt from owner of sculpture to whom it had been returned by Pierre Matisse Gallery. Some correspondence of a personal nature between Garcia and Patricia Matisse. 1977 correspondence with Duane, Morris & Heckscher re claim of Daisy Thorel against estate of Mario Garcia. Copies and originals of canceled checks made out to Mario Garcia. Copy of affidavit signed by Pierre Matisse re sale of works left on consignment by Garcia. Correspondence re Pierre Matisse's appearance in court as witness.
- Subseries: Gelman, Jacques
- 114.37 R 1948–1989
Extensive correspondence between Pierre Matisse and collector Jacques Gelman. 1948 correspondence re negotiations for Degas painting. November 25, 1948, Gelman cannot accept price. April 2, 1958 invoice from Pierre Matisse Gallery for Tanguy Le Diapason de Satin, Ma Vie Blanche et Noire and Du Vert au Blanc and Miró Two Figures, 1935. November 14, 1963 invoice for Giacometti Annette, 1961 and Head of Diego, 1950. October 24, 1969 letter on Pierre Matisse's personal stationery acknowledging sale to Gelman of Matisse Lorette sur fond noir, 1916. 1972 correspondence between Pierre Matisse, Gelman, and Annette Giacometti re confusion of cast numbers on Giacometti sculpture Head of Diego. November 10, 1976 from Pierre Matisse to Gelman re history of early Miró painting La Pomme de Terre. October 1977 correspondence between Gelman, Pierre Matisse and Maguerite Duthuit re date of Matisse still‐life. October 25, 1979 long letter from Pierre Matisse re sale at Sotheby's of self‐portrait in profile of "artist." Also re Balthus Therese revant which has become available and which Pierre Matisse thinks Gelman should buy. December 15, 1979 Gelman purchases Balthus Therese revant. Subsequent correspondence re shipment, payment, et cetera. June 27, 1984 invoice for the purchase of a Giacometti table. Thursday, July 24, 1986 New York Times obituary of Jacques Gelman. 1988 correspondence with Sabine Rewald of the Metropolitan Museum re questions relating to works in the Gelman collection which have been donated to the Museum. February 25, 1988 letter form Pierre Matisse Gallery to E.V. Thaw & Co. with list of works in Gelman collection presumed to have come through Pierre Matisse Gallery. 1989 further correspondence with Sabine Rewald. Invitation to dinner and opening of Gelman collection at Metropolitan. Article from New York Times from Tuesday, December 12, 1989. Artists: Matisse, Tanguy, Giacometti, Balthus, Miró Some correspondence in French See also collector's cards and invoices
- 114.38 R Loans, 1983–1984
Correspondence re loans of works in the Gelman collection to various museums. March 10, 1983, from Philippe de Montebello of the Metropolitan Museum of Art to Gelmans requesting loan of Balthus The Dream for retrospective in conjunction with Musée National d'Art Moderne, Centre Georges Pompidou. March 18, 1983, from Dominique Bozo of Musée National d'Art Moderne to Gelmans requesting loan of Saison V for François Rouan exhibition. Loan forms. May 17, 1983, to Arts Council of Great Britain re loan of Gelman's Seated Nude and Modele dans l'Atelier by Matisse for their and the Museum of Modern Art's exhibitions. With copies of loan forms. Some correspondence in French
- Subseries: Genauer, Emily, 1910–2002
- 114.39 1957, 1959, 1962, 1964–1965, 1967, 1971, 1973, 1975, 1980
Correspondence between Pierre Matisse and Emily Genauer (Mrs. Frederick Gash). Pierre Matisse writes to Genauer in her capacity as art critic of New York Herald Tribune with announcements of upcoming shows. November 11, 1959 evaluation of Tanguy, Miró, Chagalls. May 16, 1962 evaluation of Rivera. February 1964 note of telephone appraisal. June 17, 1967 insurance values on various works. November 30, 1971 insurance value on Chagall. Request April 2, 1973 from Mr. Frederick Gash for value of Matisse, with small black‐and‐white photo. Correspondence with Frederick Gash re petition against UNESCO. File also contains magazine article by Genauer and one undated piece of correspondence of a personal nature. Artists: Rivera, Saura See also client cards (under Gash, Mrs. Frederick)
- Subseries: Gersh, Beatrice and Philip
- 114.40 Correspondence, 1960–1961, 1968
- Subseries: Gimbel, Bernard, Mrs.
- 114.41 Correspondence, 1951, 1953, 1955, 1963, 1966, 1974
- Subseries: Gold, Alfred, b. 1874
- 114.42 Correspondence, 1925–1937, 1954
Extensive correspondence between Pierre Matisse and Dr. Arthur Gold, dealer from Berlin. Early correspondence (1925) from Pierre Matisse re art market in Paris at the time. Correspondence re sale of various paintings by Pierre Matisse in Paris (10 rue Cesar Franck). April 1930 proposition that Dr. Gold exhibit a small number of paintings in Pierre Matisse's Paris apartment. Also proposes that he use Pierre Matisse's apartment address as his "Paris office address." March 12, 1931 letter from Pierre Matisse to Dr. Gold announcing that he has severed his ties to the Valentine Gallery in New York.
- Subseries: Goldman, Henry, Mrs.
- 114.43 1933–1935, 1947, 1949
March 6, 1934 letter of receipt for payment of Van Gogh and Maillol drawings. October 9, 1935, Pierre Matisse requests the loan of her Van Gogh drawing for exhibition at the Museum of Modern Art. December 21, 1935, Pierre Matisse writes to enclose $500 check for Derain and Rouault pictures. April 2, 1947, Maillol drawing Head of a Girl left on consignment by Mrs. Goldman has been sold. Artists: Maillol, Van Gogh
- Subseries: Goodwin, F.S., Mrs.
- Subseries: Goodwin, John
- Subseries: Goodwin, Philip Lippincott, 1885‐1958
- 114.46 Goodwin, Philip L., 1944, 1951–1953, 1955–1958
Correspondence between Pierre Matisse and Philip L. Goodwin both in Goodwin's role as private client of Pierre Matisse Gallery an also in his role at the Museum of Modern Art (MoMA). November 22, 1944, from Pierre Matisse (with draft copy) re Miró gouaches (to become known as the Constellations series) which were shipped by Mr. Duarte to MoMA. Matisse fells they are his property and is willing to share in the shipping expenses. November 27, 1944, Goodwin has handed Pierre Matisse's letter over to Soby at MoMA. Is interested in Black Vase by Miró and Artigas. Can it be reserved? December 21, 1944 confirmation of purchase of tempera painting. December 27, 1944, Goodwin feels the price of ceramic is too high. June 12, 1951 invoice for MacIver Mosses. December 17, 1952 receipt for Mosses on consignment. January 8, 1953, Goodwin saw Mimosa at Whitney and reserved it. May 3, 1954, from Pierre Matisse acknowledging check for Riopelle Rif. November 19, 1954, Pierre Matisse acknowledges check for MacIver lithograph. December 30, 1957, from Goodwin to Pierre Matisse re loan of Miró Danseuses Acrobates for reproduction in Constellations album by Jacomet. February 27, 1958 confirmation of receipt of Miró to estate of Philip Goodwin. Artists: Riopelle, Calder, MacIver, Miró See also client cards; Administration: Invoices
- Subseries: Goodyear, A. Conger (Anson Conger), 1877–1964
- 115.01 1931–1933, 1935–1936, 1948, 1951,
1953–1954
Correspondence with A. Conger Goodyear re possible purchases. Invoice for Matisse drawing Jeune Marocaine. January 4, 1932 long letter from Pierre Matisse re Matisse The Studio. January 22, 1932, Goodyear suggests Pierre Matisse write to Albright Art Gallery to tell him about painting. July 30, 1932, from Pierre Matisse, re Cinquante Dessins. March 16, 1935 acknowledging receipt of check for Miró paintings. April 1, 1948 invoice for Carrington drawing I Know it will Work. December 28, 1953 request for updated values on Ferren and Carrington.
- Subseries: Goulandris, Basil
- 115.02 R 1968–1970, 1972, 1980–1985
December 17, 1968 invoice for Chagall Les Comediens and Le coq arc‐en‐ciel. February 5, 1969, from Goulandris re payment for paintings (including Miró) with shipping instructions (also possibly Violoniste Bleu by Chagall and Pompon Rouge by Miró). Numerous cables and other letters of instruction re shipment, customs values, et cetera. December 1, 1970, from Pierre Matisse re three Miró works. December 6, 1980, from Pierre Matisse with transparencies of Giacometti's Caroline and Portrait of Yanaihara. February 17, 1981 invoice for same. December 16, 1982 re Rouan painting being purchased by Goulandris for the Musée National d'Art Moderne, Paris. January 16, 1983, copy of letter from Goulandris to Dominique Bozo re same. December 6, 1983, from Pierre Matisse re purchase of Balthus Paysage de Montecalvello and his promise to make it available to Stedelijk Museum in Amsterdam for their exhibition. December 31, 1985, from Pierre Matisse re Matta drawings (with prices). February 14, 1986 acknowledgement of payment for two Miró bronzes and Rouan painting. Artists: Rouan, Miró, Balthus, Giacometti, Chagall Some correspondence in French See also client cards; Administration: Invoices
- Subseries: Graham, John, 1887–1961
- 115.03 1940–1944
December 22, 1940 letter of introduction from John D. Graham and the Primitive Arts Gallery with typed extract from the Comparative History of Art by John D. Graham. October 7, 1940 request to borrow from Pierre Matisse a Miró painting for an abstract painting exhibition. March 14, 1941, Graham requests the return of his three African sculptures. Handwritten list of works dated April 19, 1943. Typed list "To Pierre Matisse Gallery. Objects on Consignment." July 7, 1943 list of African works being held on consignment by Pierre Matisse. April 22, 1944, from Matisse enclosing check for purchase of three pieces.
- Subseries: Granz, Norman, 1918–2001
- 115.04 1961–1965, 1968
May 22, 1961 invoice for two Dubuffet paintings. Shipping papers, receipts. November 13, 1961 invoice for Miró Gran Personnage and Deux Femmes made out to Galerie Verve, Switzerland. Correspondence, invoices, shipping papers relating to purchase of Giacometti bronze Femme Assise by Granz and Saura painting. December 29, 1962 cable from Pierre Matisse to Granz re casting of Giacometti sculpture. February 3, 1964 from Mr. Granz's secretary over question of medium of the Miró Deux Femmes sold to Mr. Granz. March 12, 1964 response from Pierre Matisse indicating that the painting is part oil. April 3, 1964 correspondence from Mr. Granz's attorneys alleging that Pierre Matisse misrepresented the medium of the work sold to him. April 17, 1964, further correspondence from the lawyers. April 23, 1964 response from Pierre Matisse indicating that he did not misrepresent the piece. Piece was ultimately returned to Pierre Matisse and money refunded. April 10, 1968 letter of apology from Mr. Granz for affair of the Miró painting. Artists: Miró, Dubuffet, Le Corbusier, Giacometti See also client card files, invoices
- Subseries: Guggenheim, Peggy, 1898–1979
- 115.05 Correspondence, enquiries, 1941–1944, 1979, 1981
Correspondence related mainly to purchases. 1941, Miró
Femme assise, de Chirico Le doux après midi, Picasso collage. Also mention of Tanguy, Giacometti and Matta purchases. 1942, A. Breton Objet Poem. 1943, Chagall Tree with Yellow Flowers, Tanguy Project pour un nuage, Matta Parole perdu (Omegar). News clippings on Guggenheim and her collection in Venice (1979, 1981, 1991). 1979, 1981 letters of enquiries about Peggy Guggenheim. See also Administration: Invoices: 1931–1947, "A" to "L"
- Subseries: "H"
- 115.06 Heward to Hunt, 1935–1970
Correspondence with Heward, Hirschland, Hoffman‐La Roche, Hoffman, Hofrichter, Hogg, Hokin, Holden, Hollaender, Honig, Hopkins, Hoppenot, Horan, Hiff, Hudson, Hulse, Hunt. Artists: Balthus, Miró, Butler, Chagall, Max Ernst, Giacometti, MacIver, Matta, Marini, Saura, Matisse, Rene Francois, Le Corbusier, Picasso, de Chirico
- 115.07 Haber to Himel, 1956–1969
Correspondence with Halpern, Haber, Halseth, Harriman, Haussamen, Hazan, Heilman, Heineman, Heiss, Hellman, Henry, Hersaint, Hersent, Hess, Hewitt, Heyligers, Hilles, Himel. Artists: Matisse, MacIver, Diego Giacometti, Miró, Martin, Giacometti, Chagall, Tanguy, Max Ernst, Balthus, Mallary, Marini
- 115.08 Haas to Hynes, 1963–1979
Correspondence with Haas, Hess, Habblitz, Hadstadt, Haik, Handerson, Harrington, Harris, Hawes, Heller, Hensel, Hessel, Hillman, Hines, Hollaender, Holmes, Hull, Hume, Humphries, Hynes. Artists: Miró, Matisse, Butler, Riopelle, Tanguy, Calder, Chagall, Monet, Diego Giacometti, MacIver
- 115.09 R Haas to Hughes, 1976–1988
Correspondence with Hass, Hahnloser, Harf, Harris, Halper, Handwerker, Harlap, de Havenon, Hayter, Hechinger, Herling, Hersaint, Harison, Hirschland, Hoffman, Holliday, Holmes, Hooker, Houghton, Howald, Hughers. Artists: Matisse, Butler, Giacometti, Tanguy, Miró, Zao Wou‐ki, Matta, Hayter, Chagall, Setsuko, Gabritschewsky, Modigliani
- 115.10 R 1992
- Subseries: Haas, Elise S., 1893–1990 [Mrs. Walter A.]
- 115.11 1952, 1961–1963, 1969
April 18, 1952 request Woman with Hat in book on portraits by Matisse. February 14, 1961, insurance values for a number of works including Matisse, Picasso and Modigliani. November 17, 1962, re purchase of Butler The Manipulator. January 11, 1963, from Mrs. Haas re Memorial Collection of Sarah and Michael Stein for San Francisco Museum. March 1, 1969 from Pierre Matisse with insurance values for Mrs. Haas's collection. Artists: Butler, Matisse
- Subseries: Haass, Lillian Henkel [Mrs. Julian H.]
- 115.12 1931–1936, 1946
Correspondence between Pierre Matisse and Mrs. Haass re various works for sale including Matisse, Lurçat, Picasso, Maillol, Van Gogh, Segonzac, African art. Mention of Dr. Valentiner and Detroit Institute of Arts. December 10, 1931 invoice for Lurçat Two Figurines. January 14, 1933 acknowledgement of payment for two Maillol drawings.
- Subseries: Hanley, T. Edward
- 115.13 1943–1945, 1948–1951, 1958
Correspondence re various artists including Picasso, Matisse, Maillol. December 31, 1943, from Hanley re purchase of Matisse drawing The Plumed Hat. January 26, 1944, to Pierre Matisse to request loan of same to the Museum of Modern Art. June 24, 1945, from Pierre Matisse confirming purchase of Maillol drawing. May 23, 1950, acknowledgment from Pierre Matisse of check for Dubuffet and Matisse drawings. October 22, 1958, from Pierre Matisse re shipment of Picasso drawing. New York Times obituary of Dr. T. Edward Hanley. Time, June 8, 1970 clipping. Artists: Matisse, Picasso, Maillol, Millet See also client cards; Administration: Invoices
- Subseries: Hanna, L. C. (Leonard Colton), Jr., 1889–1957
- 115.14 1947, 1949–1952, 1954
- Subseries: Harris, Neison
- 115.15 1972–1973
Correspondence, negotiations, agreements, et cetera, between Pierre Matisse and Neison Harris re sale of Matisse Nu sur fond rouge, 1916. Note of consignment of painting from Masterarts Ets., Vaduz. July 15, 1972, official signed offer for painting. August 2, 1972, from Pierre Matisse with history and provenance of painting. August 15, 1972 signed purchase agreement. Cancelled checks, copies of bill of sale.
- Subseries: Harrison and Abramovitz
- Subseries: Harrison, Wallace K. (Wallace Kirkman), 1895–
- 115.17 1938–1939, 1946, 1948
Correspondence between Wallace K. Harrison, architect, and Pierre Matisse re decoration commissioned from Henri Matisse for Nelson Rockefeller. Cables from Pierre Matisse to Henri Matisse re decoration. June 29, 1938, Pierre Matisse asks Harrison for exact dimensions of space, et cetera. December 30, 1938 cable to Pierre Matisse from Nelson Rockefeller expressing his delight in decoration. January 3, 1939 response from Pierre Matisse with information from letter received from his father. Decoration is titled La Poesie. January 11, 1939 invoice from Pierre Matisse to Nelson Rockefeller. December 23, 1946, to Harrison from Pierre Matisse with prices quoted on various Miró, Matisse, and Dubuffet graphics, drawings, and paintings. April 23, 1948 invoice to Harrison for Miró painting and Laurens gouache. Artists: Matisse, Miró, Dubuffet See also client cards; Administration: Invoices; Clients: Rockefeller, Nelson A. (Nelson Aldrich), 1908–1979
- Subseries: Harvey, Anne and Jason
- 115.18 1945–1978
Announcement of an Anne Harvey exhibition (endorsement by André Masson) at the Albert Roullier Gallery in Chicago (1945). An undated typed write‐up on Matisse visiting the Harveys and commenting on Anne's artistic talents. Announcement of an Anne Harvey exhibition in Paris with a preface by Raymond Mason (1961). Press clippings in French papers about an Anne Harvey exhibition (1963). An announcement of a 1971 Anne Harvey exhibition in New York with an endorsement by Sandy Calder. Photographs of Anne Harvey paintings. One photograph of Anne Harvey (?). Article and obituary press clippings about Joseph Delteil. In 1974 Jason Harvey leaves a Mason drawing with Pierre Matisse Gallery to be sold by them and, in 1977, a Calder mobile. Correspondence and account statements about these consignments. Diagrams for the Calder mobile. Jason Harvey is Anne Harvey's brother. Artists: Harvey, Matisse, Masson, Mason, Calder
- Subseries: Haupt, Ira
- 115.19 1951, 1953–1956, 1960–1968, 1977
Correspondence, mostly with Mrs. (Enid A.) Haupt re purchases, insurance evaluations, et cetera. October 23, 1953 invoice for Giacometti City Square. December 14, 1955, sending invoice for Giacometti Chariot. May 15, 1956, Pierre Matisse is sending invoice for Giacometti Large Head Diego II. December 22, 1960, sending invoice for Butler bronze. December 1961, purchases Man Walking by Giacometti. November 16, 1962 invoice for Marini Horse and Rider. November 1962, re purchase of Butler bronze. December 6, 1963 re joint purchase of Giacometti bronze for Mr. Annenberg. April–June 1964 correspondence between Pierre Matisse and Robinson, Silberman, et al. re estate of Ira Haupt. October 16, 1964, insurance evaluation of Giacomettis and Marinis. December 13, 1966 memo for Butler Girl on Wheel and Musée Imaginaire. July 13, 1967, from Pierre Matisse re Balthus Fortune Teller, which Mrs. Haupt admired in the gallery. May 12, 1977, from Pierre Matisse with insurance values. Miscellaneous clippings. Artists: Giacometti, Butler, Marini See also client cards; Administration: Invoices
- Subseries: Hayward, Leland, 1902–1971
- 115.20 1944, 1950, 1952–1953, 1955–1956, 1960, 1963, 1969
March 10, 1944 invoice for two Matisse pastels and Bonnard. June 13, 1944 invoice for Rouault. Handwritten note from Margaret Sullavan. January 21, 1956, re purchase of Giacometti Cat. November 17, 1960 request for insurance valuations on two Giacometti pieces. May 29, 1963 re exchange of Giacometti for Riopelle Pastels. April 3, 1963 list of Mr. Hayward's artworks with values given by Pierre Matisse in conjunction with E.V. Thaw. June 17, 1963 insurance values on Riopelles. March 6, 1969, from Mrs. Hayward (Pamela Churchill) re exchanging Riopelle pastels for something else. Miscellaneous newspaper clippings including obituary for Leland Hayward.
- Subseries: Hazen, Joseph H.
- 115.21 1952–1956, 1961–1962
January 2, 1952, Pierre Matisse enclosing invoice for Vlaminck painting The Fruit Bowl. December 3, 1952 request of loan of The Fruit Bowl by Pierre Matisse for exhibition Still Life and the School of Paris, opening December 9, 1952. December 20, 1955 evaluation of Picasso oil. January 4, 1956 receipt of payment from Léger painting. April 18, 1961, sending invoice for Saura painting Katy. May 13, 1961 receipt for same and for Retrato 112. February 27, 1962, to Mrs. Hazen, her share in purchase of Giacometti bronze for Mr. Annenberg. Artists: Vlaminck, Léger, Saura, Giacometti See also client cards; Administration: Invoices; Clients: Haupt, Ira
- Subseries: Heinz, John, 1938–1991
- 115.22 1954–1955, 1965
Correspondence re Picasso painting (December 10, 1954). Mrs. Heinz not interested. March 4, 1955, payment sent of Miró painting. April 7, 1965, re riopelle painting going on exhibition at Harvard. Artists: Riopelle, Miró See also client cards; Administration: Invoices
- Subseries: Heller, Ben, 1925–
- 115.23 1950–1961, 1966
February 9, 1950, Pierre Matisse expressing enthusiasm for Dubuffet and retrospective. Correspondence re works of art, shipping papers, Pierre Matisse valuations. Copy of Heller's letter to ARTnews protesting review of Pierre Matisse Gallery Miró exhibition, March, 1951. Artists: Dubuffet, Miró, Modigliani, Giacometti, ethnographic pieces
- Subseries: Helm, Hildegard
- 115.24 1932–1946
In the earlier correspondence, Hildegard was Mrs. Buckner A. Wallingford, Jr. Beginning 1941, later letters addressed to her as Mrs. George Helm. Many of Hildegard's (handwritten) letters undated. Correspondence on very friendly basis, re family life as well as works of art, their purchase, framing, moving, care, enjoyment. Artists: Henri Matisse, Tanguy, Miró, Calder, Tamayo, Picasso, Dubuffet, et cetera
- Subseries: Hemingway, Ernest, 1899–1961
- 115.25 Correspondence, 1934–1983
Letters and cables between Hemingway and Pierre Matisse concerning the Quintanilla exhibition at Pierre Matisse Gallery and the handling of his work in the States (Hemingway first introduced the work of Quintanilla to Pierre Matisse). Also Pierre Matisse letter suggesting a petition in order to free Quintanilla from prison. Letters and cables related to the loan of La Ferme by Miró owned by Hemingway. Color photograph of E. Hemingway signed Bouchard. News clippings and article on Mary Hemingway. See also Artists: Quintanilla, Luis, 1895–1978
- Subseries: Hendrie, Marion
- 115.26 1940, 1943–1944, 1950
January 11, 1940, re small Matisse in which Miss Hendrie is interested. January 22, 1940, photos of Matisses sent with exhibition history. Miss Hendrie sends check for Matisse drawing. June 7, 1943, Miss Hendrie requests Matisse still‐life on approval. Miss Hendrie returns the still‐life. April 18, 1944, small Matta being sent. May 5, 1944, Miss Hendrie returns Gris painting. Badly stretched, bad condition, et cetera. Artists: Matisse See also client cards; Administration: Invoices
- Subseries: Hessel, Joseph
- 115.27 1934
October 8, 1934 telegram from Pierre Matisse to send Cézanne watercolor, he has a client. Correspondence re watercolor, December 29, 1934, Pierre Matisse to keep it since he thinks he had a purchaser.
- Subseries: Hill, Patrick, Mrs. (Ginny Carpenter Hill, daughter of Mrs. John Alden Carpenter, Chicago)
- 115.28 1933–1961
Correspondence generally concerning Pierre Matisse's sale of works of art from Mrs. Hill's collection, especially a Rousseau Jungle to the Cleveland Museum, and a Picasso to G. David Thompson. Black‐and‐white photo of Rousseau; copy of November 1949 Bulletin of The Cleveland Museum of Art reproducing detail of Rousseau on cover.
- Subseries: Hillman, Alex
- 115.29 1949–1951, 1954–1957, 1981
Correspondence re purchases of Alexander Hillman and/or Hillman Periodicals. December 14, 1954, sending invoice for Dubuffet and Riopelle. May 8, 1981 correspondence with William P. Miller, consulting curator for Alex Hillman Family Foundation re cast number of Giacometti sculpture Small Head of Diego. Artists: Riopelle, Dubuffet, Miró, Matisse, Giacometti, Butler See also client cards; Administration: Invoices
- Subseries: Hirshhorn, Joseph H. (Olga)
- 115.30 1944, 1946, 1955–1959
February 1946, Pierre Matisse writes Hirshhorn that a great reduction in prices made for Hirshhorn should never be mentioned, and negotiates about prices of frames. April 1957, Pierre Matisse lists nine works purchased by Hirshhorn since previous October. Correspondence, sometimes with A. Lerner, invoices, notes repayments. Three file cards apparently from Pierre Matisse Gallery Client file. Artists: Chagall, Riopelle, Giacometti, Marini, MacIver, Henri Matisse, Butler, Balthus, Roszak, et cetera
- 115.31 1960–1964
Correspondence between Pierre Matisse, Joseph H. Hirshhorn, Abram Lerner, Olga Hirshhorn, and Patricia Matisse re works of art, their provenance, et cetera. Invoices, payments, requests from Lerner for information and replies. Packing and shipping papers. Artists: Generally same as previous, with Saura added
- 115.32 1965–1966
1965 papers entirely re Pierre Matisse valuations. 1966 correspondence re works of art and proposal that Pierre Matisse be named trustee of Joseph H. Hirshhorn Museum. Artists: Daumier (bronze), along with those in previous lists
- 115.33 1966–1969
Correspondence re Hirschhorn acquisitions, exhibitions (i.e. Musées de France Henri Matisse retrospective 1969), foundry arrangements, Pierre Matisse efforts to lower prices for Hirshhorn, invoices, payments. Artists: Millares, Mason, Sam Francis, Dubuffet, along with those previous lists
- 115.34 R 1970–1982
Condition report on a Riopelle and Pierre Matisse explains the artist's technique. Two black‐and‐white glossy photos showing Riopelle condition. Requests for information from Lerner and other Hirshhorn staff members. Pierre Matisse valuations. December 1975, Pierre Matisse suggests Hirshhorn help Loren MacIver in critical situation by buying a group of paintings at special price, and Hirshhorn obliges. Hirshhorn celebrates his 80th birthday 1979. Artists: As before
- 115.35 Death, 1981
Two letters and other material relating to death of Joseph H. Hirshhorn, August 31, 1981 See also files on Hirshhorn donation and Museum; relevant files on Hirshhorn Museum and Sculpture Garden in the Museums and Art Institutions, U.S. series
- 115.36 Undated
Clippings, American Federation of Arts exhibition catalogue (Joseph H. Hirshhorn Collection 1962–1964), brochure on Colloquium The Muses Flee Hitler, 1980.
- Subseries: Hirshhorn, Olga [Mrs. Joseph H.]
- Subseries: Hobby, Oveta Culp, 1905–1995
- 115.38 1944–1953, 1955–1964, 1967, 1970, 1981
Correspondence re various purchases for Mrs. Hobby's personal collection and the collection of the Houston Post, including Modigliani, Picasso (from Gertrude Stein's collection), Matisse, Van Gogh, Degas, Chagall, Miró, Marini, Vlaminck, Léger. January 26, 1955 long letter from Pierre Matisse re various works that would be excellent additions to Mrs. Hobby's collection. Copies of invoices, purchase orders, shipping receipts. Insurance evaluations and appraisals. List of paintings in Mrs. Hobby's collection with market values as of 1958. Correspondence (1967) between Pierre Matisse Gallery, Klaus Perls, and Mrs. Hobby re loan of Mrs. Hobby's two Vlaminck paintings to exhibition at Perls Gallery. Clipping, two black‐and‐white 8 x 10 inch photographs.
- Subseries: Hodes, Barnet, 1900–1980
- 115.39 Correspondence, 1960–1963
- Subseries: Hofer, Philip, 1898–1984
- 115.40 Correspondence, 1932, 1939, 1947, 1950
Miscellaneous correspondence on various subjects. 1939 correspondence re Vollard's books with Rouault illustrations. 1947, re deluxe edition of Arabian Nights with Chagall illustrations being subsidized by Philip Hofer and the Harvard College Library. Proposes that Pierre Matisse handle it. Receipt for purchase of book with Matisse illustrations.
- Subseries: Hokin, Edwin
- 115.41 1951–1952, 1954–1958, 1960–1965, 1968, 1978
Extensive correspondence re purchase of paintings, shipment, et cetera. October 2, 1951 invoice for Miró The Farm Girl, 1917 and Gris Still Life with Open Book, 1926. October 9, 1951, Pierre Matisse requests loan of Farm Girl for exhibition. October 9, 1955 appraisal for Miró and Gris. October 8, 1956 purchase of Marini. May 24, 1957, Léger exchanged for Dufy. February 1958 purchase of Butler and Miró April 18, 1957, appraisal of various works. April 1960 purchase of two Millares paintings and Rivera. March 1961, updated appraisal. 1962 purchase of two Saura drawing‐collages (two black‐and‐white photos enclosed). November 1964 purchase of Dubuffet La garde aux cimes. June 1978 purchase, Giacometti table. Artists: Giacometti, Miró, Picasso, Dubuffet, Rivera, Millares, Saura, Martin, Riopelle, Marini, Butler See also client cards; Administration: Invoices
- Subseries: Holtzman, Harry
- Subseries: Hoppenot, Henri
- 115.43 1944, 1952, 1956–1957, 1962
- Subseries: Horter, Earl, 1880–1940, Mr. and Mrs. (Philadelphia)
- 115.44 1932–1941
1932–1937, much of correspondence is with Eugene John Lewis, Mr. Earl B. Horter's attorney, regarding Pierre Matisse's sale of works from Horter collection, including Picasso, Henri Matisse, Brancusi, and Pierre Matisse's desire to have more on consignment. 1940–1941, Pierre Matisse correspondence with Mrs. Elizabeth Lentz Horter negotiating re sale of other works, and Pierre Matisse's interest in Horter American Indian collection. Undated, legal‐size, three‐page "List of Paintings and Drawings of Mr. Earl Horter's Collection." Pierre Matisse penciled notes (works in the Horter collection apparently), on back of envelope and slip of paper. Papers in this file were photocopied for Inis Howe Shoemaker, curator at Philadelphia Museum re exhibition on Horter in preparation
- Subseries: Huc, Louis
- Subseries: "I"
- 116.01 Igell to Irwin, 1948–1968
Clients: Ingalls, Inslee, Instance, Instituto Caracas, Instituto Mexico, Instituto Judaeo, Institut Francaise d'Amerique Latine, Iolas, Irvington House, Irwin, Isais, Igell, Iseman, Islinger. Artists: Marini, Miró, Dubuffet, Tamayo, Matisse, Chagall, Tanguy, Rouault, Ashanti gold masks
- 116.02 R Ibre to Isles, 1964–1989
Clients: Ibre, Irving Galleries, IRS, Iseman, Isles. Artists: Guillaume, Miró, MacIver, Roszak
- 116.03 Iseman to Isles, 1973–1974
- Subseries: Ide, John Jay, 1891–1962
- Subseries: Inge, William
- 116.05 1958–1962, 1967–1968
November 5, 1958 appraisal of Balthus Colette reading. April 8, 1960 purchase of Matisse drawing. April 9, 1959 purchase of Marini bronze. May 4, 1961 appraisal for Dubuffet, Marini, Matisse. Telegram from Pierre Matisse requesting loan of Giacometti to Venice Biennale. March 25, 1968 purchase of Dubuffet. Artists: Dubuffet, Marini, Léger, Balthus, Matisse, Giacometti See also client cards; Administration: Invoices
- Subseries: Fitch Ingersoll, W., Mr. and Mrs.
- 116.06 1966, 1968–1970, 1975
April 15, 1968, from Pierre Matisse, long letter re authenticity of Miró gouache. 1970, further correspondence re Miró gouache. Slide of Giacometti painting.
- Subseries: Ingersoll, R. Sturgis (Robert Sturgis), b. 1891
- 116.07 1931–1934, 1936–1942, 1944, 1951–1954, 1961, 1963, 1965–1966
Correspondence between Pierre Matisse and R. Sturgis Ingersoll relation to Ingersoll's personal collection and also some correspondence relating to the Philadelphia Museum of Art. December 16, 1931, long letter from Pierre Matisse re Henri Matisse The Studio. May 7, 1934, Pierre Matisse reducing prices on paintings, is Mr. Ingersoll interested in Rouault Two Dancers? October 18, 1936 re purchase of La Tour Rose by de Chirico. Request to borrow it back for exhibition. October 22, 1936 re purchase of Matisse Nu rose. November 9, 1936, re using Ingersoll's name as a reference for John Ferren's application for Guggenheim Fellowship. December 15, 1936, re Matisse for Museum collection (Henri Matisse's opinion). December 1936, re loan of de Chirico. Cable from Pierre Matisse announcing his arrival at R. Sturgis Ingersoll's home with Alexander Calder. November 26, 1940 with prices on various works. June 26, 1941 from Ingersoll re Miró that Pierre Matisse is interested in, done in 1925 with read heart that appears to "beat." July 7, 1941, re Egyptian palette purchase by Mrs. R. Sturgis Ingersoll from Pierre Matisse. Found to be a fake by an expert consulted by R. Stugis Ingersoll. May 10, 1944 evaluation of an early Chagall being donated to the Museum, with black‐and‐white photograph. January 1961 purchase of Butler bronze. March 1965 sale of Etrog bronze to Philadelphia Museum. May 6, 1965 request from Pierre Matisse to loan Riopelle paintings to retrospective in Paris. Artists: Miró, de Chirico, Etrog, Butler See also client cards; Administration: Invoices
- Subseries: Israel, David, Mrs.
- Subseries: Ittleson, Henry
- 116.09 1937–1969
In 1937, Pierre Matisse offers Ittleson a Matisse, a Dufy and a Derain. Ittleson buys the Matisse Fruits and Flowers of Nice and the Dufy. In 1953, Pierre Matisse offers Ittleson a Soutine, Woman in Pink. In 1961, Ittleson buys Giacometti Yanaihara. A 1963 re‐evaluation of the Matisse. In 1966 Ittleson buys a print by Dubuffet L'Accouchement. In 1967, Ittleson buys a Knapp. Artists: Dufy, Matisse, Derain, Soutine, Giacometti, Dubuffet, Knapp
- Subseries: "J"
- 116.10 R Jacobs to Joubert, 1948–1990
Clients: Jacobs, Jacobson, James, Janklow, Jansson, Joblove, Joubert. Artists: Giacometti, Dubuffet, Miró, Masson, Bischoff
- 116.11 Jacobs to Juviler, 1949–1970
Clients: Jackson, Jacobs, Jaffe, Jennings, Johnston, Jones, de Jong, Joy, Judah, Juviler. Artists: Balthus, Giacometti, Butler, Picasso, MacIver, Etrog, Magritte, Millares, Matisse, Miró, Tanguy, Matta, Chagall, Dubuffet
- 116.12 Jacobee to Justis, 1965–1977
Clients: Jacobee, Jacober, Jaffer, Jaffin, Janklow, Jewish Appeal, Jolas, Joralemon, Jucker, Justis. Artists: Tanguy, Balthus, Matisse, Dubuffet, Saura, Léger, Miró, Bemelmans, Bate
- Subseries: Jaffe, Sam, 1891–1984
- 116.13 Jaffe, Sam, 1946–1948, 1950–1951, 1964, 1971
October 23, 1946 re Rouault painting being shipped to Rouault in France for his signature. April 22, 1947, from Pierre Matisse accepting offer from Mr. Jaffe for Braque and Chagall paintings. December 10, 1948 re photo of forgery sent to Matisse. May 22, 1971, from Pierre Matisse with insurance values. Artists: Rouault, Braque See also client cards
- Subseries: Jaffe, William B.
- 116.14 1951, 1953–1954, 1956, 1962, 1972
April 12, 1951 invoice for Cross painting. February 27, 1962 note to Mrs. Jaffe re invoice for her share of the Giacometti being sent to Mr. Annenberg. Copies of checks. April 26, 1972 copy of New York Times obituary for Mr. Jaffe. Artists: Giacometti, Cross See also client cards
- Subseries: James, Oliver B.
- 116.15 1949–1952
December 12 and 13, 1949, invoices for Tanguy paintings. April 29, 1050, wants Pierre Matisse to handle on consignment four paintings he purchased from Valentine Dudensing (Picasso, Gris, and two Braques). May 9, 1950 response from Pierre Matisse re pictures. May 13, 1950, Pierre Matisse confirms prices. May 17, 1950, proposes exchange of Gris for Gris. June 7, 1950 invoice for Miró. June 7, 1951 invoice for Roszak. Artists: Tanguy, Miró, Roszak
- Subseries: Jeffress, Arthur
- 116.16 1936
Correspondence about Derain Still Life and de Chirico La Famille de l'Artiste and Le Destin. Artists: De Chirico, Derain
- Subseries: Johnston, Mary E.
- 116.17 Correspondence, 1940–1961
Correspondence between Pierre Matisse and Miss Johnston re the acquisition of the various works of art in her collection. Extensive correspondence re Rouault Christ in Profile. Also Chagall Red Rooster, various Matisse works, Modigliani pieces. Descriptive letters from Pierre Matisse on various paintings.
- Subseries: Jonas, Edouard
- 116.18 1936–1954
Correspondence about possible purchases of Renoir, Matisse, Modigliani and Vlaminck. Artists: Renoir, Matisse, Modigliani, Vlaminck
- Subseries: Jones, T. Catesby (Thomas Catesby), 1880–1946
- 116.19 1926–1939
January 12, 1926, Jones invitation to V. Dudensing and Pierre Matisse to lunch. 1931–1939 correspondence re Pierre Matisse Gallery exhibitions and works of art. Sixteen‐page typewritten manuscript, undated, unsigned, beginning, "I have read Mr. Lewisohn's article with more than ordinary interest." See also Lewisohn, Samuel files
- Subseries: "K"
- 116.20 Kahn to Kosice, 1943–1969
Clients: Kahn, Kann, Kaplin, Kateman, Kaufman, Kean, Keith, Keller, Kennedy, Kidd, Kittay, Klamer, Kleiner, Klein, Kideney, Kleinschmidt, Kook, Koehn, Komie, Kosice. Artists: MacIver, Butler, Miró, Riopelle, Giacometti, Balthus, Tanguy, Diego Giacometti, Miró, Dubuffet, Etrog, Lam, Millares, Saura, Le Corbusier
- 116.21 Kamer to Kunst, 1969–1970
Clients: Kamer, Kannensohn, Kaplan, Kasser, Katzenbach, Kaufmann, Kayden, Kelber, Keller, Kellerman, Kelley, Khonsari, Kimbrel, Klamer, Kodner, Kolodny, Krampf, Kuhnreich, Kunst + Mode. Artists: Dubuffet, Matisse, Roszak, Giacometti, Miró, Derain, Butler Chagall, Tanguy, Brauner, Lam, Masson, Man Ray, Matta
- 116.22 R Kaeppelin to Krause, 1983–1989
Clients: Kaeppelin (Figures automates), Karlen, Karaisl, Keating, Kellen Klein, Kluever, Kolin, Kraft, Krause, Koerfer. Artists: Giacometti, Zao Wou‐ki, Setsuko, Diego Giacometti, Miró, Chagall, Matisse
- Subseries: Kaganovitch, Max
- 116.23 1937–1938
Pierre Matisse had shown a Rouault landscape and a painting entitled La Loge, both in Kaganovitch's possession, in his 1937 Rouault exhibition. Now Kaganovitch wants the landscape back as soon as possible because the French government has bought it. Artists: Rouault
- Subseries: Breton, Simone, 1897–1980 [née Kahn]
- 116.24 1935–1937
Pierre Matisse will sell a de Chirico statue for Mme Kahn. Cables about de Chirico prices, especially about Petite Fille. In 1936, Mme Kahn sends several Mirós, one Picasso, one de Chirico and three tribal pieces to Pierre Matisse for him to sell. Artists: De Chirico, Miró, Picasso, tribal art
- Subseries: Kaplan, Harvey
- 116.25 1956–1965
In 1960, Kaplan buys Femme Leonie by Giacometti. In 1965 Kaplan dies and Pierre Matisse offers to buy back some of Kaplan's collection. Artists: Marini, Sisley, Giacometti
- Subseries: Kaufman, Edgar
- 116.26 1943–1975
Pierre Matisse offers Kaufman a large Matta painting The Convict of Light which he is currently in his War and the Artists exhibition (1943). Kaufman buys it. Barr takes the painting on loan while Kaufman is away with the army. Later Kaufman becomes Barr's assistant and translator. In 1950 Kaufman buys a small Giacometti bronze. In 1951 Kaufman Sr. buys MacIver Rain. In 1954 Pierre Matisse offers Kaufman Maillol's La Liberte enchainee, of which there are only three casts (1/3 is in the Metropolitan collection, 3/3 is in Nelson Rockefeller's collection). In 1975 Kaufman's country home on the Hudson burns down and with it a number of artworks. List of art having come from the Pierre Matisse Gallery for insurance purposes. Artists: Matta, Calder, Miró, MacIver, Giacometti, Maillol
- Subseries: Keller, Dieter
- Subseries: Kellog, Donald
- 116.28 1947–1953
In 1948 Kellogg buys Star Gazers by Tamayo. Kellogg is also interested in Children Playing with Fire. Pierre Matisse writes Kellogg a long letter about Dubuffet. Artists: Tamayo, Dubuffet
- Subseries: Keogh, Eugene
- 116.29 1963–1970
In 1963 Keogh buys Léger Paysage and Severini Woman Seated (with a dedication to Henri Matisse). Glossy photo of dedication and copy of authentication enclosed. In 1965 he buys Femme Leonie by Giacometti. 1965 insurance values for two Renoirs. Artists: Léger, Severini, Giacometti, Renoir
- Subseries: Kiam, Victor
- 116.30 1957–1974
In 1959 Kiam buys two Dubuffet. In 1960 he buys Saura Femme et Chat and Millares Cuadro 84. In 1962 he buys a Riopelle. In 1974 Pierre Matisse buys back the Saura and the Millares. List of the Victor Kiam Collection with provenances. Artists: Dubuffet, Saura, Millares, Riopelle
- Subseries: Kitay, Sol
- 116.31 1966–1989
In 1966 Kitay buys Annette (oil) by Giacometti. In 1969 he buys two Dubuffet works and a Butler bronze. Two Ektachromes of Kitay's living room with painting on the walls. Artists: Giacometti, Dubuffet, Butler
- Subseries: Louis Klebenov
- Subseries: Kleinmann & Cie
- 116.33 1950–1952
Kleinmann sells Pierre Matisse a Modigliani and a Derain. Correspondence about a Miró Ancienne Fermiere. Artists: Modigliani, Derain, Miró
- Subseries: Knopf, Alfred, Mrs.
- 116.34 1946–1953
Pierre Matisse wants to exhibit a Dubuffet which Mrs. Knopf owns. Mrs. Knopf wants Pierre Matisse to sell Dubuffet's Pink Cow for her. Also a Domingues but Pierre Matisse declines the latter and sells the Dubuffet. Artists: Dubuffet, Domingues
- Subseries: Knox, Seymour H., 1898–1990
- 116.35 1942–1970
Knox has seen the 1942 Chagall exhibition at Pierre Matisse Gallery and wants to buy The Blue Horse. In 1956 Knox buys a Riopelle. Pierre Matisse writes Knox about MacIver, Miró and Artigas, and Balthus. In 1959 Knox purchased a bronze horse by Marini. Artists: Chagall Riopelle, MacIver, Miró/Artigas, Balthus, Marini
- Subseries: Kobacker, Arthur
- 116.36 1964–1969
Kobacker is owner and chairman of a large shoe manufacturing store. In 1964 Kobacker buys Grand Nu by Giacometti (Grand Prize Winner of the Solomon Guggenheim International Exhibition 1963–1964). Mrs. Kobacker buys several Diego Giacometti tables. Kobacker buys Annette VI by Giacometti and in 1965 he buys The Nose, also Homunculus by Millares as well as an Etrog sculpture, High Society. Reappraisals for insurance purposes of all art so far purchased from Pierre Matisse and at auctions (Saura, Giacometti, Butler). Black‐and‐white photos of Saura and Giacometti art. In 1969 Kobacker buys Dubuffet Le chien rodeur. Artists: Giacometti, Diego Giacometti, Millares, Etrog, Saura, Butler, Dubuffet
- 116.37 R 1970–1981
In 1977 Kobacker buys a set of Giacometti arm chairs. Long correspondence about the shipment of these. In 1978 Kobacker inquires about Miró sculptures with a shoe motif. Pierre Matisse gives Kobacker a list of ten sculptures to be exhibited at the Columbus Gallery of Fine Arts. All sculptures are dated 1972. Kobacker buys one of the ten, namely Personnage. Artists: Diego Giacometti, Miró
- Subseries: Kreeger, David Lloyd
- 116.38 1964–1970
In 1964, Pierre Matisse offers Kreeger three Giacometti bronzes and a Marini. Pierre Matisse is looking for a Matisse for Kreeger's vast collection. Catalogue of part of the collection exhibited at the Corcoran Gallery and the Baltimore Museum in 1965. In 1967, Pierre Matisse offers Kreeger La tireuse de cartes, two Giacomettis (The Nose and Portrait of Diego) as well as an important Miró painting. New York TimesN article, dated September 1968, on Kreeger and his collection in his new mansion designed by Philip Johnson. Artists: Giacometti, Marini, Balthus, Matisse, Miró
- Subseries: Krief, Fernand
- 116.39 R 1985–1990
Invoices and shipping papers for two Matta Man Trembling and Three Men Crying. In 1986, Pierre Matisse offers Krief four Dubuffets. In 1989, Krief buys a Riopelle. Artists: Matta, Dubuffet, Riopelle
- Subseries: Kuh, Katharine
- 116.40 1938–1957
Mrs. Kuh wants Pierre Matisse to lend her Mirós for an exhibition in her gallery in Chicago. Pierre Matisse is willing to do that. He mentions Ferren to her. Pierre Matisse sends 23 Mirós for the exhibition. It closes in December 1938 and Kuh writes that not one single piece was sold "...because art criticism in Chicago is of the lowest order." 1957 correspondence about Giacometti's Standing Figure 1947, Dubuffet and Le Corbusier. Artists: Miró, Ferren, Giacometti, Le Corbusier
- Subseries: Kwilecki, J.G.
- 116.41 1943–1962
In 1943, Kwilecki buys a Lam from Pierre Matisse. Kwilecki offers Pierre Matisse two Klee paintings. Pierre Matisse wants them. In 1962, Kwilecki wants to sell Pierre Matisse the Lam gouache (Figure) back. Artists: Lam, Klee
- Subseries: "L"
- 116.42 Labastrou to Leisy, 1960s
Correspondence with various clients re insurance values, purchases, items of interest. Filed alphabetically. Clients: Labastrou, Hedy Lamarr, Lambert, Landau, LeMaire, Lane, Lang, Langley, Lannan, Lanning, Lassiter, Laude, Latner, Lavine, Layport, Lee, Lehman, Leisy. Artists: Riopelle, Brancusi, Marini, Giacometti, Etrog, Calliyannis, Matisse, Balthus, Saura See also Client cards
- 116.43 Leonard to Lyon, 1960s
Correspondence with various clients re insurance values, purchases, items of interest. Filed alphabetically. Clients: Leonard, Lerner, Leval, Levee, Levi, Levy, Levine, Levor, Levin, Lewis, Leylan, Liese, Linder, Lion, Lionni, Loeb, Lofstrom, Long, Longstaffe, Lownsbrough, Lowry, Lucas, Lumley, Lyon. Artists: Butler, Balthus, Giacometti, Miró, MacIver, Matisse, Marini, Riopelle, Calliyannis See also client cards
- 116.44 Lambert to Lefkovits, 1970s
Correspondence with various clients re purchases, insurance values, et cetera. Clients: Lambert, Lakey, Lang, Lane, Laurens, Lavine, Lannan, Laurent, Lavigne, Lawrence, Leader, Lefkovits. Artists: Riopelle, Brancusi, Etrog, Miró, Giacometti, Matisse, Rouan, Chagall See also client cards
- 116.45 Legare to Leylan, 1970s
Correspondence with clients re purchases, insurance values, et cetera. Clients: Legare, Legum, Leibman, Lenthal, Levin, Levine, Levy, Lewis, Leylan Artists: Miró, Chagall, Saura, Balthus, Mason See also client cards
- 116.46 Leymarie to Lyons, 1970s
Correspondence with clients re purchases, insurance values, et cetera. Clients: Leymarie, de Lima, Linden, Lock, Loeb, Louis‐Dreyfus, Loria, Lucas, Ludwig, Lumet, Lyall, Lyons, correspondence with the columnist Leonard Lyons, copy of Lyons's obituary in the New York Times. Artists: Setsuko, Tàpies, Chagall, Marini, Butler, Balthus See also client cards
- 116.47 R 1980s
Correspondence with clients re purchases, insurance values, et cetera. Clients: Lande, Landreth, Lane, Langen, Lannan, Lassaigne, Larman, Lauder, Lavigne, Legum, Liberman, Lieber, Levy, Lioni, Lewis, Liebowitz, Lighte, Lion. Artists: Giacometti, Marini, Miró, Matisse, Rouan, Chagall See also client cards
- Subseries: Lackner, Florence [Mrs. Julius E.]
- Subseries: Lalanne, François and Claude
- 116.49 R 1985–1988
Correspondence re purchase made my Pierre Matisse from the Lalannes, shipping papers, copies of bank drafts, receipts, lists of available sculpture, invoices. May 20, 1985, Oiseau bleu and January 29, 1985 Plateau serpent, Buste de Capucine, Rhinoceros, purchased by Pierre Matisse.
- Subseries: Lambert, Léon
- 116.50 1964, 1967
Correspondence with Baron Lambert re works for sale (Ipousteguy, marini, Miró, Mason). October 9, 1964, Pierre Matisse sending three large Giacometti figures. Clippings including Baron Lambert's obituary (New York Times June 1, 1987). Artists: Giacometti Correspondence in French
- Subseries: Lancia, Giovanni
- 116.51 1969, 1976–1977, 1980
Correspondence between Pierre Matisse and Lancia re purchases, shipping arrangements, et cetera. 1969 correspondence re possible purchase of Chagall painting. March 29, 1969 invoice for purchase of Miró. 1976, Lancia desires to sell Chagall painting purchased from Pierre Matisse Gallery. Pierre Matisse agrees to sell it. Artists: Chagall, Miró See also client cards
- Subseries: Lang, Sylvan
- 116.52 1960–1964, 1972
Correspondence with Mr. and Mrs. Lang re various purchases made at the gallery. 1960 correspondence re purchase of Butler Doll and Dubuffet Faisur de graces. 1961 correspondence about whether or not an invoice had been issued and a check paid for the Butler. 1961, sending invoice for Giacometti bronze. 1964 request for information about Giacometti which will be going on exhibition. Insurance value for Giacometti. 1972 letter from McNay Art Institute for information on Dubuffet which will appear in their catalogue of the Lang Collection. Artists: Butler, Dubuffet, Giacometti See also client cards
- Subseries: Lasker, Mary
- 116.53 1942–1970
1942, Pierre Matisse tries to interest the Laskers (Albert D. and Mary) in Chagall flower pieces. 1949, Lasker buys Plum blossoms, green background by Matisse. Shipping advices and invoices. 1950, Pierre Matisse writes the Laskers giving them provenances of five Matisse paintings they own: Plum Blossoms, L'Idole, Tabac Royal, L'Interieur à Nice and Pineapples and Anemones. 1954, Pierre Matisse informs Mr. Fordyce (?) that Mrs. Lasker is not going through with the Matisse window and therefore Pierre Matisse claims back the drawing of the bronze door. Some copies of correspondence including bills regarding the Lasker mausoleum. The Laskers buy a Dubuffet drawing. Several articles about Mrs. Lasker. Artists: Chagall, Matisse, Dubuffet
- Subseries: Latner, Albert J.
- 116.54 R 1970, 1973, 1976–1978, 1981, 1987
Correspondence between Pierre Matisse and Mr. Latner re purchases, et cetera. Receipts for payment for Miró bronze. 1973 correspondence from Mr. Latner re contribution made to Hebrew University in memory of Patricia Matisse. January 16, 1973, insurance value for Miró sculpture. October 15, 1973, insurance values. April 6, 1987, updated insurance values on Matisse and Miró. Artists: Miró, Matisse See also client cards
- Subseries: Laughlin, Gertrude Huston and James, 1914–1997,
- 116.55 1962, 1964–1965, 1973–1977
Correspondence between Pierre Matisse and the Laughlins re insurance values, purchases, paintings to be bought or sold, et cetera. 1962 correspondence with Mrs. Laughlin re client for their Miró gouache from the Constellation series. Mrs. Laughlin decides against selling. January 28, 1965 insurance value on Giacometti bronze. 1975 correspondence re sale of Laughlin's Miró. April 11, 1975, value of Soutine. Correspondence re consignment of painting and sale to Acquavella. Receipt for delivery of painting. List of works in Laughlin collection with notations of prices, et cetera. February 10, 1977, from James Laughlin re works for sale. Receipt for paintings sent on consignment to Acquavella. December 17, 1977, from Pierre Matisse re sale of Lam for James Laughlin. Artists: Giacometti, Miró No sales from Pierre Matisse Gallery indicated in client cards
- Subseries: Laughlin, Thomas I.
- 117.01 Correspondence, 1934–1943
Correspondence between Mr. and Mrs. Laughlin and Pierre Matisse re acquisitions, receipts for payment, shipping instructions. Letters from Pierre Matisse describing various paintings in which they might be interested.
- Subseries: Laurens, Frank
- 117.02 1944–1947, 1952, 1961–1963
Correspondence between Pierre Matisse and Laurens re purchases, shipments, insurance values, et cetera. 1944, re purchase of Chagall oil. 1945, re shipment of Miró purchased. April 1, 1952 invoice for Giacometti bronze Man Falling, 1950. February 14, 1961, sending invoice for purchase of Rivera. February 3, 1962, sending invoice for Giacometti painting, Caroline. March 4, 1965, insurance value on previous. May 20, 1968, insurance value on Rivera. Artists: Rivera, Giacometti, Miró, Chagall See also client cards
- Subseries: Le Brocquy, Anne Madden, 1932– and Louis, 1916–
- 117.03 R 1977, 1979–1984, 1986
Correspondence between Pierre Matisse and artists Louis le Brocquy and Anne Madden. Correspondence re Bacon Pierre Matisse is to have on consignment. Shipping receipts and forms, et cetera. Correspondence with brokers, shippers. Correspondence re donation by Pierre Matisse of small Miró gouache to benefit Amnesty International (with black‐and‐white 8 x 10 inch photo). Copies of exhibition announcement
- Subseries: Lehman, Robert, 1892–1969
- 117.04 1950–1951, 1955, 1957–1959, 1969
Correspondence between Pierre Matisse and Lehman re purchases. Early 1950s, letters sent by Pierre Matisse to try to interest Lehman in various pictures. November 30, 1958 purchase of Balthus painting and Matisse drawing. Clippings relating to collection. Robert Lehman's obituary, August 10, 1969, New York Times. Artists: Matisse, Balthus See also client cards
- Subseries: Lerolle, Guillaume
- 117.05 1934–1936
Correspondence between Pierre Matisse and Lerolle, who has proposed a plan of collaboration with Pierre Matisse. November 9, 1934, Lerolle has offered to represent the gallery in Paris, however Pierre Matisse feels there would not be sufficient business. Proposes that they might be able to do some business with pictures of friends and relatives who are interested in selling. November 23, 1934, Lerolle has been in contact with widow and former secretary of Paul Guillaume. Has suggested they get in touch with Pierre Matisse re paintings for sale. November 27, 1934, Lerolle proposes the way in which he and Pierre Matisse might work together. January 14, 1935, Pierre Matisse finds Lerolle's terms acceptable and hopes they will be able together. February 21, 1936, sending Gauguin to Pierre Matisse to sell. February 25, 1936, Lerolle writes as European representative for Carnegie Institute. Needs Matisse for exhibition. April 27, 1936, Pierre Matisse returning Gauguin. No buyers in America. Some correspondence in French
- Subseries: Leschner, Theodore
- 117.06 1959–1967
Evaluation for Chagall's Christmas Clock. Leschner gives Pierre Matisse Picasso's La Table to sell also a Manessier. Evaluation of two Mirós that Leschner had bought at Pierre Matisse Gallery. Leschner takes a Dubuffet in exchange for the Mannessier and a Dubuffet in exchange for the Picasso. Leschner buys Chagall's Le cerf blesse. Evaluation of Giacometti's Annette in Profile. A 1967 re‐evaluation of six works of art from the Pierre Matisse Gallery. Artists: Chagall, Picasso, Mannessier, Dubuffet, Giacometti
- Subseries: Leventritt, Victor, Mrs. and Leventritt, Edgar, Mrs.
- 117.07 1956–1978
Pierre Matisse sells Mrs. Leventritt a Despiau original plaster. Pierre Matisse takes the Cerf Blesse by Chagall (Fables de la Fonataine ) on consignment from Mrs. Leventritt. Mrs. Leventritt buys a Butler bronze. Pierre Matisse also gets a Millares and a Canogar from Mrs. Leventritt on consignment also a Balla and a Dubuffet. Mrs. Edgar Leventritt buys a Riopelle. She gives Pierre Matisse two Rodin groups to sell. Pierre Matisse gives them to Parke‐Bernet to sell. Mrs. Victor Leventritt buys a Giacometti marble (Head of a Man) and a Matisse bronze (Nu accroupi). Eulogy for Mr. Victor Leventritt, who died in 1968. A Cézanne goes through Pierre Matisse Gallery to Parke‐Bernet. Mrs. Leventritt gives Pierre Matisse a Tellem sculpture to sell. Black‐and‐white photograph of a Matisse drawing (Nu assis) in Mrs. Leventritt's collection. Pierre Matisse takes a Manet from Mrs. Leventritt on consignment. Provenance, two color Ektachromes and three black‐and‐white photographs of the Manet. Pierre Matisse takes Dubuffet's Olympia and Oiseaux dans les palmiers as well as Pissarro's Women in the field on consignment from Mrs. Leventritt. Artists: Despiau, Chagall, Butler, Millares, Canogar, Balla, Dubuffet, Riopelle, Rodin, Giacometti, Matisse, Cézanne, African sculpture, Manet, Pissarro
- Subseries: Lévy, Raoul[, 1922–1966]
- Subseries: Lewisohn, Samuel
- 117.09 1931–1950
Little pamphlet written by Lewisohn entitled "Art Appreciation and Collecting." Lewisohn lends Pierre Matisse Gallery a Matisse Portrait d'une Femme accoudee sur un Fauteuil for an exhibition (from the Adolph Lewisohn Collection). In 1943 Lewisohn lends La Nappe Rose by Matisse to Pierre Matisse Gallery for the Matisse retrospective. Lewisohn is being billed for Chagall's Le chant du coq. In 1949 he buys La toilette by Balthus. Lewisohn lends Dubuffet's Homme au verre de vin to Pierre Matisse. Reprints of two articles by Lewisohn: "Is there chaos in art" and "Personalities, Past and Present." Artists: Matisse, Chagall, Balthus, Dubuffet
- Subseries: Leymarie, Jean
- 117.10 R 1977–1979, 1982, 1984, 1987
- Subseries: Liebowitz, J.S.
- 117.11 R 1966–1983
In 1966 Liebowitz buys a Giacometti and an Arp bronze as well as Figure Decorative by Matisse. In 1968 Liebowitz buys Giacometti's Caroline and Standing Figure by Lachaise. In 1970 Liebowitz buys the Miró sculpture Moon, Sun and One Star (cast 8/8). A 1975 re‐evaluation of all art Liebowitz has bought from Pierre Matisse Gallery. In that year Pierre Matisse exchanges Liebowitz's Caroline against Nu au polochon by Matisse. Liebowitz buys the Miró bronzePersonnage et Oiseau. A 1982 re‐evaluation of all art bought by Liebowitz. A 1983 evaluation of the Matisse sculpture Figure Decorative. Artists: Giacometti, Arp, Matisse, Lachaise, Miró
- Subseries: List, Albert A.
- 117.12 1944–1981
In 1944, List buys a Miró gouache, a Tanguy Le grand nacre, a Matta, and a Léger. In 1948 he buys Chagall's Le coq rouge dans la nuit. In 1953, List buys Riopelle's Virevolte. A 1955 re‐evaluation of art bought by List. In 1959, List buys two Dubuffet Rising Moon with Ghosts and Assemblage d'Empreintes. A listing of the List Collection in 1961. In 1962, List buys Dubuffet's Paysan dans son jardin and La Table. A Rouault transparency. He also buys The City Square by Giacometti. A 1965 re‐evaluation of all art bought from Pierre Matisse Gallery. A 1981 re‐evaluation of the two Dubuffets (Rising Moon with Ghosts and Assemblage d'Empreintes). Artists: Miró, Tanguy, Matta, Léger, Chagall, Riopelle, Dubuffet, Rouault, Giacometti
- Subseries: Lloyd, Mary Wingate [Mrs. Horatio Gates]
- 117.13 1938–1975
In 1938, Pierre Matisse offers Mrs. Lloyd a Braque flower piece. He sends The Yellow Hat by Matisse to Mrs. Lloyd. Exhibition history of The Yellow Hat. In 1941, Pierre Matisse sends Mrs. Lloyd Personages magnetisees par les etoiles by Miró and offers her Miró's Spanish Cards. Mrs. Lloyd buys a Miró tempera from the Constellations group and a Matta, as well as a Giacometti drawing. In 1962 she buys a Roszak sculpture (Physicist). Mrs. Lloyd owns a Ipousteguy. Artists: Braque, Matisse, Miró, Matta, Giacometti, Roszak, Ipousteguy
- Subseries: Lord, James
- 117.14 1962–1979
In 1962, Lord gets some paintings from Balthus for Pierre Matisse. In 1967, Lord inquires about Dubuffet. A catalogue of the Lord Collection exhibition at Wesleyan University in 1969. A letter to Pierre Matisse (1970) asking for information on Alberto Giacometti (for the book Lord is writing about him). A black‐and‐white photograph of a Giacometti drawing copying Matisse's Dream which Lord wants to sell to Pierre Matisse (1972). Letter from Lord about Diego Giacometti being able to restore the Alberto Giacometti sculpture Night that belongs to Philip Johnson (1974). Letters about Szafran being with Claude Bernard. Pierre Matisse closes the chapter on Szafran. Pierre Matisse invites Lord to write an introduction to a Mason catalogue. A 1974 letter from Pierre Matisse Gallery asking Lord what Matisse had exchanged for a Giacometti drawing, a Riopelle gouache and a Balthus pencil drawing of Lord (to straighten out the Gallery's records). Artists: Balthus, Dubuffet, Alberto Giacometti, Diego Giacometti, Szafran, Mason, Riopelle
- Subseries: Louchheim, Katie, 1903– [Mrs. Walter C.]
- 117.15 1944–1976
Mrs. Louchheim inquires about Giacometti. Pierre Matisse sends her photographs of nine Riopelles. In 1975, Mrs. Louchheim wants to sell Pierre Matisse two Miró, who buys them in 1976. Artists: Giacometti, Riopelle, Miró
- Subseries: Louis‐Dreyfus, William
- 117.16 1966–1980
In 1966, Louis‐Dreyfus buys Dubuffet's Au Revoir. In 1972, he buys ten Mason watercolors and Big Midi Landscape. In 1974 he buys Le Grand Luberon and four Mason gouaches. In 1975, he buys St. Mark's Place. In 1979, he buys four Mason gouaches. In 1979, he buys six Mason lithographs, one sculpture and four drawings. Artists: Dubuffet, Mason
- Subseries: Ludgin, Earle, 1898–1981
- 117.17 1943–1956
In 1948, Ludgin buys Matta's A grave situation. It will go into the collection of the Society for Contemporary American Art. In 1950, he buys another Matta Wound Interrogation. In 1953 he buys a Phillip Martin Florence and MacIver's City Wall and E.E. Cummings. Artists: Matta, Martin, MacIver
- Subseries: Ludington, Wright S.
- 117.18 1935–1939
April 26, 1935, Pierre Matisse writes to interest Ludington in ancient Mexican pieces. Undated Wright S. Ludington interest in de Chirico. Ludington also wants to exchange three English paintings for Henri Matisse's Odalisque au tambourin. March 1936, missive from Ludington re other Henri Matisse works. April 1936 missive re Oceania exhibition. March 1939, Ludington asks re de Chirico Rose Tower, to be paid in installments. April 1939, re Rouault books (Passion and Cirque...).
- 117.19 1940–1944
March 1940 correspondence re exchange arrangement. Ludington's interest in Rouault, negotiations re Derain, Henri Matisse, Picasso, Brancusi, Modigliani, et cetera. February 1943, Pierre Matisse re several Henri Matisses, de Chirico (Ludington at Fort Belvoir, Virginia). April 1943, Ludington bought Matta, two Tanguys, two Miró gouaches. February 1944, Ludington re Matta (purchase?) and re Masson. July 1944 re fauve Henri Matisse.
- 117.20 1945–1949
June 1945, Ludington re Matta, Derain, Chagall book. "VEDay," Ludington interesting in recent Henri Matisses, Mattas. December 1945, re Lam. September 1946, Pierre Matisse re postponing Tanguy opening. Gap in correspondence. April 1948, re Lam. October 1948, Ludington re Mirós in San Francisco exhibition. Wants information, still has not heard from Pierre Matisse re Lam. Pierre Matisse replies.
- 117.21 1950–1976
March 1951, Ludington lends Miró for Pierre Matisse Gallery exhibition. June 1951, Pierre Matisse asks for payment. February 1952, Pierre Matisse re Dufy exhibition. March 1953, Ludington wants Rouault "wrestler," buys. July 1956, Merrill Remich to Pierre Matisse re his catalogue of Wright S. Ludington collection. March 1960, Pierre Matisse re Balthus, no interest. March 1976, re F. Perls estate. Clipping. Two black‐and‐white photographs and one transparency of Dufy.
- Subseries: Lust, Herbert C.
- 117.22 R 1958–1962, 1974, 1988
Correspondence with Mr. Lust re purchases, shipments, et cetera. 1959, correspondence re purchase of Tanguy painting by Mrs. J. McD. Weissenberg (the future Mrs. Lust). March 13, 1959, from Mr. Lust re Mrs. Weissenberg's interest in trading her Tanguy for Miró and or Giacometti sculpture. March 28, 1959 response by Pierre Matisse. April 1, 1959, Pierre Matisse in receipt of Tanguy. Details of painting. makes offer for it to go towards purchase of Miró. 1959/1960 correspondence re payments made on Miró. February 15, 1960, from Mr. Lust with news clipping explaining delay in payment due to litigation over his father‐in‐law's estate. 1960 correspondence from Herbert Lust's mother forwarding payments for son's Miró. November 30, 1961, from Richard Feigen indicating that Mr. Lust might try to sell Pierre Matisse his estranged wife's paintings and to be on the alert. February 19, 1974, Mr. Lust is interested in selling his Tanguy (with small photo). Artists: Tanguy, Miró File contains material possibly sensitive to client See also client cards
- Subseries: "M"
- 117.23 To Meyer, 1960s
Miscellaneous correspondence with many possible clients and collectors. Requests for information, insurance valuations, et cetera. Purchases include a Butler bronze by Stanley Marks (December 14, 1968), Giacometti bronze by Mr. Madanes (May 9, 1961), Giacometti bronze and Dubuffet by Irving Mathews, Millares gouache by Mrs. F. May (May 12, 1960), Butler by Mr. Michel Meyer (March 20, 1963), Miró painting by Dr. Metz (May 10, 1968), Riopelle painting by Lucien Mainguy (April 16, 1964), Butler bronze by Edward Marcus (February 16, 1963).
- 117.24 From Miller, 1960s
Miscellaneous correspondence with many possible clients and collectors. Requests for information, insurance valuations, et cetera. Purchases include a Tanguy by Edgar Miller (June 1959), Miró Constellations by Richard Miller (May 3, 1963), Max Ernst by Barry Miller (June 1968), Marini bronze by David Millstone (April 2, 1963), Miró oils by Marcus Mizne (November 5, 1969), Marini bronze by Kenneth Montgomery (May 11, 1961), Butler bronze by Frederick Morgan (November 21, 1962), Marini by David Morrice (February 17, 1961). Documents filed alphabetically See also client cards
- 117.25 MacAuley to Mautner, 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication. Correspondence re sales to clients with relevant papers such as invoices, shipping documents, receipts, photocopies of checks, payment reminders. Correspondence with Leroy Makepeace re values for Mirós, clipping re forgeries of Miró works. Clippings re death of André Malraux. Some correspondence in French Some clients appear in other "M" files for different years
- 117.26 Melamed to Mizne, 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication. Correspondence re sales to clients with relevant papers such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Some correspondence in French
- 117.27 Monagan to Muller, 1970–1979
Miscellaneous correspondence with clients including requests for insurance values, authentication. Correspondence re sales to clients with relevant papers such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Correspondence re purchases of artworks by Pierre Matisse. Request for recommendation. Some correspondence in French
- 117.28 R Maclay to Mallin, 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication. Correspondence re sales to clients with relevant papers such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Correspondence re purchases of artworks by Pierre Matisse. Correspondence with artist wishing to exhibit at Pierre Matisse Gallery.
- 117.29 R Mandelbaum to McKee, 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication. Correspondence re sales to clients with relevant papers such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Correspondence re purchases of artworks by Pierre Matisse. Some correspondence in French
- 117.30 R Medinger to Myers, 1980–1989
Miscellaneous correspondence with clients including requests for insurance values, authentication. Correspondence re sales to clients with relevant papers such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Correspondence re purchases of artworks by Pierre Matisse. File includes transparencies, clippings. Some correspondence in French
- 117.31 1991
- Subseries: Maitland, Ruth [Mrs. L.M.]
- 117.32 1934–1936
Extensive correspondence between Pierre Matisse and Ruth Maitland. October 29, 1935 invoice for de Chirico and Miró. November 7, 1935, Ruth Maitland sending check for Rousseau. December 1, 1935 invoice for Miró purchased from Howard Putzel, Stanley Rose Gallery. March 16, 1936, Maitland decides to purchase Matisse L'Italienne. June 19, 1936, Maitland purchases Gris still‐life. November 29, 1936, Maitland decides to take Miró. November 23, 1936 invoice for Miró, Ferren plaster. Original telegrams. Artists: De Chirico, Miró, Matisse, Ferren, Gris, Rousseau Some papers fragile and crumbling See also client cards and Maitland, Walter McClymonds, 1912–1989
- 117.33 1937–1939
Extensive correspondence between Pierre Matisse and Mrs. Ruth Maitland. January 18, 1938 list of paintings purchased by Ruth Maitland that winter from Pierre Matisse Gallery. April 22, 1938, form U.S. Trust Co. of New York re payment to be made on Maitland's behalf to Pierre Matisse Gallery. January 12, 1939 missive from Pierre Matisse re return of Rouault and payment to be made to Maitland. May 26, 1939 missive from Ruth Maitland. She is keeping Brancusi. November 7, 1939 from Mrs. Matisse to Ruth Maitland, Pierre Matisse has had to stay behind in France. December 8, 1939, from Pierre Matisse Gallery re payments (Maitland seems to have kept Modigliani). Copy of booklet, The Maitland Collection, Los Angeles Museum (Summer 1939). Original telegrams. Artists: Modigliani, Brancusi Some papers fragile and crumbling See also client cards and Maitland, Walter McClymonds, 1912–1989
- 117.34 1940–1942
Extensive correspondence between Pierre Matisse and Ruth Maitland. Numerous suggestions concerning her collection. October 1, 1940 statement of Maitland's account at Pierre Matisse Gallery. July 10, 1941, Maitland taking de Chirico's Joy of Return. February 3, 1942, from Dr. Maitland. Ruth Maitland would like to exchange Miró April 22, 1942 from L.M. Maitland, decided to exchange Miró upon seeing other one. July 30, 1942, from Pierre Matisse re sale of Lautrec Elles for Ruth Maitland. Original telegrams. Artists: Modigliani, Brancusi Some papers fragile and crumbling See also client cards and Maitland, Walter McClymonds, 1912–1989
- 117.35 1943–1947
Extensive correspondence between Pierre Matisse and Ruth Maitland. Numerous suggestions concerning her collection. April 1943, Maitland wants Chagall and Rouault sent on approval. September 8, 1943, Pierre Matisse writes, sending check to close credit balance on account with Ruth Maitland. Suggests another Picasso. July 17, 1944, Pierre Matisse has moved gallery to 6th floor and is sending photos to Maitland. December 12, 1944 missive form L.M. Maitland. Ruth Maitland is in the hospital after a fire in her bedroom. No damage to paintings. January 14, 1947 postcard from Ruth Maitland's daughter, Flora. Original telegrams. Artists: Modigliani, Brancusi Some papers fragile and crumbling See also client cards and Maitland, Walter McClymonds, 1912–1989
- Subseries: Maitland, Walter McClymonds, 1912–1989
- 117.36 R 1935–1936, 1939–1942, 1951, 1953, 1956–1957, 1960, 1962, 1965, 1988
Correspondence between Pierre Matisse and Walter Maitland (the son of clients Mr. and Mrs. L.M. Maitland). December 6, 1935, Pierre Matisse thanks Walter Maitland for payment for Peruvian piece. April 1936 missive re exhibition arranged by Walter Maitland at Princeton University. April 8, 1936, Walter Maitland sending part payment for Easter Island piece. June 12, 1936, Walter Maitland sending part payment for Modigliani. June 5, 1942, from Walter Maitland re VVV magazine. October 8, 1951, from Pierre Matisse with request to borrow one of Walter Maitland's mother's paintings. January 19, 1953, from John W. Preston, Jr., Attorney at Law to Mr. J. Harlin O'Connell re Ruth Maitland and 1949 petition for guardianship of her estate and her person. January 25, 1957, from Walter Maitland. Request for provenance, exhibition history, et cetera, of Modigliani which he has been forced to sell. March 22, 1957, Pierre Matisse answer. November 12, 1960, Walter Maitland sending payment for purchase of Marini. January 27, 1962, from Pierre Matisse Gallery sending receipt for payment of Giacometti. March 8, 1962, from Pierre Matisse re suggested restoration of Miró. March 1, 1988, insurance values for Giacometti bronze. February 10, 1988, insurance values. See also client cards; Maitland, Ruth [Mrs. L.M.]
- Subseries: Malone, Adrian
- 117.37 Malone, Adrian, 1954, 1956, 1971
Correspondence between Pierre Matisse and Adrian Malone. Malone is interested in MacIver's work. April 13, 1954 from Malone re picture in MacIver's studio. Paintings send on approval by Pierre Matisse. June 1, 1954, Pierre Matisse shipping Rue Daguerre. Malone received two more paintings on approval but decides to return them. Artists: MacIver
- Subseries: Marcus, Stanley, 1905–
- 117.38 R Marcus, Stanley, 1948–1951, 1953–1954, 1959–1961, 1963, 1966, 1968, 1975, 1984
Correspondence between Pierre Matisse and Stanley Marcus. Queries from Marcus about certain pieces, suggestions on Pierre Matisse's part, et cetera. March 1951 sale of Giacometti bronze, The Two Houses, to Mrs. Stanley Marcus (via correspondence from Mrs. Edward Marcus) for Mr. Marcus's birthday. Invoices for same. March–June 1961 correspondence re purchase and shipment of Butler sculpture. February 19, 1975 request for value of Matisse Jazz. New York Times clipping (1965) on Stanley Marcus. Artists: Butler, Giacometti See also client cards
- Subseries: Maremont, Arnold H.
- 117.39 1953, 1955–1964, 1966, 1975
Correspondence between Pierre Matisse and Maremont re purchases, sales, insurance evaluations, suggestions, et cetera. March 4, 1955, Pierre Matisse in receipt of payment for Giacometti painting. May 17, 1958, Pierre Matisse buys nine Riopelle paintings from Maremont. April 17, 1959, Maremont purchases Miró. November 18, 1959 exchange of The Cradle Song (later sold to Guggenheim Museum) for Recollections of the Southwest (Roszak). February 3, 1960 invoice for three Dubuffet paintings. April 14, 1960, Maremont has loaned Millares paintings for the Pierre Matisse Gallery show. April 30, 1960, Pierre Matisse sending invoice for Millares. December 2, 1960, Pierre Matisse sending Giacometti sculpture. March 24, 1961, Maremont sending payment for Giacometti Torso. February 1963, Maremont purchases two Dubuffets. December 10, 1964, values on two Dubuffets from Pierre Matisse. December 23, 1964, insurance value on Dubuffet from Pierre Matisse. January 14, 1975, Maremont wants to sell large Roszak piece (with 8 x 10 black‐and‐white photograph). File also contains the catalogue, The Maremont Collection at the Institute of Design, April 5 to April 30 (copyright 1961). Artists: Dubuffet, Miró, Giacometti, Roszak, Millares
- Subseries: Markson, Robert
- Subseries: Markus, Henry A.
- 117.41 1961, 1964–1965, 1969
Correspondence between Pierre Matisse and Markus re purchases, shipments, et cetera. January 20, 1961, Henri Matisse purchases Rivera. June 1964 purchase of Giacometti painting and bronze Figure from Venice (shipping receipts). June 1965 purchase of Etrog sculpture. June 14, 1969, insurance values from Pierre Matisse. Artists: Etrog, Giacometti, Rivera, Riopelle, Saura, Calliyannis See also client cards
- Subseries: Martin, A. Bradley
- Subseries: Martin, Crozer F.
- 117.43 1950–1951, 1954
Correspondence re purchase of Rouault painting. October 18, 1950 invoice for Figures in Oriental Landscape. November 20, 1950 long descriptive letter from Pierre Matisse detailing history of the picture which had been repainted by Rouault. Artists: Rouault
- Subseries: Marx, Samuel A., 1885–1964 (Chicago)
- 117.44 1939, 1940–1943
Correspondence re works of art sent on approval, returned, purchased. Pierre Matisse descriptions of works offered. December 12, 1940 reference to Henri Matisse La Desserte, which Marx apparently purchased from Parke‐Bernet auction, also to Henri Matisse pix at Pierre Matisse's house from before World War II which "are all he [Henri Matisse] has left now." January 19, 1943, Marx thanks Pierre Matisse for photos the latter had taken of his father, Rouault, and Braque. February 1, 1943, Pierre Matisse offers his own Rouault The Wounded Clown, because he needs funds to "retool" his farm. May 1943, Pierre Matisse arranges for Paulette Goddard to visit Marx collection, she brings Bing Crosby. October 1943 re sale of Crowninshield collection.
- 117.45 1944–1949
Correspondence re further works of art from Pierre Matisse Gallery, framing, invoices, et cetera. Pierre Matisse writes eloquently re paintings. March 1944, Pierre Matisse arranging for Marxes to visit Mrs. Maitland and Charles Laughton in California. December 17, 1948, Marx is outraged at LIFE magazine article on Dubuffet, thinks it is due to Mrs. Luce's recent conversion to Catholicism.
- 117.46 1950–1953
Correspondence re Marx gift of Despiau bronze to Art Institute (February 1950), also re offers of works from Pierre Matisse Gallery, some returns from Marx, as well as several important purchases.
- 117.47 1955–1964
Correspondence re settlement of Henri Matisse estate and Marx's interest in works from it. May 1956 missive re loans from Marx of Henri Matisse's Moroccans and Gold Fish to the Museum of Modern Art, and Marx's visit to Giacometti in Paris. Otherwise re works of art, exhibitions, et cetera. Undated wire of condolences to Mrs. Marx on her husband's dear (later 1963/early 1964?). March 12, 1964 contribution to scholarship at Massachusetts Institute of Technology School of Architecture in memory of Samuel A. Marx.
- Subseries: May, Saidie Adler, 1879–1951
- 118.01 1940–1949
Correspondence re works of art in which Pierre Matisse wants to interest Mrs. May, and which she frequently purchases. She donated several to either Baltimore Museum (the Members' Room for Modern Art especially) and San Diego. February 27, 1940 re Gleizes (no interest) and Brigoni (young member of the Surrealists, yes). March 1940, Miró and Tanguy, latter new to the Gallery (yes). November 1941, Matta (yes, and to Baltimore Museum). June 1942, May contribution to new periodical, VVV. October 1942, Lam, to Baltimore Museum. Gap. December 1946 re postponement of Pierre Matisse Gallery Dubuffet opening, originally planned for December. January 1948, Pierre Matisse writes enthusiastically about new Giacomettis (yes). April 1948, Miró purchase. October 1948, Dubuffet purchase (third?). October 1949, Pierre Matisse, Giacometti Man Pointing (1947, 2/6) shipped to Baltimore, writes re numbering of piece and dispute.
- Subseries: May, Anita [Mrs. Tom]
- 118.02 1950–1951, 1958–1959
Correspondence between Pierre Matisse and Mrs. Tom May (the sister‐in‐law of Sam Marx). 1950, Pierre Matisse sends Matisse The Pineapple on approval. Returned by Mrs. May. March 21, 1959 invoice for the purchase of Marini Composition with Horse and Rider. Artists: Marini
- Subseries: May, Wilbur D.
- 118.03 1956–1957, 1960
November 9, 1956 invoice for Miró, oil La Pluie d'Or. May 8, 1957, Pierre Matisse has sent Dubuffet painting with his "guarantee" to accept the painting back within two years if not suitable. May 29, 1957, May sends check for Riopelle, Dubuffet and Marini. October 28, 1957, May sends check for Giacometti bronze. December 2, 1960, Pierre Matisse sending Matisse, Dubuffet, Miró, Riopelle, Marini, Giacometti. See also client cards
- Subseries: Mayer, Robert
- 118.04 1956, 1958, 1960–1966, 1969, 1972, 1974–1975
Correspondence between Pierre Matisse and Robert Mayer re purchases, et cetera. In 1958, Robert Mayer purchases Giacometti bronze. 1960, Mayer purchases Millares (shipping receipt). December 27, 1960, Mayer returns Rivera. 1962, Mayer purchases Giacometti. Correspondence with Pierre Matisse re transfer of shares of stock as payment for painting. May 1, 1962, insurance value on Giacometti oil Annette. July 20, 1964, Mayer agrees to purchase Giacometti oil. October 15, 1964 insurance value on Giacometti oil Caroline. October 9, 1969 insurance value on Giacometti Annette. 1974 (?) note from Mrs. Mayer indicating that Mr. Mayer has died and his name should be removed from the mailing list. January 20, 1967 clipping on Mr. and Mrs. Mayer, sent by Mr. Mayer from Midwest, magazine of the Chicago Sun Times, dated January 8, 1967. Artists: Giacometti, Millares See also client cards
- Subseries: Mazer, Helen [Mrs. William]
- 118.05 R 1957–1958, 1961, 1966, 1968, 1970–1971, 1985
January 8, 1957 missive re Balthus painting Pierre Matisse is selling for Ambassador Hoppenot. December 12, 1957 purchase of Roszak bronze, Surge. May 31, 1961, Pierre Matisse sending invoice for Giacometti lamp. February 7, 1966, sending invoice for Etrog The Entertainer. February 16, 1968 insurance valuation for Tanguy A large picture which is a landscape. February 20, 1970 missive re authentication of Miró. With black‐and‐white photograph. March 2, 1970, updated insurance values for Etrog, Tanguy, Roszak. June 5, 1985, updated insurance values for Etrog, Tanguy, Roszak, Miró. Obituary of Jacob Mazer, brother of William Mazer. Artists: Etrog, Tanguy, Roszak, Miró, Giacometti See also client cards
- Subseries: Meadows, Algur Hurtle
- 118.06 1967–1970, 1973, 1978
May 2, 1967, from Mr. Meadows re purchase of Dubuffet. May 17, 1967 photocopy of invoice for Picasso pastel, Head of Dora Maar, Miró oils, Queen Louise of Prussia and Circus, Francis Why then opened. May 29, 1967 letter from Pierre Matisse with documentation on above paintings. May 29, 1967 invoice for Dubuffet Le Gommeux. Photocopies of Miró drawings including Reine de Prusse. November 19, 1963, from Pierre Matisse re loan request for Circus by Musée Nationaux of France. November 18, 1978, Pierre Matisse appraisal of Dubuffet Le Gommeux for attorneys of Meadows estate. Numerous clippings from various sources re purchase by Mr. Meadows of fake paintings. Artists: Dubuffet, Miró, Picasso, Sam Francis Some clippings and correspondence in French See also client cards
- 118.07 R 1975–1981
Correspondence re sale, by Meadows Museum, SMU [Southern Methodist University] of Picasso pastel Head of Dora Maar, given to them by Mr. A.H. Meadows. Meadows purchased the pastel from Pierre Matisse Gallery in 1967. Correspondence with Galeria de Arte, Madrid, questioning authenticity of pastel which Pierre Matisse had purchased from Daisy Thorel. Photocopy of notarized certificate of authentication given by Pierre Matisse. Black‐and‐white photograph of work. Some correspondence in French and Spanish See also Garcia, Mario
- Subseries: Mellon, Paul, Mrs.
- 118.07 1976–1978
October 22, 1977, Pierre Matisse holding Balthus Japanese Figure with Red Table. Apple 22, 1978, Pierre Matisse sending transparency of Le Lever (also sending copy to Givenchy). April 18, 1978, Pierre Matisse giving Mrs. Mellon and Givenchy right of first refusal on Le Lever. June 9, 1978, Pierre Matisse sending Le Lever on approval (with shipping documents). June 28, 1978 signed receipt for delivery of Balthus drawing, Sleeping Girl. Clippings from Town & Countryon Mellons and on Givenchy. One piece of correspondence in French See also client cards
- Subseries: Menil, Dominique de [Mme Jean/Mrs. John]
- 118.08 1945–1946
November 20, 1945, Pierre Matisse has sent Miró painting. April 12, 1946, Mrs. de Menil asks that Pierre Matisse forward photograph to Rouault for authentication. April 13, 1946, Pierre Matisse sending Miró, Matisse, and Chagall drawings. Artists: Miró, Matisse, Chagall, Rouault Some correspondence in French See also client cards
- 118.09 1951, 1958–1959
April 11, 1951 request by Mrs. de Menil for duplicate invoice for Rouault Acrobat purchased in May of 1945. Also for Music by Miró exchanged in spring of 1946. May 22, 1958, from Pierre Matisse re gouaches découpée by Matisse that Mrs. de Menil had been interested in. December 1, 1959 receipt for shipment of two Matisse drawings to Texas. December 11, 1959 reminder letter re Giacometti lamps with photostat. Artists: Matisse, Picasso Some correspondence in French See also client cards
- 118.10 1960–1969
March 9, 1960, Pierre Matisse sending invoice for Dubuffet Desert rose, with shipping receipt. March 11, 1960, Pierre Matisse sending invoice for Giacometti bronze lamps. April 2, 1960, Mme de Menil orders more lamps. April 1960 correspondence re outstanding invoice for Giacometti drawing. June 20, 1961 correspondence re Giacometti lamps being given as wedding presents. November 24, 1962, Pierre Matisse sending duplicate invoice for purchase of Rouault painting in 1945 (with photostat of invoice). January 16, 1964, from Jean de Menil requesting Tanguy catalogue raisonné be sent to Lefebvre. Mentions having sent photo of gouache that was not included in catalogue. June 23, 1965, Pierre Matisse sending invoice for Saura Imaginary Portrait of Goya. June 9, 1966 missive from Mme de Menil with condition and conservation report on Saura painting. April 4, 1968, from Pierre Matisse with provenance of Picasso Guitar on Table, purchased by de Menils in 1955. December 29, 1969 insurance valuation of Rouault Acrobat. Artists: Giacometti, Saura, Dubuffet Some correspondence in French See also client cards
- 118.11 1970–1972, 1976
February 2, 1970 request for insurance appraisal of Miró. February 27, 1970, response from Pierre Matisse. December 9, 1971 request for insurance value on Matisse Brook with Aloes, including black‐and‐white photo. May 4, 1972 request for insurance values on Miró Musique and Painting, 1930, with black‐and‐white photo. October 20, 1976 request for values on Matisse cut‐outs (photocopies of works). October 26, 1976 request for value on Cézanne Trees at Tholonet. See also client cards
- 118.12 R 1980, 1982, 1987
Miscellaneous correspondence. October 30, 1980 from Mme de Menil saying Pierre Matisse should release Hantaï painting. August 2, 1982, re first payment on Lam paintings (it appears painting may not have been purchased). Various invitations. Clippings and articles: New York Times Magazine (May 18, 1986), Newsweek (June 15, 1987), New York Times (May 20, 1987). Artists: Lam Some correspondence in French See also client cards
- Subseries: Meltzer, David
- 118.13 1950, 1953–1954, 1961, 1978
1950 correspondence between Pierre Matisse and David Meltzer re Matisse painting being sent on approval. March 5, 1954, from Pierre Matisse with provenance of Matisse painting [no correspondence in file re purchase and no client card found]. January 27[, 1958?], re stand for Butler bronze, Girl with arms up, 1956, purchased December 31, 1957 according to client card. 1978 correspondence with researcher Marilyn Crowe re Butler and Matisse in Meltzer collection. Artists: Butler, Matisse Some correspondence in French See also client cards
- Subseries: Miestchaninoff, Oscar, 1886–1956
- 118.14 1939, 1954
139 handwritten letter marked "copy—letter mailed March 21, 1939" in which Pierre Matisse wonders if Miestchaninoff's Rousseau is for sale. March 11, 1954, Pierre Matisse selling Soutine that had been in Miestchaninoff collection. New owner wants to know when Miestchaninoff acquired it and where it was exhibited. Response dated March 12, 1954. June 6, 1954, Oscar Miestchaninoff wants to sell Soutine. Correspondence re price of painting, et cetera. Miestchaninoff decides not to sell in a cable dated September 25, 1954. Some correspondence in French
- Subseries: Miller, Earle
- 118.15 1938–1944, 1951, 1983, 1985
May 17, 1938, Pierre Matisse sending Miró Still Life with Old Shoe. October 4, 1940, Pierre Matisse sending Calder (with shipping receipt). July 8, 1943, Millers sending check for Calder. February 7, 1944, from Pierre Matisse re arrangements to purchase Miró Still Life with Old Shoe from Millers. April 4, 1983, from Pierre Matisse about possibility of Still Life with a Horse being donated at some point to a museum. June 19, 1985 appraisal for Miró still‐life. Note card signed "Anne & Joe" to Tana Matisse with picture of Millers's Still Life with a Horse on the front [now in the Philadelphia Museum of Art collection]. File also includes extensive correspondence of a more personal nature (not sensitive, however). Date range is approximate, many letters undated See also client cards
- Subseries: Miller, Henry, 1891–1980
- 118.16 1947–1948, 1955–1956, 1958–1960, 1962
Extensive correspondence between Pierre Matisse and Henry Miller relating to silk screen book published by Henry Miller, his watercolors, et cetera. Correspondence relating to Miller' troubles in transferring royalties due him abroad into dollars. Requests for financial help from friends. Pierre Matisse offers to buy francs for dollars. Correspondence re Légers Miller wants to sell. Photocopies of letters sent to Miller by F. Léger. Two letters from Miller to "Bob." Signed copy of paperback To Paint is to Love Again by Henry Miller. Clipping from New York Times on Henry Miller, dated November 3, 1968. Some correspondence in French
- Subseries: Millett, Richard C.
- 118.17 1976
Letter from Mr. Millett requesting help in authenticating various works inherited from his mother, Corot, Pesne, Bonington, and Quentin de la Tour. With black‐and‐white photographs and color transparencies and provenances. Some notes in French
- Subseries: Mills, Abbot Low, b. 1898
- 118.18 1940–1941, 1949
March 21, 1940, Pierre Matisse sending Tanguy works on approval. March 29, 1940, Mills keeping Tanguy painting but returning gouache. May 12, 1941, from Pierre Matisse re purchase of Rouault. February 19, 1949, Mills interest in Dubuffet painting that his aunt saw in the gallery and asks that it be sent. February 21, 1949 response from Pierre Matisse. April 12, 1949, Dubuffet has arrived, Mills sending check. Artists: Dubuffet, Tanguy, Rouault See also client cards
- Subseries: Morris, Herbert, Mrs.
- 118.19 1935, 1943–1945, 1950–1951, 1958
June 5, 1943, Pierre Matisse writing of receipt of check for Siqueiros painting, The Shell. January 31, 1944 missive re damage to Chagall painting in transit. February 15, 1944, Pierre Matisse sending Tanguy and Rouault paintings. March 29, 1944, Pierre Matisse had sent Matta painting. May 11, 1944, payment sent. January 22, 1945, Pierre Matisse sending Miró painting. Shipping receipts. Artists: Miró, Tanguy, Matta, Chagall, Rouault, Laurencin, Siqueiros See also client cards
- Subseries: Morse, Reynolds A.
- 118.20 1944, 1947–1948, 1950, 1953, 1956–1958, 1963–1965, 1980–1981
July 26, 1944, Pierre Matisse sending paintings on approval (Dalí and Tanguy). July 28, 1944 memorandum for paintings. May 7, 1948 invoice for Miró Woman in repose and invoice for Tanguy, Chagall books. June 16, 1950, Pierre Matisse sending Dalí painting and drawing on approval (paintings returned). 1956 correspondence re Dalí. October 5, 1956, Morse interested in selling Miró. February 5, 1957, Pierre Matisse proposes an exchange of Dalí manuscripts for small Miró. April 20, 1958, Morse wants to purchase Dalí pastel, sends check May 2, 1958. April 1964. Morse sends Pierre Matisse Tanning and Matisse works to sell. February 2, 1965, Morse requests return of the Matisse drawing. October 28, 1981 letter informing Pierre Matisse that Reynolds Morse's Dalí collection has been given to the State of Florida, where a building has been provided to house the collection. Various clippings and magazine articles. Artists: Dalí, Miró See also client cards
- Subseries: Couve de Murville, Mme
- 118.21 1955, 1956
May 15, 1955 missive to Lowy requesting shipment of Balthus The Card Game to Mme Couve de Murville. May 20, 1955, from Mme Couve de Murvile (painting is on loan to French Consulate). October 17, 1956, painting being returned. Correspondence in French
- Subseries: Myers, George Hewitt
- 118.22 1935–1936, 1939–1940, 1945, 1949–1950
Correspondence between Pierre Matisse and George Hewitt Myers, President of Textile Museum of the District of Columbia. November 27, 1935, Myers wants to make offer for Peruvian cap [number 2 in exhibition From the Ratton Collection in Paris (October 22–November 16, 1935)]. February 1, 1936, Pierre Matisse sending cape to Myers. May 14, 1940, Myers sending check for Byzantine textile Pierre Matisse sent on approval. December 7, 1949 examination of Byzantine textile had revealed it is a more recent copy containing mercerized cotton. Myers would like his money back. Extensive correspondence re return of textile. May 5, 1950, Pierre Matisse refunding purchase price of textile to Myers. File contains brochure from 1935 Ratton collection exhibition with prices.
- Subseries: "Mc"
- 118.23 1970s
Miscellaneous correspondence. April 10, 1972 letter to Mr. McAlpine sending Miró. Correspondence with Mrs. C.H. McNutt. October 25, 1974, insurance values of three Tanguys. Transparencies and black‐and‐white photographs of Tanguys. Artists: Tanguy
- Subseries: McAndrews, John
- 118.24 1954, 1957, 1961–1962
- Subseries: McIlhenny, Henry P.
- 118.25 1932–1942, 1945, 1958–1959, 1962
Extensive correspondence between Pierre Matisse and McIlhenny re works of art for sale, purchases, et cetera. Letters from Pierre Matisse re his exhibitions, works available, et cetera. October 6, 1932 invoice for Matisse drawing, Plumed Hat. December 23, 1936, Pierre Matisse sending Miró gouache. April 14, 1937, Pierre Matisse relates Miró painting to Seurat's work. July 5, 1940, Matisse The Studio sent to McIlhenny on approval. July 8, 1940, painting being returned. McIlhenny's mother does not approve. November 1941, re photos to be taken of McIlhenny and his mother by George Platt Lynes. April 18, 1962 insurance values on Matisse and two Rouaults. Magazines and newspaper clippings. Artists: MacIver See also client cards; McIlhenny, John, Mrs.
- Subseries: McIlhenny, John, Mrs.
- 118.26 1932–1943
Pierre Matisse offer Mrs. McIlhenny a Renoir (Antibes), Matisse, Derain, Utrillo, as well as a Gauguin (Mahana Maa). In 1935, Pierre Matisse offers her a Daumier drawing and a Cézanne sketch of a young boy. Mrs. McIlhenny buys Crucifixion and Head of Christ by Rouault. In 1943, Pierre Matisse offers her a Rouault flower piece. Artists: Renoir, Matisse, Derain, Utrillo, Gauguin, Daumier, Cézanne, Rouault
- Subseries: McKean, Shaw, Mrs.
- 118.27 1931–1933
Correspondence about Gromaire, Pascin, and Dufy. No sales recorded. Artists: Gromaire, Pascin, Dufy
- Subseries: McKim, William
- Subseries: McLane, James L.
- 118.29 1946–1947
1946, Father McLane inquires about Chagalls (if oils are too expensive then possibly watercolors from The Firebird. He ends up buying Jour et Nuit and Descent from the Cross and later that year he buys The Circus and Crucifixion. He is in his own words, an ardent disciple of Chagall. McLane also buys Blue Violonist. He expresses interest in Dubuffet and Matta but buys Chagall's Blue Cock Artists: Chagall, Dubuffet, Matta
- 118.30 1948–1950
McLane now gets interested in Miró, Dubuffet and Giacometti but "doesn't have enough money." In 1949, McLane wants to buy Balthus's La semaine des quatre jeudis or Jeune fille á sa toilette or Georgette. Account sheets of McLane's payments for Chagall's Yellow Rooster, Miró's Femme et oiseau dans la nuit, and Balthus's La semaine des quatre jeudis. McLane returns La semaine... and buys Georgette. Pierre Matisse writes that Chagall doesn't want Matisse to have exclusivity on his paintings anymore. In 1950, Pierre Matisse offers McLane a number of Giacomettis. McLane buys Balthus's The Goldfish and is interested in The Card Game but it is too big for his wall. Artists: Miró, Dubuffet, Giacometti, Balthus, Chagall
- 118.31 1951–1954
Pierre Matisse sends McLane several paintings on approval "as summer visitors." McLane finds it most difficult to part with Dubuffet's Teint des perles. Mrs. McLane loves it so much that the Reverend ends up buying it in 1951. McLane is now crazy about Dubuffet. Pierre Matisse claims the 1952 Dubuffet exhibition Landscaped Tables... is the most important one. McLane also owns Balthus's The Dream. Artists: Dubuffet, Balthus
- 118.32 1955–1964
McLane buys a Giacometti head and a Riopelle watercolor. Pierre Matisse sends McLane Butler's Doll. McLane gives Pierre Matisse two Chagalls to sell: Circus and Horloge de Noël. McLane owns a Giacometti landscape The round tree with two poles. At the end of 1960, Father McLane dies. Mrs. McLane now starts selling Chagalls back to Pierre Matisse. Louis McLane (son of James) gets Dalí drawings from Pierre Matisse. Artists: Giacometti, Riopelle, Butler, Chagall, Dalí
- Subseries: McLane, Louis
- 118.33 1975–1978
The Descent from the Cross by Chagall is returned to McLane from a Guggenheim exhibition in damaged condition. McLane wants Pierre Matisse to have it restored. Correspondence with Aetna Insurance, the Guggenheim, Mr. Yao (chief restorer at the Morgan Library), General Adjusters and Eugene Thaw. Artists: Chagall
- 118.34 1979–1980
Pierre Matisse sends McLane Lettres et chiffres attirees par une etincelle by Miró. Account sheets of payments between Pierre Matisse and McLane. McLane sends Pierre Matisse a write‐up on trust organizations. He forms Danae Fine Arts Co. A list of Chagall graphics McLane owns. Ets. Viedes Arts (Pierre Matisse Gallery) buys Therese revant (Dana) by Balthus, from Danae Fine Arts. Artists: Miró, Chagall, Balthus
- 118.35 R 1981–1982
- Subseries: McLane, Mary
- 118.36 1965–1976
Mrs. McLane (widow of The Reverend James McLane) buys a Calliyannis from Pierre Matisse. Mrs. McLane gives Pierre Matisse a small Oiseau Lunaire (Miró) to sell along with two Chagalls. In 1969, Louis McLane (son of the McLanes) sends Pierre Matisse Persecution and Inspiration by Chagall to be sold. Mrs. McLane dies in early 1970. Pierre Matisse has to withdraw Inspiration from an exhibition because Mrs. McLane had bequeathed it to the Museum of Fine Arts in Colorado Springs. Black‐and‐white photographs of Inspiration and L'Horloge de Noël by Chagall. Artists: Calliyannis, Miró, Chagall
- Subseries: McVitty, Albert E. (Albert Elliott), 1876–1948
- 118.37 1935–1937
February 4, 1935 missive from McVitty. Request for loan to exhibition at the Present Day Club. March 4, 1935 list of pictures being borrowed. Miscellaneous letters from Pierre Matisse announcing upcoming exhibitions.
- Subseries: "N"
- 118.38 1960s
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Also offers of artworks. Filed alphabetically: Manfred Nachman, on two paintings disappeared in 1938 from his estate; André Naggar (re Matta); Samuel Nass (re Saura, Lam); Bernard Nath (re Butler); Max Nathanson; E. Nebel (re Marini); Joseph A. Neff (re Giacometti); Robert B. Nelson (re MacIver); José Nemirowsky (re Chagall); Pierre F. Nesi; Mary Neveleff (re Chagall); Victor F. Neu (re pre‐Colombian) Roy R. Neuberger (re MacIver, Butler); Hans Neumann (re Ipousteguy); Harold Neuman (re Chagall); Kenneth Newberger (re Dubuffet); Thomas Newman (re Miró); Mrs. Albert H. Newman (re Miró); The New York Public Library; Gino Nibbi; Ms. Catherine Nicholas; Mrs. Dorothy Norman (re MacIver); Irving Norry (re Etrog, Giacometti); Mrs. Ralph Norton (re Brancusi); Eliot Noyes (re Marini); Mrs. Moses Nunnally (re Matisse print, MacIver); L. Nystrom (re Saura).
- 118.39 1970s
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Filed alphabetically: Gerald Nachman; Samuel Neulinger (re Chagall, Miró); Hans Neumann (re Butler); Hubert Neumann; Thomas G. Newman (re Riopelle, Chagall, Miró); Maurice Newton (re Matisse, Bonnard); NYSFDC [New York State Facilities Development Corporation] (re Roszak); Irving Norry (re Giacometti); Charles Noyes (re MacIver). Some old photocopies are kept between archival paper See also 1960s for additional Nachman material
- 118.40 R 1980s
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Also offers of artworks to the Gallery. Filed alphabetically: Hans Namuth (1986) about a Pierre Matisse picture to be taken for Connaissance des Arts; Raymond Nasher (clippings of articles about the collector); Walter Nathan; Don H. Nelson (re Miró, Millares); S.I. Newhouse (re Giacometti); Eleanor Neulinger (re Chagall, Miró); Thomas Newman (re Miró); Stavros Niarchos (re Matisse); Ann Norry (re Alberto and Diego Giacometti); Samuel Neulinger (re Miró)
- Subseries: Neumann, Morton G.
- 118.41 1935,1943–1959
Correspondence, shipping papers, invoices, receipts re works of art. May 6th, 1950 request of expertise on a (fake) Matisse drawing. May 15, 1956 and January 29, 1957 requests of appraisal of the artwork in the collection. Artists: Lam, Rouault, Chagall, Dubuffet, Giacometti, Matisse, Riopelle, Miró
- 118.42 R 1960–1984
Correspondence, shipping papers, invoices, receipts re works of art sold, some exchanged. Also letters re loans to Pierre Matisse Gallery exhibitions and sale to the Gallery of a Riopelle, 1950. Invitations to exhibitions of the Neumann Collection in Washington and Chicago. Clippings on Mr. Neumann and his collection. Artists: Dubuffet, Saura, Giacometti, Matta, Matisse, Millares Some old photocopies are kept between archival paper
- Subseries: Newberry, John S. (John Stoughton), 1910–1964
- 118.43 1932–1954
Correspondence, invoices and receipts re artwork purchased from Pierre Matisse Gallery. Some exchanges. Interesting letters on artists, exhibitions, et cetera. Artists: Matisse, MacIver, Chagall, Picasso, Martin
- Subseries: Newbury, Michael
- Subseries: Newhouse, Donald E.
- 118.45 R 1978–1984
Letters, invoices, receipts and payment records related to the sales in 1978 and 1988 of Balthus's Japanese Figure with Black Mirror, Grande composition au corbeau, and, in 1984, Setsuko Ginger Jar. Clippings from a magazine on Newhouse and his house.
- Subseries: Nichols, Mike
- Subseries: Nouvelles Images
- 118.47 R 1972–1986
Nouvelles Images is asking Pierre Matisse for authorization to reproduce Matisse cut‐outs. In 1979, Nouvelles Images is reproducing Giacometti ink drawings. Correspondence about Madame Giacometti's conditions to the project of reproducing Trois têtes. In 1983, Nouvelles Images reproduces two Balthus. Agnelli has to give authorization for Nu de profil, Sheldon Solow has to give it for Katia reading. A copy of Nouvelles Images catalogue, September 1981. Artists: Giacometti, Balthus
- Subseries: "O"
- 119.01 Ober to Ork, 1968–1969
- 119.02 Ober to Oster, 1974–1975
Clients: Oberlander, Onik Sahakian, Onslow‐Ford, Osterweis Artists: Balthus, Chagall, de Chirico, Butler
- 119.03 R Oga to Ows, 1981–1989
Clients: Ogasawara, Okun, Onslow‐Ford, Oster, Osthoff, Owsley Artists: Riopelle, Miró, Tanguy, Dubuffet, Matisse
- Subseries: Olsen, Fred, 1891–1986
- Subseries: Osborn, Robert Chesley, 1904–1994
- 119.05 1956–1972
Osborn buys The Satyr of the Bois de Boulogne ceramic by Miró. He also buys a MacIver pastel. Cheerful correspondence about artists, exhibitions, catalogues, et cetera. Artists: Miró, MacIver, Saura
- 119.06 1973–1978
Correspondence about insurance for the Satyr Miró ceramic. Susse foundry agrees to cast six casts of the ceramic in bronze, three of which to go to Osborn, three to go to Pierre Matisse. Article about Osborn published in the Smithsonian magazine (December 1976). Cheerful correspondence about artists, exhibitions, et cetera. Artists: Miró, Despiau
- 119.07 R 1979–1987
Correspondence about insurance values for the Miró sculptures. Correspondence about artists, exhibitions, et cetera. Catalogue of Osborn drawings at a 1983 exhibition. Artists: Miró, MacIver, Rouan
- Subseries: Ossorio, Alfonso
- 119.08 1950–1980
Ossorio buys Giacometti's Standing Figure, El Golea, a gouache by Dubuffet, and also two Dubuffet oils of the Corps de dames series. Article from Town & Country on Ossorio and his house in East Hampton (July 1980). Artists: Giacometti, Dubuffet
- Subseries: "P"
- 119.09 1956–1980
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Also offers and consignments of artworks to the Gallery. Filed alphabetically: Dennis Paddok (re Tanguy); Stephen Paiune (re Riopelle); John G. Palfrey (re MacIver); Fred Palmer (re Butler); Mrs. Bliss Parkinson (re MacIver, Prendergast, Butler); Mary Patch; Mrs. Cuyler S. Patton (re Miró, Léger); John Paxton (re Balthus); John Plennish (re Chagall); Philip Perkins (re Tanguy); Milton Perlmutter (re Calliyannis); Henri Peyre of Yale University.
- 119.10 1960–1970
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Filed alphabetically: Walter Pharr (re Riopelle); Mrs Frederic Pick (re Matisse); John Pierson (re Butler); Alfred Pilson (re Miró); David Pincus (re Giacometti); Ned Pines (re Roszak, Butler, Francis); J. Pi‐Sunyer (re Miró, color snapshot included); Mrs. Eric Pleskow (re Miró); P.A. Plentioff (re Annenkoff); Mme Marie‐France Pochna (re Miró, Constellations album); Barbara Pollack (re Matisse, in relation to the Cone sisters); Liliane Pollah (re Matta); Morris Pomer (re Riopelle); Mrs. Myron Portenar (re MacIver); F.H. Porter (re Riopelle, Dubuffet); Allan Porter; George Post.
- 119.11 1959–1969
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Filed alphabetically: Otto Preminger (re Matisse, Riopelle, Miró); André Previn (re Balthus, Giacometti); Betty Priebe; Neil Primrose (re Riopelle); William Prince; Susan Proskauer (re Marini).
- 119.12 1970–1976
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Also offers of artworks to the Gallery. Filed alphabetically: Kenneth PARTLOW; Helen R. Parish (re reference fake etchings by various artists); Joan Peterson; Henry Petter II (re Miró); Milton Petrie (re Giacometti); Gaetan Picon (re a projected book on Balthus); Gail Plah (re Riopelle); John A. Pope; Meyer Potamkin (Matisse black‐and‐white included); Marie‐Eugenie Pourtales; Donald Procaccini (re Miró).
- 119.13 R 1973–1988
Exchange of letters with various individuals, such as inquiries regarding works of art, requests of appraisal and authentication, purchases from Pierre Matisse Gallery. Also offers of artworks to the Gallery. Filed alphabetically: Carla Panicali (re Miró, Marini); Pauline Parry‐Karpidas (re Lam); Betty Parson (obituary); Lelia Patton (re Miró, Léger); I.M. Pei (re Zao Wou‐ki); PepsiCo; Mrs. Paul Pesackis (re Matta); Francis Ponge (obituary); John Pope; Myron Portenar (re MacIver); Frank Porter (re Zao Wou‐ki, black‐and‐white photograph included); Robert Pressman (re MacIver); Marie‐Thérèse Pulvenis (associated to the Musée Matisse in Cimiez).
- Subseries: Paepcke, Walter P.
- 119.14 Correspondence, 1937–1974
Correspondence between Pierre Matisse and Mr. and Mrs. Walter Paepcke re acquisitions from Pierre Matisse Gallery, loans to exhibitions, shipping instructions, et cetera. Correspondence re loan of Chagall to retrospective at the Museum of Modern Art. January 6, 1937 missive re Henri Matisse still‐life. Telegrams, shipping receipts.
- Subseries: Paine, Robert Treat, 1900–1965
- 119.15 1931–1937
In 1931, Pierre Matisse sells a Renoir pastel, Tete d'Enfant to Paine. In 1933, Paine buys a Corot Meditation. Paine lends Girl with Spanish Mantilla [Espagnole (Buste)] by Matisse to Pierre Matisse Gallery for an exhibition in 1934. In 1937, Pierre Matisse offers Paine a Picasso gouache of the blue period (two acrobats). Artists: Renoir, Corot, Matisse, Picasso
- Subseries: Paley, William S. (William Samuel), 1901–1990
- 119.16 Correspondence, 1936–1968
Correspondence regarding works of art sometimes sent on approval sometimes offered for sale. Cables, receipts, provenance information related to acquired works of art, appraisals of the French paintings collection at various times (some photocopies). Notes to Pierre Matisse from Dorothy Paley. 1968 news clipping about the election of Mr. Paley as President of Museum of Modern Art. Artists: African art, Matisse, Degas, Gauguin, Picasso, Rouault, Cézanne, Laurencin, Braque, Miró, Rousseau, Giacometti
- Subseries: Parsons, Harold
- 119.17 1932–1936
Pierre Matisse offers Parsons a Maillol marble statue and other important works. Parsons is art adviser to the Kansas City Museum of Art. In 1936, Parsons is arranging a small exhibition and asks Pierre Matisse for a Matisse and a Braque. Pierre Matisse sends a Picasso (La Mise au Tombeau) and a Matisse (Odalisque accoudee). Pierre Matisse offers Parsons a Gauguin (Arii Matamoe) and a Cézanne (La Vie des Champs). Artists: Maillol, Matisse, Braque, Picasso, Gauguin, Cézanne
- Subseries: Pei, I.M., 1917–
- 119.18 R 1960–1989
Pei had bought a black and white Dubuffet collage (Voyage du grand nuage) from Pierre Matisse in 1958. Pei asks Pierre Matisse to intervene with Dubuffet for whose works he wants to dedicate an entire hall in the East building of the National Gallery in Washington. In 1981, Pei buys a Zao Wou‐ki from Pierre Matisse. Numerous articles and press clippings about I.M. Pei. Also many invitations to celebrations honoring I.M. Pei. Artists: Dubuffet, Zao Wou‐ki
- Subseries: Penrose, Roland, Sir
- 119.19 1946–1984
In 1946, Penrose is selling Pierre Matisse a Miró and is buying a Lam. Penrose also gives Pierre Matisse a Miró on consignment as well as a de Chirico and two Picassos. Evaluation of a de Chirico in Penrose's possession. Penrose offers Pierre Matisse a Braque and an Ernst. Pierre Matisse declines the offer (not important enough). Penrose is asked to write an introduction to a Tanguy exhibition catalogue at the Centre Georges Pompidou (1981). Penrose dies in 1984. Obituary of him and of his wife, Lee Miller, who died in 1977. Artists: Miró, Lam, de Chirico, Picasso, Braque, Ernst, Tanguy
- Subseries: Peril, Marilyn and Barry
- 119.20 1967–1968
Peril is inquiring about five Mirós. Pierre Matisse gives him prices and details. Peril buys Quicksilver by Dubuffet in 1967. Some months later he buys Dubuffet's Blood and Fire. In 1968, Peril buys an Arab painting by Dubuffet and Promeneuse au parapluie and Seated Figure by Miró. 1968 insurance values for all art purchased by Peril from Pierre Matisse. Peril inquires about a number of Matisses. Artists: Miró, Dubuffet, Matisse
- Subseries: Perin, Jane
- Subseries: Editions Paul Petrides
- Subseries: Pfeiffer, Gustavus Adolphus, 1872–1953
- 119.23 1934–1936
In 1934, Pierre Matisse has a Quintanilla exhibition. Pfeiffer buys seven etchings from that exhibition. List of Quintanilla etchings in Pfeiffer's possession. Pierre Matisse writes Pfeiffer that he has received a number of Quintanilla drawings. Pfeiffer inquires about Quintanilla's fate in the Spanish civil war. Artists: Quintanilla
- Subseries: Pierre, José, 1927–1999
- 119.24 1967–1983
Letters requesting photographs and information related to Surrealist artists. 1967 copy of "Lettre ouverte a Jacques Lassaigne" Paris, 1er October 1984. Circular letter from A.C.T.U.A.L., centre for Surrealist documents in Paris.
- Subseries: Pinto, Morris
- 119.25 1959–1968
In 1959, Pinto buys seven Dubuffets. He is also interested in a Tàpies, of whom Pierre Matisse has just acquired two paintings. Pinto wants to sell a Millares to Pierre Matisse. Matisse is no longer parting with any of his Dubuffets because the market is so strong (1959). Pinto is interested in Giacometti sculpture and paintings and Klee. Artists: Dubuffet, Tàpies, Millares, Giacometti, Klee
- Subseries: Potvin, Yvonne
- 119.26 1950–1952
In 1951 Pierre Matisse buys Chagall's Cirque from Mme Docteur Potvin. Correspondence about shipping and payments for the painting. Mme Potvin offers Pierre Matisse two Vlamincks (black‐and‐white photographs enclosed) Artists: Chagall, Vlaminck
- Subseries: Price, Winston
- 119.27 1961–1971
1961, Dr. Price buys Miró's Woman, Bird and Stars but sends it back because he cannot pay for it. 1967, Price buys a Giacometti oil Standing Figure. Again he cannot pay for it and returns it. In 1971, Dr. Price buys The thousand and one nights gouache/collage by Matisse (for $225,000). Artists: Miró, Giacometti, Matisse
- Subseries: Pritker, Jay A.
- 119.28 R 1967–1983
Correspondence with Sally Fairweather, of Fairweather‐Hardin Gallery in Chicago, referencing sales of artworks to Mr. Pritzker. Sally Fairweather was acting as intermediary between the collector and Pierre Matisse. 1986, requests of appraisal. Artists: Miró, Giacometti
- Subseries: Pulitzer, Joseph, 1913–1993 (St. Louis)
- 119.29 1936–1938
During 1936 correspondence, Pulitzer is at Harvard, thereafter in St. Louis. Generally the letters deal with works of art in which Pierre Matisse attempts to interest Pulitzer, providing vivid descriptions of colors, paint techniques, and other information. Any expression of interest in a particular artist on Pulitzer's part results in Pierre Matisse finding an example. Works are sometimes sent on approval and either returned or acquired and payment made. Artists: Braque, Rouault, Picasso, Degas, Henri Matisse, Bonnard, Derain, Gris Names: James Johnson Sweeney, Martha Davidson (ARTnews), Meyric Rogers
- 119.30 1939
Pierre Matisse sends photographs and information re works of art. Over several months he urges Pulitzer to acquire a Miró. In May, reference to Rouault and Mirós sent to St. Louis. Also lengthy correspondence re Rouaults, especially Three Clowns. Pulitzer frequently asks for provenance, not information re colors, et cetera., i.e. Picasso's Beggar (sent on approval), and Derain's Window on the Park. Pulitzer decides against Rouault and Mirós because of upcoming auction in Lucerne of "degenerate" works confiscated by the Nazis. Pierre Matisse and Pulitzer attend auction at Galerie Fischer, Lucerne (June 30, 1939). Pierre Matisse apparently bids and gets three works for Pulitzer, including Henri Matisse Bathers with a Turtle, which is shown in group show at Pierre Matisse Gallery in October. November, still Rouault 3 Clowns (story re Edward G. Robinson). During this time Pierre Matisse in French Army, demobilized November, returns to New York December 8. Four days later, arrangement made for Pulitzer purchase of 3 Clowns. Letter to Pulitzer dated March 1 apparently from Mrs. Matisse, writing "My father died suddenly last week."
- 119.31 1940–1941
Correspondence re shipping of and Pulitzer payment for the Rouault Three Clowns. February 20, 1940, Pierre Matisse writes eloquently and at length about Miró, naming several paintings in which he feels Pulitzer should take a serious interest, especially Carnaval d'Arlequin and The Spanish Playing Cards and proposes an arrangement by which he hopes Pulitzer will acquire Mirós. A handwritten sheet outlines provenance of both. Pulitzer unable to consider proposition. Pierre Matisse sends bill for costs of getting three works to Pulitzer from Lucerne sale. Exchanges of letters concerning Derain, about which Pierre Matisse is again eloquent. Pierre Matisse agrees to taking back some Pulitzer Rouaults for The Wounded Clown, but advises Pulitzer to give careful thought to the acquisition. Some correspondence with Pulitzer sister, Kate Davis Pulitzer. References throughout to social meetings of Pulitzers and Matisses. Pulitzer proposal of May 8, 1941 for exchanges, et cetera, toward a purchase of Gris still‐life. Pierre Matisse writes of changes in gallery and new things to show Pulitzer.
- 119.32 1942–1944
By June 1942 Pulitzer is commissioned in U.S. Navy, so that some correspondence following is with Louise Pulitzer. February 3, 1942 Pierre Matisse writes at length about de Chirico, and introduces Tanguy and Matta, then later, Matta and Lam, Pulitzer buys gouache of latter. Summers, Matisses remain in U.S., perhaps in New Jersey? Correspondence, negotiations, et cetera, continue regarding Picasso, Henri Matisse, new (unnamed) painters, et cetera, Miró, Gris. April 1943, finally, purchase of de Chirico. Names: Dojean Lane, Henry Clifford, Ines Amor
- 119.33 1945–1949
April 6, 1945, Joseph Pulitzer writes of his war experiences. For following two years only two or three letters each year, increasing in 1948, when Pierre Matisse writes about Giacometti. Negotiations continue as in the past, re Degas, Rouault, sometimes with Pulitzer taking the initiative to persuade Pierre Matisse to buy back or take on consignment paintings to resell. Contains three black‐and‐white glossy photographs. Artists: Alice (Mrs. Wolfgang) Paalen, Degas, Henri Matisse, Tanguy, Rouault, Bonnard, Laurencin, Soutine, Rousseau, Dubuffet, de Chirico, Lam, Marcoussis Names: Durand‐Ruel, Mrs. Kate Perls, Miss Viviano, Whittimore (sale), Paul Guillaume
- 119.34 1950–1953
Negotiations and agreements continue regarding works of art Pierre Matisse has on consignment to sell for Pulitzer, works Pulitzer is interested in. Pulitzer withdraws de Chirico to try Sidney Janis, then asks Pierre Matisse's opinion about disposing of it. Later, Joseph Pulitzer transfers the Derain Guitariste to the dealer Otto Gerson, Fine Arts Associates, and gives the Lam to the St. Louis City Art Museum. November 2, 1953 Pierre Matisse offers Braque The Rum Bottle. File contains black‐and‐white glossy photograph. Artists: Henri Matisse, Picasso
- 119.35 1954–1959
Pulitzer asks for values on some works he contemplates donating to the City Art Museum. February 8, 1957, Pulitzer writes that the Fogg Art Museum is preparing a catalogue of his collection. Arrangements are made re Pulitzer acquisition of a 1916 Gris dedicated to Henri Matisse, about which Pierre Matisse sends information re Collioure during World War I. Further correspondence regarding conservation of the painting. At the end of 1959, Pulitzer acquires a Dubuffet and a Miró.
- 119.36 1960–1967
Letters from Pulitzer asking for valuations for insurance purposes. Negotiations re Giacometti portrait of David Sylvester, a Rivera sculpture, purchase, shipment, et cetera, also Balthus's Tasse de cafe; Miró's Personnage of 1953, and Dubuffets. A second Miró, of 1945 (Dupin 652) was also purchased. Various mentions of visits, lunches between Pierre Matisse and Joseph Pulitzer, also their meeting at Matisse opening in Boston. An undated handwritten slip appears to be a cable message from Patricia and Pierre Matisse to Pulitzer. A printed card from family of Louise Vauclain Pulitzer acknowledges expression of sympathy. Photocopy of cover and title page of 1968 exhibition of Pulitzer collection, catalogue itself placed among printed material removed from files
- 119.37 1971–1979
Folder of Pierre Matisse appraisals of Pulitzer collection done over a number of years, from 1952 to 1973. A wedding announcement of Emily Rauh to Joseph Pulitzer dated June 30, 1973, and note from her acknowledging gift of Henri Matisse etching from the Matisses. Correspondence re works of art, re Pierre Matisse bidding at auction for Pulitzer, et cetera. Includes color slide of Henri Matisse painting.
- 119.38 R 1980–1988
Inquiries from Pulitzer for valuations on works he is donating, letters re purchases. Dubuffet drawing. Exchange of letters between Tana Matisse and Angelica Rudenstine re items in Pulitzer collection. Clipping, two black‐and‐white glossy photos, exhibition announcement, invitation, et cetera.
- Subseries: Pyrch, A.J.
- 119.39 1963–1970
Pyrch is inquiring about paintings by Riopelle, especially La Cote. He decides to purchase Vetement des Iles and Champetre. In 1964, Pyrch is inquiring about Giacometti, Butler and Marini sculptures. Lengthy correspondence about Riopelle. Artists: Riopelle, Giacometti, Butler, Marini
- Subseries: "Q"
- 119.40 1946–1949
- 119.41 1988
- Subseries: "R"
- 119.42 Rabb to Ritchie, 1960–1969
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Some materials in French
- 119.43 Robbins to Rothschild, 1960–1969
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains one slide and an article on Philippe de Rothschild. Some correspondence in French
- 119.44 Ruben to Russell, 1960–1969
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices, request for photograph reproduction.
- 119.45 Rabiner to Riskin, 1970–1979
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Some correspondence in French
- 119.46 Robertiello to Roy, 1970–1979
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. File contains small black‐and‐white photographs (Matisse, Miró).
- 119.47 Rubin to Ruttenberg, 1970–1979
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Contains magazine clipping on William Rubin. Some material pre‐1970 pertaining to Donald Rugoff
- 119.48 R Randazzo to Rewald, 1980–1989
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Contains two magazine articles and one news clipping on John Rewald Some correspondence in French
- 119.49 R Rewald to Rosenthal, 1980–1989
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Contains New York Times obituary for Alexandre Rosenberg, correspondence with Wanda de Guébriant re Matisse authentication for Gertrude Rosenstein, black‐and‐white photo of Miró. Some correspondence in French
- 119.50 R Ross to Russell, 1980–1989
Miscellaneous correspondence with clients, including requests for insurance values, authentication, catalogues, et cetera. Correspondence re sales to clients with relevant papers, such as invoices, shipping documents, receipts, photocopies of checks, payment reminders, requests for prices. Clipping on Donald Rugoff. Some correspondence in French
- 119.51 R 1992
- Subseries: Ratner, Milton D.
- 120.01 R 1972–1982
1973 receipt of payment for two drawings by Alberto Giacometti and letter re base for Femme Léonie. 1974, Pierre Matisse letters re Alberto Giacometti piece, The Forest (1950), which was not numbered at the foundry but will be marked 5/6 by Pierre Matisse. April agreement of purchase of three sculptures by Alberto Giacometti. Note of provenance, shipping receipt. The folder contains a number of receipts of payments on account as per agreement of purchase, the payments stopped at various stages, still not settled in 1982.
- 120.02 R Invoices, 1974–1981
- Subseries: Rautbord house
- Subseries: Resor, Helen Lansdowne [Mrs. Stanley B.]
- 120.04 1933–1947
Letters, cables, invoices referencing works of art offered or sold to Mrs. S. Resor. Artists: Matisse, Miró, Quintanilla, de Chirico, Rouault, Dufy, Lam
- Subseries: Richards, Mary Atherton
- 120.05 1943–1956
Letters, statements and invoices related to paintings sold or sent on approval. Extensive correspondence on framing, lighting, protecting of paintings. Some personal, reference to Mrs. Richards illness and divorce. December 1944–January 1945 reference in letters of a cable, with text by Pierre Matisse, that Mrs. Richards is to send to Amelie and Marguerite Matisse in Paris inviting them to the U.S. Also offer to have a nephew "...who has one of the most enormous military jobs in rehabilitation of Europe," contact Henri Matisse in the South of France. Letter dated February 20, 1945, tells of unsuccessful attempts to reach the Matisses in Paris. 1955–1956, letters reference sale of Mrs. Richards collection, especially Derain Still life in front of a window sold by Pierre Matisse acting as intermediary. Artists: Matisse, Braque, Miró, Modigliani, Derain, Picasso, Rouault, Chagall, Van Gogh, Giacometti Names: reference to Mrs. Wallace (Reader's Digest Collection), Colonel Hobby, Mrs. Spaldings
- Subseries: Ripley, Dwight
- 120.06 1933, 1947–1968
Letters, invoices reference works of art acquired through Pierre Matisse Gallery. February 23 1933 letter addressed to Miss Constance Ripley reference promotional sale at Pierre Matisse Gallery. Mention to Mr. Resor. December 27, 1957 letter explaining the project for the portfolio of reproduction of the 22 Constellations gouaches by Miró and terms of agreement. Mr. Ripley owned Le Léver du Soleil. Black‐and‐white contact print of five drawings (oil on canvas) by A. Giacometti. Correspondence, in separate folder, reference to a Dubuffet Paysage Cloisonné originally belonging to C. Ratton that Pierre Matisse sold to Mr. Ripley forgetting to pay Ratton. Also note referring to the settlement. Black‐and‐white photograph of the painting. Artists: Miró, Picasso, Dubuffet, Tanguy, Rivera, Millares
- Subseries: Robinson, Edward G., 1893–1973
- 120.07 1935–1940
Frequent correspondence, always very eloquent from Pierre Matisse side, related to works of art available for sale. Also cables and statements reference art on consignment. 1939, some letters signed Teeny Matisse. September 1939 clipping of an article by Gladys Lloyd Robinson briefly describing meeting with Pierre Matisse in Paris and visiting Henri Matisse and Brancusi. Sheet of provenance data for La desserte. Artists: Utrillo, Picasso, Van Gogh, Rouault, Matisse, Derain
- 120.08 R 1941–1984
Letters and cables, often very eloquent on Pierre Matisse's part, re paintings available for sale. 1971, request for provenance of L'entombment (Le mort) (1901) by Picasso acquired from Pierre Matisse Gallery in 1937 and letters re reproduction rights for it. 1988 request of appraisal for Personnage, Oiseaux (1976) by Miró. From 1970 on all letters are addressed to Mrs. Edward Robinson, later Mrs. George Sidney Artists: Rouault, Picasso, Miró
- Subseries: Rochas, Hélène
- 120.09 R 1977–1991
Letters, invoices and shipping receipts relative to the sale of Japanese Figure with Red Table, by Balthus. 1983 appraisal note. 1991 letter of condolences to Mrs. Matisse and request of statement of ownership of the painting mentioned above. Clippings from Vogue and Style magazines.
- Subseries: Rockefeller, David, 1915–
- 120.10 1963–1980
1963 letters and invoice for a Matisse Still life with grapes (circa 1896). 1974, 1977, 1978 requests of provenance and appraisal. 1980 short correspondence with the Minister of Union Church of Pocantico Hills. Booklets illustrating the church's Chagall and Matisse windows.
- Subseries: Rockefeller, Abby Aldrich [Mrs. John D., Jr.]
- 120.11 1931–1978
Letters, invoices and receipts addressed to Mrs. Rockefeller or her secretary, A.L. Kelly, reference to paintings sold, sent on consignment or borrowed. 1931 letter from Pierre Matisse announcing his separation from Valentine Gallery. Also highly eloquent letter by Pierre Matisse about Rouault and the show at Pierre Matisse Gallery. Article about John D. Rockefeller collection of American Art, clippings of obituaries for John D. Rockefeller, III (1978) and his wife, Blanchette (1992). Artists: Cross, Matisse, Maillol, Rouault, de Chirico, Miró, Giacometti, MacIver Some early letters in poor condition with brittle edges
- Subseries: Rockefeller, Nelson A. (Nelson Aldrich), 1908–1979
- 120.12 1941, 1949–1951, 1953–1960, 1962, 1964, 1966, 1974, 1977–1979
Correspondence between Pierre Matisse and Nelson A. Rockefeller re various purchases, et cetera. March 4, 1941, Pierre Matisse has received letter from his father reminding him that decoration done for Nelson A. Rockefeller should be varnished. November 4, 1949 invoice for Giacometti bronze and Miró. June 17, 1950 invoice for Lam Fumbi‐Nsila. June 20, 1950 missive re order of Slaughtered Woman by Giacometti. March 21, 1951 re purchase of Matisse bronze. November 5, 1955 missive re purchase of Riopelle gouache. November 1, 1956 list of artworks owned by Nelson A. Rockefeller, with current market prices. January 14, 1960 re Maillol marble. May 30, 1974 invoice for Giacometti lamps. Also in file is a brochure on the Rockefeller Memorial Windows, New York Times articles on Nelson A. Rockefeller's death and on his art store, Town & Country article, Look magazine article, text of memorial service. See also client cards; Administration: Invoices; Harrison, Wallace K. (Wallace Kirkman), 1895–
- Subseries: Rodgers, Richard, 1902–1979
- 120.13 R 1953–1957, 1959–1962, 1966, 1969, 1982–1983
Correspondence between Pierre Matisse and Mr. and Mrs. Richard Rodgers [Dorothy Feiner] re purchases, et cetera. March 4, 1953 receipt for Matisse La Villa Bleu (1918). March 5, 1953, Rodgers sends payment for the same. March 8, 1953 receipt for Man Falling by Giacometti. December 10, 1954, Pierre Matisse in receipt of partial payment for Vlaminck Still Life. February 13, 1957, information re Giacometti bronze purchased by Rodgers. September 15, 1959 purchase of Riopelle painting. December 22, 1960, Pierre Matisse sending invoice for Butler bronze. February 15, 1961, Pierre Matisse sending invoice for Rivera. February 17, 1961 purchase of Dubuffet. April 19, 1962 appraisal from Pierre Matisse. May 18, 1966 appraisal from Pierre Matisse. October 15, 1969 appraisal from Pierre Matisse. March 11, 1982 authentication by Pierre Matisse of Henri Matisse drawing in Rodgers' collection, with black‐and‐white photocopy. February 18, 1983 missive re repair of damaged Giacometti bronze, with related papers. Artists: Matisse, Giacometti, Vlaminck, Riopelle, Butler, Rivera, Dubuffet
- Subseries: Rose, Billy, 1899–1966
- 120.14 1943, 1954, 1959–1962
June 1954 purchase of Giacometti bronze. December 31, 1959 invoice for Butler bronze Figure in Space. Extensive correspondence re mistake in crediting payment of same. Clipping from New York World Telegram and Sun date November 11, 1962. Artists: Giacometti, Butler
- Subseries: Rosenshine, Annette
- 120.15 1950–1951
November 20, 1950 insurance value on Matisse watercolor. March 22, 1951, Pierre Matisse purchase, small watercolor by Henri Matisse.
- Subseries: Ross, Walter, Mrs.
- 120.16 1954–1955, 1959, 1965, 1967
January 22, 1954 appraisal of Soutine. February 23, 1954, sending receipt for payment of Soutine. March 5, 1954, from Pierre Matisse re Soutine which was purchased from Oscar Miestchaninoff. April 29, 1955 insurance appraisal on two Riopelles purchased from Pierre Matisse Gallery. April 2, 1959 appraisal of Soutine. April 21, 1965, Pierre Matisse receives a Riopelle on consignment. October 23, 1967, Pierre Matisse returns Riopelle with appraisal value. Artists: Riopelle, Soutine See also client cards; Miestchaninoff, Oscar, 1886–1956
- Subseries: Russoli, Franco, Mme
- 120.17 1969, 1972
April 8, 1969, from Franco Russoli re Matisse exhibition. Correspondence between Pierre Matisse and Mme Franco Russoli re Chagall paintings. May 30, 1972 missive from Pierre Matisse re purchase of two Chagall gouaches. Artists: Chagall
- Subseries: "S"
- 120.18 Sabersky to Schwartz, 1960–1971
Correspondence with Sabersky, Sable, Sadruddin Aga Khan, Sainati, Salant, Salzman, Samuels, Sanfield, Sarlie, Schang, Schaayek, Schell, Schiele, Schliom, Schlumberger, Schneider, Schreiber, Schulhof, Schwartz, Schwartzberg. Artists: Giacometti, Marini, Saura, Butler, Dubuffet, Matisse, Etrog, Chagall
- 120.19 Scott to Sert, 1945–1970
Correspondence with Scott, Scoville, Scull, Seaver, Seeger, Segal, Selden, Seldis, Selz, Semans, Seniew, Senturia, Sergel, Sert. Artists: Miró, Saura, Butler, Tanguy, Diego and Alberto Giacometti, MacIver, Riopelle, Etrog, Rouault
- 120.20 Sea to St, 1970–1980
Correspondence with Seaver, Sedlis, Selikowitz, Sert, Meyer Shapiro, Steichen, Shareover, Shabanu of Iran, Sharpe, Sherwood, Sigerson, Singer, Smith, Sisler, Spears. Artists: Tanguy, Miró, Rousseau, Matisse, Delacroix, Hantaï, Butler, Balthus
- 120.21 Sha to Sisler, 1958–1970
Correspondence with Shalita, Shapiro, Sharpe, Shelov, Shepard, Shriver, Shulman, Sieville, Silvers, Sikes, Simons, Simpson, Singer, Sisler. Artists: Miró, Chagall, Saura, Fantin‐Latour, Millares, Dufy, Gris, Matisse, MacIver, Daumier, Dubuffet, Matta, Riopelle
- 120.22 Skira to Spiegel, 1942–1970
Correspondence with: Sloan, Skira, Smeets, Smith, Smooke, Solbert, Somoza, Sonnabend, Soavi, Spelman, Spencer, Sperling, Sperry, Spiegel. Artists: Riopelle, Marini, Le Corbusier, Miró, Picasso, Chagall, Butler, Isabelle Rouault, Rouault, MacIver, Matta, Giacometti, Roszak
- 120.23 Stam to Swan, 1950–1973
Correspondence with Stamatz, Stanton, Starkman, Starrels, Steichen, Stein, Steinberg, Stern, Stevenson, Stohl, Stratford, Straus, Strawinsky, Strelsin, Strong, Strayberg, Stuart, Summers, Sussman, Swan. Artists: Balthus, Gilioli, Riopelle, Giacometti, Butler, Matisse, Miró, Marini, Diego Giacometti, MacIver, Chagall, Tanguy, Dubuffet
- 120.24 Sa to Scull, 1970–1980
Correspondence with Saalfield, Salz, Sampliner, Samson, Samuel, Sandblom, Sanfield, Sanguinetti, Scher, Schneider, Schulhof , Schultz, Schwartz, Scull. Artists: Miró, Marini, Balthus, Matisse, Dubuffet, Chagall, Butler
- 120.25 Spi to Sy, 1970–1980
Correspondence with Spiegel, Spiro, Stein, Steinber, Stern, Stewart, Snyderman, Stafford, Stern, Stich, Stillman, Stoutzker, Stover, Straus, Strauss, Strawitz, Suter, Swayze‐Williams, Symes. Artists: Chagall, Matta, Matisse, Giacometti, Miró, Riopelle, Dubuffet, MacIver, Calder
- 120.26 R Sa to Seid, 1980–1990
Correspondence with St. Aubyn, St. Phalle, Salmona, Saltzman, Salz, Santocki, Sattentau, Shapiro, Schell, Schlichting, Schuppli, Segerstrom, Siby, Seidenfeld. Artists: MacIver, St. Phalle, Chagall, Setsuko, Zao Wou‐ki, Dubuffet, Miró, Marini
- 120.27 R Ser to Stui, 1980–1990
Correspondence with Sert, Shahem, Sherman, Sherwood, Simon, Singer, Smith, Solovy, Sperry, Stein, Steinber, Stern, Stroumillo, van Stuijvenberg. Artists: Miró, Dubuffet, Balthus, Matisse, Riopelle, Giacometti
- Subseries: Sachs, Maurice, 1906–1945
- Subseries: Sachs, Paul J. (Paul Joseph), 1878–1965
- 120.29 1952–1953
Correspondence between Sachs (Fogg Art Museum) and Pierre Matisse Gallery requesting photographs of a Giacometti statue and a Tanguy. Artists: Giacometti, Tanguy
- Subseries: Sainsbury, Robert J. (Robert James), 1906–2000
- 120.30 R 1966–1987
In 1966, Sainsbury buys Saura's Shroud and Hiroshima mon Amour. In 1972, he buys two paintings by Carrington. A brochure about the Sainsbury Collection. Artists: Saura, Carrington
- Subseries: Sandblom, Philip, 1903–
- 120.31 1933–1963
In 1933, Pierre Matisse convinces his father to sell L'Harmonie en Jaune to Sandblom. Matisse had first refused to let go of it. Pierre Matisse offers Sandblom a Cézanne and a Modigliani. Sandblom buys a Picasso Legende de la Source (1934). 1956 correspondence about a Courbet to be exchanged for a Miró. Pierre Matisse helps Sandblom with the purchase of a Dubuffet. Artists: Matisse, Maillol, Picasso, Cézanne, Modigliani, Courbet, Dubuffet
- Subseries: Di San Lazzaro, G. (Gualtieri), 1908–
- 120.32 1933–1959
San Lazzaro is director of Les Chroniques du Jour in 1933 he introduces a painter friend Max Baud to Pierre Matisse. San Lazzaro is also publisher of XXeme Siecle. In 1938, he sends Pierre Matisse his first issue. Correspondence about Pierre Matisse Gallery advertising in it. San Lazzaro would like to publish an article about the Marini exhibition at Pierre Matisse Gallery in the next issue. His Dubuffet issue is a great success. Artists: Max Baud, Dubuffet, Marini
- Subseries: Schmidt, Jay
- Subseries: Schoenberg, John
- 120.34 1952–1972
1955 Schoenberg buys Giacometti Standing Nude (cast 1/6) and, in 1956, a Dubuffet collage (Le Reitre). 1958, Schoenberg buys a Miró, Personnage, oiseau, etoiles. 1959, he buys a Marini and a Butler. 1962 market values for a Giacometti, a Dubuffet, and a Miró. 1972 appraisal of a Giacometti, a Dubuffet, a Miró, a Butler. Artists: Giacometti, Miró, Marini, Butler, Dubuffet
- Subseries: Schoenberg, Robert
- 120.35 1958–1972
1958, Schoenberg buys a Marini. 1960, Schoenberg buys a Riopelle. 1961, Schoenberg buys another Marini. 1962, Schoenberg buys a Riopelle and a Calliyannis. Appraisals and re‐appraisals for all the art he bought. Artists: Marini, Riopelle, Calliyannis
- Subseries: Schoenberg, Sydney
- 120.36 1946–1967
1946 Dufy landscape sold to Schoenberg. 1948, Schoenberg buys Picasso's Still Life with Candle and Matisse Red Interior. 1949, Schoenberg buys Bonnard Checkered Tablecloth and Rouault Circus Dancer. 1950, Pierre Matisse offers Schoenberg a Modigliani, a Renoir, a Matisse, a Bonnard and a Gris. Schoenberg buys Miró Portrait of a Goldsmith, Marchand Still Life with Oranges, Laurencin Head. Pierre Matisse offers Schoenberg a Henri Edmond Cross and an Albert Gleizes. Letter from Pierre Matisse about the bad condition of a Rousseau The Marriage Contract he had once sold to Schoenberg. 1952, Schoenberg buys two Dubuffet gouaches. Correspondence about a base for Diego by Giacometti. 1960, Schoenberg buys a Matisse bronze. 1962, Pierre Matisse offers Schoenberg a Riopelle. 1963, Schoenberg buys a Pollock from Pierre Matisse. 1967, provenances of Still Life with Candle, of Red Interior of The checkered Tablecloth, of Circus Dancer, of Portrait of a Goldsmith. Artists: Dufy, Picasso , Bonnard, Matisse, Modigliani, Rouault, Renoir, Gris, Marchand, Laurencin, Cross, Gleizes, Rousseau, Dubuffet, Giacometti, Riopelle, Jackson Pollock
- 120.37 1948–1954
1948, Pierre Matisse sells Matta Locus Solus, Drews Floating Figures, Miró Woman, bird, star, and Lam Les Phalenes to Schoenberg Jr. Also Chagall Flaming Sky. 1949, Pierre Matisse sells Derain Still Life with Wicker Basket and Rousseau The Marriage Contract. 1950, Pierre Matisse sells two Renoirs, a Bonnard and a Modigliani to Schoenberg. Pierre Matisse introduces Flavio Bergerat (a collector of precious textiles) to Schoenberg. In 1951, Pierre Matisse offers three Mirós, a Vlaminck, a Soutine, and a Cross to Schoenberg. Schoenberg buys Miró's Portrait of Raffols. Artists: Matta, Drews, Miró, Lam, Chagall, Derain, Rousseau, Renoir, Bonnard, Modigliani, Vlaminck, Soutine, Cross
- Subseries: Schramm, James S.
- 120.38 1951–1953
In 1951 Schramm buys a Roszak sculpture Scavenger. Correspondence from Pierre Matisse to Schramm about Giacometti and casts of his bronzes. Artists: Roszak, Giacometti
- Subseries: Schreiber, Taft
- 120.39 1962–1974
Schreiber buys two Giacometti bronzes, Seated Girl and Bust (1962). He is being offered five small Giacometti bronzes. He buys a Calliyannis. On behalf of Alfred Hitchcock, Schreiber asks Pierre Matisse to authenticate a Matisse. Definitely a fake. In 1965, Schreiber buys an Etrog and two Tall Figures of Giacometti. A copy of a letter from Frank Perls evaluating Schreiber's collection of Braque, Cézanne, Matisse, Giacometti and Klee. Schreiber asks to have Miró do a mosaic table. Miró refuses. Artists:Giacometti, Calliyannis, Matisse, Etrog, Braque, Cézanne, Klee, Miró
- Subseries: Scull, Robert C.
- 120.40 1959–1966
In 1959, Scull buys a Giacometti bronze (no title given) from Pierre Matisse Gallery. Article on Robert and Ethel Scull by Tom Wolfe from the World Journal Tribune, October 23, 1966.
- Subseries: Shapiro, Joseph Randall
- 120.41 1951–1959
In 1951, Shapiro buys a Giacometti Tall Figure, half size. In 1956, he buys a drawing by Roszak. In 1959, Shapiro buys Constellations by Miró. He is offered La Fermiere by Dubuffet and drawings by Tanguy and Butler. Artists: Giacometti, Roszak, Miró, Dubuffet, Tanguy, Butler
- Subseries: Shigeaki, Suzuki
- 120.42 1950–1951
Shigeaki offers Pierre Matisse a Henri Matisse, a Renoir, a Rodin, a Goya (the Goya turns out to be a copy). Pierre Matisse seems to end up buying the Matisse Odalisque painting. Artists: Matisse, Renoir, Rodin, Goya
- Subseries: Shlaes, Jacquelyn
- 120.43 1956–1968
In 1956, Pierre Matisse offers Mrs. Shlaes Marini bronzes and she buys Horse and Rider (last cast of 6 available). 1967 correspondence about an exchange of a de Chirico for a Marini sculpture from Pierre Matisse Gallery, but Pierre Matisse does not want to buy Ricordo di Torino. Artists: Marini, de Chirico
- Subseries: Silberstein, Ben
- Subseries: Simon, Esther Annenberg [Mrs. Leo]
- 120.45 1960–1973
1962 evaluation of Rouault, Dubuffet and Miró in Mrs. Simon's possession. Further evaluations. Artists: Rouault, Dubuffet, Miró
- Subseries: Simon, Norton, 1907–1993
- 120.46 R 1956–1981
In 1956, Simon buys a fauve Matisse painting and a drawing. He buys Rodin's The Walking Man (cast 7/12) from Pierre Matisse in 1966. Simon also buys the Matisse The Backs (Pierre Matisse believes he sent him the set with the cast number 10/10 but it turns out to be marked 0/10). December 8, 1966 letter from Pierre Matisse to Simon about the casting and patination of The Backs. Long letter from Pierre Matisse to Simon offering Marini L'Idea del Cavaliere, Ipousteguy Man pushing through a door and Alexander before Ecbatane, Miró Oiseau Lunaire and Oiseau Solaire, and Mason The Crowd. 1968 letter from Pierre Matisse about who owns the eight sets of The Backs. Correspondence about two sets of The Backs having the same 0/10 cast number (Norton Simon and Hirshhorn). Several articles about the Pasadena Art Museum. 1976 special issue of The Connoisseur about the Norton Simon Museum of Art. Artists: Matisse, Rodin, Marini, Ipousteguy, Miró, Mason
- Subseries: Skidmore, Owings & Merrill
- 121.01 1951–1981
The architectural firm buys a Le Corbusier, a Gleizes and a Riopelle in 1958. In 1963, they buy Marini The Horse. In 1968, they buy Saura's Cocktail Party. Artists: Le Corbusier, Gleizes, Riopelle, Marini, Saura
- Subseries: Slifka, Joseph
- Subseries: Sloan, Howard
- 121.03 R 1954–1985
Correspondence about Giacometti's Three Men repatination. Marini's Bull may get exchanged for Pierre Matisse's Horse and Rider. In 1959, Sloan buys Giacometti's Annette Seated. 1960 valuation of both Giacometti bronzes. More market value statements on Giacometti and Marini. 1963, Sloan buys a Riopelle. Artists: Giacometti, Marini, Riopelle
- Subseries: Smith, Louise Reinhardt [Mrs. Bertram]
- 121.04 1953–1972
In 1953, Pierre Matisse offers Mrs. Smith Head of a Clown by Rouault and a Braque. In 1960, Mrs. Smith buys two Dubuffet and Man Walking by Giacometti (cast 5/6). In 1972, Mrs. Smith buys a Giacometti drawing, Pour Caroline. Artists: Rouault, Braque, Dubuffet, Giacometti, Rembrandt
- Subseries: Soby, James Thrall, 1906–1979
- 121.05 1932–1942
Pierre Matisse announces to Soby his first Pascin exhibition to open in March of 1932. Soby is interested in Bonnard. Long correspondence about Rouault. Soby buys a Miró. Soby sends Pierre Matisse After Picasso, a book he just had published. Correspondence about the November 1935 de Chirico exhibition at Pierre Matisse Gallery. List of de Chiricos Pierre Matisse has at that point in his possession. Soby buys de Chirico's Duo. Soby sends two Balthus, La Rue and La Toilette de Cathy, to the Pierre Matisse Gallery for the first Balthus exhibition (1938). Typed manuscript of the Soby introduction for the catalogue. 1940, Soby gives Pierre Matisse a Matisse, Girl with the Green Blouse, in exchange for de Chirico's Le Vaticinateur and The Double Dream of Spring. He also buys Chirico Melancholy of Departure and a still‐life and asks Pierre Matisse to sell for him Derain's The Monastery. Soby plans to write a book on early de Chiricos. Letter of January 31, 1941 from Soby and response of February 3, 1941 from Pierre Matisse of importance in that regard. 1941 correspondence relates almost entirely to the research for the de Chirico book. In 1942, Soby buys Joan of Arc by Matta and wants Pierre Matisse to sell a Gris for him in exchange for a Matta. Soby wants to get rid of Balthus The Guitar Lesson because it is too "risque" for his little son to be seen in the house.
- 121.06 1943–1979
Soby offers Pierre Matisse a Laurencin and Maternite by Picasso to sell. Pierre Matisse and Soby have a long correspondence about swapping paintings. List of Matta photos by Colten. Correspondence about Time magazine having written an article about de Chirico and his denial of ever having painted The Double Dream of Spring and Language of a Child. Short biography on Matta (September 24, 1946). In 1947, Soby buys MacIver Tree and offers Pierre Matisse Rain by Matta to sell. In 1949, Soby buys Self Portrait by Miró. In 1949, de Chirico authenticates The Double Dream of Spring. 1954 list of owners of early de Chiricos (in a letter dated June 18, 1954 from Pierre Matisse). Letter dated May 17, 1955 containing lists several Tanguy owners. Correspondence about La Rue by Balthus and that Balthus should be asked to change it because it is too shocking. List of Balthus paintings going from Pierre Matisse Gallery to Museum of Modern Art for the 1956 exhibition. In 1961, Pierre Matisse gets nominated member for Honorary Committee at Trinity College's new Art Center named for Chick Austin. Long detailed correspondence about Balthus (1977). January 1979, Soby dies. Obituaries. Artists: Laurencin, Picasso, Matta, Chirico,MacIver, Miró, Balthus
- 121.06A 1979 March
- Subseries: Solinger, David M., 1906–1996
- Subseries: Solley, Thomas T.
- 121.08 1964–1972
In 1964, Solley wants to buy The Gold Sifter by Tanguy and later, in 1972, he wants to buy Ecoute. Neither purchase is materialized. A typewritten paper of 17‐pages about Tanguy by Solley, dated 1968. Artists: Tanguy
- Subseries: Solomon, Jeanette [Mrs. Sidney L.]
- 121.09 1960–1970
In the early 1960s, Mrs. Solomon buys a Butler, a Giacometti and a Marini. 1970 letter listing insurance values for Giacomettis, Butler and Marini. Artists: Butler, Giacometti, Marini
- Subseries: Solow, Sheldon
- 121.10 1966, 1968–1969
Correspondence re client's purchases of works of art from Pierre Matisse Gallery, payments, and receipts for payments. Artists and works mentioned are Miró's Cartones, Balthus's La tasse de café, Dubuffet, Modigliani, Dogon piece, Henri Matisse bronze Buste ancien.
- 121.11 1970–1975
Correspondence, movers' bills, copies of client's checks, conservation report (for Matisse Zorah Seated). Artists and works mentioned are Giacometti's Chariot I, Tall Figure, and Yanaihara, Léger's Les instruments de musique, Henri Matisse Zorah Seated and The Acrobats. Also works on approval and replacements for client's loans out.
- 121.12 1976–1979
Correspondence, packing and shipping papers, copies of client's checks, three sheets of pencil sketches apparently of Diego Giacometti lamps, photocopies of Irving Penn exhibition. Artists and works mentioned are Henri Matisse Interior with Figure, Riopelle's Feu vert, Balthus's Katia Reading, Miró's Paysage animé and Lettres et chiffres, Dubuffet's Autobus.
- 121.13 R 1980–1984
Correspondence re works of art, client purchasing from Pierre Matisse Gallery, client's raising money for cancer care, shippers' papers, copies of client's checks. Circa 1983, letters to client addressed to Solovieff Gallery Co., 9 West 57th Street. Artists and works mentioned are Dubuffet's Le congrés (sent on approval, returned to Pierre Matisse Gallery), Giacometti large figure sent to Diego Giacometti for repair of patina, Dubuffet's Deux têtes. Includes one 8 x 10 color photograph of a Giacometti standing figure, and ten Polaroid shots of details of a bronze.
- 121.14 R 1985–1990
Diego Giacometti notes and drawings of his tables. Shipping, framers' and insurance papers. Artists and works discussed in correspondence are Miró's Oiseau Lunaire, Dubuffet's Le redacteur, Balthus, and Tanguy. Includes one black‐and‐white glossy photograph of a Diego Giacometti table.
- 121.15 Press clippings, undated
- Subseries: Spaulding, H.B., Mrs.
- 121.16 1937–1946
Mrs. Spaulding buys two Miró gouaches in 1937. Pierre Matisse offers Mrs. Spaulding a Cézanne. In 1939, Mrs. Spaulding buys a Léger and a Miró. Pierre Matisse is offering her Head of a Clown by Rouault. Artists: Miró, Cézanne, Léger, Rouault
- Subseries: Staempfli, Emily
- 121.17 1969–1976
Insurance value dated 1969 for Offrande de Barbe by Dubuffet also for two Mirós. Provenance of a Miró seriograph. In 1970, Mrs. Staempfli buys a Diego Giacometti cat and a Miró sculpture Femme et Oiseau. List of provenances, exhibitions and values of Braque, Calder, Degas, Delvaux, Indiana, Klee, Magritte, Marin, Miró, Picasso, Rothko, Vuillard. Artists: Dubuffet, Miró, Braque, Calder, Diego Giacometti, Degas, Delvaux, Indiana, Klee, Magritte, Marin, Miró, Picasso, Rothko, Vuillard
- Subseries: Stainow, Gregory
- 121.18 1956–1961
Valuation dated 1956 for a Miró (Figures in the presence of a metamorphosis) and one dated 1957 for a Derain. List of paintings in Stainow's collection with 1957 values. Artists: Rouault, Clave, Buffet, Daumier, Derain, Dufy, Léger, Chagall, Hopper, Prendergast, Winslow Homer, Utrillo, Matisse, Sheeler
- Subseries: Stanton, Frank, 1908–2006
- Subseries: Stark, Ray
- Subseries: Stassart, André
- 121.21 R 1969–1982
In 1969 Stassart buys L'Etreinte by Miró. Shipping papers and invoices, airway bills, et cetera. Stassart also buys four Mattas from Pierre Matisse: It is a pity she is a hoarder, Eternite du fini, Locus solus, Vertu noir non metamaticien. In 1970, Pierre Matisse expresses interest in Portrait de Michel Tapié by Dubuffet which Stassart owns (also in Hallucination by Max Ernst). Pierre Matisse sends Stassart the authentication and provenance of L'Eternite du fini by Matta. Artists: Miró, Matta, Dubuffet, Max Ernst
- Subseries: Steegmuller, Francis, 1906–1994
- 121.22 1935–1952
In 1935, Francis J. Steegmüller buys Le Reve Transforme by de Chirico. In 1949, he buys Mica by MacIver. In 1952 Pierre Matisse takes a Lam on consignment from Steegmúller. Artists: Chirico, MacIver, Lam
- Subseries: Steinberg, Jay
- 121.23 1951–1954
In 1951, Steinberg buys Giacometti, Composition with 7 figures and 1 head (The Glade), and a tribal piece. He also buys Roszak's Firebird (a steel sculpture), Gris's Still Life, Miró's The Circus and finally, a Roszak drawing, The Firebird. Artists: Giacometti, Roszak, Gris, Miró
- Subseries: Steinberg, Etta Eiseman [Mrs. Mark C.]
- 121.24 1958–1964
In 1958, Mrs. Steinberg buys Giacometti (Head on Stele) and a Picasso (Jug and Bowl). In 1960, Mrs. Steinberg buys a Matisse sculpture (Head of Marguerite). Artists: Giacometti, Picasso, Matisse
- Subseries: Stephan, Ruth, 1910–1974 [Mrs. John]
- 121.25 1940–1950
1940, Mrs. Stephan expresses her interest in de Chirico. Pierre Matisse sends three de Chirico, a Segonzac, and a Braque. Mrs. Stephan buys two de Chirico works, Lassitude and Destiny of the Poet. In 1950, Mrs. Stephan buys three Duchamps. Artists: De Chirico, Segonzac, Braque, Duchamp
- Subseries: Stern, Nane
- Subseries: Stone, Jerome
- 121.27 R 1950–1981
1951, Pierre Matisse writes to Léger, Chagall and Ratton to introduce Jerome Stone to them. In 1952, Pierre Matisse offers Stone two Matisse paintings (The Mill and Flowers) and a La Fresnaye still‐life. Stone buys the La Fresnaye. In 1956, Stone buys Diego, a Giacometti bronze. A 1957 evaluation of all art Stone bought from Pierre Matisse. In 1967, Stone buys L'Homme au plastron bleu from Pierre Matisse. A 1970 evaluation of all art Stone had bought from Pierre Matisse. In 1971, Chagall paints a painting for the Stones (a flower bouquet with Mrs. Stone holding a violin). Two catalogues for a Chagall mosaic wall in Chicago. Artists: Léger, Chagall, Matisse, La Fresnaye, Giacometti, Dubuffet, Miró
- Subseries: Streisand, Barbra
- Subseries: Sullivan, Mary Quinn [Mrs. Cornelius J.]
- 121.29 1933–1939
Mrs. Sullivan buys a watercolor by Segonzac and donates it to the Rhode Island School of Design. Sullivan gives Pierre Matisse one Derain, one Renoir, one Van Gogh, and one Gauguin on consignment. Mrs. Sullivan was one of the cofounders of Museum of Modern Art. She died in 1939. Artists: Segonzac, Derain, Renoir, Van Gogh, Gauguin
- Subseries: Sweeney, James Johnson, 1900–1986
- 121.30 Correspondence, 1933–1947
March 21, 1934, Pierre Matisse inquiring re J.J. Sweeney writing and introduction to Calder catalogue. 1936–1937, Sweeney an associate editor of Transition. 1941–1943, general correspondence re Pierre Matisse Gallery works of art. 1945–1947, Sweeney as director of the Department of Painting and Sculpture at the Museum of Modern Art.
- 121.31 1968–1986
- Subseries: Sylvester, David
- 121.32 Correspondence with Patricia Kane Matisse, 1965–1972
Letters and cables between David Sylvester and Patricia Kane Matisse in reference to Patricia Matisse's 1947 photographs of Giacometti. Sylvester would reproduce some of them in the Tate exhibition catalogue and in a book on Alberto Giacometti he is preparing. In a letter dated 4 May 1965, he has the idea of using only photographs by Patricia Matisse for the book. List of Giacometti works at the Museum of Modern Art. Cables and letters from Weidenfeld & Nicolson, contractual references. Group of letters (originals or copies) to and from Annette Giacometti, dated within 1968, related to photographic copyrights. Undated letters have been left in the sequence found See also Artists: Giacometti, Alberto, 1901–1966: Correspondence, 1968
- 121.33 1972–1982
Correspondence between Sylvester and Pierre Matisse in reference to the use of Patricia Matisse photographs of Giacometti in his book and lectures. Because of various problems Sylvester's book did not appear during Patricia Matisse lifetime. It was only published in 1994 by Chatto & Windus (Random House) with the title Looking at Giacometti by David Sylvester; Photographs by Patricia Matisse
- Subseries: "T"
- 121.34 Tabisz to Turner, 1959–1970
Correspondence with Turner, Taylor, Thorne, Thoma, Tabisz, Thurston, Theeman, Thibaut, Timoner, Tobon, Tisch, Titelman, Topper, Thomas. Also some invoices and shipping papers, one Henry Moore slide. Artists: Thoma, Riopelle, MacIver, Tanguy, Moore, Millares, Giacometti, Miró, Dubuffet, Marini, Saura, Tàpies, Butler, Roszak, Balthus
- 121.35 Tandy to Tuohy, 1959–1970
Correspondence with Tandy, Taylor, Teplitz, Tepper, Tessier, Theeman, Timoner, Virgil Thompson, Thorne, Timmons, Titelman, Tisch, Tompkins, Tomlinson Collection, Toye, Tucker, Tuohy. Artists: Calder, Butler, Miró, Kay Sage, Marini, MacIver, Matisse, Giacometti, Balthus
- 121.36 R Taylor to Twig, 1980–1990
Correspondence with Tell, Templon, Teplitz, Toll, Terasse, Tirelli, Titelman, Thompson, Tuohy, Tonineli, Tichenor, Twig‐Smith, Taylor. Artists: Rouan, Miró, Setsuko, Bonnard, Tanguy, Picasso, Modigliani, Marini, Matta, MacIver
- 121.37 R 1990
- Subseries: Tannahill, Robert Hudson
- 121.38 1933–1962
in 1933, Pierre Matisse offers Tannahill a Maillol and a Rouault. Correspondence about the Rouault/Matisse exhibition in Detroit planned for 1934. List of Rouault and Matisse art to be shown. In 1935, Pierre Matisse offers Tannahill pieces of tribal art. Pierre Matisse will lend African tribal art for an exhibition at the Detroit Society of Arts and Crafts. List of these pieces. In 1962, Tannahill buys Butler bronzes and drawings.
- Subseries: Tappenbeck, Hatto and Ernest
- 121.39 1946–1952
In 1946, Pierre Matisse buys four paintings, a Derain, a Lurçat, an aquarelle by Kandinsky and a Horton. In 1947, Pierre Matisse buys a Henri Rousseau, a Picasso and a Tanguy.
- Subseries: Tennant, David
- Subseries: Tériade, E.
- 121.41 R 1938–1987
Tériade (Efstratios Eleftheriades) is the publisher of Verve. In 1938, first issues of Verve have been published and Pierre Matisse starts preparing an exhibition for Verve to be held December 1938. Correspondence about this. Esquire‐Coronet is the exclusive American representative for Verve. Correspondence about subscriptions. Request for permission to reproduce Le Corbusier as a Pierre Matisse Gallery exhibition catalogue cover (exhibition opens January 1956). All together there were 38 numbers of Verve published in Tériade's lifetime. Pamphlet about the museum‐library Tériade in Lesbos, Greece. Article about a 4 million franc art theft in 1980 at Tériade's villa. Tériade dies in October 1983.
- Subseries: Thompson, G. David, d. 1965
- 121.42 Accounts, 1953–1957
Invoices from 1953 to 1957. Some cheque stabs. Artists: Giacometti, Dubuffet, Masson, Miró, Manessier, Marchand, Matta, Picasso, Gromaire
- 121.43 Correspondence, 1953–1955
Letters of invitation to exhibitions at Pierre Matisse Gallery, others referring to arrangements on framing, restorations, payments, et cetera. Letters usually with extensive explanations aiming at persuading the client about particular works (Miró, Maillol's "only work to have been cast in stone"). Requests from Mr. Thompson of photographs and provenance material related to his purchases at Pierre Matisse Gallery. 1954, Pierre Matisse's letter referring to the "unacceptable" incident of misquoted prices for which he profusely apologize. Accounting notes either from Pierre Matisse and Mr. Thompson. 1954–1955 letters related to the casts from original plasters by Giacometti belonging to the Thompson collection. Individual evaluation of the plaster pieces. Cable of seasonal greetings referring to a Giacometti drawing given as a gift by Pierre Matisse. The entire correspondence is of interest for the way the business relationship evolves: March 20, 1954 on Maillol's way of working and on one of his pieces; November 1, 1954 on prices and pleas; August 8, 1955 on Pierre Matisse's accident and the offer Matisse made to Thompson of buying in share from the estate of Henri Matisse
- 121.44 Correspondence, 1956–1962
October 24, 1956 letter accompanying the invoice for The Nose by Giacometti (not to be reproduced without the artist's permission). December 28, reference to a marble by Giacometti and its bad condition. Pierre Matisse evaluation of the damage. 1957: January 16, letter mentioning a "most famous piece (of sculpture, possibly Femme, as in letter dated March 4, 1957) in the History of Modern Art" by Giacometti, that Pierre Matisse "begs" Mr. Thompson to buy. February 14, letters related to a Miró sculpture purchased by Thompson. Assembling instructions and expertise on the possibility of its open‐air location. Attached list of Giacometti sculptures with prices. Letters related to the condition of a Miró painting and a Giacometti sculpture. 1958: February letters related to Giacometti's figure of Venice, proposed as a group to Mr. Thompson. 1960: February 25, letters and shipping receipts for the purchase of two paintings by Saura, one of which gift to the Fogg Art Museum, Cambridge, Mass. Comprehensive list of works by Giacometti from Pierre Matisse Gallery in the Thompson collection. News clippings: 1961, on the theft at Thompson house; 1965, Mr. Thompson's obituaries. The sj [?]column in this list has not been identified Names: Max Granick, restorer (?), also stretched canvases for Pierre Matisse Gallery
- Subseries: Thyssen‐Bornemisza, Hans Heinrich, Baron
- Subseries: Torson, John
- 121.46 R 1966–1989
In 1965–1966, Torson buys Matisse and Giacometti drawings. In 1972, Torson sells two Giacometti plasters to Pierre Matisse Gallery. Invoices, checks and receipts for Matisse drawings. Authentications of Matisse drawings. In 1982, Torson buys a Chagall, Blue, Red, Green, Yellow and in 1983, Le Clown au Bouquet also Le bouquet jaune. In 1984, Torson buys a MacIver. Artists: Matisse, Giacometti, Chagall, MacIver
- Subseries: Tremaine, Emily Hall, 1908–1987 [Mrs. Burton]
- 121.47 R 1946–1991
Correspondence about acquisitions by the Miller collection which is identical with the Tremaine collection. In a 1969 letter, Tremaine lists all the art she has bought from Pierre Matisse Gallery. Lists of appraisal values for insurance purposes. Catalogue of Miller Collection exhibition at Knoedler's, Painting toward Architecture. 1987 obituary of Mrs. Tremaine. 1991 New York Times article about Tremaine estate auction at Christie's. Artists: Millares, Matta, Miró, Matisse, Riopelle, Le Corbusier, Giacometti, Ernst
- Subseries: Tucker, Joseph
- Subseries: "U"
- 121.49 Uhde to USIA, 1930–1971
Correspondence with Uhde, Mrs. Underwood, University of London, University of Washington, University of Southern California, United Hospital Fund of New York, Urtin, Upton, Upjohn, Ulin, Mrs. Ude, University Prints, University of Florida, United Jewish Appeal, USIA [United States Information Agency]. Artists: Segonzac, Miró, Tribal Art, Matisse, Picasso, Tamayo, Pascin, MacIver, Butler, Dubuffet
- 121.50 Uk to Un, 1972–1979
- 121.51 R U.S. Department of Justice to U.S. Department of State, 1980–1986
Correspondence with the U.S. Department of Justice about the authentication of a Picasso bronze, photographs enclosed. Pierre Matisse refers them to Jacqueline Picasso and to Dominique Bozo (Musée National d'Art Moderne). Correspondence with the U.S. Department of State about the "Art in Embassies" program (AIEP). Artists: Picasso
- Subseries: Ulmann, Jacques
- 121.52 1955–1959
Correspondence about sale of a Brauner painting and Max Ernst paintings, Ulmann is preparing a book about Dubuffet prints. Ulmann is also interested in Giacometti and Lam. Artists: Brauner, Max Ernst, Dubuffet, Giacometti, Lam
- Subseries: Uris, Percy
- 121.53 1960–1975
Correspondence regarding acquisition of Butler bronzes and a Marini as well as Giacometti's Man Walking. Also shipping papers. Artists: Butler, Marini, Giacometti
- Subseries: "V"
- 121.54 Valcourt to Vrille, 1935–1970
Correspondence with Mrs. Valdes, Bert van Bork, Vandenbergh, vanden Heuvel, Varenne, Vandervelde, Van Hove, Van Riper, Varese, Veen, del Vayo, Venturi, Vents, View, Vif, von der Heydt, Voemel, Villiers, Vilmorin, Vogel, von Hirsch, von Schoeler, Vrille, Valcourt. Artists: Butler, Miró, Giacometti, Chagall, Tanguy
- 121.55 Valsor to Verdier, 1971–1978
Correspondence with Etablissement Valsor about authentication of a Tanguy, Alphabet du Vent. Correspondence with Mrs. van den Heuvel about valuations of several Giacomettis. Correspondence with Jean Claude Verdier about Renoir plates. Artists: Tanguy, Giacometti, Renoir, Gauguin
- 121.56 R Var to Voz, 1981–1987
Correspondence about the Varese Committee plans to celebrate Edgard Varese, a modern composer. An article profiling Dina Vierny, Maillol's model (also model of Matisse and Bonnard). Correspondence and articles about Andrei Voznesensky, a Russian poet who plans to curate a Chagall exhibition at the Pushkin Museum and create a Chagall Museum in Vitebsk, Chagall's home town
- Subseries: Vakil, Mehdi
- 121.57 1974–1977
Mehdi Vakil is the Iranian Ambassador to the Holy See in Rome. He buys several Miró albums from the 1973 exhibition [Gravures pour une exhibition, three plates and one lithograph published for promotion], and Pierre Matisse offers him six Miró paintings. Letter dated February 20, 1975 gives provenance and prices of each of the pieces.
- Subseries: Van Vechten, Carl, 1880–1964
- 121.58 1933–1937
Carl van Vechten was a famous portrait photographer. Correspondence and four photographs (one possibly of Frank Crowninshield). In 1935, Pierre Matisse sells Van Vechten a de Chirico, Portrait de l'artiste. Obituary of Van Vechten's widow included.
- Subseries: Vignier [probably Charles, b. 1863]
- 121.59 1935–1939
In 1935, Pierre Matisse takes on consignment several pieces of tribal art from Vignier in Paris. Lists of works of art, cables, correspondence. Catalogue of early Chinese paintings of the Vignier collection, dated 1935. Black‐and‐white photographs of several Chinese paintings.
- Subseries: Vogel, Irving Horace
- Subseries: "W"
- 122.01 Wade to Wynn, 1948–1969
Correspondence with Jane Wade, Mrs. C. Wagner, Mr. Ira Wallach, Donald Wolp, May Walter, James Warburg, William Ward, Mrs. Wardell, Franklin Watkins, Mrs. Watts, Sydney Wax, Pamela Weatherbee, Rold Weinberg, Ted Weiner, Dr. Weinshenker, Weisglass, Howard Weis, William Weiss, Monroe Wheeler, Mrs. Wiedel, Max Wilk, John Wilsons, Robert, Windfohr, John Wintersteen, David Wollowick, Evelyn Wynn. Artists: MacIver, Miró, Butler, Calliyannis, Dubuffet, Giacometti, Saura, Marini, Tanguy, Matisse, Riopelle
- 122.02 Wadd to Wynn, 1958–1978
Correspondence with Mary Wright, Robert Wraight, David Workman, William Wood‐Prince, Ted Wolter, Emile Wolf, Hilda Wolpe, Ann Winter, Murray Wilson, Edward Williams Weiss, Robert Weis, Stanley Weintraub, Weinberg, Weil, Watson, Blanka Waechter, Lawrence Wynn, Waddington, Walker, Watters, Wainwright, Wellin, Williams, Wiener, Woodner, Wolter. Artists: Riopelle, Butler, MacIver, Chagall, Millares, Miró, Matta, Tanguy, Hantaï, Balthus, Mason
- 122.03 R Waever to Wood, 1980–1989
Correspondence with Virginia Wright, Barbara Wood‐Prince, Mildred Wilcox, Emanuel Winter, Rennie Wilkie, Albert White, Helene Weiss, George Wein, Maxwell Waever, Wolfgang Werner, Kay Waycott, David Watson, Wiedl, Wilson, Wheeler. Artists: Alberto Giacometti, Diego Giacometti, Chagall, Derain, Riopelle, Matisse, Miró, Zao Wou‐ki, Dubuffet, Tanguy
- 122.04 R 1990s
- Subseries: Wadsworth, Cleome Carroll [Mrs. Julian]
- 122.05 1946–1957
In 1946, Mrs. Wadsworth buys Matta's Electrician. One year later she does not like the painting anymore and asks Pierre Matisse to sell it for her. In 1957, Mrs. Wadsworth asks Pierre Matisse to send the painting back to her.
- Subseries: Walbridge, Norton S., d. 1976
- 122.06 1967–1970
In 1967, Walbridge buys a Marini sculpture. In 1968, he buys a Marini gouache, Horse and Rider. In 1968, The Fine Arts Gallery in San Diego acquires Miró's Oiseau Solaire (cast 3/5). Artists: Marini, Miró, Matisse
- Subseries: Waldberg, Patrick
- 122.07 1963, 1966
Two letters from Patrick Waldberg to Pierre Matisse confirming that he will write a text about Tanguy (1964) and about Balthus (1966). Artists: Tanguy, Masson, Mason, Balthus
- Subseries: Wallace, Lila Acheson, 1887–1984 and DeWitt, 1889–1981
- 122.08 1944–1984
In 194,5 Mrs. Wallace buys three Lams. In 1946, she buys a Van Gogh and a Chagall also two Rouaults. In 1947, she buys Matisse, Miró and Braque. In 1948, Pierre Matisse gives Mrs. Wallace a Matisse portfolio as a gift. In 1951, Mrs. Wallace buys Forest by Giacometti. Also enclosed are a profile of De Witt Wallace and obituaries of Lila Wallace.
- Subseries: Warner, Keith
- 122.09 1943–1944
Correspondence from June 1943 to August 1944, inquiries from Warner re works by Henri Matisse, Picasso, Rouault, Miró, Modigliani. Pierre Matisse responds at length describing works available, notably those in the summer 1943 exhibition, Modern Pictures Under Five Hundred. Pierre Matisse helps with framing, exchanges, et cetera. Shipping arrangements both ways. Warner adds drawings to his interests, as well as Masson and Léger.
- 122.10 1945–1952, 1960, undated
Correspondence continues re Warner's acquisitions, exchanges, et cetera. Pierre Matisse's suggestions, descriptions of works. May 1945, Warner sells business in Gloversville, New York and later moves to Fort Lauderdale, Florida. Continues adding to collections. October through December, 1960, Pierre Matisse and Mrs. Warner (Norwich, Vermont), following Warner's death, re Matisse's presentation f a copy of Miró's Constellations in Warner's memory to the Dartmouth College Art Department.
- Subseries: Warrington, Elsie [Mrs. George]
- 122.11 1932–1944
Pierre Matisse wants to exhibit a collection of Matisse drawings in New York and Cincinnati in 1932. In 1933, Mrs. Warrington purchases a Gauguin Mahana Maa from Pierre Matisse. In 1935, Pierre Matisse is offering a Picasso to Mrs. Warrington but she declines. John Warrington is being offered eight Derain works by Pierre Matisse to choose from. In 1944, Pierre Matisse takes a Picasso drawing on consignment from John Warrington.
- Subseries: Washburn, Gordon B. (Gordon Bailey), 1904–
- 122.12 1965–1977
1965, Pierre Matisse Gallery receives Bust of Diego (cast 5/6) on consignment from Gordon Washburn. 1975, Mrs. Washburn offers Pierre a Cézanne watercolor, Reflets dans l'eau on consignment. Artists: Giacometti, Dubuffet, Cézanne
- Subseries: Watson, Peter
- 122.13 1935–1954
Watson gives Pierre Matisse two de Chiricos to sell, which he had originally bought from Pierre Matisse in 1936. Watson is publisher of Horizon, and asks Pierre Matisse to send him photographs of various paintings. Artists: Graham Sutherland, Epstein, Henry Moore, Miró, de Chirico
- Subseries: Weil, Richard
- 122.14 1952–1966
In 1955 the Weils buy Still Life and Standing Nude by Giacometti and in 1958, Pierre Matisse's children sell Nursery a decoration painted for them by Miró to the Weils. In 1961, the Weils buy Millares and, in 1965, they buy Femme debout I by Giacometti. Artists: Miró, Millares, Giacometti
- Subseries: Weinstein, Harold
- 122.15 1959–1965
1959, Weinstein buys Butler's Study for Figure Falling, Matisse's Nu accroupi, Giacometti's Girl's Head (Rita) (cast 1/6), and Tanguy's Les derniers jours. In 1960, Weinstein buys a Millares and a Rivera. In 1965, Weinstein is reminded to finally settle the Tanguy affair (?). Artists: Butler, Matisse, Giacometti, Tanguy, Millares, Rivera
- Subseries: Weintraub, William
- 122.16 1951–1965
Weintraub buys Giacometti's Man Pointing (cast 5/6) in 1951. Many evaluations of various paintings and works of art Weintraub owns. In 1959, Weintraub buys a Miró and several Dubuffets from Pierre Matisse Gallery. Artists: Giacometti, Riesenfeld, Tschachbasov, Constant, Ostrowski, Boudin, Avery, Dubuffet and many others
- 122.17 1966–1974
In 1966, Weintraub buys Butler's Musée Imaginaire. New York Times article about art prices, dated 1967. Weintraub lends several pieces to an exhibition in Japan and the art is returned damaged. Mr. Goldreyer will undertake the restoration. Many letters evaluating art in Weintraub's possession. Four black‐and‐white glossy photographs of Giacometti's Head of Diego, Stele I, which Weintraub buys.
- Subseries: Weisglass, Irving, Mrs.
- 122.18 1973–1974
Pierre Matisse offers to sell Mrs. Weisglass's Giacometti Standing Figure for her (two transparencies enclosed). He offers it to Carter Brown at the National Gallery who declines. Mrs. Weisglass asks for several evaluations of works of art she owns. Standing Figure gets sold for $140,000 to a European buyer. Other correspondence evaluating art owned by Mrs. Weisglass.
- Subseries: Weisman, Frederick R., 1912–1994
- 122.19 R 1961–1986
In 1961, Weisman buys Sand by Giacometti (cast 5/6). Weisman is interested in Giacometti's Dog and Miró. He buys Dog in 1963. Weisman owns a Tanguy, The Witness, which has cracked. Report by Fishburne on its restoration. Insurance valuations on three Giacomettis and two Mirós (also on Alberto and Diego Giacometti lamps). Weisman donates Warhol paintings to the University of Maryland (press release folder of 1982). French newspaper interview with Weisman, dated 1986.
- Subseries: Whitney, John Hay
- 122.20 1949–1953
Pierre Matisse reserves a number of paintings for Whitney. Artists: Balthus, Vlaminck, Miró, Cross, Modigliani, Soutine, Derain, Giacometti
- Subseries: Wiener, Paul Lester, 1895–1967
- Subseries: Wiesenberger, Arthur, 1896–
- Subseries: Wilder, Billy, 1906–2002
- Subseries: Winston, Lydia, 1897–1989 [later Mrs. Barnett Malbin] and Harry Lewis
- 122.24 1948–1966
In 1948, Mrs. Winston buys a Matisse, a Miró drawing, and a Soutine, as well as Man and Woman by Giacometti.
- Subseries: Winterbotham, Joseph, Jr.
- 122.25 1932–1946
Correspondence about various acquisitions for the Winterbotham collection. Letter describing the Tanguy/Breton book published by Pierre Matisse in 1946. Artists: Pascin, Derain, Matta, Tamayo, Rouault, Tanguy
- Subseries: "X," "Y," and "Z"
- 122.26 York to Zog, 1934–1968
Correspondence with Holcomb York, Mrs. Stanley Young, Embassy of Yugoslavia, Mrs. Adja Yunkers, Mr. Zadkin, Mr. Zalewski, M. Zajde, Mrs. Zalstem‐Zalessky, Mrs. Zeisler, Mr. V. Zimmerman, Mrs. Zizmor, Mrs. Zogbaum. Artists; Franz Kline, Etrog, Soutine, Miró, Rivera, Roszak, Tanguy, Rouault
- 122.27 Yang to Zim, 1970–1974
Correspondence with Mrs. Yolles, Mr. Yang, Mr. Young, Mr. Younger, Mr. Yow, Miss Zimskind. Artists: Miró, Chagall, Riopelle, Calder, Matisse
- 122.28 R Xia to Zum, 1983–1989
Correspondence with Xing Xiaosheng, Miss Young, Mr. Yaker, Mr. Zaquin, Gustav Zumsteg. Artists: Miró, Chagall, Dubuffet, Setsuko, Balthus
- Subseries: Abramov, Ayala Zacks [Mrs. S.J. Zacks]
- 122.29 1953–1971
Correspondence concerning the many works of art bought from Pierre Matisse Gallery by Mrs. Zacks. Invoices, shipping papers, receipts. Artists: Braque Riopelle, Matisse, Marini, Butler, Giacometti, Saura, Etrog
- Subseries: Zadok, Charles
- 122.30 R 1951–1984
1951, Pierre Matisse exchanges a Tamayo for a Rouault (even exchange with Mr. Zadok). 1952, Zadok buys Chariot by Giacometti and in 1955, Head of Diego. 1959, Zadok buys Ophelia by Butler. 1963, Zadok gives Pierre Matisse a Manessier painting to give to the Museum of Modern Art. Artists: Utrillo, Tamayo, Rouault, Giacometti, Miró, Butler, Manessier
- Subseries: Zeckendorf, William
- Subseries: Zeisler, Richard S.
- 122.32 1949–1970
Correspondence about acquisitions of Pierre Matisse Gallery works of art. Artists: Chagall, Rouault, Miró, Matta, Dubuffet, Marini, Rivera
- Subseries: Zweybrück‐Prochaska, Emmy, 1890–
- Series: Dealers and galleries, United States
The series is arranged alphabetically by dealer's last name. Most of the dealers were located in New York City but, from his earliest days in the United States, Mr. Matisse made connections with colleagues across the country, especially in the Midwest and on the West Coast. Among them were Albert Roullier Galleries in Chicago (1926–1946); in Los Angeles, Howard Putzel (1935–1941), Stendahl Galleries (1935–1950), James Vigevano Gallery (1936–1947), and Frank Perls.
Files consist primarily of correspondence regarding sales or purchases, works on consignment or loan with either principal, inquiries, requests for authentications, catalogues, provenances, and conservation records regarding works that passed through the Pierre Matisse Gallery.
Selected financial files dating from 1980 to the end will be restricted as follows until 2020. - Subseries: Acquavella Galleries
- 84.01 R 1972–1988
Correspondence re possible loans for Pierre Matisse Gallery, payment from works purchased from Pierre Matisse Gallery (Dubuffet in 1982 and 1988; Chagall in 1983 and 1985; Miró in 1985, 1986, and 1987; Lam in 1985). Also works half‐share purchases between Pierre Matisse and Acquavella (a 1927 Miró in 1984; 1927 Miró Circus Horse). 1986 list of Pierre Matisse Gallery works on consignment at Acquavella, invoices for Acquavella purchases. Correspondence, especially re editions and numbering questions for 1962 Giacometti sculpture, Annette VII. See also following folders of consignment records
- 84.02 R Pierre Matisse Gallery works on consignment, 1984 March–June
Correspondence, invoices, consignment lists, catalogue of Acquavella show. Works sold: Chagall's La soleil flambant sur baldequin (1979); Dubuffet's Paysage avec lune et oiseau (1946), Un femme entre deux hommes (1946), and Arabes, palmiers, gazelle (1948); Lam's L'enchanteur (1944); Matta's Bouche en bouche (1942).
- 84.03 R Pierre Matisse Gallery works on consignment, 1985 April 24–May 19
Correspondence, invoices, consignment lists, catalogue. Works sold: Chagall's Le Coq au Bouquet, Le Clown au Double Vision, Peintre Rouge, Chevalet, Bouquet; Miró's Femme, Oiseau Etoile.
- 84.04 R Pierre Matisse Gallery works on consignment, 1986 April 30–June 10
Correspondence, invoices, consignment lists, catalogue. Works sold: Chagall's Mere et Enfant (2); Dubuffet's Bedouins aux chevres; Matisse's Figure en costume oriental and Yvonne Landsberg; Miró's Graphisme‐poeme (2). Balthus authentication question.
- 84.05 R Pierre Matisse Gallery works on consignment, 1988 March
Correspondence, invoices, consignment lists, catalogue, photographs. Works sold: De Chirico's Il Palafreniere; Marini's Untitled painting (1953); Chagall's Mere et enfant (1979); Miró's Untitled (1967).
- Subseries: "A"
- 84.06 R 1956–1988
Dealers include Rudy F. Agra, Walter B. Ahern, Julien Aime, d'Amecourt (1956 sales to d'Amecourt of Miró gouache, Giacometti's Femme debout, Riopelle's Oil of 1953), Paule Anglim (Riopelle exhibition, Balthus interest), Archives of American Art (1987 Pierre Matisse interview).
- Subseries: John Berggruen Gallery (San Francisco, Calif.)
- 84.07 1975–1991
Correspondence re possible sales, Pierre Matisse Gallery sales (Mirós L'equinoxe, 1975, Giacometti's bronze Monument, 1975). Pierre Matisse Gallery loans (Giacometti, Marini, Matisse sculpture, 1978, Matisse drawings, 1982). Pierre Matisse Gallery Henri Matisse drawings on consignment in 1982, one sold.
- Subseries: Claude Bernard Gallery (New York, N.Y.)
- 84.08 1986–1989
Correspondence re Claude Bernard Gallery purchase of unidentified Miró Riopelle and Hantaï paintings. See also Dealers and galleries, international: France: Galerie Claude Bernard (Paris)
- Subseries: Bignou Gallery (New York, N.Y.)
- 84.09 1941–1944
Handwritten list of titles, apparently Dufy, with numbers and names of buyers, et cetera. Some correspondence, but largely lists of items on consignment from Bignou to Pierre Matisse Gallery. Artists: Miró, Bauchant, Cézanne, Lurçat, Picasso, Seurat, Matisse, Modigliani, Derain, Dufy Names: Duncan MacDonald (President of Bignou, New York), Georges Keller (Vice President of Bignou, New York)
- Subseries: Bourgeois Galleries (New York, N.Y.)
- 84.10 1933–1941
Ten pieces of correspondence, about mutual clients and arrangements concerning sales. Stephen Bourgeois writes on October 3, 1933 that he had to give up his gallery temporarily because the ceiling collapsed. Names: [Gordon] Washburn, [Francis Henry] Taylor re a large Maillol for Worcester Museum, Mrs. R.M. Riefstahls
- Subseries: Boyer Galleries (Philadelphia)
- 84.11 1932–1939
December 1932–May 1934, Boyer was director of the Mellon Galleries, Philadelphia. October 1934, he opened the Boyer Galleries, Inc. Correspondence and lists generally concerning works of art Boyer borrowed from Pierre Matisse Gallery for exhibition and sale in Philadelphia. The final letters between Pierre Matisse and lawyers indicate a Pierre Matisse lawsuit against Boyer. A catalogue of Mellon Galleries Avery/Orr exhibition, 1934, is filed. Names: Richard Gimbel, Gimbel Brothers, Gimbel Galleries, Maurice Speiser, Arthur Spingarn
- Subseries: Margaret Brown Gallery (Boston)
- Subseries: Brummer Gallery (New York, N.Y.)
- 84.13 1930–1946
Correspondence dealing with works of art lent or on consignment to and from Brummer, including Brancusi sculptures. Also re Brummer exhibition of Henri Matisse sculpture (1930 or 1931). Also re Pierre Matisse interest in moving gallery (1945). Brummer writes, December 3, 1946, "I am out of the modern art business." Names: Mrs. Pare Lorentz, S.N. Behrman Checklist of 46 item titles, found in the Henri Matisse series, added (Sculpture by Henri Matisse [1931 January 5–February 7] at Brummer Gallery, New York) See also Administration: Dealers: Valentine Dudensing: Correspondence, 1930, for a letter dated July 9, 1930 from Pierre Matisse to Valentine Dudensing re Brummer exhibition of Henri Matisse sculpture, and Valentine Dudensing's reply of August 11
- Subseries: Buchholz Gallery (New York, N.Y.) [Curt Valentin]
- 84.14 1939–1941
Correspondence re arrangements between Pierre Matisse and Curt Valentin re loans, sales, purchases to and from, including works by Matisse, Braque, Brancusi, et cetera.
- 84.15 1942–1950
Correspondence, invoices, statements re loans, purchases, exhibitions concerning each gallery. Artists include Lipchitz, Masson, Picasso, Henri Matisse, Braque, Miró, Maillol, Giacometti. Exhibition catalogue for Buchholz Gallery Maillol (January 31–February 24). Between the final letter in this folder, dated December 1950, and the 1953 correspondence in the Curt Valentin Gallery (New York, N.Y.) folder, there is a gap
- Subseries: "B"
- 84.16 1938–1992
Correspondence re sales, authentications. Galleries include Banfer Gallery (Pierre Matisse Gallery Roszak sale, 1964), the Bayer Gallery (Pierre Matisse Gallery Henri Matisse drawings on consignment and exhibition, 1959, two sold), the Beard Art Galleries (Minneapolis), Blue Moon Gallery (Yorktown Heights, New York), Grace Borgenicht, Fabian Boulakia (Pierre Matisse Gallery sales of Chagall's Bouquet blanc et rouge and Miró's Untitled, La fumess du paysage atteint les constellations, 1979), Carl Biedemeyer Gallery (Buffalo; sold Pierre Matisse Gallery's Miro, Seated Woman, 1938).
- Subseries: Callery, Maric [Mary]
- 84.17 1935–1946
Correspondence regarding works of art bought and sold to and from each individual (Mary Callery was a sculptress, who dealt in art periodically, but had no gallery). Pierre Matisse also borrowed from Callery for exhibitions. Included are undated lists and nine photographs. Artists: Picasso, Henri Matisse, Miró, Léger, Modigliani, Masson, Ernst, Bauchant, Gris,Seurat Names: Zervos
- Subseries: Leo Castelli Gallery
- Subseries: Christie, Manson & Woods International Inc. [Christie's, New York]
- 84.19 1966, 1979–1992
Pierre Matisse Gallery auction purchases, May 1979 (Miró, Dubuffet), November 1979 (Soutine, Tanguy). Pierre Matisse Gallery authentications of Giacometti bronzes, 1981, 1984, 1992. See also Dealers and galleries, international: Christie, Manson & Woods [Christie's London]
- Subseries: Copley Galleries (Beverly Hills) [Copley and Ployardt]
- 84.20 Copley Galleries, Beverly Hills, 1948–1949
Correspondence largely concerning loans from Pierre Matisse Gallery to Copley, sales of books, et cetera, some bills, also a few Copley Galleries exhibition catalogues. Copley went out of business March, 1949. Artists: Tanguy, Matta, Tamayo, Ernst; Miró, Carrington
- Subseries: Andrew Crispo Gallery (New York, N.Y.)
- Subseries: "C"
- 84.22 1933–1989
Galleries include Denise Cade, Corinne Cain Gallery (1987 Giacometti authentication), Carlebach Gallery (sales to Pierre Matisse Gallery of tribal art, 1943–1950), Carstairs Gallery (work on consignment to Pierre Matisse Gallery , 1952; 1933 correspondence re terms of Pierre Matisse Gallery sale of Henri Matisse painting to Carstairs), Galerie le Chat Bernard, Cook Fine Arts.
- Subseries: Downtown Gallery (New York, N.Y.)
- Subseries: "D"
- 84.24 1937–1991
Galleries include Dalzell‐Hatfield Gallery, D'Arcy Gallery (Pierre Matisse Gallery loans for the 1961 show of Matta, Lam, Miró), Maxwell Davidson Gallery, Davis Galleries (1971 Pierre Matisse Gallery Max Ernst painting valuation), Peter Deitsch, Harold Diamond (Pierre Matisse Gallery MacIver sale, 1972), Terry Dintenfass Gallery (Pierre Matisse Gallery sent MacIver paintings n review, 1965; Pierre Matisse Gallery asked to authenticate a Henri Matisse, declared a forgery, 1966), Durand‐Ruel, Inc. (loaned two Degas drawings from 1937 exhibition, Pierre Matisse Gallery bought Courbet, Grostemp a Etretat, from gallery).
- Subseries: "E"
- Subseries: Fairweather Hardin Gallery (Chicago)
- 84.26 1953–1979
1953–1954, gallery known as Fairweather‐Garnet Gallery. Circa 1958, gallery named Fairweather Hardin Gallery. Correspondence re sales, possible sales, and exhibitions of Miró, MacIver at Fairweather Hardin Gallery. Purchases from Pierre Matisse Gallery include Miró drawing (December 1956), MacIver's Onions (January 1959), Giacometti bronze Diego (December 1960), Picasso gouache of 1921 Le Table (February 1961), Marini bronze Venus (April 1961). Miró's Danseuse devant les 13 constellations, March 1979 Pierre Matisse Gallery commission to Fairweather Hardin Gallery. Correspondence re shipping of MacIver works for Fairweather Hardin Gallery (January 1959). Pierre Matisse appraisal of Roszak Fledgling in March 1969 for Fairweather Hardin Gallery. Possible sale of Miró's Homage à Corot to Pritzkers, does not happen, 1972.
- 84.27 R 1980, 1986–1988
1980 correspondence between Fairweather Hardin Gallery and Pierre Matisse Gallery re Pierre Matisse Miró loans, sales, and possible sales (Mere Ubu bronze and Tête bronze), sales, Fairweather Hardin Gallery commission (15% becomes 10%). Miró 1988 appraisal of Miró Femme owned by Sally Fairweather. Two photographs, Miró Femme with Pierre Matisse and Shirley Hardin, dated May 14, 1988.
- 84.28 Miró exhibition in collaboration with Pierre Matisse Gallery (1981 September 23–October 31), 1981
Correspondence, price lists, lists of works loaned, publicity, announcements, invoices, photocopies of works in exhibition. June 24, 1981 copy of typed letter signed by Pierre Matisse Gallery to Fairweather Hardin Gallery re details of exhibition, including advertising, dealer discounts, insurance. Two Pierre Matisse Gallery paintings sold? Femme et Oiseau and Femme.
- Subseries: Richard Feigen Gallery (New York, N.Y.)
- 84.29 Correspondence, 1958–1983
1958, proposed exchange for Yves Tanguy's La Rose des Quatre Vents belonging to Kay Sage Tanguy. 1961 invoice to Pierre Matisse Gallery for the exchange of Yves Tanguy's L'inspiration, 1929 for two paintings by Balthus and a gouache by Yves Tanguy. 1962 letters related to the unsuccessful attempt to have a painting by Tanguy owned by Mr. Hode reproduced. 1974 inquiry about the date of a painting by Chagall from the Gipsy Rose Lee Collection. Color Photograph. 1977 letter from Pierre Matisse about the whereabouts of an unspecified Balthus painting. 1983 letters referring to Richard Feigen Gallery purchase of a painting by Tanguy and one by Dubuffet. Portfolio with photograph and information about a painting by Orazio Gentileschi. Article and news clipping on Mr. Feigen.
- Subseries: Rose Fried Gallery (New York, N.Y.)
- 84.30 1964–1965
Correspondence re joint Sorel Etrog exhibition at Pierre Matisse Gallery (Recent Sculpture [1965 February 16–March 13]). December 1, 1964 typed letter signed Rose Fried to Pierre Matisse re exhibition details, February 8, 1965 copy of typed letter signed by Pierre Matisse to Rose Fried re closing exhibition details. Exhibition press release, sales records, study for War Remembrance II, Rose Fried purchases and payments. See also Artists: Etrog, Sorel, 1933–
- Subseries: Allan Frumkin Gallery (Chicago, Ill., New York, N.Y.)
- 84.31 1954–1972
Pierre Matisse Gallery works on consignment at Allan Frumkin Gallery in 1954 (Miró, Giacometti), November 1954 (six Miró gouaches and drawings). Correspondence re sales and possible sales. Allan Frumkin Gallery purchases two Miró drawings in May 1954, Giacometti oil in April 1955, two Miró items in January 1957, Giacometti drawings and two Dubuffet Assemblages in May 1957, Giacometti bronze in July 1965, four Matta drawings in color in May 1971. January 1968, two Miró works sold. Possible Ipousteguy exhibition June 1965, Allan Frumkin Gallery requests Pierre Matisse Gallery loans. June 1966 list of Miró gouaches and drawings on consignment to Allan Frumkin Gallery. June 18, 1968, Butler, Miró, Mason (five works in total) on consignment to Allan Frumkin Gallery (Miró Personnage 1948 sold). June 20, 1968, Marini bronze on consignment.
- Subseries: "F"
- 84.32 1959–1987
Galleries include Ferus Gallery, Los Angeles (1964 Pierre Matisse Gallery sale of Giacometti to Mr. Edwin Jauss, for which Ferus received a small commission), Five Mile River Gallery, Rowayton, CT (Pierre Matisse Gallery MacIver and Riopelle works on consignment), Xavier Fourcade Gallery, New York City (re Balthus 1983, Fourcade's death 1987, miscellaneous printed material).
- Subseries: Fine Arts Associates/Otto Gerson Gallery (New York, N.Y.)
- 84.33 1950–1961
Correspondence, bills, receipts, regarding works of art lent, borrowed, sold or on consignment between the two galleries. Otto Gerson operated the Fine Arts Associates, then renamed the gallery when he moved from 51 East 57 to 41 East 57. Artists include Renoir, Picasso, Degas, Giacometti, et cetera.
- Subseries: Beatrice Glass (New York, N.Y.)
- 84.34 1946–1962
1946–1948, known as Leo Glass Co. Pierre Matisse Gallery statement of account. Leo Glass Co. purchased Chagall Elopement (returned), Dufy Reservoir, Rouault Man with Derby, Verve Matisse issue. March 7, 1961, Beatrice Glass writes to say she is due commissions on the sale of two Riopelle paintings.
- Subseries: Goldberg, Peg (Carmel, Indiana) [Alliance III]
- 84.35 R 1983–1985
- 84.36 R 1984–1989
Miscellaneous correspondence. 1984–1985, Jazz by Henri Matisse on consignment to Goldberg (not sold). Papers relating to Monet's Nympheas on consignment to Pierre Matisse Gallery from Sotheby's. Painting returned, see Peg Goldberg letter of March 10, 1984 requesting Monet Nympheas for client. December 2, 1988, Goldberg request to Pierre Matisse for advice on Modigliani painting. Press clippings re Peg Goldberg's troubles with the purchase of stolen Byzantine mosaics from Cyprus.
- 84.37 R 1984–1985
Possible sale of Gauguin Pont Aven: Le Village via David Findlay, Jr., Inc. by Pierre Matisse Gallery to Peg Goldberg. No sale. Consignment documents (painting consigned to Pierre Matisse by January 29, 1985). Lowy 1984 conservation report. Painting shipped to Peg Goldberg, 1984. Painting priced at $2,000,000 net to Goldberg. File includes transparency.
- Subseries: James Goodman Gallery (Buffalo and New York, N.Y.)
- 84.38 1961, 1968–1972
1961, Gallery known as "Contemporary Paintings." 1968 correspondence now shows names as James Goodman Gallery, New York City. June 1970 purchase by James Goodman Gallery of Miró Personnage et Oiseau. June 1972, James Goodman Gallery put Giacometti Head of Diego 1950 on consignment with Pierre Matisse Gallery. Requests by James Goodman Gallery for authentication of Miró and Tanguy works. James Goodman Gallery catalogue featuring Giacometti Head of Diego as number 46.
- Subseries: "G"
- 84.39 Ga to Go, 1970–1989
Miscellaneous correspondence, dealers and galleries include Larry Gagosian (1989 article), Hilde Gerst Gallery (purchased Chagall Mere et Enfant, 1979), Gimpel & Weitzenhopper Ltd. Lucien Goldschmidt, Inc. (miscellaneous referrals from Pierre Matisse to Lucien Goldschmidt for prints; Pierre Matisse purchases Balthus's Mitsou in 1986), Martin Gordon, Inc. (Miró authentication, 1981).
- 84.40 Gr to Gu, 1946–1949
Galleries and dealers include Grand Central Art Galleries (Chagall, Degas, Marchand on consignment from Pierre Matisse Gallery, 1948́1949), Richard Gray Gallery, Chicago (1967–1968 correspondence re authentication of Miró drawing; purchased Miró bronze Femme aux beaux seins from Pierre Matisse Gallery, 1978; Chagall authentication, 1983), The Greenberg Gallery, St. Louis (inquiries re Giacometti, Miró), Gres Gallery, Washington, D.C. (1958–1960, Tana Gress interested in Giacometti, Marini and Lam, no sales; April 1959 loan of Lam paintings to Gress exhibition, Le Sombre Malembo sold.
- Subseries: Stephan Hahn Gallery
- 84.41 1958, 1969, 1977–1984
1958, Pierre Matisse Gallery sent Chagall on consignment and for examination. April 1978, Stephen Hahn Gallery purchased Henri Matisse Portrait de Petite Fille, 1916, from Pierre Matisse Gallery. 1978, Stephen Hahn Gallery loaned Pierre Matisse Gallery two Dubuffet works for exhibition (1978 May 9–June 3). March 1, 1984, Pierre Matisse deposition re value of Henri Matisse drawing.
- Subseries: Marie Harriman Gallery (New York, N.Y.)
- 84.42 1936–1942
Correspondence between Pierre Matisse and Marie (Mrs. W. Averell) Harriman, or her secretaries (Margaret Gise and Anne Sardi) regarding works of art on loan or consignment between the two dealers, purchases, et cetera. Artists include Carlos Merida, Degas, Matisse (Odalisque au fauteuil bleu), Cézanne, Rouault (Portrait of Mr. X, purchased by Pierre Matisse), Derain, Braque. Names: Kelekian, Mr. Perry Rathbone (Alger House, Michigan), G.F. Reber (Lausanne)
- Subseries: Dalzell Hatfield Galleries (New York, N.Y., Los Angeles, Calif.)
- 84.43 1935–1936
Correspondence with Dalzell Hatfield (originally apparently with Lilienfeld Galleries, Inc., New York City; letter to Pierre Matisse from Dr. Karl Lilienfeld April 28, 1936) concerning works of art on loan or consignment, generally from Pierre Matisse Gallery to Dalzell Hatfield. Artists include Henri Matisse, Picasso, Dufy, Cézanne, de Chirico.
- 84.44 1937–1939
Correspondence between Pierre Matisse and Hatfield, regarding works of art being lent by Pierre Matisse Gallery for exhibition or sale or both, prices, shipping arrangements, et cetera. Artists include Modigliani, Matisse, Dufy, Derain, Laurencin, Picasso, Rouault. March 29, 1939, Hatfield opening new galleries at Ambassador Hotel, Los Angeles. Names: Robert Mullen at Raymond & Raymond (a firm making color reproductions, et cetera) in Los Angeles
- 84.45 1940–1957
Correspondence between Pierre Matisse and Hatfield regarding works of art on loan or consignment, generally from Pierre Matisse; some discussion of wartime conditions. Artists include Laurencin, Chagall, Matisse, Cézanne, Roszak, et cetera. Names: Tate Gallery and Sir Walpole Collection, Whitney Museum
- Subseries: Hazlitt, Joan Q. (Mekler Gallery, Pasadena, Calif.)
- 84.46 R 1979–1980, 1982–1988
1979 photos of Henri Matisse works for sale by Mekler Gallery. 1982, Joan Q. Hazlitt associated with Contemporary Art Establishment. Contemporary Art Establishment and Pierre Matisse Gallery owned half‐shares in Chagall, Giacometti, Tanguy, and Matisse works (Tanguy sold). 1985, Mekler Gallery purchases Matisse bronze Nu debout, Nu de fillette. 1984 lists of Pierre Matisse Gallery Matisse and Miró works on consignments with Joan Q. Hazlitt. 1984, Pierre Matisse Gallery Tanguy, Giacometti works on consignment with Mekler Gallery. 1984, Mekler Miró exhibition with works from Pierre Matisse Gallery. Some graphics sold. 1987, Mekler Gallery purchased Tanguy's Roux en Hiver, 1933. 1988 Mekler Gallery sold five Pierre Matisse Gallery Miró works. 1989, Pierre Matisse Gallery sold Giacometti painting, The Bathers. Hewlitt received payment of $92,500. Miscellaneous consignment records.
- Subseries: "H"
- 84.47 Ha to He, 1980s
Dealers include Hammer Galleries, New York City (1981, purchased three Miró ceramic plates); Harcourts Gallery, San Francisco (1980, 1985 authentications); Harkus‐Krakow Gallery, Boston; Ben Heller; Arnold Herstand & Co., Inc. (1983–1984 purchased Calder mobile for client, Jan Krugier).
- 84.48 Hi to Hu, 1962, 1972–1987
- Subseries: "I"
- 84.49 Undated
Dealers include Pasquale Ianetti Inc., San Francisco; International Gallery Inc., Baltimore (Lotte Drew Bear, Director, 1965 and 1966); Alexander Iolas (1970, Pierre Matisse Gallery received on consignment from Iolas Miró's Portrait of Man Ray, 1929; material on Iolas's death, 1987). See also Artists: Leonora Carrington for more re Alexander Iolas
- Subseries: Martha Jackson Gallery (New York, N.Y.)
- 85.01 1960–1970
1960 consignment memorandums from Pierre Matisse Gallery to Martha Jackson Gallery for Manolo Millares's Cuadro 79 and Dubuffet's Minaudage aux dents for Martha Jackson Gallery exhibition, New Media, New Forms. Both works sold. Miscellaneous re Tanguy composition on consignment at Pierre Matisse Gallery. 1970 request for Pierre Matisse Gallery authentication of Tanguy work for Martha Jackson Gallery client. Pierre Matisse declined.
- Subseries: Sidney Janis Gallery (New York, N.Y.)
- 85.02 1935, 1943, 1950–1989
1935, Pierre Matisse correspondence with Mr. Martin Janis re possible Janis interest in Miró. No sale. 1943 sale of Picasso etchings portfolio, Songe et Mensonge de Franco to Martin Janis. April 14, 1950 memorandum of works with prices which Pierre Matisse Gallery is loaning to the Sidney Janis Gallery, New York City, for their exhibition XX Century Young Masters, which includes Tanguy, Miró, Lam, Matta and Giacometti. 1955 correspondence re Matta paintings and drawings on consignment at Sidney Janis Gallery since January 1950. List of works. 1964, Sidney Janis Gallery purchased four Giacometti bronzes. 1965, Pierre Matisse Gallery loaned Miró's Personage dans la nuit to Sidney Janis Gallery exhibition, 3 Generations. Carbon copy of letter dated January 21, 1967 from Sidney Janis to Miró requesting appropriate works for upcoming exhibition, Homage to Marilyn Monroe. Copy of letter to Balthus re the same. Miró sends his original to Pierre Matisse with artist's markings in color in left margin. 1968, Sidney Janis Gallery proposes Giacometti and Dubuffet exhibition. Pierre Matisse declines to participate. "Hoever due to some future plans envolving [sic] the work of both artists I find myself unable to share any of the material I still own." 1985, Sidney Janis Gallery proposed Giacometti exhibition to celebrate publication of James Lord's biography of Giacometti. Pierre Matisse declined to participate. 1989, death of Sidney Janus, New York Times obituary clipping. Some correspondence in French
- Subseries: "J"
- Subseries: Kamer, Henri (Galerie Kamer, New York, N.Y.)
- 85.04 1961–1969
Tribal art sales to Pierre Matisse Gallery. List of works purchased including Melanesian, African, Eskimo. Some correspondence in French
- Subseries: Katonah Gallery (Katonah, N.Y.)
- 85.05 1964–1975
Pierre Matisse Gallery loaned eight paintings for 1964 Katonah show (MacIver, Rivera, Miró, Saura, Millares; Mirós and one MacIver sold). Records of works on loan and/or on consignment. Correspondence, payments. 1966, Katonah Gallery sold Pierre Matisse Gallery's Reg Butler, Fetish.
- Subseries: M. Knoedler & Co. (New York, N.Y.)
- 85.06 1932–1945
Correspondence and receipts for works of art on consignment, on loan, for sale, et cetera, between the two galleries. Artists include Picasso, Matisse, Cézanne, Rousseau, Derain, Seurat, Chagall, Chirico, et cetera. July 7, 1942, Charles R. Henschel of Knoedler refers to a fire at the gallery. Names: Georges Petit, Roland Balay, Mrs. A. Stewart (Sybil) Walker
- 85.07 1947–1963
Correspondence, receipts, bills, et cetera, regarding works of art on loan, consignment, bought, and sold, between the two galleries. Artists include Henri Matisse, Picasso, Rousseau, Tamayo, Chagall, Miró, Giacometti, Ernst, et cetera. Names: Lionello Venturi, Mrs. Frederick Rauh, Georges Bernier
- 85.08 1967–1976
December 5, 1967–January 5, 1968, Pierre Matisse Gallery loaned Tanguy and Miró paintings to Knoedler for Space and Dream exhibition. Correspondence with Xavier Fourcade. June 28, 1973 announcement by Roland Balay (President of Formation of Knoedler Contemporary Art). November 17, 1975, condition report on Matisse drawing (Nude) by David Nessenson of Knoedler. With black‐and‐white photograph.
- Subseries: "K"
- 85.09 1950–1989
Dealers include R. Kaller‐Kimche, Inc. (1984 Miró authentication), Paul Kantor (1961, Clifford Oderts wants authentication of Matisse drawing, Pierre Matisse response: "Of course the Matisse drawing I sold you is authentic. What a ridiculous idea to think that I would sell a forgery. If Mr. Odets wants a formal authentication, it will cost $100."), Kootz Gallery (1950, Miró on consignment from Pierre Matisse Gallery, returned. Kovler Gallery (1968, Giacometti requests).
- Subseries: Landau, Felix, 1924–2003 (Felix Landau Gallery, Los Angeles, Calif.)
- 85.10 1956, 1967–1976
1967 correspondence re Tanguy work (Argo E. Landau). 1968, Pierre Matisse Gallery loaned Landau Gallery three works on consignment for exhibition (Miró, Marini, Butler). May 1968, Felix Landau Gallery sold Marini's Juggler pm consignment from Pierre Matisse Gallery. August 1968, Felix Landau Gallery sold Butler's Girl (1956) for Pierre Matisse Gallery. December 1968, Felix Landau Gallery sold Pierre Matisse Gallery Miró bronze, Personnage. April 1969, Pierre Matisse Gallery sent on consignment Miró's Femme et oiseau (1960). April 1971, Felix Landau Gallery closed. 1976 correspondence re return of missing Bonnard drawings sent by Pierre Matisse Gallery on consignment to Felix Landau Gallery.
- Subseries: Janie C. Lee Gallery (Houston, Texas)
- Subseries: Julien Levy Gallery (New York, N.Y.)
- 85.12 1935–1956
Correspondence, bills, receipts, et cetera, regarding works of art passing between the two galleries, including such artists as de Chirico, Miro【, Brancusi, Calder, Tanguy, Matta (including a brochure for a Levy exhibition of Matta drawings, 1943), Cornell, et cetera. Names: Milton Blum
- Subseries: R.M. Light & Co.
- Subseries: "L"
- 85.14 1959–1984
Dealers include Lafayette Park Ltd, San Francisco (1984, Henri Matisse drawing authentication), Albert Landry Galleries, New York (1959, bought Leonora Carrington's Seraputina's Rehearsal from Pierre Matisse Gallery; Carrington works on consignment; 1960 sale by Albert Landry Galleries of Pierre Matisse Gallery's Carrington, Les Distractions de Dagobert), Rosalind Leader, Los Angeles (1976 sale of Pierre Matisse Gallery Miró posters), JoAnn Levinson Gallery, Inc. (1965, purchased Etrog sculpture), Julien Levy Gallery, Inc., Albert Loeb Gallery, New York City (Miscellaneous and 1965 correspondence re appraisals of Lam paintings), Herbert Lust/Galerie Le Chat Bernard, Chicago (interest in Giacometti). See also Artists: Carrington, Leonora, 1917–
- Subseries: Makler Gallery (Philadelphia, Pa.)
- 85.15 Makler Gallery Philadelphia, 1963–1980
Correspondence, invoices. Makler Gallery purchased the following: Miró Constellations portfolio (in 1963); Tanguy Rendezvous (in 1968); two Miró Constellations portfolios (in 1970); Hantaï watercolor (in 1974); Calder mobile "hanging 1936" (in 1977). Pierre Matisse insurance valuation for Tanguy's Rendezvous, 1971, 1973.
- Subseries: Donald Morris Gallery (Birmingham, Mich.)
- 85.16 1963–1969
Donald Morris Gallery purchased or sold for Pierre Matisse at exhibitions: Dubuffet's L'Elegant (in 1964); numerous Miró paintings (in 1965–1966); Dubuffet's Tête aux quatre raclages. Various correspondence, payments, et cetera. December 19622, Pierre Matisse Gallery loaned works to Donald Morris Gallery Dubuffet show. February 3, 1965, Pierre Matisse Gallery loaned works to Donald Morris Gallery Miró show (sold ten paintings). See also Artists: Dubuffet, Jean, 1901–1985
- 85.17 1970–1974
Donald Morris Gallery sales of Pierre Matisse Gallery works: In 1970, Balthus La Fenetre oil to Indiana University, Girl Reclining (Frederique) watercolor (1954), Le jardin du Luxembourg oil (1927), Girl on Couch pencil (1943); Miró gouaches in 1973; Eight Dubuffet paintings and various Miró works in 1974. February 1970, Pierre Matisse Gallery loaned Balthus works for Donald Morris Gallery show. May 1974, Pierre Matisse Gallery loaned Dubuffet works for Donald Morris Gallery show (eight sold).
- 85.18 1975–1991
Loans, payments, shipping records. Donald Morris Gallery purchases or sales of Pierre Matisse Gallery works on consignment: In 1975, final payment on Dubuffet's Rentrez chez‐soi and Chacun chez soi; In 1983, Miró drawing, Nocturnal pres du lack (1942); In 1983, Dubuffet's Madame au jardin; In 1988, Giacometti bronze, Tête Cubiste. See also Artists: Dubuffet, Jean, 1901–1985
- Subseries: "M"
- 85.19 1940–1991
Galleries include David McKee Gallery, New York City (loan from Pierre Matisse Gallery of Giacometti in 1981; In 1991, Pierre Matisse Gallery loan of Giacometti, Henri Matisse drawings for exhibition at Studio School), Royal Marks (correspondence 1957–1958 re works placed on consignment at the Pierre Matisse Gallery, such as Henri Matisse, Picasso, Utrillo, Vlaminck, Morandi), Miller Gallery, Cincinnati (1980, possible Miró sales, none resulted), Moran Fine Art, Tulsa (1982, sale of two Chagall gouaches). Miscellaneous sales, catalogue requests, possible sales. Some correspondence in French
- Subseries: "N," "O," and "Q"
- 85.20 1932–1988
Galleries include Newhouse Gallery, New York City (Pierre Matisse Gallery works on consignment in 1932, Derain and Gauguin), Nordness Gallery, Baton Rouge (1962 purchase of MacIver's Manhattan), Federico Quadrani/Galeria Odyssia (in 1975, Pierre Matisse Gallery purchased Tanguy gouache), Quintana Fine Art (1988, Quintana Fine Art purchased Saura painting, Kay).
- Subseries: Perls, Kaethe and Hugo
- 85.21 1928–1956
Correspondence regarding works of art bought, sold, and held jointly. May 9, 1931, Hugo Perls (Berlin) "je vous félicite d'avoir ouvert une galerie à New York." November–December 1942, correspondence with Kaethe Perls in Havana, following her time in concentration camps since May 1940. Included is undated New Years card from Mr. and Mrs. Hugo Perls. Artists: Gauguin, Picasso, Degas
- Subseries: Perls Galleries (Paris, New York, N.Y.)
- 85.22 1937–1955
Correspondence regarding works of art, shared ownership (i.e. Degas pastel), bought, on consignment (generally from Perls to Pierre Matisse Gallery). A card dated February 18, 1941 indicates that the partnership of Franz R. and Klaus G. Perls (Perls Galleries) has been dissolved; Franz (Frank) to do business in West Hollywood. Artists: Degas. Soutine, Picasso, Miró, Henri Matisse, Bonnard See also Perls, Kaethe and Hugo for further reference to Degas pastel
- Subseries: Frank Perls Galleries (Hollywood, Calif.)
- 85.23 1940–1941
Correspondence regarding works of art on loan, on consignment, on shared ownership basis, from Pierre Matisse Gallery to Frank Perls and vice versa, sometimes Pierre Matisse Gallery exhibitions sent to Frank Perls. December 11, 1941, Frank Perls writes re war emergency and question of fact that works he has on consignment from Pierre Matisse Gallery are not insured against war. Pierre Matisse Gallery requests pictures be returned to New York. Included is card announcement of Eugene Berman mural being exhibited at L.A. Museum, October 1941. (One piece only, 1940) Artists: Henri Matisse, Tanguy, Picasso, Man Ray, Braque, Rouault, Degas, Laurencin, Dalí, Chagall, Degas Names: Guttman, Norma Shearer, Greta Garbo, Mrs. Jack Warner
- 85.24 1942–1944, 1949
1942–1944 (four pieces) deals mainly with Frank Perls volunteering for U.S. Army, and the resulting transfer of authority over certain works of art first to his mother, then to his wife. Papers of November 1949 indicate that Perls is opening a gallery again, in Beverly Hills, and Pierre Matisse lends 11 works. Artists: Degas, Dalí, Miró, Chagall, Derain, Rouault, Henri Matisse, Giacometti, Carrington, MacIver Names: Ernst Schlesinger
- 85.25 1950 January–March
Correspondence regarding works of art on consignment from Pierre Matisse Gallery to Frank Perls, for exhibition and sale, Frank Perls sales, shared clients, et cetera. Artists: Miró, Bonnard, Henri Matisse. Giacometti, Marini, Braque, Rouault, Maillol Names: Chrysler (sale), Aline Louchheim, Bill Haines (decorator), Sarah Stein, James McLane, Stanley Marcus, Wright Ludington, Etta Cone, Curt Valentin
- 85.26 1950 April–May
Correspondence regarding Pierre Matisse Gallery works of art on consignment to Frank Perls, and vice versa, arrangements for Frank Perls special selling trip to San Francisco, for which Pierre Matisse Gallery lent some pictures. Sales on both sides. Artists: Miró, Henri Matisse, Derain, Braque, Soutine, Lam Names: Wright Ludington, Father McLane, Mrs. Maitland and son Walter, Walter Arensberg, Lee Ault
- 85.27 1950 June–July
Correspondence regarding a joint purchase of a Soutine, and the loan of a number of Miró works in various media from Pierre Matisse Gallery to Frank Perls for his opening fall exhibition. Various handwritten and typed lists of Mirós, prices, commissions, et cetera. Frank Perls continues to press for a pair of large Bonnard paintings. Artists: same as previous, Van Gogh Names: Samuel Marx, Mrs. Tom May, Sam Marx, Bill Haines, Lee Ault, Mr. [Sam] Salz, Mrs. Leigh Block, Chicago, her father, Lasker, Mrs. Syd Brodie (her sister)
- 85.28 1950 September–December
Correspondence and shipping papers regarding works of art on consignment from Pierre Matisse Gallery to Frank Perls, sales by Frank Perls, et cetera. Artists: Miró, Henri Matisse, Modigliani, Soutine Names: Mrs. Tom May, Bill Haines
- 85.29 1951
Correspondence regarding works of art bought together, borrowed, lent, exhibited, sold by one or the other Artists: Dalí, Modigliani, Miró, Henri Matisse, Bonnard, Utrillo, Chagall, Rouault Names: Mrs. May, Curt Valentin
- 85.30 1952
Correspondence about works of art between the two dealers, including arrangements about the return to Pierre Matisse Gallery of a number of works that had been with Perls for some time and not sold, others were sold and payments made. Frank Perls describes a rash of robberies of galleries, including his own, and his success in putting the perpetrator behind bars. Pierre Matisse asks Frank Perls on November 1, if he is coming back to New York to vote: "No checkers." Artists: Miró, Berman, Picasso, Rouault, Chagall, Rouault, Henri Matisse, Utrillo, Carrington, Negulesco, Giacometti Names: Rewald, Mrs. Brody, E.G. Robinson, Mr. Salz, Mr. Rosenberg
- 85.31 1953
Correspondence and lists concerning works of art passed between the two dealers. Requests from each regarding condition, provenance, et cetera, of the works, establishment of prices, commissions, et cetera, lists of Giacometti works. Artists: Rouault, Henri Matisse, Soutine, Miró, Dubuffet, Giacometti Names: Bing, Sam Marx, Anatole Litvak, Jacques Gellman, Maitland, Mr. and Mrs. E.L. Alperson
- 85.32 1954
Correspondence regarding the loan of a group of Giacometti works to be shown at the Santa Barbara Museum and the Frank Perls Gallery during the summer. Payments for sales, shipping arrangements, lists, et cetera. Also included is an undated list of Colten photographs, nothing in the correspondence seems to relate to it. Artists: Giacometti, Miró, Henri Matisse Names: Wright Ludington, Margo Sorzano (Frank Perls secretary), Mrs. Igor Stravinsky
- 85.33 1955
Correspondence re payments for sales of works of art on consignment. Requests for photographs, prices, et cetera. Description of damage to a Giacometti sculpture. Artists: Giacometti, Dubuffet, Miró
- 85.34 1956
Correspondence largely concerning a shipment of 14 Dubuffets from Pierre Matisse Gallery to Frank Perls for exhibition, including shipping, reproduction plates, list with prices, followed by sales information and prospective sales. A few other transactions as well. Artists: Marini, Giacometti, Chagall
- 85.35 1957
Correspondence (many wires and cables) regarding works of art on consignment from Pierre Matisse Gallery to Frank Perls, some half‐shares, sales, requests for prices and photos, shipping arrangements both ways. Frank Perls requests for Pierre Matisse advice as to authenticity, et cetera. List from Frank Perls of ten works he had on consigment, being shipped back to Pierre Matisse Gallery. Artists: Giacometti, Soutine, Miró, Picasso, Henri Matisse, Rouault
- 85.36 1958
Correspondence, largely from Frank Perls to Pierre Matisse, re sales, requests for prices, appraisals. Information re shipping arrangements, et cetera. Artists: Giacometti, Miró, Henri Matisse, Dubuffet, Reg Butler, Balthus Names: Mr. and Mrs. Sidney F. Brody, Mme Gomez, Billy Wilder, Mr. and Mrs. Harry Lenart
- 85.37 1959
Correspondence from Frank Perls re sales of works on consignment from Pierre Matisse Gallery, payments made, requests for information, prices, et cetera, and replies to same. Frank Perls letter of 28 October describes Peter Matisse taking seven men to lunch. Undated [October?] Frank Perls Gallery press release re 20th anniversary exhibition. Artists: Degas, Henri Matisse, Chagall, Giacometti, Dubuffet, Miró, Reg Butler Names: Father McLane, Mrs. Harry Sherwood, Louis Pappas, James Elliott, Leigh Block, G. Bautzer
- 85.38 1960
Correspondence re Frank Perls payments to Pierre Matisse for sales of works on consignment, shipping papers, requests for information, et cetera. Artists: Marini, Giacometti, Derain, Henri Matisse Names: Gregson Bautzer
- 85.39 1961–1962
Correspondence regarding works of art on consignment from Pierre Matisse Gallery to Frank Perls, requests from Frank Perls for Pierre Matisse opinion on works offered, request to Pierre Matisse and Patricia to invite Mr. and Mrs. "Brodie" [sic, Brody] for a drink. Copy of Frank Perls letter to American Art Dealers Association (AADA) asking to become a member. Artists: Giacometti, Derain, Henri Matisse, Butler, Dubuffet, Picasso Names: Sid and Francis Brody, Mrs. Lasker, Berggruens, Mrs. Ruth Maitland
- 85.40 1963
Correspondence, bills, receipted bills for works of art, between Pierre Matisse and Frank Perls and the latter's secretary. Copy of Frank Perls letter to Paule Anglim regarding his Reg Butler exhibition. Artists: Giacometti, Henri Matisse, Balthus
- 85.41 1964 January–May
Correspondence regarding Frank Perls Reg Butler exhibition (January 14–February 29, "Great success" per Frank Perls), shipping costs, sales from. Other transactions, et cetera. Mention by Frank Perls of plans for European trip, including Russia apparently. Also mention of Peter [Matisse] having installed the Reg Butler exhibition, and re allowance to him from Pierre Matisse. Artists: Giacometti, Henri Matisse Names: Mr. Page of the Speed [Art Museum], Brodys, Stanley Barber (Honolulu), Henry Seldis, Mrs. McLane, Mr. and Mrs. Harry Sherwood, Frederick Weisman, Charles D. Kratka, Mr. and Mrs. Norman Chandler, Francie Brody, Mrs. Herman Weiner
- 85.42 1964 June–December
Correspondence between Pierre Matisse and Frank Perls and secretaries, also letters to Pierre Matisse and Frank Perls from Dr. Allan Roos re a de Chirico, its shipment, payment for, et cetera. Artists: Giacometti, Miró, Butler, Henri Matisse, Dubuffet, Balthus Names: Heinz, Maeght, Monnier, Marguerite Duthuit, Peter [Matisse], Jean [Matisse], Soby, Eugene Marich
- 85.43 1965
Correspondence re works of art on consignment or jointly owned, shipping arrangements, et cetera. List of works with prices and commissions, from Pierre Matisse Gallery to Frank Perls. Letters re three de Chirico paintings owned by Billy Wilder for which the dating is questionable. Notice of change of address for Frank Perls Gallery. Artists: Balthus, Giacometti, Miró, Chagall, Saura, Millares, Ipousteguy, Dubuffet Names: Mrs. Michael Goldberg
- 85.44 1966
Correspondence and shipping papers re works of art on consignment or jointly purchased and owned, sales, payments, et cetera. Copies of letters to Frank Perls from Weatherspoon Art Gallery, University of North Carolina, and Jean Dubuffet. Artists: Dubuffet, Henri Matisse, Balthus, Reg Butler
- 85.45 1967
Correspondence, shipping papers, re works of art on consignment or half‐shares, sales of same, billing, payments and partial payments. Frank Perls sends information regarding the authenticity of a Giacometti sculpture. Copies of Frank Perls's letter to Ralph Colin, ADAA, Inc. (Art Dealers Association of America) re Giacometti fakes. Contains photograph and slide. Artists: Balthus, Reg Butler, Giacometti Names: Michael Werner, Daniel Pludwinsky [really], Mr. Nehmad, Madame Susse, Joseph Hirshhorn, Mrs. Bertram (Louise) Smith, Billy Wilder
- 85.46 1968 January–April
Copies of correspondence between Frank Perls and Annette Giacometti, and Michael Werner concerning what was apparently a fake Giacometti sculpture. Letters and copies of letters about the sale of a Giacometti painting, jointly owned. Machine copy of a Miró authentication. Pierre Matisse purchase of a Dubuffet from Frank Perls. 5 x 7 color transparency of Giacometti painting Names: Daniel Pludwinsky, Maitland, Winston, Mr. and Mrs. Igor Stravinsky
- 85.47 1968 May–December
Correspondence largely concerning jointly owned works of art, payments, or purchases of same. Artists: Dubuffet, Ipousteguy, Reg Butler, Giacometti, Henri Matisse, Daumier Names: Frank Perls's secretary, Joan Quiter, married Gordon Hazlitt
- 85.48 1969
Letters from Frank Perls to Pierre Matisse, with machine copy of letter from Pasadena Art Museum, re arrangements for Miró to make a lithograph for the Museum's use, which Pierre Matisse was to handle with the artist. Other correspondence deals with sales, loans, and other business. Mention by Frank Perls of Peter [Matisse] and payment for his work in the gallery. Also machine copy of letter to Frank Perls from Marguerite Duthuit. Two black‐and‐white glossy prints and two Polaroids. One copy of catalogue of Frank Perls exhibition. Artists: Henri Matisse, Miró, Picasso, Ipousteguy, Reg Butler
- 85.49 1970 January–June
Correspondence, invoices, regarding works of art lent, on consignment, sold, et cetera. Correspondence (1969–1970) between Frank Perls and Pierre Matisse and Pierre Matisse with Richard F. Brown re a Henri Matisse stained glass window, including copies of certifications from Marguerite Duthuit. Invoice from Frank Perls to Pierre Matisse Gallery for checks paid to Peter Noel Matisse. Black‐and‐white glossy photograph of Henri Matisse drawing Artists: Henri Matisse, Alexander Calder, Balthus, Matta Names: Mirisch (estate)
- 85.50 1970 September–December
Correspondence re acquisitions (sometimes jointly), sales, works on consignment. Invoice from Frank Perls to Pierre Matisse Gallery for checks to Peter Noel Matisse. Four 8 x 10 glossies of Balthus drawings, three of Giacometti figure (with friend). Artists: Giacometti, Balthus
- 85.51 1970
Transcript of Proceedings of Arbitration and Appraisal, Beverly Hills, Calif., March 31, 1970—Frank Perls, Arbitrator
- 85.52 1971 January–September
Correspondence, including letters from a client to Pierre Matisse and Frank Perls offering a Henri Matisse drawing for sale (photo), and previous letters re same drawing. Correspondence with conservator re restoration of Giacometti etching. General correspondence, price lists. Artists: Giacometti, Henri Matisse Names: Jerrold Morris, Caroline [Giacometti], S.A. Podkowa
- 85.53 1971 November–December
Further correspondence re Giacometti drawings, list of Picasso prints sent to Pierre Matisse by Frank Perls. Catalogue of Frank Perls exhibition of Picasso graphics, text by Frank Perls. Three undated papers. Artists: Henri Matisse, Picasso, Giacometti
- 85.54 1972
Correspondence, shipping papers, undated price list of jointly owned works. Three photographs of Giacometti sculpture and one of Frank Perls. Artists: Giacometti, Matta, Henri Matisse, Toulouse‐Lautrec
- 85.55 1973
Announcement of death January 9, 1973 of Mrs. Hugo Perls (Frank Perls's mother) in New York. Correspondence, lists, shipping papers, et cetera. Proposal from Frank Perls that he include in a book in preparation quotations from some of Henri Matisse letters written during Tahiti trip, and illustrations from Henri Matisse drawings in the letters. Pierre Matisse approves, pending word from Marguerite and Jean. Two black‐and‐white 8 x 10 photos of Tanguy painting, small color transparency of a Balthus. Typescript of Frank Perls article, "Encounters with Picasso." Artists: Balthus, Butler, Giacometti Names: Billy Wilder
- 85.56 1974 January–July
Correspondence and shipping papers re works of art shipped, machine copy of check from Frank Perls to Pierre Matisse Gallery. Copy of Frank Perls letter to client. Frank Perls itinerary for Spring–Summer travels. Original and copy of letter and list of jointly owned works. Congratulations to Tana on her marriage to Pierre (July 1). Postcards, two Chagall slides (Freed), snapshot of Henri Matisse painting. Artists: Giacometti, Henri Matisse, Chagall, Matta, Dubuffet, Balthus Names: Franz Meyer
- 85.57 1974 August–December
Copy of bank transfer of funds & other papers relating to Tanguy Roux en hiver. Correspondence regarding shipping, sales, purchases, payments, including copies of letters between Frank Perls and Jack Cowart at the St. Louis Art Museum re a prospective exhibition of Henri Matisse cut‐outs. File contains clippings and machine copies, snapshot Henri Matisse tile, announcement of Frank Perls exhibition. Photo announcement of birth of Christopher Carl Hazlitt, son of Joan, Frank Perls's secretary. Artists: Marini, Henri Matisse, Balthus Names: Martin Ackerman
- 85.58 1974
Tear sheet and machine copy of Frank Perls article, "The last time I saw Pablo," ARTnews, April 1974. Typescript of translation into French.
- 85.59 1975, 1977, 1978, undated
Cable announcing Frank Perls's death, messages, obituaries, et cetera. A few subsequent letters and lists of works of art jointly owned.
- 85.60 Various dates, 1960s
- Subseries: Frank Perls estate
- 85.61 1973–1975
Machine copies (some nearly illegible) of price lists (including works jointly owned). Copies of letters from Joan Q. Hazlitt, Frank Perls's assistant in the gallery, to dealers, et cetera, regarding items from the Frank Perls estate. Her letters to Pierre Matisse & Maria‐Gaetana Matisse & their replies. one black‐and‐white glossy photograph. Names: Eberhard Kornfeld [Kornfeld und Klipstein, Bern], Mr. Thomas Perls and Mr. Klaus Perls (co‐executors of Frank Perls estate), Wright Ludington
- 85.62 1976
Correspondence between Joan Q. Hazlitt and Pierre and Maria‐Gaetana Matisse re disposition of works in the estate, some jointly owned, and price lists. Artists: Giacometti, Reg Butler, Balthus, Dubuffet, Miró Names: Mrs. Philip N. Lillienthal, Ms. Christine Stauffer (Kornfeld und Klipstein)
- 85.63 1977–1978, 1980, 1983
Sympathy card from John Hazlitt to Pierre Matisse re death of Pierre Matisse's brother. Jean. Bank forms, receipts for payments, correspondence. Artists: Henri Matisse, Giacometti, Balthus, Marini Names: Adam Mekler, Tom Perls, Christine E. Stauffer
- 85.64 1987–1989
Correspondence between Joan Q. Hazlitt (now "Art Dealer"), Henri Matisse and Maria‐Gaetana Matisse, payments for half‐shares, arrangements with buyer for loan. Several machine copies of sheets for works owned half‐shares, undated papers. Artists: Tanguy, Chagall, et cetera Names: Wright Ludington, Adam Mekler, Max Lahyani
- 85.65 undated
- Subseries: Putzel, Howard (San Francisco, Hollywood)
- 85.66 1935 June–October
Correspondence regarding works of art generally from Pierre Matisse Gallery to Putzel, on loan, consignment, or sale, by artists such as Masson, Miró, Renoir, Chagall. June–August 1935, Putzel was in San Francisco. From September 30 and on, he was managing the Stanley Rose Gallery in Hollywood Names: Mr. Gise at Harriman's, Mr. de Hauke at Seligmann's, J.B. Neumann, Cassirer, Marcel Duchamp, Walter Arensbergs See also files on Stanley Rose Gallery and Robert Mullen
- 85.67 1935 November–December
Correspondence largely regarding works by Miró sent by Pierre Matisse Gallery on loan or consignment (Chagall and Calder mentioned). Some misunderstandings between the dealers and between Putzel and a Pierre Matisse Gallery client. During this period Putzel was managing the Stanley Rose Gallery in Hollywood Names: Von Sternberg, Arensbergs, Mrs. Maitland See also file on Stanley Rose Gallery and Robert Mullen
- 85.68 1936 March–May
Correspondence regarding works of art from Pierre Matisse Gallery to Putzel on loan or consignment. Artists include Miró, de Chirico, Lurçat, Picasso, Renoir, Rouault. Letter in file of May 21, 1936 from Putzel to Duchamp, sending it via Pierre Matisse. Names: Marcel Duchamp, Hélion, Henry Moore, Bing Crosby, Soby, Mrs. Maitland
- 85.69 1936 June–December
Correspondence regarding works of art on loan or consignment from Pierre Matisse Gallery to Putzel, negotiations, shipping, et cetera. Artists include Miró, Rouault, Ferren, de Chirico. From July 28, 1936 and on, stationery headed Putzel Gallery 6729 Hollywood Blvd.
- 85.70 1937–1941
Ten pieces January 1936–February 1938. Two pieces from August 1941. Correspondence regarding works on loan or consignment or for exhibition from Pierre Matisse Gallery to Putzel. Artists include Picasso, de Chirico, Miró, Ferren, Rouault. Through February 1938, Putzel in Hollywood; August 1941 in New York
- Subseries: "P"
- 85.71 Circa 1954–1990
Galleries include the Pace Gallery (1971 and 1990 requests for information and loans), William Pall Gallery, New York City (with black‐and‐white Giacometti photograph), Betty Parsons Gallery, New York City (articles), Passedoit Gallery (1934, Dufy works from Pierre Matisse Gallery on consignment, in 1935, Rouault), Pembroke Gallery, Houston, Texas (1985 press package), Plaza Art Galleries, Inc., New York City (April 11, 1940 list of works to be placed in auction being arranged by Albert Duveen, receipt for works sold and other correspondence).
- Subseries: Stanley Rose Bookshop & Gallery (Hollywood, Calif.)
- 86.01 1936 October–December
Beginning of arrangements between Pierre Matisse and Robert Mullen re works on consignment from former to latter. Artists include Matisse, Quintanilla, Picasso, Modigliani. See also Putzel, Howard files (Mullen's predecessor at Stanley Rose)
- 86.02 1937 January–March
Correspondence re arrangements for a portion of Pierre Matisse Gallery exhibition, Masterpieces of Modern Painting and Sculpture (January 1937), plus other works, to be lent to Stanley Rose for exhibition, Modern French Painting, includes de Chirico, Derain, Gris, Miró, Matisse, Modigliani, Picasso, Rouault, with credit to Pierre Matisse Gallery, March 1937. Checklist of latter exhibition. Names: Dalzell Hatfield, Gertrude Stein, Edward G. Robinson, Rains Galleries, Carole Lombard, Mrs. George Antheil Gallery (with Mrs. Siegel), Mrs. Maitland, Mr. Newman
- 86.03 1937 April
- 86.04 1937 May, October
- 86.05 1938–1939
Correspondence and documents among banks and lawyers regarding Pierre Matisse's attempts to get back the Derain, Henri Matisse, and Modigliani from Robert Mullen. Final letters of November 1939 are between Mrs. Pierre Matisse and Arthur B. Spingarn, Pierre Matisse lawyer.
- Subseries: Albert Roullier's Art Rooms (Chicago, Ill.)
- 86.06 1926–1932
Correspondence between Pierre Matisse and Alice Roullier (daughter of Albert, owner of gallery), one piece in 1926, remainder in 1931 and 1932. Letters cover arrangements for Gromaire watercolor exhibition going from Pierre Matisse Gallery to Chicago, 1931, and other individual works on consignment. Names: Mrs. Carpenter, Mr. Brummer
- 86.07 1933
Correspondence Pierre Matisse and Alice Roullier re Pierre Matisse Gallery's Henri Matisse exhibition which traveled to Cincinnati, then Chicago, then Albright in Buffalo (apparently the Henri Matisse Fifty Drawings [Cinquante Dessins]), and other miscellaneous works on consignment from Pierre Matisse to Roullier, including a group of Dufys which Pierre Matisse brought to U.S. at end of summer, 1933. Mention of Century of Progress exhibition in Chicago, summer 1933. Names: Mrs. Goodspeed, Winterbotham Collection at Art Institute
- 86.08 1938–1939
Correspondence about works on consignment from Pierre Matisse Gallery to Roullier, mainly Matisse and Dufy. Names: Edward H. Bennett, Mrs. Alice H. Patterson, Mr. Winterbotham, Mrs. Palmer, Mrs. Chadwick, Mrs. Joseph M. Patterson, Arthur Meeker, Bobsy Goodspeed (Chicago collectors with whom Alice Roullier had arranged dates for Pierre Matisse to show them pictures he brought from New York, March 1939)
- 86.09 1940–1942
Correspondence regarding works of art on consignment from Pierre Matisse Gallery to Roullier. January 24, 1940, Pierre Matisse mentions Henri Matisse exhibition Walter Pach is preparing for the Chicago Arts Club.
- 86.10 1943–1946
Correspondence re works of art on consignment from Pierre Matisse Gallery to Roullier, sales, shipping, negotiations re prices, et cetera. Artists include Chagall, Dufy, Miró, Picasso, Henri Matisse, Gris. Names: Crowninshield (sale), William Eisendrath, Mrs. Flora Schofield (Chicago collectors)
- Subseries: "R"
- 86.11 1957–1987
Galleries include Alexander Rabow Galleries, San Francisco (Pierre Matisse Gallery sold Maillol sculpture Monument à Debussy, 1957), Marisa del Re Gallery, New York City (miscellaneous material, 1980s), Reiss‐Cohen Gallery, New York City (1972), Rolly‐Michaux, New York City (1982–1984, miscellaneous material re Miró), Paul Rosenberg & Co., New York City (1969–1979, miscellaneous material).
- Subseries: Jacques Seligmann & Co. (Paris and New York, N.Y.)
- 86.12 1935–1937
1935, one piece, de Hauke. Correspondence Pierre Matisse and Robert M. Levy of Seligmann, re works of art on consignment and loan between the dealers, sales also. Artists include Picasso, Seurat, Derain, Soutine. Names: Mr. Loeb
- 86.13 1938–1946
Pierre Matisse correspondence with various Seligmann personnel regarding loans, works on consignment and sales, both dealers. Artists include Dufy, Segonzac, Derain, Renoir, Picasso, et cetera.
- Subseries: Parke–Bernet Galleries/Sotheby Parke Bernet Inc.
- 86.14 1944–1974
Records of Pierre Matisse Gallery works sold at auction, Pierre Matisse purchases at auction (for gallery and clients). Pierre Matisse appraisals, Sotheby's requests to Pierre Matisse for loans and for exhibition at other institutions. 1944–1972, known as Parke‐Bernet Galleries, Inc.
- 86.15 1980–1992
- 86.16 Press clippings, 1960s–1980s
- Subseries: Staempfli Gallery (New York, N.Y.)
- 86.17 1959–1984
1959, Staempfli purchased Butler pieces and drawing, three copies of Miró Constellations portfolio. 1961, Pierre Matisse purchased Delvaux watercolor from Staempfli. 1967, Pierre Matisse Gallery loaned Giacometti Leg to Staempfli exhibition. 1984, Staempfli offers to purchase Delvaux painting sold to Pierre Matisse in 1959. Pierre Matisse says no.
- Subseries: Stendahl Art Galleries (Los Angeles, Calif.)
- 86.18 1931–1935
1931, One letter from Stendahl to Pierre Matisse, re former trying to arrange to bring the Museum of Modern Art Henri Matisse exhibition to west coast. May 1935, Pierre Matisse initiates arrangements with Stendahl regarding Pierre Matisse Gallery African exhibition. Quintanilla etchings, Lurçat works on loan or consignment. Mirós and Dufys added later. Undated lists of works. Names: Fritz Lang, Walter Arensberg, Howard Putzel (Stanley Rose Gallery)
- 86.19 1938
Correspondence regarding works of art on consignment between the two dealers, largely concerning confusion arising from Stendahl's sale of Pierre Matisse's Gauguin to Wright Ludington, who found he hadn't enough money and needed to return the painting. Other artists include Degas, Rouault, Gainsborough. Names: Dikran Kelekian
- 86.20 1939
- 86.21 1940
Correspondence regarding works of art on consignment between Pierre Matisse and Earl L. Stendahl, including Gris, Rouault, Brancusi, Degas. June 14, Stendahl writes he has just returned from a two‐month trip to the South [Mexico, et cetera]. Names: Wildenstein Galleries, Putzel, Arensberg, Julian [sic] Levy
- 86.22 1941
Correspondence and consignment forms for Mexican and other pieces from Stendahl to Pierre Matisse, and a Rouault which Pierre Matisse eventually returned to Stendahl. April 11, 1941, Stendahl writes he has just returned from five weeks in Mexico, will send, or bring, photographs of new acquisitions. Included is undated pencil sketch of two Mexican pieces.
- 86.23 1942
Correspondence, largely regarding Mexican pieces from Stendahl collection. Letter dated March 30, 1942, to Pierre Matisse from Mexican dealer indicating that all sales to U.S. had to be done through Stendahl, small snapshot‐size photos included. Typed Stendahl, undated, listing of Mexican objects. Names: Sawyer (Worcester Museum)
- 86.24 1943
Correspondence, lists, and sketches of Mexican, pre‐Columbian and Inca pieces. Also mention of exhibition of Quintanilla drawings from Pierre Matisse Gallery. Names: Elliot Paul
- 86.25 1944
Correspondence, descriptive priced consignment lists of Mexican, Central American, et cetera, pieces, including many sent from Stendahl to Pierre Matisse Gallery. Also included are small photos of chacmool, and large ones of Stendahl gallery.
- 86.26 1945, 1950
- Subseries: R. Stora & Company (N.Y.)
- Subseries: "S"
- 86.28 Sa to Si, 1953–1987
Galleries include Saidenberg Gallery, New York City, William H. Schab Gallery , New York City (1971, Pierre Matisse purchased Henri Matisse painting, Portrait of a Girl, circa 1916), Schoneman Galleries, New York City (purchased Dufy in 1952, Vlaminck, and Chagall in 1979 from Pierre Matisse Gallery), Helen Serger Finer Art Inc.(1953–1972, miscellaneous records, works sent for review and consignment to and from both galleries).
- 86.29 Sl to Sz, 1936–1983
Galleries include Charles E. Slatkin, Inc. Galleries, Galleries Sternberg, Chicago, Allen Stone Galleries, Inc. (1963, Pierre Matisse Gallery received on consignment from Allen Stone Galleries Gorky's 1936–1938 Untitled and 1935 Still life), Stuart Art Gallery, Boston (Pierre Matisse Gallery loaned Tamayo for exhibition, 1944), Ladislas Szecsi, New York City (Pierre Matisse purchased Tanguy, de Chirico, Rouault, Delauney, Léger paintings, 1936–1940s).
- Subseries: Thaw, Eugene Victor/New Gallery (New York, N.Y.)
- 86.30 1958–1962
Correspondence between Pierre Matisse and Eugene V. Thaw, including invoices, cables, accounting. Works sold or discovered or owned jointly in this period include Miró, Maillot, Modigliani, Arp, Klee, Gris, Dubuffet, Tanguy, Giacometti, Balthus. May 25, 1960, copy of Pierre Matisse letter to Thaw re provenance of Modigliani purchased by Thaw from Patricia Matisse. September 9, 1960, Thaw to Pierre Matisse re Matisse's possible sale to R. Feigen or Tanguy's Endless Number; Pierre Matisse not interested in selling. September 12, 1960, copy of missive from Pierre Matisse to Thaw re termination of the Pierre Matisse Gallery association with Dubuffet, et cetera. September 16, 1960, Thaw response to Pierre Matisse letter re Dubuffet: "Perhaps now you can appreciate why I have avoided relationships with artists on a direct basis although I realize I have lost any claim to a role in 'shaping taste,' you spend years of time and lots of money when nobody wants them, and then they leave you when they become valuable.
- Subseries: Thaw, Eugene Victor
- 86.31 1964–1969
Account statements and invoices for 1963, 1964, 1965, and 1966 for which Pierre and Eugene V. Thaw own half‐shares in works sold). Draft of Thaw letter to Balthus requesting permission to exhibit Balthus drawings with Pierre Matisse's assistance. 1964 list of Pierre Matisse Gallery paintings on consignment at Eugene V. Thaw.
- Subseries: Thaw, Eugene Victor/E.V. Thaw & Co.
- 86.32 1970–1974
Account statements, 1972. Records of sales by Pierre Matisse and Eugene V. Thaw. Information re paintings owned together (framing, restoring, cleaning). Correspondence with Galerie R.G. Michel and Mme Duthuit re Matisse painting under consideration. Letter of June 24, 1970 from Michel with note by Pierre Matisse, "a étè payé in full by Gene." Some correspondence in French
- 86.33 R 1978–1986
1983 account summary. March 15, 1983, Pierre Matisse Gallery takes over remaining works owned jointly (Rousseau oil painting, Luce drawings, Signac drawings). 1984–1985, Modigliani painting sold. Articles from the 1980s by and about Eugene V. Thaw.
- Subseries: "T"
- Subseries: "U" and "V"
- 86.35 1955–1989
Miscellaneous dealers and galleries including Curt Valentin Gallery, New York (1955, partial letter re Marini works [missing second page] and closing of gallery as of December 31), Galerie Vercel, New York (1981, certificate of authentication given by Pierre Matisse for Marc Chagall's Au Cirque of 1969, with black‐and‐white photograph), Vose Galleries, Boston (1977 insurance evaluation of Balthus's Portrait of Jane Cooley of 1937).
- Subseries: Curt Valentin Gallery (New York, N.Y.)
- 86.36 1953–1955
Five pieces of correspondence, regarding loans between the two dealers, Giacometti, Roszak, Butler, et cetera. See also Buchholz Gallery (New York, N.Y.)
- Subseries: James Vigeveno Galleries (Los Angeles, Calif.)
- 86.37 1944
Correspondence regarding works by Chagall, including discussion of a shipment from Pierre Matisse Gallery to Vigeveno on consignment, a sale, and arrangements for a Chagall exhibition at Vigeveno with 15 or 16 loans from Pierre Matisse Gallery. Also interest from Vigeveno in a Rouault clown subject. Names: Jack McGowan (Los Angeles collector)
- 86.38 1945 January–April
Continuing correspondence regarding Chagall exhibition, with listing from Pierre Matisse Gallery, and copy of Vigeveno catalogue. Correspondence re sales, prices, et cetera.
- 86.39 1945 May–1947
Further correspondence re Chagalls, sales, prices, returns, et cetera.
- Subseries: Wildenstein and Company (New York, N.Y.)
- 86.40 1938–1939
Correspondence re loans of works of art from Pierre Matisse Gallery to Wildenstein exhibitions. Artists include Rouault and Henri Matisse. Names: Edward G. Robinson, Alfred Stern
- 86.41 1942–1943
Correspondence regarding loans of works of art from Pierre Matisse and Pierre Matisse Gallery to Wildenstein exhibitions, this group almost entirely to do with loans of Van Goghs to a large benefit exhibition. Other artists include Henri Matisse, Cross, and Laurencin. Names: Rombout van Riemsdijk
- 86.42 1944–1945
- 86.43 1946–1957
- Subseries: "W" to "Z"
- Series: Dealers and galleries, international
This series dates from approximately 1926 to 1990 and is arranged alphabetically by country, then city, then name of dealer or gallery. The material in the files is similar in format and subjects to that in the record series Dealers and galleries, United States. Some of the dealers with the longest relationships to Pierre Matisse Gallery, whose papers appear in the Archives, include Galerie Pierre (Loeb), Paris (1926–1948), Simon Galleries, Paris (1931–1940), Charles Ratton, Paris (1932–1968), Guillaume, Paris (1932–1946), Paul Rosenberg, Paris (1937–1953), Galena de Arte Mexicana / Inez Amor, Mexico City (1935–1942 (1972–1973), Maeght, Paris (1945–1989), Fujikawa Gallery, Osaka and Tokyo (1949–1959), Berggruen, Paris (1950–1985), Lafaille, Neuilly (1951–1973), Hanover Gallery, London (1952–1975), Daniel Cordier, Paris (1957–1967), Claude Bernard (Haim), Paris (1959–1989), Moos Gallery, Toronto, Canada (1960–1980), Jerrold Morris Gallery, Ltd., Canada (1962–1982), Maguy, Paris (1968–1987).
Selected financial files dating from 1980 to the end will be restricted as follows until 2020. - Subseries: Belgium
- 93.01 D'Arquian, 1962–1967
Inquiries and responses regarding works by Miró, Pomodoro (Pierre Matisse wishes to purchase from the Venice Biennale, 1962), Henri Matisse (1964, fake, includes black‐and‐white of purported Henri Matisse painting), Riopelle (1965, Pierre Matisse finds price too high), Dubuffet (1967).
- Subseries: Canada
- 93.02 Moos (Toronto), 1960–1964
Correspondence, shipping papers, invoices, receipts regarding transactions between Pierre Matisse Gallery and Moos, generally purchases by the latter from the former. Artists: Saura, Reg Butler, Riopelle, Giacometti, Henri Matisse
- 93.03 Moos (Toronto), 1965–1969
Correspondence, invoices, receipts, shipping papers, lists of works from Pierre Matisse Gallery on consignment to Moos, all re transactions between the two dealers, generally from Pierre Matisse Gallery to Moos. Artists: Etrog, Marini, Riopelle, Giacometti, Butler, Saura, Miró
- 93.04 Moos (Toronto), 1970–1974
Correspondence, price lists, invoices, receipts, shipping papers, largely re Riopelle paintings from Pierre Matisse Gallery to Moos. Artists: Miró, Butler, Marini, Dubuffet, Giacometti
- 93.05 Moos (Toronto), 1975–1976
Correspondence, invoices, receipts, shipping papers, largely re Riopelle paintings on consignment from Pierre Matisse Gallery and usually sold by Roos. Other artists listed below. Clipping and 8 x 10 glossy photo, each photocopied on acid‐free paper. Artists: Dubuffet, Butler, Giacometti, Mason, Miró
- 93.06 Moos (Toronto), 1977–l978
Correspondence, price lists, shipping papers, invoices, et cetera, almost entirely to do with Riopelle paintings on consignment from Pierre Matisse Gallery to Moos, payments thereof, et cetera. Moos sends copy of catalogue of 1943 Balthus exhibition in Geneva, which he had received from his cousin Georges Moos. Artists: Raymond Mason See also Dealers and galleries, United States: Frank Perls Galleries, 1969–1970 (folders 85.48–.50) for mention on Georges Moos, Geneva
- 93.07 Moos (Toronto), 1979
Correspondence, price lists, shipping papers, invoices, payments re Riopelle and Miró works, both on consignment to Moos & sales by him. A letter or two by Pierre Boudreau.
- 93.08 Moos (Toronto), 1978–1980
- 93.09 Moos (Toronto), 1980
Correspondence, price lists, shipping papers re Riopelle, Miró, et cetera. 22‐page Moos listing of Riopelle paintings by year, with names and addresses of owners, sent to Kitchener‐Waterloo Art Gallery, Kitchener, Ontario, in order for them to prepare an exhibition.
- 93.10 Jerrold Morris Gallery (Toronto), 1962–1968
Correspondence, shipping records, statements, miscellaneous printed material. Jerrold Morris Gallery purchase of Butler bronze, 1962. Pierre Matisse Gallery art on consignment and exhibition with Jerrold Morris Gallery, including Riopelle work in 1962, Henri Matisse in 1967–1968, Miró in 1968. Mrs. Eaton (1967) purchases from Jerrold Morris Gallery, photographs (Miró).
- 93.11 Jerrold Morris Gallery (Toronto), 1969
Statements of Jerrold Morris Gallery sales of works by Henri Matisse, Lam. March 6, 1969 list of Henri Matisse drawings on consignment with Jerrold Morris Gallery, including photographs. April 12–30, 1969 Jerrold Morris Gallery exhibition of Henri Matisse drawings.
- 93.12 Jerrold Morris Gallery (Toronto), 1970–1982
- Subseries: England
- 93.13 Christie, Manson & Woods [Christie's London], 1971–1992
Correspondents Pierre and Maria‐Gaetana Matisse, John Lumley (director of Christie's Impressionist and Modern Department). Correspondence primarily Pierre Matisse provision of background and provenance of diverse works, especially Tanguy, Giacometti, Miró and Chagall. Also includes Christie's estimates on various works coming up at auction, Pierre Matisse Gallery purchases at auction, press re Christie's. See also Christie, Manson & Woods International Inc. [Christie's, New York]
- 93.14 Thomas Gibson Fine Art Ltd., 1971–1973
- 93.15 Hanover Gallery, 1952–1969
Correspondence between Pierre Matisse and Erica Brausen (Hanover) re Pierre Matisse Gallery New York City mounting of Hanover exhibition on Tellem and Dogon sculpture, 1959–1960. January 20, 1960 typed letter signed by Brausen to Pierre Matisse introducing John Russell and his wife to Matisse. Hanover Gallery interest in Balthus, Butler and Dubuffet works. Summary account statement from Hanover July 1, 1960 (Pierre Matisse Gallery owed money). Reg Butler Hanover exhibition, September 16, 1963. Pierre Matisse Gallery Reg Butler exhibition and Pierre Matisse Gallery versus Hanover Gallery pricing of Reg Butler works, October 26, 1963, December 5, 1964, December 8, 1964. See also Exhibitions: Tribal Art; Artists: Reg Butler
- 93.16 Hanover Gallery, 1970–1975
Correspondence between Pierre Matisse and Erica Brausen (Hanover) re Hanover Gallery Reg Butler difficulties (Brausen to Pierre Matisse October 4, 1971: "I really don't think I can continue to represent him here if he does not allow me to show his work..."; with copies of correspondence from R. Butler to Brausen relating to exhibition and gallery problems). October 25, 1971 copy of Pierre Matisse response re Hanover Gallery problems, Reg Butler (Pierre Matisse does not want complete control of Butler's works). Correspondence re probable sale of Hanover Gallery. October 9, 1971, gallery closing in March, 1973. See also Artists: Reg Butler
- 93.17 Hanover Gallery: The Sculpture of the Tellem and the Dogon exhibition, 1959–1960
Show traveled to Pierre Matisse Gallery, 1960. Catalogues, inventories, price lists, sales. See also Exhibitions: Tribal Art
- 93.18 Crane Kalman Gallery, 1958–1967, 1977
- 93.19 London Gallery, 1939–1950
Correspondence regarding works of art, publications, periodicals, et cetera, between the two galleries, including financial arrangements and Pierre Matisse advertising in the London Bulletin. Among the artists are de Chirico, Miró, Tanguy, Lam, Picasso, and Klee. A list of nine Klees gives complete catalogue information; the list is part of a letter from Mesens (director of the London Gallery) dated 5 September 1950. Included are five glossy photos of de Chirico paintings. Names: Rene Gaffe, Brussels; Zwemmer (London Gallery), Albright Art Gallery, W. C. Arensberg
- 93.20 Marlborough Gallery, 1960–1962
- 93.21 James Mayor Gallery, 1974–1975, 1986
- 93.22 Alex Reid and Lefevre (London), 1943, 1954
Correspondence including Pierre Matisse request regarding accessibility of works by various artists and, in 1954, Reid's inquiry as to whether Pierre Matisse Gallery could hold a Barbara Hepworth exhibition. Five photographs of works of art. Names: Keller Two letters are badly torn and wrinkled at edges
- Subseries: France
- 93.23 Art Curial, 1985–1991
Correspondence with Thessa Herold, including information re exhibitions. at Art Curial and their purchases from Pierre Matisse Gallery of works by Saura, Rivera, et cetera. Photocopies pages of Museum of Modern Art exhibition catalogue, New Spanish Painting and Sculpture. Clipping.
- 93.24 "Au Pont Des Arts"/Galerie Lucie Weill, 1959–1966
- 93.25 Berggruen & Cie, 1950–1969
1950, Berggruen inquiry re Pierre Matisse editions and catalogues including Tanguy, Breton, Giacometti with Pierre Matisse reply. 1956, two letters re publications, et cetera, mention Aimé Maeght, Douglas Cooper, and Theodore Schempp. 1958–1959, October–March, re Miró Constellations publication (Pierre Matisse) and exhibition (Heinz Berggruen, Paris). Amicable, lengthy arrangements re division of costs, profits, numbers of copies of publication, re Breton text, Jacomet printing, et cetera, French Office des Changes. Mention of Mourlot and Lacourière. January 20, 1959 Pierre Matisse payment to Berggruen for 108 examples. February 5, Pierre Matisse cables that 50% of his copies sold. March 2, preparations re Paris exhibition. 1960–1969, correspondence re purchases each made from the other: Pierre Matisse buys Giacometti Cat (cast 7 of 8); Berggruen purchases Henri Matisse Studio Interior, 1936. Re Berggruen's exhibition of Dubuffet drawings. General correspondence re Cézanne, Braque, Chagall, Giacometti, Pierre Matisse authentication of Tanguy (negative). 1967, works on consignment to Berggruen and his interest in Henri Matisse gravures. Pierre Matisse inquiry and Berggruen reply re Picasso's approval of Berggruen's edition of nine bronzes of Head of Fernande; photocopy of agreement.
- 93.26 R Berggruen & Cie, 1973–1985
1973 re Henri Matisse and negotiations re Chagall (Heinz Berggruen purchase of two), Berggruen purchase of Henri Matisse seven drawings. 1974–1975, Pierre Matisse and Maria‐Gaetana Matisse correspondence with Berggruen re Mirós, Chagalls. 1980–1981 re Berggruen purchase of Miró. 1981, John Berggruen (San Francisco) re Chagalls. Clippings.
- 93.27 Claude Bernard (Haim) [Galerie Claude Bernard], 1959, 1960–1962
Correspondence, inquiries, bargaining re purchases made from Pierre Matisse Gallery by Claude Bernard, including Miró, Giacometti, Riopelle, Balthus, Roszak; invoices, payments, shipping arrangements.
- 93.28 Claude Bernard (Haim) [Galerie Claude Bernard], 1963–1964
Pierre Matisse arrangements for small Giacometti bronze from Claude Bernard to Art Institute of Chicago. Claude Bernard re Ipousteguy works. Reminders to Pierre Matisse re payments due, foundry expenses, et cetera, and re Dubuffet exhibition. 1964, Claude Bernard inquiry re availability of Giacometti drawings; Pierre Matisse wishes to keep the ones he has.
- 93.29 Claude Bernard (Haim) [Galerie Claude Bernard], 1966–1967
Claude Bernard re Ipousteguy exhibition of November 1966, Pierre Matisse inquires re prices. Pierre Matisse Gallery invoice for several works purchased by Claude Bernard. Correspondence re Tanguy, Riopelle, Balthus, Henri Matisse, Miró, Mason, Dubuffet, some purchases by Claude Bernard. Black‐and‐white photo of Miró painting, authenticated reverse by artist. Photocopy of photograph sent to the Miró files
- 93.30 Claude Bernard (Haim) [Galerie Claude Bernard], 1968
Works on consignment Pierre Matisse to Claude Bernard: Matta, Balthus, Miró. Correspondence re Brauner, Riopelle triptych (too large for Pierre Matisse), Mason, Ipousteguy and Pierre Matisse Gallery exhibition of latter, problem mounting Ecbatane; Chagall, Dubuffet, Miró, Giacometti. Invoices, payments, lists and copies, especially September 1968 of Masons.
- 93.31 Claude Bernard (Haim) [Galerie Claude Bernard], 1969
Correspondence re recent Claude Bernard purchases of Miró, Dubuffet, Tanguy, and Henri Matisse, but many of the letters deal with a Miró Tête de femme as to whether or not the medium was oil, including laboratory report, photocopies of photo, et cetera, the latter reverse Miró's notes. Black‐and‐white glossy photo of above Miró with artist's authentication & notes reverse, not identical to photocopies referred to above. Photocopy of photo to be included in Miró files
- 93.32 Claude Bernard (Haim) [Galerie Claude Bernard], 1970–1971
Continuing correspondence re Miró's Tête de femme. Price lists, typed and handwritten, and copies re sales by Pierre Matisse Gallery to Claude Bernard, including Matta, Balthus, Miró. Correspondence re shipping Tanguy. Claude Bernard correspondence re Leymarie text for Balthus Paris exhibition and re certificate for Henri Matisse painting. Black‐and‐white photo Henri Matisse (?) nude
- 93.33 Claude Bernard (Haim) [Galerie Claude Bernard], 1972
Correspondence, invoices, payments both dealers and clients, packing and shipping papers, authentications by Pierre Matisse. Arrangements with Galerie Pauli, Lausanne. Lists, handwritten and typed, copies. Usual visits Paris and New York. Two adding machine tapes. Artists: Brauner, Henri Matisse, Tanguy, Chagall, et cetera, as before
- 93.34 Claude Bernard (Haim) [Galerie Claude Bernard], 1973–1974
Correspondence, invoices (dealers and clients, including Robert Haas), shipping papers. Lists, handwritten. Artists as before, including Millares. Invitations.
- 93.35 Claude Bernard (Haim) [Galerie Claude Bernard], 1975–1977
Correspondence re Claude Bernard plans for exhibition. Giacometti drawings November 1975. List of lenders, Pierre Matisse letters to Annette and Diego Giacometti, announcements and review clipping. Discussion re Claude Bernard's Raymond Mason exhibition of November 1977. December 1977, Pierre Matisse Gallery statement of Claude Bernard account. Announcement and invitation for Claude Bernard's Francis Bacon exhibition, January 1977.
- 93.36 Claude Bernard (Haim) [Galerie Claude Bernard], 1978–1979
Correspondence, invoices, payments, shipping papers, et cetera, re Claude Bernard purchases, including Balthus's Nude Resting, La Bergerie, and two drawings. 1979, several reminders from Pierre Matisse Gallery of accounts receivable, Claude Bernard payments. News clippings, announcement, invitation, black‐and‐white photo (Miró).
- 93.37 R Claude Bernard (Haim) [Galerie Claude Bernard], 1980–1984
Correspondence generally re Claude Bernard purchases from Pierre Matisse Gallery, invoices, payments received, shipping papers, also arrangements for Claude Bernard clients. Artists as before. Pierre Matisse authentication of Henri Matisse drawing. 1983–1984 correspondence re Raymond Mason, including photocopy of artist's letter to Claude Bernard re his interest in Marlborough Gallery, et cetera. Claude Bernard announcement of Andrew Wyeth exhibition, 1980–1981. Announcement opening of Claude Bernard Gallery New York City, October 1984.
- 93.38 R Claude Bernard (Haim) [Galerie Claude Bernard], 1985
Correspondence, invoices, shipping papers re Claude Bernard purchases from Pierre Matisse Gallery, re James Lord/Giacometti/Sidney Janis, et cetera. Pierre Matisse authentications of two Mirós. Invitation and two copies announcement of Claude Bernard Giacometti drawing exhibition April/May. Announcement for Claude Bernard reception re publication of Nadine Haim book.
- 93.39 R Claude Bernard (Haim) [Galerie Claude Bernard], 1986–1989 May 31
Almost entirely Pierre Matisse Gallery staff invoices, shipping arrangements, payments received, et cetera. One Pierre Matisse authentication of Miró. Inquiry from Michel Soskine, at Claude Bernard New York gallery, re membership in Art Dealers Association.
- 93.40 Bernheim‐Jeune‐Dauberville, 1930–1989
1937–1938 correspondence re Cézanne watercolor and Van Goghs. 1948, one sheet re three paintings. Pierre Matisse took from Roger Bernheim on consignment. 1955–1969 re various provenance questions, et cetera (Daubervilles). 1989, re book Daubervilles are preparing. See also Clients: Auproux, Nina
- 93.41 Georges Bernheim (Paris), 1934–1936
Correspondence re works of art from Bernheim on consignment, sold, returned; other transactions, commissions, et cetera. Georges Bernheim closing his gallery at end of 1934, but arrangements continued sporadically.
- 93.42 Georges Bernier [Œil (Gallery)], 1962–1969
Correspondence between Pierre Matisse and Georges Bernier, L'Oeil Gallery, Paris, re Peruvian objects Georges Bernier wished to show jointly with Pierre Matisse Gallery in New York (1963). Also re exhibition and publication of Tanguy (with Breton) at Pierre Matisse Gallery; Tanguy price lists. Purchases by Bernier from Pierre Matisse Gallery, shipping papers (1967). Monthly bills, 1967, for Pierre Matisse Gallery advertising in L'Oeil magazine. Mention of "Peggy" (Rosamond) throughout and her itinerary (without year). Black‐and‐white glossy photo (Miró gouache).
- 93.43 Galerie Bignou (Paris), 1931–1937
Correspondence re Pierre Matisse purchase of Dufy and Lurçat pictures, payment over time (Great Depression era in the USA). Brief 1932 exchange re Picasso exhibition to be held at Gallerie Georges Petit (Georges Keller, Director) in June of that year. Bignou notes in January 1933 that Petit had closed at the end of December "dans l'attente de jours meilleurs."
- 93.44 R Galerie Boulakia, 1979–1989
Correspondence, invoices, drafts for foreign payments, shipping papers; many authentication certificates by Pierre Matisse on photocopies of photos of works of art (Chagalls generally), payments for which were contributed to a hospital. Wifredo Lam price list. Undated handwritten lists, slips. One 5 x 7 black‐and‐white photo of Chagall.
- 93.45 Galerie Alphonse Chave (Vence), 1962, 1985–1986
Reminders to Pierre and Patricia Matisse re unpaid bill, payment. Letter to Pierre Matisse from artist named Kopac, friend of Chave. 1985–1986 correspondence from an artist named Barthold, whose work Chave has for sale. Exhibition brochure.
- 93.46 Colle (Renou & Colle, Paris), 1936–1946
- 93.47 Galerie Daniel Cordier (Paris), 1957–1959
Correspondence re Cordier exhibitions. Dubuffet, Surrealism, Millares, et cetera, requests for information, photos, loans.
- 93.48 Galerie Daniel Cordier (Paris), 1960–1967
Further re Dubuffet, including purchases by Cordier, re Hans Hartung and E.V. Thaw, re Millares, mentions of Patricia Matisse.
- 93.49 Galerie Daniel Cordier (Paris, 1960–1967
- 93.50 Jacques Dubourg, 1946, 1957–1968
Three pieces from 1946; one from 1957, one from 1959. From the 1959 one, the main subject is Riopelle, including an arrangement with the Claude Bernard Gallery, purchases (on consignment?) from Pierre Matisse Gallery, invoices, payments, shipping arrangements. 1962, arrangements re Dubourg exhibition of Henri Matisse watercolors and drawings, with help, advice and loans from Pierre Matisse, Jean Matisse and Marguerite Duthuit. Jacques Dubourg inquiry re de Staël.
- 93.51 Galerie Jean Fournier, 1965–1989
Invoices, requests for catalogues. Bank drafts. Catalogue orders, shipping papers, receipts. December 17, 1970 invoice for purchase of Constellations album. 1972 purchase by Pierre Matisse of Hantaï painting. 1989 purchase by Fournier of Constellations album. Correspondence in French
- 93.52 Galerie Jean Fournier, 1970–1989
Correspondence and papers relating to accounts. Invoices. Bank drafts. January 6, 1971 re Hantaï paintings sold by Pierre Matisse with collectors' names. April 23, 1974 re Pierre Matisse purchase of Hantaï, Viallat, Faucher. April 25, 1976 statement of accounts. December 11, 1978 invoice for Viallat painting. 1989 purchase of Miró Constellations album. Correspondence in French
- 94.01 Galerie Jean Fournier, 1952–1976
1952 correspondence re possibility of Pierre Matisse organizing an exhibition of Manessier at Pierre Matisse Gallery. 1953, further correspondence re Manessier exhibition, list of paintings. January 21, 1953 handwritten letter from Manessier. February 2, 1953 note from Manessier. Conditional invoices, customs declarations. Proof of ad for exhibition. June 8 missive from Pierre Matisse re result of exhibition. Copy of Pierre Matisse Gallery Manessier catalogue (March 10–April 4, 1953). Correspondence in French
- 94.02 Galerie Jean Fournier, 1987–1988
1987 correspondence re Riopelle paintings. June 7, 1987 list of paintings. November 1987 purchase of three paintings by Riopelle. Shipping papers, invoices, correspondence re transport. Copies of three certificates of authentication. Correspondence in French
- 94.03 Paul Guillaume (Galerie Paul Guillaume, Paris), 1932–1935
Correspondence between Pierre Matisse and Paul Guillaume, Mme Paul Guillaume, and Mme Leray concerning loans from Guillaumes to Pierre Matisse, works on consignment for Pierre Matisse's sale or exhibition or both, bargaining re prices and buyers. Of particular interest is Pierre Matisse letter of September 4, 1935 to Mme Leray, outlining his doubts about introducing de Chirico to the U.S. public, especially with any expectation of sales. Apparently three of the paintings were on consignment from Mme Guillaume. Artists include Henri Matisse, Renoir, Picasso et cetera. Names: Dr. Philip Sandblom
- 94.04 Paul Guillaume (Galerie Paul Guillaume, Paris), 1936–1937
Correspondence between Pierre Matisse and Paul Guillaume, Mme Paul Guillaume, and Mme Rene Leray re works of art on consignment from Guillaumes to Pierre Matisse in New York. Many letters and cables regarding Pierre Matisse prospective sales of de Chiricos. Payments to Guillaumes. Lists and correspondence re artists such as Picasso, Modigliani, Derain, Soutine, and pieces of African art. Names: Mr. Chrysler Machine copies of following letters sent to John Russell (OB [by lead archivist, Olive Bragazzi?]) on March 3, 1993 regarding Henri Matisse's Bathers by a River: 29 September Mme Rene Leray to Pierre Matisse; 4 October 1937, Pierre Matisse to Guillaume, Paris; 8 October 1937, Guillaume to Pierre Matisse
- 94.05 Paul Guillaume (Galerie Paul Guillaume, Paris), 1938–1939
Correspondence between Pierre Matisse and Paul Guillaume, Mme Paul Guillaume, and Mme Leray re works of art on consignment from Guillaume to Pierre Matisse in New York, artists such as Derain, Modigliani, Soutine, Picasso, Utrillo, and African pieces. Names: Dudensing Machine copies of following letters sent to John Russell (OB [by lead archivist, Olive Bragazzi?]) on March 3, 1993 regarding Henri Matisse's Bathers by a River: 13 juin 1939, Mme Leray to Pierre Matisse; 21 juillet 1939, Paul Guillaume (Mme?) to Pierre Matisse; 25 juillet 1939, Mme Leray to Pierre Matisse
- 94.06 Paul Guillaume (Galerie Paul Guillaume, Paris), 1940–1941, 1945–1946
Correspondence between Pierre Matisse and Paul Guillaume, and Mme Paul Guillaume (1940–1941) re works of art on consignment to Pierre Matisse. In correspondence, Mme Guillaume has become Mme Jean Walter, with whom Pierre Matisse corresponds, as well as with Paul Guillaume, regarding the post‐war arrangements for returning the works of art to France, and explanations re sales, et cetera. File includes a clipped article, undated, by Marie‐Charlotte Pedrazzini, "Le Legs fabuleux de Mme Walter" from [Univers Match/Paris Match?]; from text it would appear to be post‐World War II
- 94.07 Galerie de l'Ile de France, 1971–1973
Correspondence (Gianna de Gaverdie Sistu) re Lam, Miró, Tanguy, Chagall; banking ?(Curafam, Geneva), shipping and insurance papers.
- 94.08 Galerie de l'Ile de France, 1974–1976
1974, re Chagall (negotiations), Riopelle (five paintings sold Curafam); Mirós, Riopelles on approval. Tanguy. December, Millares list of eight sent. 1975, more Riopelles. 1976, inquiry re Chagall.
- 94.09 Galerie de l'Ile de France, 1978
Negotiations re Chagall continue, two gouaches on approval, sent April 1978, shipping papers, et cetera, transparency. Balthus drawings, Riopelle.
- 94.10 Galerie de l'Ile de France, 1979
March 30, Miró price list re Pierre Matisse Gallery exhibition. Chagall, sends color reproductions. May, five or more sold. December, two sent from Pierre Matisse Gallery on consignment.
- 94.11 Galerie de l'Ille de France, 1980–1982
- 94.12 Laffaille (Neuilly), 1952–1953
Correspondence, informal. Maurice Laffaille, handwritten and infrequently on letterhead, re important works of art Laffaille is offering for sale, his sketches, descriptions and references to photographs of Dufy, Léger, Braque, Rouault, et cetera. Pierre Matisse expresses interest, outlines his own preferences, bargains, acquires Braque in 1952.
- 94.13 ;Laffaille (Neuilly), 1954
Maurice Laffaille inquiry on behalf of client re major Henri Matisse to Marguerite Duthuit and Pierre Matisse. African and Asian ethnographic pieces Laffaille has available from client. Negotiations over months re Pierre Matisse purchase of Giacometti's Chariot, involving Maeght, re casts, commissions, et cetera. Payments to Laffaille. Artists include Miró, Cross, Picasso, Modigliani, Soutine, et cetera.
- 94.14 Laffaille (Neuilly), 1955
Negotiations re Giacometti's Buste de Diego and other pieces, including arrangements with Maeght. Laffaille offers Pierre Matisse fauve Henri Matisse Belle Isle, Laffaille's sketch attached. November, following Matisses' accident, Pierre Matisse asks Laffaille to look at certain works in Paris. Tear sheets from unidentified French auction catalogues.
- 94.15 Laffaille (Neuilly), 1956–1959
1956, Laffaille finds it difficult to locate pictures. Léger's prices have doubled since his death, mentions (more than once) that attention is being paid to the young abstract artists, asks Pierre Matisse if any interest in Bernard Buffet, whose work Laffaille has arranged with Dubourg to handle. Reference to troubles in Suez. 1957, Pierre Matisse explains long silence by fact of fire in which Patricia had lost her family jewels. Laffaille has client for Henri Matisse painting, sends photos for Pierre Matisse's expertise. Inquiry re Miró portrait brought to U.S. on temporary basis, must be returned or paid for.
- 94.16 Laffaille (Neuilly), 1961–1973, 1989
Random correspondence, gap between February 1968 and January 1973. Laffaille offers various works, shipping papers for Dufy. May 31, 1966 re Balthus drawings and Frédérique Tison. Two undated announcements of Laffaille's four‐volume Catalogue raisonne de l'oeuvre peint de Raoul Dufy. Obituary, 1989.
- 94.17 Madoura (Vallauris), 1967–1968
- 94.18 Maeght: Correspondence, 1945–1949
1945–1947, Maeght writes re Braque, Bonnard, Chagall, Marchand; sends news of Henri Matisse. From February 21, 1948, when Miró visited Maeght, asking to exhibit his work there, the correspondence deals with the arrangements among Pierre Matisse (and Teeny), Maeght, and the artist. The Maeght June 1948 exhibition delay because of export difficulties from Spain to France, and visa for Miró family. Complications of visits to Barcelona for dealers to make division of work. Contract, financial arrangements, including Pierre Matisse's monthly stipend to the artist, and involvement of the dealer Sam Salz. Correspondence primarily with Aime Maeght, but also with gallery staff.
- 94.19 Maeght: Correspondence, 1950–1959
1951 correspondence re Giacometti, such arrangements re division between Pierre Matisse and Aimé Maeght, especially casts of bronzes. Miró division, including two huge paintings at Mme Cuttoli, shipping arrangements, also decoration for Harvard University. 1953, Pierre Matisse sends Maeght 22 photos of Mirós work between 1924–1939. Clayeux writes from Maeght Paris gallery. As of 1954, correspondence includes discussion re Miró, J.J. Sweeney and ceramics exhibition, including a misunderstanding re arrangements, re payments Pierre Matisse to Maeght resales of ceramics and question re exchange rates, et cetera. Giacometti also topic.
- 94.20 Maeght: Correspondence, 1960–1965
1961 correspondence re Miró ceramic, Harvard University, export, shipping, et cetera, also Miró exhibition in Barcelona (Clayeux, Paris). Pierre Matisse purchases camera for Aimé Maeght at latter's request. Catalogue pages from Bell & Howell. September, Jacques Dupin, Maeght Editeur, Paris, plan for Maeght Fondation. 1963 (Daniel Lelong, Maeght Paris) re Giacometti, Miró and translation Pierre Matisse has made by Richard Howard, N.Y. 1964 January, first correspondence with Fondation Marguerite et AiméMaeght, Saint‐Paul‐de‐Vence; Pierre Matisse arranges loan of Henri Matisse Acrobates. Black‐and‐white 5 x 7 inch photo, Miró ceramic.
- 94.21 Maeght: Correspondence, 1966–1969
1966 January, re Miró and arrangements re division in Palma. February, Giacometti, re casts Grandes Figures; Miró (Lelong Paris). April 12, Dupin to Pierre Matisse re Miró exhibition at Marlborough, London, and Pierre Matisse's concern, et cetera. April 30, Pierre Matisse to Maeght (Paris) re Miró Bleu I, which had gone to Maeght in 1961 division, included in Marlborough New York exhibition, 6th floor Fuller Building [Bleu II and Bleu III were Pierre Matisse Gallery's]. May 3, Maeght explains, sends Pierre Matisse copy of letter to Lloyd at Marlborough‐Gerson Gallery, New York. 1967, re Riopelle, Miró, Giacometti. 1968, re Société des amis de la Fondation Maeght. Copies of correspondence with William Rubin (Museum of Modern Art) and Lelong. 1969(?) press release of Fondation Maeght re Calder exhibition. Fourteen‐page price list Maeght Editeur, Paris, original prints.
- 94.22 Maeght: Correspondence, 1970–1972
1970: Adrien Maeght, prints and books, Paris, re reproduction of Henri Matisse One Thousand and One Nights, including letter to Pierre Matisse from Marguerite Duthuit. Mme M. Maeght re fire that the Matisses suffered, four‐page price list of Miró prints billed to Pierre Matisse. Dupin re Calder autobiography published by Random House. 1971, Dupin re exhibition by RenéChar, April 1971; Lelong re Riopelle; information and photos of Miró bronzes Pierre Matisse requested from Maeght Gallery staff. Arrangements re Pierre Matisse to Barcelona (Miró) in January. 1972 February, Pierre Matisse re Calder exhibition at Pierre Matisse Gallery and autobiography. Dupin re Miró/Artigas, catalogue of ceramics complete. Riopelle two exhibitions Paris, re Chagall, et cetera. May 22, Pierre Matisse had been several days with Miró in Palma. June correspondence with Maeght Gallery Zürich, Pierre Matisse's Miró loans. Maeght Fondation, Jean‐Louis Prat, Director, opens reference library to public. October, Dupin in New York for Miró at the Guggenheim; Pierre Matisse arranges visit to Barnes Collection.
- 94.23 Maeght: Correspondence, 1973–1975
1973 February 2, Dupin reports on Miró, correspondence follows re sculpture. Pierre Matisse Chagall photos sent to Maeght Editeur for monograph. May–October re Pierre Matisse purchase of Miró sculpture. Correspondence re Miró/Artigas ceramics. 1975, Lelong re Miró tapestry; Pierre Matisse/Maeght Editeur re volume III of Miró lithographe.
- 94.24 Galeria Maeght (Barcelona): Correspondence, 1975–1979
Correspondence re Saura & Miró; latter re sculpture and prints purchased by Pierre Matisse Gallery from Maeght, including invoices, payments, insurance papers. References to photos and Pierre Matisse Gallery catalogues being sent. See also relevant material in other Maeght: Correspondence files
- 94.25 Maeght, 1976–1979
Correspondence Pierre Matisse/all Maeght establishments re Riopelle, Miró (lithograph for Martha Graham, et cetera), Pierre Matisse Gallery catalogues, et cetera. 1977, Lelong re Miró/Parrellada/Viladas. 1978 October, Maeght Editeur re volume IV Miró lithographe. 1979 correspondence re false attribution Miró Bleu series. December, Pierre Matisse purchase Miró sculpture. Invitations, card re U.S. office of Galerie Maeght, list all locations Catalogue of Maeght Editeur. Four black‐and‐white photos. Photocopy (Miró design?) with colored lines in some shapes.
- 94.26 Maeght: Correspondence, 1980–1989
1982, re Miró's astonishing new work at Barcelona foundry, mention that his Grand Personnage is same piece as Project for a Monument for Los Angeles. 17 May, photocopy Dupin's five‐page letter to Ramon Viladas, Barcelona, defending his (Dupin's) handling of Miró's affairs. 1983 general correspondence re Miró sculptures. 21 September, changes in personnel at Maeght New York office. 1985–1986 re succession Miró re bronzes re tirage, et cetera. 14 black‐and‐white photos, various sizes, Miró sculptures, notes reverse.
- 94.27 Maeght: Publicity, 1960–1980
- 94.28 Alex Maguy, 1968–1971
1968–1969 correspondence, papers re shipping, insurance, export, and invoices re works of art by Chagall, Derain, Henri Matisse, from Pierre Matisse Gallery to Maguy. General info re works by Cézanne, Balthus, Léger, Marini, Dubuffet, Giacometti. 1970:, Pierre Matisse Gallery sales to Alex Maguy of Chagalls, Marini, Giacometti. 1971, Pierre Matisse Gallery re Miró, Cross. Various undated handwritten notes.
- 94.29 Alex Maguy, 1972–1973
1972 correspondence re Giacometti's Yanaihara and La Place, purchases from Pierre Matisse Gallery. May, insurance papers re fire damage to Giacometti's La Place and Miró's Femme et Oiseau of 1966. General correspondence throughout re meetings France and New York. 1973 copy of letter from Maguy to Miró. Correspondence re Soutine, Cézanne, Chagall, Miró, Henri Matisse, Giacometti works from Pierre Matisse Gallery to Alex Maguy on consignment.
- 94.30 Alex Maguy, 1974
Correspondence, shipping, insurance, et cetera, papers re works from Pierre Matisse Gallery on consignment, mainly Chagalls. Undated listing of Alex Maguy payments to Pierre Matisse Gallery (1973–1974).
- 94.31 Alex Maguy, 1975–1979
Two pieces of correspondence 1975, 1977 correspondence, sales of Giacometti bronze, Chagalls to Maguy. Alex Maguy writes re Balthus. 1978, Pierre Matisse Gallery sale of two Chagalls (to Imperial Gallery, Zürich), payments. 1979, re Chirico, Henri Matisse, Miró, Chagall, Giacometti works sold or on consignment from Pierre Matisse Gallery.
- 94.32 R Alex Maguy, 1980–1987
Correspondence, payments, receipts, statements re Maguy purchases of works from Pierre Matisse Gallery, including Chagalls and Giacometti.
- 94.33 Alex Maguy: Publicity, various dates
Clippings, exhibition announcements, invitations, catalogue. Two black‐and‐white glossy photos, one color transparency.
- 94.34 Daniel Malingue, 1974–1987
- 94.35 Galerie Percier, 1935–1950
Statement for payment of a Miró and a Rouault (Clown). Correspondence with Mr. Level of Galerie Percier about objects of tribal art. In 1937, Galerie Percier sells Pierre Matisse a Gris and two Picassos. In 1939 Pierre Matisse buys more tribal art from Galerie Percier. Artists: Rouault, Miró, Picasso, Gris, and tribal artists
- 94.36 Henri Petiet (Paris), 1930, 1937
- 94.37 Galerie André‐François Petit (Paris): Correspondence, 1962–1963, 1973–1975
1962, letters and cables related to a painting by Yves Tanguy (Title unknown, 1926, collage with strings) and the efforts by Pierre Matisse to acquire it. Also on the same subject letters by Kay Sage Tanguy and Mr. Poupard. Invoice. 1963 letters related to a group of early gouaches by Yves Tanguy on sale at Galerie d'Eendt nv, Amsterdam for which A.F. Petit suggests buying in share. 1973 letter referring to "various unknown works by Yves Tanguy." 1975, letters related to the finding of a copper plate engraved by Yves Tanguy and its projected edition and W. Wittrock interference. See also Poupard‐Lieussou, Y. (Yves) (Paris): Correspondence; Artists: Tanguy, Yves, 1900–1955: Publications: Wolfgang Wittrock and Bill Hayter; Artists: Tanguy, Yves, 1900–1955: Inquiries, 1971–1979
- 94.38 Galerie Pierre (Pierre Loeb, Paris), 1931–1932
Correspondence and cables between Pierre Matisse and Pierre Loeb, including letters (copies?) from Robert Chevalier (to Loeb? "Cher Monsieur") re an Henri Matisse painting he wants to sell. Includes biographical information to Pierre Matisse in a letter to Matisse dated September 4, 1931, "J'espere que vous avez retrouve votre petite famille en bonne sante..."; Pierre Matisse from Biddeford Pool, Maine 28 Aout (Loebs had baby "Est ce un garcon ou une fille?") Artists: Rouault (1932), Pascin (Socrate, et cetera, 1932), Seurat from collection Lucie Cousturier (Loeb to Pierre Matisse July 20, 1932 writes, "...Si la vente se fait avec Barnes..."), Miró (1932) gouaches Pierre Matisse wants to show in October
- 94.39 Galerie Pierre (Pierre Loeb, Paris), 1933 January 17–December 18
The exchanges of letters between Pierre Matisse and Pierre Loeb. October–December are to do with the Miró pictures which would be included in the Pierre Matisse Gallery exhibition (December 29–January 18, 1934), re packing and shipping arrangements, photographs, and the texts from Ernest Hemingway and James Johnson Sweeney, excerpts from those published in Cahiers d'Art. Names: Georges Bernheim, Zervos, Georges Antheil
- 94.40 Galerie Pierre (Pierre Loeb, Paris), 1934, January–July
Miró continues to be a major topic in the correspondence between Pierre Matisse and Pierre Loeb, re the success of the Pierre Matisse Gallery exhibition and sales from it, installation photos, et cetera, and Pierre Matisse's subsequent showing of the exhibition in Chicago, also the development of a contract Loeb and Matisse made with Miró, including Pierre Matisse asking for exclusive U.S. rights to Miró's work (for a year). Loeb's plans for Miró exhibitions in London and Switzerland. Miró issue of Cahiers d'Art. Two papers re Pierre Matisse purchase of Cézanne watercolor from M. Montag. Names: Chester Dale, "Doctor" John Graham, Zervos, Pierre Colle
- 94.41 Galerie Pierre (Pierre Loeb, Paris), 1934 August–December
Further re Miró, also African and Oceanic objects from Pierre Loeb to Pierre Matisse. Correspondence re Picasso painting from M. Hein: its condition, authenticity, restoration. Names: Knoedler, Brummer (Follet & La Rencheraye, shippers), Hemingway, Henriette Lebusivich (sp?) (Loeb's assistant)
- 94.42 Galerie Pierre (Pierre Loeb, Paris), 1935
Further re Miró (Interieur hollandais et cetera), works by Picasso, Rousseau, Modigliani (five works that Loeb had gathered, for sale), de Chirico, Pierre Matisse exhibition pf African sculptures from Ratton collection, et cetera. November, Loeb mention of Miró going to Prague for large exhibition of his work arranged by Loeb. December 5, Loeb re model for Cézanne "le jeune homme au gilet rouge."
- 94.43 Galerie Pierre (Pierre Loeb, Paris), 1936 January–August
References to African and Oceanic pieces, Miró and contract, Picasso, et cetera. Copy of Pierre Matisse Gallery catalogue of Oceanic Art. Names: Louis Carre, Knoedler, Zoubaloff collection, Sweeney, Ferren
- 94.44 Galerie Pierre (Pierre Loeb, Paris), 1936 September–December
Re works by Miró, Picasso, Rouault, Derain, and African and Oceanic objects. Miró contract and division of works, also Miró commissions Pierre Matisse intends to get in U.S. Names: de Hauke, Valentine, Vollard, Bignou, Sweeney, Poyet
- 94.45 Galerie Pierre (Pierre Loeb, Paris), 1937
Correspondence re works by Miró, Cézanne (La carriere Bibemus), Ferren, Rouault, Picasso, Matisse, Bonnard, Rousseau, Balthus (La rue, La Toilette de Cathy). Names: Zervos, Zwemmer, Skira, Harriman
- 94.46 Galerie Pierre (Pierre Loeb, Paris), 1938 January–March
Continued correspondence re works of art by Miró (Old Shoe, seven Cartes Espagnoles especially), as well as contract with Miró. Balthus (portrait of Sylvia Loeb and Frere et soeur, Portrait de Joan Miró avec sa fille Dolores), Léger, Braque, Picasso, prices and discussions re payments
- 94.47 Galerie Pierre (Pierre Loeb, Paris), 1938 April–December
Correspondence re works of art by Balthus, Picasso, Miró, Cézanne, Léger, exhibitions, payments, sale to Dr. Barnes.
- 94.48 Galerie Pierre (Pierre Loeb, Paris), 1939
Correspondence re works by Miró, Picasso, Balthus, payments, shipping, et cetera. No letters between February and October 18. October Loeb gives address as "Lieutenant...". 9 November, Pierre Matisse writes "Je viens d'etre demobilise...." Pierre Loeb reports re Miró contract. November 20, Silvia Loeb writes Pierre Matisse. Names: Zervos
- 94.49 Galerie Pierre (Pierre Loeb, Paris), 1940–1942
- 94.50 Galerie Pierre (Pierre Loeb, Paris), 1946 August–1948, undated
Six documents from 1946, one cable from 1948. Several undated and miscellaneous cards. Subject of Miró contract continues, Picasso and Lam also mentioned. Copy of announcement of May 6, 1964, from Art Dealers Association of America, Inc. of Pierre Loeb's death in Paris on May 6, 1964, also includes biography.
- 94.51 Mr. [Yves] Poupard‐Lieussou (Paris): Correspondence, 1959–1965
Correspondence related to various offers of paintings and gouaches by Yves Tanguy on sale in France. Black‐and‐white photograph of a gouache (number 228 in catalogue raisonné) bought by Pierre Matisse. Also reference to a [Tanguy(?)] four‐panel screen belonging to a "doctor" (mentions in letters of June 8 and 11, 1960).
- 94.52 Ratton (Paris), 1932–1934
Apparently initial letter of their relationship is request from Ratton to Pierre Matisse (November 23, 1932) for information about a New York exhibition by a Center of African Art held at the New York Urban League. July 1934, they are making arrangements for Pierre Matisse to show and sell ethnographic works from Ratton's collection. Negotiations continue. Pierre Matisse Gallery exhibition of Oceanic, et cetera, art was held October 29–November 17, 1934
- 94.53 Ratton (Paris), 1935
Correspondence re Ratton pieces (on consignment it would appear) to Pierre Matisse Gallery, including prices, shipping, et cetera. Mention of other New York dealers and collectors, Mr. Graham and Crowninshield especially, some criticism by Pierre Matisse. Carre also named. Museum of Modern Art exhibition opening March 20 and its effect on dealers in African art. Oceanic exhibition going to Chicago [Arts Club, through A. Roullier] month of January. Ratton to New York. Ratton collection to San Francisco for exhibition. Arrangements for advertisement in ARTnews. Sales, payments, et cetera. Ratton suggests Pierre Matisse Gallery exhibition of de La Fresnaye.
- 94.54 Ratton (Paris), 1936
Early correspondence deals mainly with arrangements Ratton agrees to re Pierre Matisse Gallery exhibition, Africa, Oceania, America (held April 20–May 9, 1936), shipping, prices, et cetera. Customs problems re dating of objects. Some problems re (collector? dealer?) Myers. Ratton to New York March. December 2, Ratton sends congratulations on the Matisses' new son.
- 94.55 Ratton (Paris), 1936–1939
Correspondence mainly regarding African, et cetera, works on consignment to Pierre Matisse from Charles Ratton, now including references to Mexican, Peruvian, et cetera. Also includes correspondence re sales, invoices, price lists, Pierre Matisse Gallery payments. Mention of Ratton to New York for Worlds Fair. Names: Julius Carlebach (per Pierre Matisse "completely crazy about his objects," gold Peruvian pieces)
- 94.56 Ratton (Paris), 1940–1945
Pierre Matisse thanks Charles Ratton for his help with André Derain exhibition (Paintings from 1938 and After for the benefit of the American Friends of France [April 15–May 11, 1940]). Pierre Matisse payment of commission on Derain sales. April and May 1940, the war is major topic, and the difficulties it presents for making sales in New York, getting checks to Ratton and, from Ratton, descriptions of the bombardment of Paris, their situation, et cetera. An unopened envelope with letter from Pierre Matisse to Ratton dated August 6, stamped "Service Suspended" and "Geoffnet" with the insignia of Nazi "Oberkommande der Wehrmacht." Ratton writes from Macon, May 1941 and sends greetings to Calder and Tanguy. November 1944, Ratton writes of death of wife from cerebral haemorrhage, in a very long letter giving news of friends, artists, colleagues in France, and asking for the same of those in U.S. Treasury Department does not allow Pierre Matisse to send money to Ratton, April 1945. Artists: Rouault Names: Blin, Myers
- 94.57 Ratton (Paris), 1946–1949
February 5, 1946, Ratton writes re arrangement between Dubuffet and Pierre Matisse, with which he was involved apparently, and Dubuffet's with Drouin. Subject continues, including descriptions of the artist's technique, et cetera. Four Pierre Matisse handwritten lists. Names: Brummer, Kleemann, Paula Belden, Anne Bellet, Jean Paulhan, René Drouin, Michel Tapié, Léautaud, Mr. Stern, Salmony, Feneon [sale], Michel Cadoret, M. Plesch
- 94.58 Ratton (Paris), 1950–1968
Correspondence further re Dubuffet, both correspondents have new wives (1950). Pierre Matisse request for confirmation of commission $1000 he paid Ratton in 1952, for bring him together with Dubuffet and helping with agreement re Pierre Matisse handling his pictures. Some customs papers re question of dating of ethnographic objects, and letters. Names: Falck, Stoclet, Kofler (Lucerne), Mme Plass, Daridan, E. Brummer, R. Stora, Lévy‐Strauss, Baron von de Heidt (purported owner of fauve Henri Matisse)
- 94.59 Ratton (Paris): Lists, 1935‐1936
Lists of ethnographic objects, with various marks denoting sales, returns, et cetera. Each sheet has either 1935 or 1936.
- 94.60 Ratton (Paris), undated
- 94.61 Renou et Poyet, 1952
- 94.62 Rosenberg, 1933–1934
Correspondence concerning 13 André Masson paintings which Paul Rosenberg agrees to send to Pierre Matisse [on consignment?] for Pierre Matisse Gallery exhibition January/February 1933, and further showing at the Arts Club of Chicago. Names: Dr. Philip Sandblom
- 94.63 Rosenberg, 1937 July–December
Correspondence, lists, et cetera, concerning 19 Laurencin works [on consignment] from Paul Rosenberg to Pierre Matisse for December 1937 exhibition, which was shown at Arts Club of Chicago also. Priced copy of checklist of Laurencin exhibition at Pierre Matisse Gallery included in file. Letters re other matters. Names: Mrs. Maitland, Gallery Findlay, Miss Roullier (Arts Club of Chicago)
- 94.64 Rosenberg, 1938
Further correspondence re Laurencin, especially her surprise at a reproduction in Vogue, for which she had received no payment for rights. Also re works by Derain & Braque. Names: Tériade, Crowninshield, Roullier
- 94.65 Rosenberg, 1938–1939
Correspondence regarding purchases made by Pierre Matisse Gallery, financial arrangements, shipping, et cetera, artists include Matisse, Braque, et cetera. November 14, 1939, Pierre Matisse to Rosenberg, asks re possibility that Rosenberg would have a branch gallery in New York, also he suggests that they meet in Bordeaux before he goes to Lisbon to get the Clipper to America, as he has been demobilised.
- 94.66 Rosenberg, 1940–1953
Correspondence including Pierre Matisse missive to Rosenberg of 28 November 1940 "Do not mail", and Rosenberg (now in New York City), June 1944, as Chairman of the Art Group of the United Jewish Appeal, asking for a contribution to help save the Jews in Europe from extermination, to which Pierre Matisse sent a $100 check. Otherwise the correspondence concerns works of art on consignment from Rosenberg to Pierre Matisse Gallery, loans both ways, etc. Artists include Matisse, Braque, Picasso, et cetera.
- 95.01 Galerie Simon (Paris), 1931, 1934, undated
Correspondence regarding works on consignment from Galerie Simon to Pierre Matisse New York, requests for information, et cetera. Artists include Laurens, Masson, Le Nain. Signatures on Galerie Simon letters are indecipherable, but Pierre Matisse addresses April 26, 1934 letter to Mr. Kahnweiler at Simon.
- 95.02 Galerie Simon (Paris), 1935
Correspondence between Pierre Matisse and Henry Kahnweiler (of Simon) largely regarding two Juan Gris paintings Pierre Matisse had on consignment and eventually sold. Other artists include Masson, Laurens, Le Nain, et cetera.
- 95.03 Galerie Simon (Paris), 1936–1937
Correspondence regarding works of art on consignment from Simon to Pierre Matisse Gallery in New York. Some concern on Kahnweiler's part concerning Pierre Matisse's late payments of debts. Artists include Gris, Borès, Masson, et cetera. Poster for Galerie Simon's Borès exhibition April–May 1937. Names: Gallatin
- 95.04 Galerie Simon (Paris), 1938–1940
Pierre Matisse writes about borrowing paintings from the artist and from Simon for a Léger show in February 1938, and Kahnweiler (Simon Gallery) sends list of works. References (1938–1940) to the war, Hitler's invasion of Austria, and "la Bataille Navale du Nord" which Kahnweiler hopes is the beginning of Hitler's end.
- 95.05 Van Leer (Galerie Bonaparte, Paris), 1934–1937
Eight pieces. Correspondence regarding Arbit‐Blatas exhibition which L.E. Van Leer arranged at Pierre Matisse Gallery, and payment of commission by latter. Also regarding a de Chirico, and sale of a Miró to Pierre Matisse Gallery. Van Leer apparently at Galerie Bonaparte from September 1936. Names: Baer, Marcel Rabal
- 95.06 Galerie Vignon (Paris), 1932
- 95.07 Ambroise and Lucien Vollard, 1939
February–June 3, Pierre Matisse correspondence with Ambroise Vollard, re Pierre Matisse Gallery purchase of copies of Rouault books, Passion and Cirque de l'étoile filante, for sale in gallery. August–November, Pierre Matisse corresponds with Lucien Vollard, brother of Ambroise, after the latter's death, re an arrangement whereby Pierre Matisse Gallery would sell Vollard publications illustrated by contemporary artists. Matter left pending until settlement of estate. See also Artists: Rouault: Publications, 1939 (folder 26.44)
- 95.08 "A" to "B" (Paris), undated
Correspondence with miscellaneous galleries. Only the following include more than a few sheets, or years: Arditti, de Beaune, Bellier, Jeanne Bucher.
- 95.09 "C" to "D" (Paris), undated
Pierre Matisse Gallery correspondence with various dealers and galleries. Only the following include more than a few sheets, or years: Cazenave, Daber, Dreyfus.
- 95.10 "F" to "H" (Paris), undated
- 95.11 "I" to "L" (Paris), undated
Correspondence with various dealers and galleries. Only the following include more than a few sheets, or years: Lebon, Louise Leiris, Albert Loeb.
- 95.12 "M" to "P" (Paris), undated
Pierre Matisse Gallery correspondence with various dealers and galleries, only the following include more than a few sheets, or years: Galerie "Messages," Minassian.
- 95.13 "R" to "Z" (Paris), undated
- Subseries: Germany
- 95.14 Michel Hertz (Bremen), 1957–1970
- 95.15 Galerie Rudolf Zwirner (Cologne), 1963–1991
- 95.16 Galerie Wilhelm Grosshennig (Düsseldorf), 1957–1979
Correspondence between Pierre Matisse Gallery to Grosshennig on prices of a Jawlensky, Kandinsky and Marini. Grosshennig identifying himself as an expert on German Expressionism. Correspondence about Pierre Matisse Gallery acquisition of a Rouault and by Grosshennig of a Dubuffet and a Giacometti sculpture. Grosshennig requests paintings by Tanguy and Kandinsky and sculpture by Brancusi. Catalogue of Grosshennig Christmas exhibition, 1962.
- 95.17 Alex Voemel (Düsseldorf), 1933–1973
- 95.18 R Mr. Wolfgang Wittrock (Düsseldorf), 1979–1983
Letter with mention to Yves Tanguy. Correspondence related to the sale of a Henri Matisse painting, a Calder wire sculpture and Diego Giacometti table and lamps made to Mr. and Mrs. Maskall through Mr. Wittrock. Cables, shipping invoice and memos for the payments of Mr. Wittrock commission. Some correspondence in German
- 95.19 Kahnweiler Gallery (Frankfurt), 1930–1931
13 pieces of correspondence from 1930, one from 1931. Correspondence between Gustav Kahnweiler (letterhead Galerie Flechtheim & Kahnweiler) and Pierre Matisse (10 rue de Cesar Franck) re works of art from Kahnweiler to Matisse, including a Picasso Pierre Matisse purchasing (confusion re payment), works by Van Gogh, Modigliani. Pierre Matisse inquires re works by Matisse, Rousseau, Derain, Braque, et cetera. Letter dated December 19, 1931 to Pierre Matisse in New York. Names: Mr. A. Salmon, Frank Haviland
- 95.20 Kahnweiler Gallery (Frankfurt), 1932–1937
Correspondence between Pierre Matisse (Paris and New York) and Kahnweiler re works by Picasso and Rousseau particularly. Kahnweiler writes from Paris 2 May, 1933, having left Germany because of the political situation. Alex Voemel (Düsseldorf)
- 95.21 Dr. Gerd Gruber (Wittenberg), 1987–1989
In 1988, Gerd Gruber gives Pierre Matisse a linocut by Jean Hélion. Installation shots of Miró exhibition which Gruber organized in Leipzig. Linocut moved to original artwork boxes
- 95.22 Unsorted (Berlin to Hamburg), undated
- 95.23 Unsorted (Kempen–Wiesbaden), undated
- 95.24 Galerie Thannhauser (Berlin), 1930
Nine pieces, correspondence regarding two Henri Matisse paintings lent by Pierre Matisse for exhibition and possible sale. Previous correspondence is indicated, apparently an inquiry from Pierre Matisse about a Picasso Harlequin. Names: Mr. Rosengart, John Quinn [sale], Mr. Bignou
- Subseries: Italy
- 95.25 Galleria del Ariete (Milan), 1980–1981
- 95.26 Galleria Internazionale/David Nahmed (Milan), 1970–1976
Correspondence, shipping records, invoices, payments for paintings purchased from Pierre Matisse Gallery. Primarily Chagall paintings, but also Miró and Millares (1976).
- 95.27 Galleria Internazionale/David Nahmed (Milan), 1977–1987
Correspondence, shipping records, invoices and payments for works purchased from Pierre Matisse Gallery, primarily Chagall paintings, also Miró (1983, 1986), Riopelle (1986). From 1977 on, Nahmad also operated the Davlyn Gallery in New York as well as a gallery in Switzerland. Most works shipped to Switzerland. Pierre Matisse authentications of Chagall paintings (1984).
- 95.28 Schwarz Galleria d'Arte, Milan: Correspondence, 1964, 1976
Letters related to the compiling of M. Duchamp's catalogue raisonné. Also inquiry on the value of La veille au soir by Yves Tanguy. Copy of the catalogue of an exhibition at Schwarz Gallery with reproduction of the above mentioned painting. In folder also letters dated 1991 related to the re‐edition of Duchamp's catalogue raisonné
- 95.29 "A" to "G" (Milan), 1947–1984
Correspondence re catalogues, possible sales, authentications (Chagall 1972, 1973, 1984). Galleries include Art Gallery San Marco, Centro Arte Internazionale, Galleria D'Arte (Il Camino, Il Milione 1947), Galleria D'Arte Medea, Galleria D'Arte del Naviglio (1956–1985). Some correspondence in French
- 95.30 "M" to "Z" (Milan), 1962–1978
Correspondence re catalogues, possible sales, Marini paintings sold to Studio Olivieri (1978). Galleries and dealers include Studio d'Arte Pescali SRL., Studio Olivieri, Tonnelli Arte Moderna.
- 95.31 Galleria La Medusa (Rome), 1961,
Correspondence to and from Pierre Matisse Gallery and Claudio Bruni, La Medusa director, re de Chirico catalogue, sales and possible sales by Pierre Matisse Gallery to La Medusa of Chirico, Chagall, authentications, 1974 material re de Chirico catalogue raisonné, creation of the Fondazione Giorgio de Chirico by Claudio Bruni Sakraischik. Most correspondence is in French See also Artists: De Chirico
- 95.32 "A" to "Z" (Rome), 1953–1992
Correspondence re catalogues, possible sales, exhibitions, sale of Tanguy gouache (1975) Galleria Odyssia, assorted authentications (Henri Matisse, Chagall), Galleria Toninelli (Marini sculptures loaned by Pierre Matisse Gallery in 1980), sculpture purchase by Galleria Toninelli in 1982.
- 95.33 Gissi/Galleria D'Arte (Turin), 1969–1976
- 95.34 Galleria Galatea (Turin), 1960–1979
Correspondence with gallery director, Marco Tazzoli, shipping records, sales records (Pierre Matisse Gallery sold Tanguy painting Projet pour un nuage in 1972, de Chirico Les Joies et les Enigmas d'une Heure etrang in 1973, Balthus Frédérique in 1976, Miró 1916 landscape in 1973),possible sales of Balthus, de Chirico.
- 95.35 Notizie (Turin), 1962–1969
Correspondence re possible sales and exchanges between galleries of Miró, Riopelle, Marini works. Nothing happened. Lucian Pistoi, director.
- 95.36 "A" to "Z" (Turin), 1960–1984
- 95.37 Unsorted (Venice), 1972, 1982
1982 correspondence re 1983 first biennial exhibition for modern art dealers. Pierre Matisse Gallery invited, did not attend. See also Milan files; Luigi Toninelli (Rome) files; Exhibitions: Venice Biennale
- 95.38 Unsorted, 1973–1980
- Subseries: Japan
- 95.39 Fujikawa Gallery (Osaka), 1949–1950 March, undated
Undated offering from Fujikawa, representing Japanese galleries, of Japanese and European works of art for sale. Pierre Matisse reply of October 13, 1949 expressing interest. Subsequent correspondence, bank and shipping papers deal with Pierre Matisse Gallery purchase of a Bonnard, and information regarding other works. Artists: Rousseau, et al. Names: Silberman Galleries, S. Yamashita, Fukushima Collection, Mr. Mizyshima (Fujikawa Gallery) See also Clients: Fukushima, Shigetaro and Keiko
- 95.40 Fujikawa Gallery (Osaka), 1950 April 4–10
International bank certificates, invoices, shipping papers, U.S. Foreign Service Declaration, to do with Pierre Matisse Gallery acquisition of Bonnard. Offer of a Matisse by Fujikawa.
- 95.41 Fujikawa Gallery (Osaka), 1950 April–December
Further re shipment of Bonnard and certificate of authenticity by Katsuyuki Nabei. Additional correspondence re a Rousseau authenticity, inquiries and information re many paintings. Three small photographs of bronzes, mentioned in Fujikawa letter of October 12. Artists: Bonnard, Monet, Derain, Rouault, Cézanne, Modigliani, Henri Matisse, et cetera
- 95.42 Fujikawa Gallery (Osaka), 1951
Correspondence throughout regarding a Modigliani Pierre Matisse wished to buy; the owner died midway, negotiations with to be attempted by Fujikawa. Continuing correspondence regarding works of art Pierre Matisse wished to buy or have Fujikawa negotiate for, especially those from the collection of Fukishima, whom Pierre Matisse had known in Paris. Fujikawa offers to take works on paper rather than getting commission in some cases. Copy of Atelier, no. 257 May 1948, and small photo of Maurice Denis painting. Mounted color reproduction and black‐and‐white photo of Modigliani nude, plus mounted color reproductions of other paintings. Artists: Soutine, Segonzac, Rouault, Henri Matisse, et cetera Names: K. Tamada, manager of Fujikawa
- 95.43 Fujikawa Gallery (Osaka), 1952, 1953
Correspondence between Pierre Matisse and T. Mizushima, President of Fujikawa, regarding works in which Pierre Matisse felt interest, without results. The letter of June 10, 1953 warns Pierre Matisse that Katsumi Tamada has left his position as manager of Fujikawa and that he and his group are not trustworthy. Artists: Modigliani, Soutine, Cézanne, et cetera
- 95.44 Fujikawa Gallery (Osaka), 1954
Correspondence between Pierre Matisse and T. Mizyshima of Fujikawa regarding works of art, information about them, prices, et cetera, between Pierre Matisse and bank re "Letter of Credit" for his purchase of Henri Matisse Woman with White Coat, including shipping papers. Artists: Renoir, Soutine, Modgiliani, Picasso, Rouault, et cetera
- 95.45 Fujikawa Gallery (Osaka), 1955
Correspondence, letter of credit, shipping, insurance papers re Pierre Matisse acquisition of Derain (Family). Correspondence re a Matisse ink drawing Pierre Matisse sent to Fujikawa, and about other works. Pierre Matisse list of 60 works from Fukushima Collection and Bridgestone Gallery in which he expresses interest. Artists: Rousseau, Bonnard See also the three catalogues mentioned in correspondence in (folders 95.47 and 95.48)
- 95.46 Fujikawa Gallery (Osaka), 1956, 1957, 1959
July–October 1956 correspondence includes an offer, with small photo, of Dufy from Fujikawa, few pieces of correspondence, and Pierre Matisse handwritten list of works of art (on torn half of a Riopelle exhibition announcement). 1957, one letter from Pierre Matisse dated November 25, 1957, to introduce Mrs. John Pierson. March–May 1959 correspondence includes an offer of paintings from Fujikawa, otherwise letters regarding a Cézanne watercolor. Small black‐and‐white photo included with July 3, 1956 letter. Four small [photos from] April 1959. Artists: Picasso, Rousseau, Henri Matisse, Bonnard, Segonzac, plus list Names: Fukishima, Vollard, Venturi, Hugo Perls, Wildenstein, Galerie Vildrac, Mrs. C. Bourdelle
- 95.47 Fujikawa Gallery (Osaka), undated
"Catalogue" listing of works of art and photographs, et cetera, apparently offered by Fujikawa. One 8 x 10 black‐and‐white photo, 19 small black‐and‐white photos, two small color reproductions (some identified, some not).
- 95.48 Fujikawa Gallery (Osaka), 1953, undated
- 95.49 Fujikawa Galleries, Inc. (Tokyo), 1984
- 95.50 Kabutoya (Tokyo), 1955 December–1956 February
Request from Takero Nishikawa, president of Gallery Kabutoya, for Pierre Matisse authentication of an Henri Matisse painting. Subsequent correspondence, shipping and insurance papers, et cetera to do with Henri Matisse painting. Pierre Matisse purchasing, plus letters re other paintings especially Monet and Sisley, small photos enclosed. Some papers, especially tissue among shipping papers, are fragile, torn, shredded at edges, et cetera.
- 95.51 Kabutoya (Tokyo), 1956–1960, 1963
Final correspondence, shipping, insurance, et cetera papers re Pierre Matisse acquisition of Henri Matisse painting; continuing negotiations re Pierre Matisse acquiring Sisley and Braque paintings, et cetera. Artists: Monet, Vuillard, Gustave Caillebotte, Pavel Tchelitchew, Bonnard, Derain, Masao Saitoh, Renoir Names: Matsukata Collection, Mr. S. Kubo, Fukushima Collection, Mrs. John Pierson See also Clients: Fukushima, Shigetaro and Keiko
- 95.52 Keiko Saito, 1983–1985
- 95.53 Galerie Sasanuma (Kanagawa), 1972–1993
- 95.54 Seibu Corporation, 1984
- 95.55 Galerie Tamenaga (Tokyo, Paris), 1985–1993
- 95.56 R Toho Art Gallery, 1982–1983
Correspondence, cables, shipping records, letter of credit arrangements re sale of five Chagall paintings to gallery from Pierre Matisse Gallery.
- Subseries: Mexico
- 96.01 Galeria de Arte Mexicana/Ines Amor, 1935–1939
Correspondence to and from Pierre Matisse, Ines Amor and Carolina Amor de Fournier (1935 only) re gallery opening 1935, possible sales to Pierre Matisse of pre‐Columbian art, David Siqueiros exhibition January 1940 at Pierre Matisse Gallery (list of works shipped, correspondence, cables, shipping records, catalogue information), possible Pierre Matisse Gallery Orozco easel painting exhibition (did not happen January 9, 1939). Pierre Matisse objections to prices Ines Amor asks for pre‐Columbian art January 17, 1939. Pierre Matisse orders book from I. Amor in 1939. Pierre Matisse purchases Nina Durmiendo by Siqueiros, June 8, 1939. 1939 correspondence re Pierre Matisse purchases and shipments of pre‐Columbian art objects. Pierre Matisse trip to Mexico, May or June 1939. Correspondence between Carolina Amor and Pierre Matisse in French See also Artists: Siqueiros, David Alfaro for more re the 1940 exhibition
- 96.02 Galeria de Arte Mexicana/Ines Amor, 1940–1942
Correspondence to and from Pierre Matisse and Ines Amor re Pierre Matisse Gallery's Siqueiros exhibition in 1940, Miguel Covarrubias's selection of several Siqueiros's works for exhibition at Museum of Modern Art (January 20 1940), Ines Amor possible offer (?) to Pierre Matisse of Diego Rivera work (February 9, 1940), Museum of Modern Art exhibition (February 9, 1940), Siqueiros's legal difficulties (July and October 1940), Pierre Matisse negotiations to purchase alabaster figure (1940–1942, ultimately not concluded, including photographs), Siqueiros's painting sales. See also Artists: Siqueiros, David Alfaro for more re the 1940 exhibition
- 96.03 Galeria de Arte Mexicano/Ines Amor, 1972–1973
Correspondence re shipping of Leonora Carrington paintings and drawings from Pierre Matisse Gallery to Ines Amor for Leonora Carrington, including lists of works sent. Pierre Matisse Gallery sale of two Carrington paintings to Lord Sainsbury, March 1972. See also Artists: Leonora Carrington
- Subseries: New Zealand
- Subseries: Spain
- 96.05 Galerie Gaspar (Barcelona), 1959–1973
1959 correspondence re Millares, Saura, Canogar, Tàpies. Pierre Matisse Gallery buying from Gaspar. Methods of payment, shipping, et cetera. 1960–1961 re Picasso, Tàpies. Gap. 1972 June missive from Pierre Matisse re Miró tapestries. 1973, January missive re Millares, et cetera, and Miró Sobreteixems. Callings cards, exhibition announcement.
- 96.06 Enrique Menor Casey/Multiple 4.17 Gallery (Madrid), 1976–1977
- Subseries: Sweden
- 96.07 Konstsalongen Samlaren/Agnes Widlund, 1957–1970
Correspondence re catalogues, possible sales. A. Widlund seeks advice, support from Pierre Matisse in 1970 (separated from gallery ?). Most correspondence is in French
- Subseries: Switzerland
- 96.08 Galerie d'Art Moderne, M.S. Feigel (Basel): Correspondence, 1959–1970
Letters inquiring on the availability of works by M. Marini, Miró and Tanguy. Black‐and‐white photograph of Composition, 1952 by Yves Tanguy. Invoice to Pierre Matisse Gallery for a small Miró piece.
- 96.09 R Galerie Beyeler (Basel), 1955–1988
Pierre Matisse interest in purchase of Maillol's Terre [illegible] in 1956. February 1957 Beyeler purchase from Pierre Matisse of seven Giacomettis, one Derain. November 1957 Beyeler purchase from Pierre Matisse of three Giacometti bronzes. April 1966 Beyeler purchase from Pierre Matisse of Giacometti's Chariot I 1943. 1970 Beyeler purchase from Pierre Matisse of Giacometti, Balthus, Soutine, Matisse works. 1972 Beyeler purchase from Pierre Matisse of seven Miró works. 1973 Beyeler purchase from Pierre Matisse of Giacometti's Standing Figure 1958, Tanguy Untitled 1927. 1975 Beyeler purchase from Pierre Matisse of Henri Matisse, Dubuffet. 1976 Beyeler purchase from Pierre Matisse of Saura, Riopelle's Apput. 1983 Beyeler purchase from Pierre Matisse of Miró's Personnage poursuivi parvubel oiseau jaune. Possible sales to and from Pierre Matisse and Beyeler of works by Soutine, Miró, Henri Matisse, Dubuffet, Chagall, Dufy, Tanguy. Correspondence in French and English See also Museums and art institutions, international: Kunst Museum (Basel)
- 96.10 Klipstein und Kornfeld (Bern), 1961–1990
Circa 1961–1962, Klipstein und Kornfeld purchased Marini sculpture (Thaw/Pierre Matisse deal?). 1964 Klipstein und Kornfeld purchased Giacometti sculpture from 1927, untitled. Klipstein und Kornfeld loaned works for the Pierre Matisse Gallery Sam Francis exhibition, 1966–1967. Pierre Matisse Gallery catalogue orders, miscellaneous 1960s–1970s. See also Artists: Francis, Sam, 1923–1994
- 96.11 Galerie Arte/Claude Hirsch (Geneva), 1973–1982
Correspondence re possible sales by both galleries to each other of works by Tanguy, Riopelle, Miró, Giacometti, Henri Matisse, Picasso. Correspondence in French and English
- 96.12 Galerie Gerald Cramer (Geneva), 1952–1969
Pierre Matisse Gallery sales to Gerald Cramer. 1952, Henri Matisse Study for the Blouse with Ruffles 1936. Giacometti drawings, sculpture (unclear). Possible sale to Pierre Matisse Gallery of Marini sculpture. Catalogue requests, Gerald Cramer publications lists. 1958 Éluard/Miró A Toute Epreuve volume ordered by Pierre Matisse (not sure how many, original request for six of best not sent). Correspondence in French and English
- 96.13 Galerie Gerald Cramer (Geneva), 1970–1979, 1991
Cramer purchases from Pierre Matisse in 1975 Miró portfolio Gravures pour un Exposition and in 1978 Giacometti Figurine 1947. 1976 G. Cramer retires. Son Patrick takes over business and renames gallery Galerie Patrick Cramer. Gerald Cramer continues to publish under Editions Gerald Cramer. 1991 G. Cramer dies. Correspondence in French and English
- 96.14 Galerie Patrick Cramer (Geneva), 1979–1988, 1991
1989, Pierre Matisse sold Miró albums to Galerie Patrick Cramer: Constellations (#35), Une Gravure avec Suite 1973 (#74), Oiseau Solitaire, Oiseau Lunaire... catalogue "de luxe." Correspondence in French and English
- 96.15 R Galerie Gerald Cramer: Gift of Henri Matisse Pasiphae to the Metropolitan Museum from Henri Matisse family, 1981–1982
Copies of correspondence to and from Editions Gerald Cramer and the Matisse family re purchase of Pasiphae. Pasiphae I, II, Henri Matisse Gravures Originales sur Theme Chant de Minos. Payment records, Met acknowledgements.
- 96.16 R Galerie Krugier et Cie, Geneva, 1964–1989
Pierre Matisse sales to Kruger: 1966, Giacometti Nose; 1969, Miró painting; 1971, two Tanguy paintings; 1976, Millares Cuadro 138 from 1961; 1979, two Giacometti bronzes (Femme au Chariot II from 1942/1943, 1 of 6, and Tête de Diego from 1948, 3 of 8); 1989 Giacometti Torso 1925, The Bathers 1949, and Saura Cura No. 7 from 1959. 1988 legal matter re Henri Matisse sculpture Henriette III, Pierre Matisse subpoenaed. Correspondence in English and French
- 96.17 Pierre Pansier (Geneva), 1978
- 96.18 R Galerie Alice Pauli (Geneva), 1973–1987
Correspondence re possible sales of Balthus, Setsuko works. 1986, Pierre Matisse Gallery sale of Miró's Femme, Oiseau (February 21 1974 and Riopelle Il y a du feu 1974. 1986 Pierre Matisse Gallery purchase of Setsuko's Jardiniere en osier et tissu. 1987 Pierre Matisse Gallery sale of Riopelle 1978 oil. Correspondence in French
- 96.19 Daniel Vareene (Geneva), 1971–1979
1971, Varenne purchased Miró, Personnage. Correspondence re possible sales Pierre Matisse Gallery to Varenne which did not happen (Dubuffet, Chagall). Correspondence in French
- 96.20 R "A" to "Z" (Geneva), 1952–1985
Catalogue requests, sales, possible sales. Galleries include Artco Management, Galerie D. Benador (1961 Riopelle water color from Pierre Matisse), Galerie Cour Saint Pierre, Robert Haas (Haas purchased Balthus, Tête de Frédérique), Kunstmalerei Corporation (commission due to Pierre Matisse Gallery for sale of Henri Matisse oil Greta in 1983), Henri Matisse (Pierre Matisse Gallery sale of Chagall, Dans l'atelier in 1979), Galerie M. Motte (Chagall authentication, 1973), Solvil Beaux‐Arts (1952, Pierre Matisse Gallery interest in Dufy, Vlaminck purchases).
- 96.21 Paul Valloton (Lausanne), 1951–1970
- 96.22 Galerie Rosengart (Lucerne), 1969–1973
- 96.23 Tanner Gallery (Zürich), 1930–1931
Four letters regarding Pierre Matisse attempt to find major paintings by such artists as Henri Matisse, Rouault, Rousseau, Seurat, et cetera. In his final letter (March 12, 1931) Pierre Matisse writes that he has made a connection with the Valentine Dudensing Gallery of New York. Names: Mr. Bignou, Ebstein
- 96.24 "A" to "Z" (Zürich), 1961–1980
Catalogue requests. Galleries include Ammann Fine Art, Marianne Feilchenfeldt (purchased Henri Matisse drawing Still Life—Apples and Flowers 1941), Fritz and Peter Nathan (Pierre Matisse authentication of a Modigliani drawing, 1964). Correspondence in French and English
- 96.25 "A" to "Z," 1939–1985
Catalogue requests, sales, authentications. Galleries include Art Moderna, Lugano; Galerie Fischer, Lucerne (Pierre Matisse purchased works by Henri Matisse, Braque, Muller, Lehmbruck in 1939); Galerie Reitz (Chagall's Christ with Ladder authentication in 1985).
- Series: Exhibitions
-
This series consists of six subseries regarding different aspects of exhibitions by Pierre Matisse Gallery. One large subseries, Loans, consists of records of outgoing loans from Pierre Matisse Gallery to other institutions, including correspondence, shipping records, loan forms, printed material. Similar records relate to Pierre Matisse loans and activities to do with various World's Fairs, and biennial exhibitions at the Carnegie Institute, Pittsburgh, and in Venice.
The exhibition history of the gallery is also documented in scrapbooks grouped under the subseries headed Scrapbooks. Sheets from one set of portfolios have been removed and boxed, these are arranged and indexed chronologically, 1931–1989, and contain checklists, announcements, and installation photographs of selected shows (not all three types of material exist for each of the selected exhibitions). This series also includes scrapbooks of review clippings, announcements, and other related press. See also the Artists series and see the exhibition records in the Supplement to the Pierre Matisse Gallery Archives record series in the Pierre Matisse Foundation record group.
- Subseries: Scrapbook information
- Subseries: Group shows
- 97.02 Plans, 1932–1933
Typewritten lists of planned exhibitions featuring Francisco Borès, Miró, Masson, and Maillol drawings.
- 97.03 1940–1949
- 97.04 Artists in Exile (1942 March 3–28), 1942–1945
Includes model of letter the Pierre Matisse Gallery sent to clients (?) advising them of show. Three manuscript postcards from Piet Mondrian to Pierre Matisse re painting in the show. 1945 correspondence re sale of catalogue and donation of proceeds to the Artists Overseas Relief Association. Draft of Pierre Matisse catalogue essay, "Artists in Exile." Six copies of a group gathered in the Pierre Matisse home in 1945.
- 97.05 Artists in Exile (1942 March 3–28), 1942
- 97.06 Artists in Exile (1942 March 3–28), 1942
- 97.07 1950–1959, undated
Checklists, priced catalogues, price lists, reviews, and an undated floor plan of the gallery.
- 97.08 1960s
- 97.09 1960s, undated
- 97.10 1970–1973
- 97.11 1973
- 97.12 1974–1979
- 97.13 Four Painters: Faucher, Hantaï, Rouan, Viallet (1974 April 9–26), 1974
- 97.14 Art shows, 1976–1983
- 97.15 1980, undated
- 97.16 Important Sculpture and Ceramics (1984 November 30–1985 January 19), 1984–1985
- Subseries: Loans
- 97.17 Miscellaneous loans, 1947–1958
- 97.18 Miscellaneous loans, 1950s
- 97.19 Miscellaneous loans, 1961–1962
Correspondence, loan forms, and shipping records. Loans include Miró to the Staten Island Institute of Arts and Sciences; Lam to Boston University; Miró to the Atkins Museum; Riopelle to the National Gallery of Canada; Butler and Rivera to the Philadelphia Art Alliance; and Balthus and Tanguy to the Museum des 20. Jahrhunderts in Vienna.
- 97.20 Miscellaneous loans, 1963
Correspondence, loan forms, and shipping records. Loans include MacIver and Roszak to the Krannert Art Museum; Butler and MacIver to the Contemporary Art Society in Indianapolis; Balthus to Association Française d'Action Aristique; Miró, Butler, Giacometti, Millares, Dubuffet, and Rivera to the Providence Art Club; Tanguy to the Museum des 20. Jahrhunderts in Vienna; Roszak to Zeugnisse der Angst in der Moderner Kunst; and Roszak and Marini to the Smithsonian.
- 97.21 Miscellaneous loans, 1964
Correspondence, loan forms, and shipping records. Loans include Dubuffet to the Guggenheim; Calliyannis, MacIver, Millares, and Saura to the Arts Council of Great Britain; Giacometti lamps to the Wadsworth Atheneum; Roszak to Smith College; Riopelle, Marini, Butler, MacIver, Saura Millares, and Giacometti to Galerie Vendome (Kaufmann's department store); Giacometti and Marini to the New School of Art.
- 97.22 Loans, 1965–1966
Correspondence, loan forms, and shipping records. Loans include Butler to IBM; Riopelle to the Krannert Art Museum; Balthus and Dubuffet to the Providence Art Club; Butler and Etrog to the Dallas Museum of Fine Arts; Millares, Rivera, and Saura to the Bundt Art Gallery; Etrog to the Denver Art Museum; MacIver to the Gallery of Modern Art, New York City; MacIver and Roszak to the Des Moines Art Center; Roszak to the Phillips Collection.
- 97.23 Miscellaneous loans, 1967–1969
Correspondence, loan forms, and shipping records. Loans include Millares, Rivera, and Saura to Kent State; Millares, Saura, and Rivera to the Contemporary Arts Association, of Houston, Inc.; Dubuffet, MacIver, Riopelle, and Roszak to the Flint Institute of Fine Arts; Balthus, Dubuffet, and Riopelle to the International Exhibitions Foundation in Washington, D.C.
- 97.24 Venice Biennale 1948, 1947–1948
- 97.25 Venice Biennale 1950, 1950
Correspondence between Pierre Matisse and Lionello Venturi re the possibility of Pierre Matisse Gallery loaning a Tamayo work for the Biennale. See also the Artists: Tamayo, Rufino, 1899–1991 for related material
- 97.26 Venice Biennale 1954, 1954
Pierre Matisse Gallery assisted with arranging a Miró retrospective. Gallery loaned Nuit d'Amor for Max Ernst exhibition. Pierre Matisse Gallery also loaned 3 Miró works. File includes shipping records, loan forms, correspondence, especially correspondence from Pierre Matisse to collectors re possible Miró loans to the Biennale. Some correspondence is in French See also Artists: Miró, Joan, 1893–1983 for relevant correspondence; Museums and art institutions, international: Maeght for related material
- 97.27 Venice Biennale 1962, 1962
Pierre Matisse loaned Henri Matisse work, Souvenir d'Oceanie, 1953. Correspondence between Pierre Matisse and Rodolgo Pallucchini, insurance records, shipping documents, loan forms, and press. Some correspondence in French and Italian
- 97.28 Venice Biennale 1986, 1986
Pierre Matisse Gallery loaned two Tanguy paintings for the Art and Alchemy exhibition (L'extinction des especes II and Finissez ce que j'ai commence). Correspondence, loan forms, shipping and insurance records.
- 97.29 World's Fair 1939, New York City, French Pavilion, 1939
Pierre Matisse Gallery loaned Henri Matisse painting, arranged loan from William S. Paley. Correspondence re loans, war conditions in France, exchanges, and insurance values. Some correspondence is in French
- 97.30 World's Fair 1958, Brussels, 1957–1958
Pierre Matisse Gallery loaned Rouault's La Foule and Duchamp'Reseau de Stoppage‐Etalon. Correspondence, loan forms, and shipping records. Includes correspondence from Pierre Matisse, George Staemphli, Robert Giron, and R. Hammacher‐van den Brande.
- 97.31 World's Fair 1962, Seattle, 1961–1962
Pierre Matisse Gallery loaned Riopelle and Miró works. Assisted with loans from Hirshhorn. Correspondence(Pierre Matisse, Willem Sondberg, Norman Davis), loan forms, insurance forms, shipping records, and photographs. Some correspondence is in French
- 97.32 World's Fair 1964, New York City, Spanish Pavilion, 1964–1965
Pierre Matisse Gallery loaned works by Miró, Millares, and Rivera. Correspondence between Pierre Matisse and Miguel Garcia de Saez (Commissioner General for Spain, New York World's Fair), floor plans for exhibition space, loan forms, and insurance records.
- 97.33 World's Fair 1967, Montreal, 1966–1967
Correspondence between Pierre Matisse and Guy Robert re loans to the 1967 World's Fair outdoor art exhibition, specifically pieces by Butler and Roszak. Correspondence with Pierre Matisse and copies of correspondence to Roszak from Guy Robert and Pierre Matisse re choice of sculpture that could be exhibited out of doors. Letter form Guy Robert re book on Riopelle and request for documentation from Pierre Matisse, dated April 22, 1966. Loan forms for Reg Butler's The Bride, which Pierre Matisse had agreed to loan. Correspondence re possible loan of Giacometti sculpture, dated December 12, 1966. Contrary to what he had thought, Pierre Matisse cannot loan the sculpture. In a letter dated December 15, 1966, Pierre Matisse sends Guy Robert addresses of Nathan Cummings and Otto Preminger, from whom he could request a loan of Giacometti sculpture. Letter dated March 2, 1967 from Werner Gantenbein re proposed exhibition of Swiss sculpture at the World's Fair. Certificate of insurance for Butler's The Bride and a copy of policy. Plans and layouts of Fair buildings. Letter from Gustav Zumsteg dated February 8, 1967 re loan of Giacometti to the Fair. One black‐and‐white photograph.
- 97.34 World's Fair 1968, San Antonio, Texas, 1968
- 97.35 Art after 1945, Documenta II, Kassel, Germany (1959 June–October), 1959
- 97.36 Giacometti exhibition, Documenta III, Kassel, Germany (1964 June–October), 1964
Pierre Matisse Gallery loaned cast of Giacometti's La Jambe and also Henri Matisse's Souvenir d'Oceanie (?). Correspondence, loan forms, shipping records, and records re damage to Giacometti piece.
- 97.37 Boston Arts Festival, 1957, 1958, 1963
Pierre Matisse Gallery loaned works by Balthus, Dubuffet, and Riopelle (1957), Giacometti (1958), and Roszak (1963). Correspondence re shipping and loans.
- 97.38 Carnegie International (1961 October 27–1962 January 7), 1961–1962
Pierre Matisse Gallery loaned works by Butler, Saura, Riopelle, Giacometti, Rivera, and Millares. Correspondence (Pierre Matisse with Gordon Washburn and Carnegie Institute staff) re works in show, substitutions, sales, shipping, insurance, loan forms, and damage to Butler's Study for St. Catherine. See also Museums and art institutions, United States: Pennsylvania: Carnegie Institute
- 97.39 Carnegie International (1964 November), 1964
Pierre Matisse Gallery loaned works by Millares, Saura, Ipousteguy, MacIver, Marini, and Giacometti. Saura's Imaginary Portrait of Goya and Rivera's Metamorphosis (Homage to Kafka) won awards. Correspondence, loan forms, shipping records, customs, press, and printed material re exhibition, and record of sales. See also Artists series for the individual artists
- 98.01 Art in America benefit for The Lighthouse, Decorative Arts Center, New York City (1961 December 3–23), 1961
Pierre Matisse Gallery loaned works by Balthus, Saura, Giacometti, Butler, Marini, MacIver, Millares, Rivera, Dubuffet, Miró, and Riopelle. Sold two Saura works. Correspondence press, loan forms, invitation, and photographs.
- 98.02 Constant Companions, University of Texas, Houston (1964 October–1965 February), 1964–1965
Pierre Matisse Gallery loaned two Miró and one Dubuffet, Le nid de barbe. Correspondence with Mrs. John de Menil, loan forms, shipping records.
- 98.03 Contemporary French Painting, Delaware Art Museum (1965 April 23–May 16), 1965
Pierre Matisse Gallery loaned nine works by Riopelle, Balthus, Dubuffet , and Giacometti. Correspondence with art gallery and Wilmington Alliance Française, list of works loaned, loan forms, and press.
- 98.04 Seven Decades 1985–1965: Cross Currents in Modern Art benefit for the Public Education Association (1966 April 26–May), 1966
Pierre Matisse Gallery loaned works and exhibited 1935–1944 at gallery. Pierre Matisse on the benefit committee. Correspondence with Public Education Association staff, other dealers, Peter Selz (curator?), and press reviews.
- 98.05 Seven Decades 1985–1965: Cross Currents in Modern Art benefit for the Public Education Association (1966 April 26–May), 1966
- 98.06 Seven Decades 1985–1965: Cross Currents in Modern Art benefit for the Public Education Association (1966 April 26–May), 1966
- 98.07 Seven Decades 1985–1965: Cross Currents in Modern Art benefit for the Public Education Association (1966 April 26–May), 1966
- 98.08 Seven Decades 1985–1965: Cross Currents in Modern Art benefit for the Public Education Association (1966 April 26–May), 1966
- 98.09 Seven Decades 1985–1965: Cross Currents in Modern Art benefit for the Public Education Association (1966 April 26–May), 1966
- 98.10 Jean Paulhan a travers ses peintres, Grand Palais, Paris (1974 February 2–April 15), 1974
Pierre Matisse Gallery loaned La Montagne by Balthus and Metro by Dubuffet (painting, gouaches, couverture). Correspondence between Pierre Matisse, André Berne Joffoy (Musée d'Art Moderne de la Ville de Paris), James T. Soby re works in the show. Shipping records, loan forms, and an invitation.
- 98.11 Surrealitat‐Bildrealitat 1924–1974, Stadische Kunsthalle, Düsseldorf (1974 November–December), 1974–1975
Pierre Matisse Gallery loaned two Miró works (1927 painting plus ?) and one Tanguy (untitled 1926?). Show traveled to Baden Baden February 13–April 20, 1975. Correspondence, loan forms, cable, and one photograph (Miró).
- 98.12 Contemporary European Sculpture, Boston University Art Gallery (1975 March 14–April 6), 1975
Pierre Matisse Gallery loaned Giacometti's Femme de Venise IX, Marini's Jongleur accroupi, Mason's Man in Street and Boulevard St. Germain, and Ipousteguy's Man and Man Pushing Door. Correspondence, loan forms, shipping, press, and catalogues.
- 98.13 Modern Masters, Sydney and Melbourne, Australia (1975 April–September), 1975
Show organized by the Museum of Modern Art in New York City. Pierre Matisse Gallery loaned Giacometti's Apple and Portrait of Peter Watson. Pierre Matisse also arranged loan of La Montagne by Balthus, now owned by Vie des Arts, Geneva. William S. Lieberman, Museum of Modern Art, curated the show. Correspondence between Pierre Matisse Gallery and the Museum of Modern Art (Lieberman, Richard Oldenburg). Installation photographs, shipping records, loan forms, and an invitation.
- 98.14 Modern Masters, Sydney and Melbourne, Australia (1975 April–September), 1975
Press from New York and Australia. The Australian institutions are New South Wales Gallery, Sydney, and the National Gallery of Victoria, Melbourne.
- 98.15 Autres Dimensions: Collages, assemblages, reliefs..., Galerie Beyeler, Basel, Switzerland (1976 June–September), 1976
Pierre Matisse Gallery loaned Henri Matisse's Coquelicots (1953) and untitled, 1934 Miró collage. Correspondence between Pierre Matisse and Ernst Beyeler, shipping records, and announcements.
- 98.16 Modern Portraits: The Self and Others, Wildenstein Gallery, New York, 1976 October, 1976
Benefit for Columbia University's Department of Art History and Archaeology Graduate Research Fund. Kurt Varnedoe curated the exhibition. Pierre Matisse Gallery loaned a Dubuffet portrait of Pierre Matisse and a Henri Matisse portrait of Pierre Matisse. Pierre Matisse agreed to loan works only if Varnedoe agreed to exhibit Derain work (The Artist in his Studio). Correspondence between Kurt Varnedoe and Pierre Matisse, loan forms, press, and invitations.
- 98.17 Aspects of Twentieth Century Art, David Jones Ltd., Sydney, Australia (1976 May 10–July 10), 1976
- 98.18 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976
- 98.19 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976
Correspondence with organizers of the Fair, shipping and transport agencies, works from New York and various locations in Europe, insurance, and lists of eighteen works sent. Plan of participants' spaces in Grand Palais. Advertising brochure for furniture on location.
- 98.20 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976
Correspondence with Fair management and packers, shippers, banks, and between Pierre Matisse's France and Pierre Matisse Gallery staff in New York.
- 98.21 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976–1977
- 98.22 Third International Contemporary Art Fair (FIAC), Paris, 1976 (October 16–24), 1976
Installations shots (black‐and‐white photographs, eleven 6 x 9 inches, two larger) and photographs of artwork (seventeen black‐and‐white photographs, 8 x 10 inches).
- 98.23 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976
- 98.24 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976
Publicity file. Invitations, brochures, poster, review tear sheet, photocopies of reviews, issue of The Art Gallery and tear sheet, and newspaper clippings.
- 98.25 Third International Contemporary Art Fair (FIAC), Paris (1976 October 16–24), 1976
- 98.26 FIAC 1977, Paris, 1977
Correspondence between Pierre Matisse and Fair organizers, forms, floor plan, information for participants, brochures, invitations, et cetera. Pierre Matisse cables and writes at the end of May that he cannot participate at all, to the consternation of the management.
- 98.27 The Circus in Art, Ringling Museum of Art, Sarasota, Flordia (1977 January 20–March 6), 1977
Pierre Matisse Gallery loaned Chagall's Le Grand Cirque. catalogue, correspondence, loan forms, and shipping records.
- 98.28 Collecting the Masters, Milwaukee Art Center (1977 June 2–July 31), 1977
- 98.29 Dada and Surrealism Reviewed, Arts Council of Great Britain and Hayward Galleries (1978 January 11–March 27), 1978
Pierre Matisse Gallery loaned Carrington's Self Portrait, Tanguy's Vieil Horizon and Avec mon ombre, and Miró's Une etoile caresse le sein d'une negresse (1938) and Ceci est la couleur de mes reves. Correspondence, loan forms, and press. Pierre Matisse also arranged for the load of Jacques Gellman's The Potato by Miró.
- 98.30 Art in Western Europe: The Postwar Years 1945–1955, Des Moines Art Center (1978 September 19–October 29), 1978
- 98.31 L'Aventure de Pierre Loeb 1924–1964, Musée d'Ixelles, Brussels, and Musée d'Art Moderne, Paris (1979 June 7–September 16), 1979
Pierre Matisse Gallery loaned a 1972 Miró painting and Balthus's Portrait d'Antonin Artaud. Correspondence, loan forms, shipping records, press, and invitations.
- 98.32 The Spirit of Surrealism, Cleveland Art Museum (1979 October 3–November 25), 1979
Pierre Matisse Gallery loaned Giacometti's The Couple and Matta's Prince of Blood. Correspondence, loan forms, press, and an invitation.
- 98.33 FIAC, Paris, 1980, 1981
From 1980: Correspondence re Pierre Matisse Gallery participation, forms, information, brochure, invitation, copies of floor plans, et cetera. From 1981: Invitations, brochure, review clipping, and a small handwritten list of artists' names and dates.
- 98.34 New York Interart, 1980
Handwritten notes, forms, shipping papers re Pierre Matisse Gallery loans of Hantaï (1968) and Viallat (1975) for exhibition New York European New Tendencies, France, 1980 October 10–20. Baudoin Lebon for Interart.
- 98.35 La Grande Parade: Painting After 1945, Stedelijk Museum, Amsterdam (1984 December–1985 May), 1984–1985
Proposed travel to the Guggenheim, which did not happen. Pierre Matisse Gallery loaned Dubuffet's Le nid de barbe. Musée Matisse loans. Final exhibition curated by Edy de Wilde. Correspondence, loan forms, and shipping records.
- 98.36 Primitivism in Twentieth Century Art: Affinity of the Tribal and the Modern, Museum of Modern Art, New York (1984 September 27–1985 January 15), 1984–1985
Pierre Matisse Gallery loaned Henri Matisse's sculpture, Jeanette V, and tribal art that was formerly in the Henri Matisse collection. Also loaned Wifredo Lam drawing (?). Correspondence, loan forms, and material re photographs loaned for the catalogue.
- 98.37 Primitivism in Twentieth Century Art: Affinity of the Tribal and the Modern, Museum of Modern Art, New York (1984 September 27–1985 January 15), 1984–1985
- 98.38 Self Portraits in the Age of Photography, Musée Cantonal des Beaux‐Arts, Lausanne, 1985
- 98.39 Th Interpretive Link: Abstract Surrealism into Abstract Expressionism: Works on Paper 1938–1948, Newport Art Museum (1986 July 11–September 14), 1986–1987
Pierre Matisse Gallery loaned two Lam, one Miró, and one Tanguy. Show traveled until June 15, 1987, to the Whitney Art Museum, loan forms, and miscellaneous printed material.
- 99.01 La Planête Affolée: Surrealisme, dispersion et influences 1938–1949, Centre de la Vieille Charité, Marseille (1986 February–March), 1986
Pierre Matisse Gallery loaned Tanguy works Ecoute and Mer Close, Monde Ouvert and an untitled 1938 work by Matta. Correspondence, loan forms, shipping records, and printed materials.
- 99.02 The Painters and the Theatre in the Twentieth Century, Schirn Kunsthalle, Frankfort (1986 May), 1986
Pierre Matisse Gallery loaned works by Balthus (the drawing Les Cenci) and Henri Matisse (gouache for curtain of Rouge et Noir). Correspondence, loan forms, and shipping records. Conflict arises over the use of the Matisse gouaches for poster and catalogue cover.
- 99.03 Elders of the Tribe, Bernice Steinbaum Gallery, New York City (1986 November 29–1987 January 3), 1986–1989
- 99.04 Sculpture from Surrealism, Zabriskie Gallery, New York City (1987 September 22–October 31), 1986–1987
Pierre Matisse Gallery loaned Miró sculpture, Woman (1969). Correspondence, loan forms, and catalogue.
- 99.05 Leo Castelli y sus artistas, Centro Cultural de Arte Contemporaneo A.C., Mexico City (1987 June–October), 1987
Pierre Matisse Gallery loaned Dubuffet work, La fecondation du palmier. Correspondence, loan forms, press, and printed material.
- 99.06 L'Art en Europe 1945–1953, Musée d'Art Moderne de St. Etienne, France (1987 December 10–1988 February 28), 1987–1988
Pierre Matisse Gallery loaned Dubuffet's Paysage charbonneux (1946) and Pierre Matisse's portrait, Portrait Obscur, and Tanguy's Mains et gants and Orpailleuse. Correspondence, loan forms, and shipping records.
- 99.07 The Dada and Surrealist Word‐Image, Los Angeles County Museum of Art (1989 June 15–September 3), 1989–1990
Traveled through 1990, to the Wadsworth Atheneum and Schirn Kunsthalle in Frankfurt. Pierre Matisse Gallery loaned two Miró works, Untitled, a 1924 crayon and gouache on paper, and the 1925 painting, Photo: Ceci est la Couleur de mes reves. Correspondence, loan forms, and press release.
- 99.08 Ghosts and Live Wires, Gallery Schlesinger Limited, New York (1990 February 1–28), 1990
Pierre Matisse Gallery loaned Raymond Mason's Hommes dans la rue and Head of the Artist, Miró's Untitled (1950), and Anne Harvey's Portrait of Brancusi. Correspondence, insurance values, loan record, and catalogue. Show organized by Steven Harvey, grandson of Dorothy Dudley and son of Anne Harvey.
- 99.09 Polyptyques: Le tableau multiple du Moyen‐Ageau vingtieme siecle, Louvre Museum, Paris (1990 February 20–August 15), 1990
Pierre Matisse Gallery loaned Matta's Prince of Blood. Correspondence, loan forms, shipping records, and press.
- 99.10 El Mundo de Octavio Paz, Centro Cultural Arte Contemporaneo, Mexico City (1990 February 2–July 15), 1990
Pierre Matisse Gallery loaned Dubuffet's Corps de dance. Correspondence, loan forms, invitation, and insurance records.
- Subseries: Tribal art
- 99.11 Oceanic art exhibition, 1934 October 29–November 17 and America, Oceania, Africa (1936 April 20–May 9), 1934–1937
Correspondence, including a letter dated December 15, 1934 from Georges Henri Rivière to Pierre Matisse, with typescript of his text for the catalogue of the 1934 Oceanic art exhibition at the Pierre Matisse Gallery. Catalogue of Oceanic art exhibition. Inquiries to and from Pierre Matisse, including lengthy correspondence with Elsie McDougall in 1937. See also Dealers and galleries, international: Ratton correspondence
- 99.12 Ancient Peru: Textiles, Pottery, Sculptures (1935 October 22–November 16), 1935
Two review clippings and two letters. Three copies of a two‐page text on Peruvian history, et cetera and unidentified. Two small memos. All pieces in the exhibition are from the Charles Ratton Collection, Paris. See also Clients: Ratton
- 99.13 Correspondence (pre‐Columbian, South and Central America), 1936–1939
Pierre Matisse inquiries to various institutions and individuals re tribal art, inquiries and information from collectors, et cetera. Typewritten catalogue list and other lists. Ten black‐and‐white snapshots from Frank Nelson and four from Livingston. Nine snapshots (seven small and two larger) apparently from Dehesa.
- 99.14 Correspondence (pre‐Columbian), 1940, 1960
- 99.15 Correspondence, 1943
Correspondence following the exhibition of African Negro Sculpture held for the benefit of the Fighting French Relief, Inc., New York City. Pierre Matisse was on the benefit committee but the exhibition was not held at the Pierre Matisse Gallery. Three‐page typewritten list, two copies of catalogue, one with penciled noted of clients' names. See also Administration: Advertising: Condé Nast re loans for this exhibition from Frank Crowninshield
- 99.16 Sculpture of the Tellem and the Dogon (1960 February 16–March 5), 1959–1960
Correspondence, including requests for information, prices, and catalogues. Two glossy black‐and‐white photographs. Review clippings and a priced catalogue. Copy of marked catalogue of Hanover Gallery, London, exhibition in 1959. All photographs in the Pierre Matisse Gallery catalogue were from the Hanover Gallery. See also three installation photographs
- 99.17 African art, 1960
- 99.18 Miscellaneous records, undated
- Subseries: Review clippings
- 99A 1925 March–1943 June
- 99B 1943–1952
- 99C 1950–1954
- Subseries: Scrapbooks
Each box consists of a deconstructed portfolio. Organized chronologically and by exhibition, the leaves contain some checklists, installation shots, original and copies of catalogues, and invitations. Not every show is represented by all of these elements; for a detailed folio list, see pdf. - Box 100 1925, 1931–1940
- Box 101 1941–1945
- Box 102 1946–1949
- Box 103 1950–1955
- Box 104 1956–1960
- Box 105 1961–1963
- Box 106 1963–1965
- Box 107 1966–1970
- Box 108 1971–1974
- Box 109 1974–1978
- Box 110 1979–1989
- Series: Museums and art institutions, United States
-
This series dates from approximately 1931 to 1990 and is arranged by state, then city, then institution. The series documents Pierre Matisse Gallery activities, including sales and exhibitions, with most of the major art institutions across the country. Notable among them are the Museum of Modern Art, New York (1931–1989), Cleveland Museum of Art, Ohio (1933–1977), Carnegie Institute, Pittsburgh (1934–1990), Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1972–1990).
Types of records include correspondence, accounting records, loan records, publicity, and printed material.
Selected financial files dating from 1980 to the end will be restricted as follows until 2020.
- Subseries: Alabama
- 77.01 Museum of Art (Birmingham), Mobile Art Gallery (Mobile), 1951–1955, 1972–1974
- 77.02 University of Alabama, 1962, June
- Subseries: Arizona
- 77.03 Arizona Art Foundation, 1954–1956
Correspondence on a request of loan of a Roszak. Correspondence among Roszak, Pierre Matisse and the director of the Arizona Art Foundation on insurance matters. Cables. Catalogue from the Arizona Art Foundation. Contains original letter by Roszak to Pierre Matisse Names: Lew Davis, Director, Arizona Art Foundation
- 77.04 Northern Arizona University Art Gallery, University of Arizona, Phoenix Art Museum, 1968–1984
General correspondence. Leaflet on Flagstaff Summer Festival. Request from the University of Arizona for an evaluation of works by Giacometti, Miró, Matisse in the Gallagher Collection. Names: Edward Gallagher, Jr.
- Subseries: California
- 77.05 California Palace of the Legion of Honor, 1934–1954
Correspondence and wires on loans to exhibitions: 1934, French Paintings (11 works loaned, price list); 1939, Pierre Matisse sent to the Museum Le tapis Jaune by Braque, belonging to Paul Rosenberg; 1942, Vanity Fair (one African head); 1945, Contemporary American Painters (Loren MacIver); 1947, II Annual (Chagall, Matta, Tanguy, Tamayo); 1948, III Annual (four Tanguy plus one, From one Night to the Other, purchased by the Museum with related invoice); 1950 IV Annual (Tanguy, MacIver); 1952, V Annual (MacIver). 1944, recorded accident to a Henri Matisse drawing during a traveling exhibition. Names: Walter Heil, Director of California Palace
- 77.06 Fine Arts Gallery of San Diego, 1929–1978
Letters to Walter Pach and Valentine Gallery asking for Pierre Matisse address having to send back some etchings and lithographs by Henri Matisse that belong to him. The works were later sent to Valentine Gallery, November 1930. 1933, Pierre Matisse trying to place Henri Matisse book Cinquante dessins. 1935, Matisse offers to the Gallery an exhibition of Peruvian artifacts. 1951 letter introducing Giacometti's work. 1953 loan of a Picasso and a Rouault. 1967, the Gallery acquires Marini's L'Idea del Cavaliere (gift of Mrs. and Mr. Norton Walbridge), letters and invoice. 1969 acquisition of Miró's Oiseau Solaire (also letters with Susse Fondeur on a patina problem). One photograph included of Marino Marini, L'Idea del Cavaliere, 1955. Names: Reginald Poland, Director, Fine Arts Gallery, Warren Beach, director (from 1967), Henry Gardiner, director (in the 1970s)
- 77.07 Golden Gate International Exposition, 1939–1941
Correspondence on loans to the exposition. In 1939, lent Henri Matisse, Rouault (with price list); in 1940, Matisse (Dahlias returned with damaged frame—file includes related letters with insurance company Toplis & Harding, premium of $450). In October 1939, Henri Matisse is awarded $200 from the Expo, second honorable mention for Odalisque with a Vase of Flowers. Answer by Teeny Matisse.
- 77.08 Los Angeles County Museum of Art [LACMA], MCA Inc. (Universal City), Hunt Foods and Industries, 1964–1967
Letters and wires, on the purchase of four Giacometti sculpture involving LACMA, Mr. Taft Schreiber (MCA Inc.), Mr. Norton Simon (Hunt Foods and Industries Foundation) during 1964/1965, related invoices. 1967, the Hunt Foods and Industries Museum acquires four Henri Matisse bronze Backs. Names: Richard Brown, Director, LACMA
- 77.09 Los Angeles County Museum of Art [LACMA], 1935–1991
Correspondence on loans: pre‐Columbian objects (with price list, 1935); MacIver, Tanguy (1951); Roszak (with price list, 1957); Miró (1959); Dubuffet (1962); Miró (1975). In 1951 LACMA invites "Contemporary American Artists" to show at the annual exhibition. In 1975, Pierre Matisse donates a Henri Matisse drawing to the Museum in honor of Frank Perls. Names: William Preston Harrison, Harrison Gallery, LA Museum, James B. Byrnes, Curator, Contemporary Art Department, until 1959; James Elliott, Curator, until 1964; Maurice Tuchman, Curator, Modern Art Department, until 1964; Kenneth Donahue, Director, LACMA, until 1975
- 77.10 Los Angeles County Museum of Art, printed material, 1964, 1965, 1986
Press kits, news clippings, two issues of Los Angeles Times dedicated to the Museum in 1965, Museum Bulletin, 1964
- 77.11 Los Angeles County Museum of Art, Miró exhibition (1975 September 30), 1975 July–November
- 77.12 M.H.De Young Memorial Museum, 1939–1942
Correspondence and wires on loans to exhibitions: Henri Matisse, Miró to 7 Centuries of Paintings with related receipts (1939). 1942, Mr. Heil is requesting some photos of paintings in the Edward G. Robinson collection of which he will write an article. In 1951, Pierre Matisse introduces the work of Giacometti suggesting acquisition. The De Young Museum is related to the California Palace of the Legion of Honor; in later days the two institution will merge Names: Walter Heil, Director
- 77.13 Museum of Contemporary Art (Los Angeles, Calif.), 1980–1991
General correspondence, news clippings. Names: Pontus Hulten, MOCA Director; Richard Koshalek, Deputy Director and Chief Curator
- 77.14 San Francisco Art Association/San Francisco Museum of Art, 1933–1949
Correspondence on loans to the Museum. In 1935, loan of African objects previously showed at Pierre Matisse Gallery plus a small group of Lurçat, Miró, Quintanilla works (with price list). In 1936, Matisse exhibition of drawings and paintings (with price list) also some Miró. In 1939, John Ferren pastels and paintings, and, in 1941, Rouault. In 1944 loan of Chagall work and in 1948, loan of Miró (with price list). In 1935 the San Francisco Art Association becomes the San Francisco Museum of Art Names: Michael and Sara Stein, Miriam Hopkins, collectors; Grace L. McCann Morley, Curator of San Francisco Museum of Art (until 1959); Sidney Janis in relation to a project on abstract and Surrealist art
- 77.15 San Francisco Museum of Art, 1950–1959
Correspondence on loans. 1950, Matta (with price list, invoice for related photographs, wires). 1951, Matisse (Pierre Matisse refuses to lend The Pineapple). Pierre Matisse requires an Ektachrome of Girl with Green Eyes to be reproduced in a book on portraits by Henri Matisse in preparation in Paris, with related invoice. Same request for Femme au chapeau, belonging to Mrs. Haas. Requests of purchase of Henri Matisse paintings made through the Museum. Letter addressed to Naum Gabo (1953). 1955, selection of various artist for an exhibition, Art in the 20th Century celebrating U.N. 10th anniversary, registrar receipts. Museum quarterly bulletin, 1955. In 1950, Amelie Matisse and Marguerite were working on the complete catalogue of Henri Matisse works. 1952, mention to A. Barr book on Henri Matisse Names: Harriet Levy, collector, bequeathed her collection to SFMA (some of the Stein paintings were also brought into the Museum), Mrs. Walter Haas, Mr. Cole, Collector
- 77.16 San Francisco Museum of Art, 1962–1984
Letters on the exhibition, The Last Works of Henri Matisse, to which Pierre Matisse contributed and request from the Museum for Pierre Matisse's help to bring back together the collection of Michael and Sarah Stein. Evaluation requests. September 1963, Museum's monthly newsletter. 1984 inquiry on a Balthus woodcut, gift to the Museum and apparently fake. Photocopies of works by Henri Matisse and Loren MacIver. Two photographs (Henri Matisse Sketch for Sarah Stein, 1916; Balthus (?) Man eating cigarettes). Names: Mr. George D. Culler, Director, J.H. Humes, President, Board of Trustees, Mrs. Madeleine Russell, Mr. Gardner Daily, collectors, Jacques Dubourg, expert on A. Derain
- 77.17 Santa Barbara Museum of Art, 1942–1971
Letters from Pierre Matisse introducing new Pierre Matisse Gallery artists. Letters from the Museum inquiring on loans. 1950, letters and wires related to the organization of an exhibition of MacIver's works to which Pierre Matisse Gallery loaned five paintings. Names: Donald J. Bear, Director
- 77.18 Stanford University, 1955–1968
Letters and cables on a loan of a MacIver painting for the 1956 Stanford Annual Exhibition. 1968 letter from Albert Elsen asking details on Henri Matisse works. Names: Albert Elsen, Professor of Modern Art, Stanford University
- 77.19 University of California, Berkeley, Los Angeles [UCLA], and Irvine, 1965–1982
Various requests for evaluation. In 1966 from Berkeley, reference to a plaster by Giacometti of which Pierre Matisse should have a cast made. In 1968, request from the UCLA Library for missing Cahiers d'Art. 1975, UCLA invites Miró, through Pierre Matisse, to make a print available to the Friends of the Graphic Art. 1976, UCLA acquires Mere Ubu by Miró, with invoice and related correspondence, clipping from the University Art Journal, 1977. Names: Peter Selz, Director of the Berkeley University Art Museum, Frederick S. Wight, Director, UCLA Art Galleries
- 77.20 University of California, Irvine, 1966 April–June
Correspondence on the Balthus painting Window loaned for the Five European exhibition in 1966. Names: Mr. John Copland, Director, Campus Art Gallery
- 77.21 University of California, Santa Barbara, 1965–1981
Correspondence on a loan in 1965 of Giacometti and Tanguy to Surrealisme: A State of Mind. Folder dated 1971 with correspondence between Pierre Matisse and Mr. Harry Anderson, a collector interested in Twentieth Century art. Mr. Anderson was addressed to Pierre Matisse by Gene Thaw. Names: Phyllis Plous, Curator, The Art Gallery, University of Santa Barbara
- 77.22 Assorted museums and universities, 1951–1988
General correspondence with museums and universities. News clippings, UCLA newsletter. Pasadena Art Museum re 1957 loan of a Chagall. December 2, 1969 invoice to Pierre Matisse for a Miró lithograph. June 2, 19656, University of California purchase order for Jazz by Matisse. Included a bad photo of Henri Matisse's Coffee.
- Subseries: Colorado
- 77.23 Colorado Springs Fine Art Center, 1935–1973
1936, letters and cables in reference to three paintings borrowed by the Museum that should be sent to Mr. Hartfield. 1937, Marquet's Bank of the Seine sent back to Pierre Matisse. 1939, two portraits by Derain sent back to Matisse. 1951, Pierre Matisse's letter introducing Giacometti's work. 1955, letters and cables on a Dubuffet picture, gift to the Museum from Mr. and Mrs. Jean de Menil. 1973 letter requesting information and evaluation on a Henri Matisse print. Included one slide of Le Temps Presse by Dubuffet, 1950 and one photograph of a Henri Matisse engraving Portrait of a Man, Olivares, 1914. Names: Stanley Lothrop, General Director, Colorado Springs Fine Arts Center (until 1959); Paul Parker, as above from 1940; Fred S. Bartlett, as above in the 1950s; Jean Goriany, friend of Pierre Matisse who specializes in French prints
- 77.24 Children's Museum of the Denver Art Museum, 1951–1955
Letters on projected exhibitions at the Museum. A MacIver painting was lent in 1955, related letters and wires. Names: Mrs. Angelos Theodorides, Curator of Education
- 77.25 Denver Art Museum, 1949–1961
1952, Pierre Matisse asks for the Ektachrome of The Two Sisters by Henri Matisse to be reproduced in a book published in Paris. 1953, six paintings by Léger, Chagall, Miró, Picasso are loaned to the Ten by Ten exhibition at the Museum. 1957, Marini Dancer and Butler Summer lent for an exhibition at the Schleier Gallery in the Museum. Names: Mr. Otto Karl Bach, Director, Denver Art Museum
- 77.26 University of Colorado, 1950–1970
Correspondence on loans. In 1951, two works by Miró, and in 1954, works by Miró, Dubuffet, Tanguy, Roszak, Giacometti (with price list), also a group of drawings was sent by mistake to the University and were included in the show. Purchase of a Dubuffet and a Roszak drawing. The untitled Dubuffet was later exchanged for Visiteur au chapeu pointu. Names: Alden F. Megrew, Head, Fine Arts Department (1950s), Jan Ernst von Adlmann, Head, Fine Arts Department (mid‐1960s)
- Subseries: Connecticut
- 77.27 Trinity College (Hartford), Davison Art Center at Wesleyan University, 1964–1975
- 77.28 Wadsworth Atheneum (Hartford), 1931–1939
Correspondence on various loans to the Atheneum and also purchases either for the Museum or private. 1931, Super‐Realism features Miró and de Chirico. In 1931, Pierre Matisse invites Mr. Austin to come to New York to meet Henri Matisse. 1933 loan of de Chirico, Masson, Severini, also the purchase of a Rouault. Letter of invitation for the opening of the new building at the Atheneum announcing the world premiere of Four Saints in Three Acts by G. Stein and V. Thompson and asking for contribution. Mr. and Mrs. Pierre Matisse will be present and probably on the list of the benefactors. 1934, receipts for three works by Picasso and a Maillol loaned to a "special exhibition." Purchase of Miró's Animal. Receipts for works by Dufy, Henri Matisse, Rouault received from Vassar College and loaned by Pierre Matisse. Acquisition of two Oceanic carvings paid $775 through the Phoenix State Bank. 1935, confidential price list of various works, loan receipt for a Calder Mobile, receipt for two Van Gogh drawings, Pierre Matisse borrows a drawing by de Chirico for his exhibition, contract with The Wadsworth Festival Program for one page of advertising, purchase of Peruvian textiles. In a letter dated February 18, 1935, Matisse mentions "an important business which will require a bit of money." 1936, Pierre Matisse borrows a pre‐Columbian piece for an exhibition, the Atheneum purchases an African mask for $200 (part of the Ratton collection), also a plaster by Ferren for $50, receipts for a pre‐Columbian hematite figure described by Pierre Matisse as a "sensation" and later acquired by the Atheneum. May 7, 1936 letter to Chick states "This town is full of your huge success in Colorado Springs." 1937 receipts for Picasso's Nude woman from 1905 (part of the Gertrude Stein Collection), two oils by de Chirico sent for consideration. 1938 receipt of a loan of two works by Miró, letter from Pierre Matisse offering Balthus's Montagne. 1939 letter from Teeny to Chick describing objects and new paintings and also mentioning Pierre Matisse staying at Fort Charenton while she came back with the children. Europe at warbreak. Names: A. Everett Austin, Jr., Director, Wadsworth Atheneum, Paul W. Cooley, State Supervisor
- 77.29 Wadsworth Atheneum (Hartford), 1940–1949
Letters and receipts on loans to the Atheneum. 1940, eight paintings, six gouaches, 12 drawings sent for an exhibition. Degas, Rouault, Miró, de Chirico for the Night Scenes exhibition. Pierre Matisse offers unbound copies of the Vollard books Passion and Cirque de l'etoile filante illustrated in color by Rouault to the Atheneum. 1942, 11 paintings by different artists for the In Memoriam exhibition, list and prices. Eight paintings by different artists lent for the Painters in Attendance exhibition, with price list. Letter from Pierre Matisse introducing the work of Lam, "young Cuban painter protege of Picasso." 1945 Pierre Matisse asks whether the Atheneum would sell him back Compositionof 1933 by Miró (proposition rejected). Names: Mrs. and Mr. Robert Drew‐Bear
- 77.30 Wadsworth Atheneum (Hartford), 1951–1959
Letters and invoices for loans or purchases. 1951, acquisition of City Square by Giacometti, invoice. 1953, acquisition of Taxi by Loren MacIver (exhibited at the Whitney Museum). 1954, Sage Tanguy exhibition, letters, price list, receipts for 18 works by Tanguy. Original letter by Tanguy to Pierre Matisse. 1955, a collectors' gallery is opened at Wadsworth, Pierre Matisse lends a Riopelle eventually bought by the Atheneum. 1956 April, Atheneum Bulletin. 1957 letter of invitation to an exhibition held at Knoedler Gallery by the Atheneum. 1958 request of information on Danceuses Acrobates by Miró given to the Atheneum in memory of Philip Goodwin by his brother James. Request for information on a de Chirico received as part of the Goodwin Collection. Names: C.C. Cunningham, Director; Charles E. Buckley, General Curator, Wadsworth Atheneum; Evan H. Turner, General Curator from 1956
- 77.31 Wadsworth Atheneum (Hartford), 1960–1987
1963 letter mentioning the library from the Tanguy‐Sage estate. 1968, Pierre Matisse donates in honor of Chick Austin eight stage drawings by Henri Matisse for Rouge et Noir. 1970, letters in reference to a misprinted Henri Matisse postcard. The misprinted Henri Matisse postcard appears to be the only one bearing the incorrect caption. 1974 letter asking for an interview with Pierre Matisse on the events at the Atheneum. News clippings, a catalogue of a Matrix exhibition. Names: James Elliot, Director, Peter Marlow, Chief Curator, Wadsworth Atheneum
- 77.32 Yale University Art Gallery (New Haven), 1946–1969
Letter of thanks for a Zadkine wood sculpture loaned in 1946. Letters on a possible long term loan of a Matta, 1946. Inquiry on Chagall's Solitude. 1950 loan of MacIver's Coal and Wood. 1950, Pierre Matisse, on behalf of an anonymous donor (Patricia Matisse), offers to the Art Gallery, the original plaster of Giacometti's The Void (Hands Holding the Void) to be added to the Société Anonyme collection. The gift was accepted. 1954 correspondence, letters, wires and receipt, on loans (Matta, Miró, Tanguy, Giacometti) to the Object and Image in Modern Art and Poetry exhibition for the opening of the new gallery building. 1955 receipt of a Roszak returned from a loan. 1956 receipt of Tanguy's The Closing Days of Hugh Chisholm loaned through Pierre Matisse Gallery. 1962, Pierre Matisse donates a Miró gouache (Three Personnages) in memory of Henry McBride, loan of Saura's Crucifixim No. 6. 1967, the Art Gallery acquires Silvio set two by Sam Francis purchased by Mr. Solomon Byron Smith. 1968, Annette Giacometti ask permission to make a mold of the birds head on the Void sculpture. Names: George H. Hamilton, Curator of Paintings, Yale Art Gallery, Andrew C. Ritchie, in the 1960s
- 77.33 Yale Art Library photograph loans, 1971–1972
- Subseries: District of Columbia
- 77.34 Corcoran Gallery of Art, 1953–1958
1953, MacIver's Windowshade is selected for the 23rd Biennial Exhibition of Contemporary American Oil Painting, letters, wires and receipts. 1956, MacIver's The Street is selected for the 25th Biennial and acquired by the Corcoran Gallery, letters and receipt. 1958, letters among MacIver, Corcoran Gallery and Pierre Matisse Gallery related to a solo show given to MacIver, receipts and price list. One painting, Lagoon, is retained for the 26th Biennial Names: Hermann Warner Williams, Jr., Director
- 77.35 Corcoran Gallery of Art, 1959
1959, letters related to the restoration of Grand paysage avec paysan sautant sur son petit arpent by Dubuffet lent by Pierre Matisse for the traveling exhibition, Fifteen Painters from Paris. Names: Henri Dorra, Assistant Director, Corcoran Gallery
- 77.36 Corcoran Gallery of Art, 1959–1966
1959–1960, correspondence related to the traveling exhibition Fifteen Painters from Paris, to which Pierre Matisse lent four works by Dubuffet, letters, wires, loan forms. 1960 letter for an appointment to select works for the 27th Biennial, a painting by MacIver was chosen. 1961 letter asking the value of a Hans Hartung painting. 1966 letter requiring an appointment to see MacIver new paintings. News clippings on the exhibition.
- 77.37 Folger Shakespeare Library, 1973
Letters related to the commission of a poster by Marini that was never realized. Names: O.B. Hardison, Jr., Director, Folger Shakespeare Library
- 77.38 Hirshhorn Museum and Sculpture Garden, 1972–1974
Correspondence with various Hirshhorn staff members, often including data sheets to which Pierre Matisse was asked to add or correct information. Photo orders, et cetera. Several color postcards from Hirshhorn stock.
- 77.39 Hirshhorn Museum and Sculpture Garden, 1975–1979
Requests from Hirshhorn staff, often with worksheets, for information, photographs, et cetera, re works of art that had come from Pierre Matisse Gallery, and to borrow works for exhibition. Pierre Matisse to A. Lerner (June 5, 1978) re exhibition of John Quinn Collection at Hirshhorn: "I was instrumental in bringing about the sale of a number of the most important paintings at the American Art Association, the Hotel Drouot and through the Brummer Gallery." Black‐and‐white glossy photo of Balthus Frere et soeur, circa 1932, Hirshhorn collection.
- 77.40 Hirshhorn Museum and Sculpture Garden, 1980–1982
Correspondence with Hirshhorn curators re Miró exhibition, catalogue, and Miró purchase from Pierre Matisse Gallery, including an 18‐page Smithsonian Institution contract form for the purchase, and a news release. Requests for information re confusion re cast numbering of Giacometti. Black‐and‐white glossy photo of Miró painting.
- 77.41 Hirshhorn Museum and Sculpture Garden, 1983–1992
Correspondence, requests to borrow works of art, inquiries, including a question re a Giacometti painted portrait of Pierre Matisse.
- 77.42 Hirshhorn Museum and Sculpture Garden, undated
- 77.43 Hirshhorn Museum and Sculpture Garden, undated
Clippings re donation of collection to U.S., controversy, et cetera. See also Clients: Hirshhorn, Joseph H. for information on his private collection
- 77.44 Institute of Contemporary Arts, 1950–1959
1950 loan of three sculpture by Giacometti for an exhibition, price list. 1951, Pierre Matisse lends a Miró exhibition to the Institute, price list. Undated letter with payment for Miró's Red Cloud (possibly Red Sun). 1955, Du vert au blanc by Tanguy and Dublin and Environs by MacIver on loan to the Trends II—Mid Century American Painting exhibition. 1959 promotional leaflet. Names: Robert Richman, Director
- 77.45 Kennedy Center, 1973
1973 letter to Mr. Richard Owens giving the address of Mr. Anthonioz, Inspecteur général des Arts et des Lettres, Paris. Names: Richard Owens, Kennedy Center
- 77.46 Museum of Modern Art Gallery, 1938–1939, 1962–1967
1939 correspondence on the loan of Young Girl Resting by Balthus, Farmer's Dinner by Miró and a work by Henri Matisse to the Paris Painters of Today exhibition. 1966 project for a Miró/Calder exhibition, never realized. Names: Adele K. Smith, Manager, Adelyn D. Breeskin, Director (from 1962–1965?)
- 77.47 National Cultural Center, 1962
- 77.48 National Gallery of Art, 1944–1953
1952 correspondence related to MacIver's The Bamboo Blind on consideration but then returned to Pierre Matisse Gallery. Names: Macgill James (assistant director), John Walker (chief curator), National Gallery of Art; Erwin O. Christensen
- 77.49 National Gallery of Art, 1970–1979
1971, John Hallmark Neff requesting an interview with Pierre Matisse on Henri Matisse commissioned works. 1972 letter from David W. Scott on a projected piece by Miró for the new wing of the Gallery. 1977, Pierre Matisse offers paintings by Balthus and Francis. Various letters requesting photographs or catalogues. Invitation for a preview of Treasures of Tutankhamun in November 1976. One photograph of the new wing's architectural drawing. News clippings, part of which on J. Carter Brown not photocopied. Names: Charles Parkhurst; J. Carter Brown, Director, E. A. Carmean, Jr., Curator of Twentieth Century Art
- 77.50 National Gallery of Art: Acquisition of Matisse decoupages, 1972–1973
La Grand Decoration aux Masques, five panels are being shipped to the National Gallery in December 1972. National Gallery is also interested in Acrobats but owner will not sell or donate. However, a Miró maquette of a tapestry is for sale from Miró directly at $110,000. Matisse's Beasts of the Sea, Woman with Amphora, and Pommegranate, Venus and Seated Blue Nude are also shipped to the National Gallery of Art for examination of the acquisitions committee. National Gallery of Art finally purchases Grande Composition avec Masques, Beasts of the Sea, Woman with Amphora, and Venus for $1,000,000. Restoration advice from Lefebvre‐Foinet. Invoices and freight bills. Some of the correspondence is in French
- 77.51 National Gallery of Art: Opening of east wing, 1978
1978, Invitation to the opening of the East Wing, wire from J.C. Brown. News clippings from Art International (vol. XXII/6), ARTnews (summer 1978), Time (May 8, June 5, and June 12), New York Times (May 30 and May 31, June 2), Women's Wear Daily (June 1), Vogue (June), Washington Post (May 31 and June 1), Smithsonian (June). Also clippings on the National Arts and Humanities Endowments. No photocopies were made of the news clippings
- 77.52 R National Gallery of Art, 1982–1991
Letters asking for provenance or other information. 1982, on the Giacometti's owned by the Gallery. 1983 on Miró, 1984 on Henri Matisse's Odalisque au magnolia, 1986, on Picasso's Petrus Manach and on Giacometti's On ne joue plus. Letters and receipts of works for consideration. 1985, Dubuffet, 1986, Giacometti. 1980 invitation card for the Post‐Impressionism: Cross Currents in European and American Painting 1880–1906 exhibition. 1991 invitation to a dinner in honor of W. Mellon and the Gallery on its fiftieth anniversary. Clippings mainly on J. Carter Brown. Names: Trinkett Clark (assistant curator), Jack Cowart (department head and curator, Twentieth Century Art)
- 77.53 Phillips Collection (Phillips Memorial Gallery), 1931–1936
The first two letters dated 1931 are addressed to Mr. Phillips care of the Museum of Modern Art, New York. 1931 letter from Pierre Matisse announcing his separation from the Dudensing Gallery and letter announcing the opening in October of an "Office‐Gallery" and describing some pieces brought back from France (three copies, slightly different, of the same letter). 1932, 1933, various letters from Pierre Matisse offering works of art. Duncan Phillips buys Clowns by Rouault giving two pastels by him to Pierre Matisse so that the sale of one of them would make up for the open balance. 1934 Pierre Matisse mentions the success of his Henri Matisse exhibition inviting Mr. Phillips to go and see it. 1935, Pierre Matisse and Mrs. to Washington; wire asking to see the collection. 1936 wire from Pierre Matisse enquiring on a Braque painting ("large still‐life"). Included a catalogue of the Rouault exhibition at Pierre Matisse Gallery (February 4–March 4, 1935?) with notes by Pierre Matisse. Names: Duncan Phillips
- 77.54 Studio House Gallery, The Gallery School of Art (affiliated with the Phillips Memorial Gallery), 1935
Correspondence related to an exhibition of works by Henri Matisse and Dufy. Letters and wires, price list. Names: C. Law Watkins, director; Robert F. Gates, assistant director; Adele K. Smith, gallery manager
- 77.55 Phillips Collection (Phillips Memorial Gallery), 1939
Correspondence related to the acquisition of works by Rouault. Twilight, 1939 was selected at first, then exchanged for Flowers, Flowers II, Yellow Christ and one copy of Cirque de l'etoile filante. Names: Duncan Phillips, director; Marjorie Phillips, associate director; C. Law Witkins, associate director; Elmira Bier, assistant director
- 77.56 Phillips Collection (Phillips Memorial Gallery), 1940–1949
1940 wires in reference to a loan for The Emotional Design exhibition, acquisition of L'Atelier du Quai St. Michel by Henri Matisse (later borrowed by Pierre Matisse for his exhibition, Landmarks in Modern Art), letters and wires. 1941 letter by Pierre Matisse introducing the work of Chagall. 1942, Mr. Phillips acquires works by Chagall and also holds an exhibition at the Gallery with 18 pieces lent by Pierre Matisse. 1943, group of five drawings lent by Pierre Matisse, with price list, receipt. 1947 correspondence on the acquisition of Grand portrait d'homme (Verlaine) by Rouault. 1949, Mr. Phillips acquires Elena by Modigliani. A wire by Pierre Matisse on February 7 reads "...My own books [either Vollard editions, etchings by Rouault, Cirque, 1938 or Passion, 1939] ordered before fall lost on their way here..."
- 77.57 Phillips Collection (Phillips Memorial Gallery), 1950–1954
1950 acquisition of Interior with Egyptian Curtain by Henri Matisse, invoice. Pierre Matisse letter introducing the work of Dubuffet. Purchase of Pheasant by Soutine and Naples Aquarium by MacIver. 1951, MacIver exhibition with twelve paintings from Pierre Matisse Gallery, price list. Purchase of Red Sun by Miró, of Window Shade by MacIver. Letter by Pierre Matisse on conservation problems regarding a Henri Matisse painting. Letter dated March 19, 1951 to Mr. Harlin O'Connell on the legal and financial status of The Phillips Gallery. 1952 letter from Pierre Matisse announcing the ownership of an important Henri Matisse painting (Young Sailor II), another inviting Mr. Phillips to go and see the Picasso Manach "in the flesh." 1953 purchase of New York by MacIver. 1955 loan of three Riopelle paintings for an exhibition at the Gallery. Some of the letters and wires are not in good condition
- 77.58 Phillips Collection (Phillips Memorial Gallery), 1962–1967
- 77.59 Phillips Collection, 1970–1987
1972 letter announcing the new Collection board of direction. McLaughlin and Friedman's business cards. 1980 letter requesting the provenance of Pheasant by Soutine and Three Clowns by Rouault (photograph and card included). 1982, Pierre Matisse interviewed on the Collection's role in the American art world. 1986 clipping of an article by J. Russell. 1987 correspondence on the provenance of Pheasant by Soutine, news release for the exhibition After Matisse, invitation card. Names: Richard E. Friedman, curator; Laughlin Phillips, director, James McLaughlin, custodian of paintings, The Phillips Collection
- 77.60 Phillips Collection, 1988–1991
Correspondence on the provenance of various paintings. Included are one photograph of Rouault's Circus Trio (Three Clowns), a photocopy of an article on The Pastoral Landscape: The Legacy of Venice and the Modern Vision exhibition by R. Hughes, December 1988.
- 78.01 Smithsonian Institution, 1945–1984
1945, Pierre Matisse inquires of the plates used in the 21st Annual Report of the American Ethnology printed in 1903. 1968 Roszak Man in Space Explorer #2 goes back to Roszak's studio after the Art in Science exhibition. 1976 letter introducing the use of microfiche for art catalogue (sample included). Various letters requesting provenance information and permission to reproduce works of art. Names: John A. Pope, chief traveling exhibition service; Adelyn D. Breeskin, curator, contemporary painting and sculpture
- 78.02 National Museum of African Art, 1982–1985
1982 circular letter from Warren Robbins introducing himself and the Museum. 1985 letters inquiring on African pieces belonging to Pierre Matisse. The National Museum of African Art, from its beginning a privately managed museum, became part of the Smithsonian Institution in 1979. Names: Warren Robbins, founding director, National Museum of African Art
- Subseries: Florida
- 78.03 Joe and Emily Lowe Art Gallery (University of Miami, Coral Gables), 1953–1976
Letters on loans. 1953 The Wrestler by Rouault lent for a joint exhibition with the Norton Gallery. 1955 loan of Lagoon by MacIver and Du vert au blanc by Tanguy to a joint exhibition with the Society of the Four Arts and the Columbia Museum of Art. 1976 letter from Professor Robert Willson inquiring about Henri Matisse terracottas. Names: Allan McNab, director
- 78.04 Cummer Gallery of Art (Jacksonville), 1963–1966
1965 letters related to the loan of Crucifixion by Saura and Cuadro 176 by Millares for the exhibition 700 Years of Spanish Art, carrier receipt and catalogue. Names: Joseph J. Dodge, director
- 78.05 Museum of Fine Arts (Saint Petersburg), 1971–1975
Letters of various requests. Two bulletin‐catalogue of The Graphic Art of Henri Matisse. Names: Lee Malone, director
- 78.06 John and Mable Ringling Museum of Art (Sarasota), 1948–1967
1948 letter from "Chick" asking Pierre Matisse to find a Chagall piece that would fit the exhibition Art, Carnival and the Circus. 1957, two gouaches (Man on Horse and Horse and Rider) and a bronze (Horse and Rider) by Marini lent to the Marino Marini exhibition, letters and receipt. 1967 letter asking provenance information on Tanguy's The New Nomads. Names: A. Everett Austin Jr., director; Kenneth Donahue, curator (1957); Robert O. Parks, curator (1967)
- 78.07 Society of the Four Arts (Palm Beach), 1941–1949
Correspondence on loans and sales through the Society. Also some correspondence on private purchases by the Berdeaus. 1941, Mrs. Berdeau purchases Le témoin by Yves Tanguy. 1943, six paintings by Matta, Lam, Tamayo lent to the Latin‐American Painters exhibition; Theory of the Tree by Matta sold to Arthur Bradley Campbell. 1944, Flowers by Chagall, L'Ecran by Matta and Perils Solaires by Tanguy borrowed for the European and American Paintings. 1946, six paintings by Chagall, MacIver, Gromaire, Tamayo, Miró lent to the Abstract and Expressionist exhibition, purchase of Chagall's The Betrothal by Mrs. Berdeau and Red Horse by Mr. Norton of the Norton Gallery and School of Art. 1947, fifteen paintings lent to The School of Paris exhibition for the opening of the new Society's buildings. 1948, five paintings lent to the The Post‐Impressionists and their Followers. 1949, Brancusi, Giacometti, Despiau lent to the Rodin to Brancusi show; Mlle Pogany by Brancusi sold to Mr. Norton. News clipping and leaflet for the Society's program. Names: Mr. Audrey Berdeau, Mr. Le Ray Berdeau, collectors and member of the Board of Directors; Ann Poeller, director; William McKim, chairman of exhibitions
- 78.08 Society of the Four Arts (Palm Beach), 1950–1955
Correspondence on loans. 1950, MacIver The Fratellini loaned the a show. 1952, pre‐Columbian objects lent for a show. 1953, The Rose by Matisse lent to the Matisse exhibition and eventually bought by Mr. Norton. 1955, MacIver's Lagoon and Tanguy's Du vert au blanc loaned to an exhibition in collaboration with the Lowe Gallery and the Columbia Museum of Art. Names: William McKim, chairman, Henri Dorra, art director (1952); Allan McNab, art director (1955)
- 78.09 Norton Gallery and School of Art (West Palm Beach), 1946–1949
1946, Mr. Norton acquires The Mantel by G. Braque and Group of Rustics by Rouault for the Gallery; letters related. 1947, acquisition of Chagall's Anniversary Flowers. 1948 letter from Pierre Matisse introducing the art of Giacometti to Mr. Norton and Mr. Hunter. 1949, acquisition of Brancusi's Mlle Pogany and Miró's Women and Bird in Front of the Moon( for his private collection). Names: Ralph H. Norton, Acme Steel Company, Chicago; E. Robert Hunter, director (in 1946 and again in 1964), Norton Gallery and School of Art; Willis F. Woods, director (from 1949)
- 78.10 Norton Gallery and School of Art (West Palm Beach), 1950–1985
1952, group of letters related to a restoration problem on the Chagall painting. Acquisition of Miró's Woman, Bird and Stars and a Léger watercolor, letters and wires. 1952–1953, letters related to the loan of Petrus Manach by Picasso and The Wrestler by Rouault to the French show, acquisition of Henri Matisse's The Rose, letters and wires. 1954, wire of condolences to Mrs. Norton and her reply. 1964, letter asking an evaluation on a Brancusi pedestal, Pierre Matisse replies suggesting to exchange the pedestal with "Some of the paintings or sculpture we carry!" Names: Reginald Poland, director (from 1952); Ann Norton, Mrs. Ralph Norton; Richard A. Madigan, director (1983); Bruce E. Weber, curator of collection (1985)
- 78.11 Assorted museums and universities, 1973–1975
The Fort Lauderdale Museum of the Arts, 1973, fund raising event. University of Florida, 1975, circular letter.
- Subseries: Georgia
- 78.12 Atlanta Art Association, 1957–1958
Letters related to the loan of Still Life by Derain for the Paintings: the Theme of Still Life exhibition. One catalogue of the exhibition. Names: Reginald Poland, director
- 78.13 Berry College (Mount Berry), 1972
Letters related to a projected exhibition of Miró lithos. Names: Dr. Thomas J. Mew, III, chairman, Art Department
- 78.14 Georgia Museum of Art (University of Georgia), 1966
Letter asking for a drawing by Boucher, an artist not handled by Pierre Matisse Gallery. Names: Alfred H. Holbrook
- Subseries: Hawaii
- 78.15 Bernice Pauahi Bishop Museum (Honolulu), 1934–1935
Pierre Matisse offers a group of Oceanic sculpture to the Museum. Names: Herbert E. Gregory, director, Bishop Museum
- 78.16 Honolulu Academy of Arts, 1931–1937
1931 letter from Pierre Matisse announcing the opening of Pierre Matisse Gallery. 1934 list of prices from the Oceanic art exhibition at Pierre Matisse Gallery in 1933. 1936, Mrs. Spalding donates a wood figure from New Guinea to the Academy. 1937 correspondence on a loan exhibition of Miró and Calder works, cables and receipts; in the occasion a Calder piece was sold to a donor. News clipping. Names: Katherine McLane, secretary; Marvel Allison, Educational Department; Margaret W. Hockley, Instructor in Primitive Art; Edgar C. Schenck, acting director; Mrs. Philip Spalding, collector
- 78.17 Honolulu Academy of Arts, 1941–1969
Letters accompanying photographs or slides of work on consideration. 1943, acquisition of Tanguy's Longue pluie, cables, letters. 1948, the Academy shows interest for Mlle Pogany by Brancusi. 1951 circular letter from Pierre Matisse introducing the art of Giacometti. 1952, Pierre Matisse asks the Academy permission to reproduce Annelies, tulipes, anémones in the Barr forthcoming book on Henri Matisse. 1958 letter requesting provenance information for a sitting nude by Modigliani. 1965, request for an appraisal of a Phillip Martin painting. One news bulletin and calendar, 1944, one photograph of a Modigliani painting. Names: Edgar C. Schenck, director; Robert P. Griffing, Jr., director (from 1948); James J. Foster, Jr., director (from 1965)
- Subseries: Illinois
- 78.18 Arts Club of Chicago, 1932–1939
Letters on loans. 1932, 19 drawings by Maillol loaned to the Arts Club. One, Grand nue couchée, was sold. 1933, February, loan of 14 paintings by Masson; May, loaned group of works by Henri Matisse, H. Lorens, J. Gerard and Despiau; December, loaned exhibition of 18 paintings by Rouault; also wire inviting Henri Matisse to Chicago. 1934, loan of 11 paintings by Miró; December, loaned exhibition of pacific art, 38 objects altogether. 1938, February, loaned exhibition of plaster paintings by Ferren, one was sold; March, loan exhibition of 19 paintings and 2 drawing, one of which was sold, by Laurencin. 1939, loan of 14 paintings by Henri Matisse. Two catalogues included, of André Masson's 1933 exhibition and of Oceanic sculpture exhibition of 1935. Names: Alice Roullier, chairman; Isabel Jarvis, assistant secretary; Mrs. Charles Goodspeed (Bobsy), trustee (?)
- 78.19 Arts Club of Chicago, 1940–1951
1940 letter referring to instruction given by Madame Kay San Faustino in relation to four paintings by Tanguy to be sent to Pierre Matisse Gallery. The following letter mentions a Tanguy received by mistake by the Henry Gallery, University of Washington, Seattle. In March, Miró's Flight of the Bird over the Plain loaned to the Origins of Modern Art exhibition. 1941, January, loan of 15 oils to the MacIver exhibition; April, loan of a marble piece Girl Seated by Laurens; May, loan of two gouaches by Léger. 1942, February, Calder exhibition with ten pieces provided by the artist and two lent by Pierre Matisse, at this date the Club commissioned a mobile to Calder; May, two oils and a pastel loaned to the Masson exhibition. 1944, January, loaned exhibition of works by Matta and Lam. 1945, January, loaned exhibition of 27 works by Chagall. 1946, December, loan of four paintings by Derain. 1951, two Henri Matisse and six Miró loaned to an exhibition, the paintings were then forwarded to the Art Institute for storage over the summer. 1951, December, exhibition of works by Dubuffet, 14 of which loaned by Pierre Matisse. Mrs. and Mr. Pierre Matisse in Chicago for the opening. Included catalogues of exhibitions at the Arts Club (Loren MacIver in 1941, Matta and Lam in 1944, Chagall in 1945).08/23/93 Names: William N. Eisendrath, Jr., chairman, Exhibition Committee; Mrs. Alfred P. Shaw (Rue), president
- 78.20 Arts Club of Chicago, 1951–1955
1952 letters related to the return of the Dubuffets, shipping receipt. 1953 letters and wires concerning the MacIver and Giacometti exhibition at the Club in November to which Pierre Matisse loaned eight MacIver's paintings and seven Giacometti's sculpture (first Giacometti exhibition in Chicago). 1955 letters on the loan of Portrait de Marguerite by Henri Matisse and shipping receipt.
- 78.21 Arts Club of Chicago, 1956–1958
1956 letters and shipping receipt for Portrait de Marguerite by Henri Matisse sent back after the Fauve exhibition. December, five Le Corbusier and four Riopelle loaned for an exhibition of French art. 1957, December, five Marini's sculpture on loan to the Italian Sculpture exhibition.
Also letter from the Club addressed to Mr. Lee A. Ault asking for the loan of Idolo Cupo by Mirko, return receipt for a painting by Juan Gris. 1958, three Tanguy paintings, one Balthus and one Matta loaned to the Surrealism Then and Now exhibition. News clippings of various exhibitions. On the back of a wire dated November 15, 1956 are some notes by Pierre Matisse writing to "Edgar" about Giacometti's fee for the design of a Mausoleum door.
- 78.22 Arts Club of Chicago, 1961–1983
1962, the Club is interested on acquiring a painting by Le Corbusier who refuses to sell. 1965 purchase of a Miró in honor of Alice Roullier. 1974, Dubuffet's Deux Brigands on loan to the 60 Years on the Art Club Stage exhibition, letters and receipts. 1976 letter from Pierre Matisse Gallery asking details about an exhibition organized by Pierre Matisse at the Club in 1925. Included catalogues for the Wit and Humor exhibition, 1962 and High Culture in the Americas Before 1500, 1982. One photograph of a Henri Matisse drawing, one article on the Arts Club, 1986, magazine unknown.
- 78.23 Art Institute of Chicago, 1932–1935
1932–1933, correspondence related to the Fine Arts Exhibition of A Century of Progress to which Pierre Matisse Gallery loaned a Rouault, a Maillol marble (Seated Nude) and a Henri Matisse (Grand Interior, Nice); two other Henri Matisse, Harmony in Yellow and Decorative Composition were loaned by the artist; also insurance receipt and a letter to Pierre Matisse by his secretary reporting about the installation at the Institute with a sketched plan of room 48. 1934, group of letters offering various paintings for purchase. Letter announcing the III International Exhibition of Etching and Engraving and prospectus, two prints by Quintanilla will be selected for it. 1935, wire from Pierre Matisse trying to trace The Farm [La Ferme] by Miró owned by Hemingway. Letters offering works of art (Mathieu Le Nain), tribal pieces, later sent on consideration and one of which (bronze mask, Benin) was acquired by the Institute, and textiles from Africa and New Guinea. December, a watercolor by André Dunoyer de Segonzac loaned to the XV International Exhibition of Water Colors. Letter from the Texas Centennial Exposition, directed by Mr. Harshe, confirming loans from Pierre Matisse Gallery. Names: Robert B. Harshe, director; Lilian Combs, acting curator of Prints and Drawings; Mr. Winterbotham, patron (?); Mr. Bartlett, board of Acquisition Committee, The Winterbotham Collection
- 78.24 Art Institute of Chicago, 1936–1939
1936, January Pierre Matisse letter offering de Chirico's paintings to the Winterbotham Collection at the Institute. Pierre Matisse letter of acknowledgment of Mr. Harshe choice for the Texas Centennial Exposition; May, receipt from the Dallas Museum of Fine Arts for the loan of Flowers and Fruits by Henri Matisse; November Miró's Woman with a Flower and Laurens's Seated Nude on loan to the XVI International Exhibition of Water Colors. 1937, paintings by de Chirico (Yellow Book) and Rouault (Nude) sent on consideration but rejected. 1938, January wire announcing Robert Harshe sudden death, February 3 drawings by Henri Matisse, Miró, Dufy loaned to the XVII International Water Color Exhibition. 1939, February, 17 pen drawings loaned to the Institute by Henri Matisse plus, from Pierre Matisse Gallery, five Henri Matisse's drawings, one Miró and one Léger; group of letters related to the purchase of a de Chirico painting, finally being The Philosopher's Conquest. Included Pierre Matisse Gallery catalogue of America, Oceania, Africa exhibition, 1936. Names: Daniel Catton Rich, director; Frederick A. Sweet, assistant curator
- 78.25 Art Institute of Chicago, 1940–1943
1940, Henri Matisse's Reclining Nude and Miró's La toilette de Violette lent to the XIX Water Color Exhibition together with Siqueiros's The Storm coming from the Galeria de Arte Mexicano and eventually bought. Letters addressed to the Prints and Drawings Department offering works by various artists. 1941, Rouault, Tanguy, Tamayo and Miró on loan to the XX International Water Color Exhibition; October, Pierre Matisse informs the Institute that he is the official representative of Marc Chagall. 1942, the Winterbotham Collection acquires Indian Woman with a Bird Cage by Tamayo. Letters (October 1941 and September 1942) inquiring on some Rousseau's works. 1943 loan of two Chagalls, a Lam and a Siqueiros to the XXII Water Color Exhibition. Names: Carl O. Schniewind, curator of Prints and Drawings; Frederick A. Sweet, assistant curator of Painting and Sculpture; Meyric R. Rogers, curator, Department of Decorative Arts
- 78.26 Art Institute of Chicago, 1944–1949
1944, February works by Chagall and Lam on loan to the exhibition of the Society of Contemporary American Art (Matta's L'unité absolue not included because the artist is not American). The Institute is interested on a show of Chagall's prints. November, a Picasso drawing is sent for consideration. Receipts for some catalogues (ten Posada, one Chester Dale Collection and H. Birch Bartlett Collection) bought by Pierre Matisse Gallery. 1946, the Institute acquires La Rapidité des sommeils by Tanguy, letters and wires on conservation problems. October loan exhibition of Chagall's paintings and prints. 1947, Matta's Olives and Saffron lent to the Paintings and Sculpture exhibition. 1948, November, Miró's Women and Bird in front of the Sun acquired by the Institute. Letter from Pierre Matisse appraising Apples by Henri Matisse. 1949, Matta's Three Men Crying on loan to the Contemporary American Art Exhibition. The Institute is interested in Henri Matisse's Interior with Egyptian Curtain, letters related. Names: Katharine Kuh, curator
- 78.27 Art Institute of Chicago, 1950–1951
1950, Cathedral by MacIver and Wounded Interrogation by Matta on loan to the Society for Contemporary Art Annual Exhibition. The Matta was sold to Mr. Earle Ludgin, letters and wires related to the offer for purchase of Still Life by J. Gris. June, invoice referring to Supervielle grand portrait mythe by Dubuffet, given to the Institute as a gift. 1951, W O + U by Matta on loan to the Society annual exhibition and eventually purchased by the Society; February, group of drawings by Giacometti and Tanguy sent on approval. The Institute acquired a Giacometti (Heads in Profile). April, Roszak's Sea Quarry lent the LX Annual American Exhibition, that sold it to Mr. Norton. May, Pierre Matisse donates a Dubuffet drawing (La Campagne) to the Institute. Purchase of Dubuffet's book Matière et Mémoire. Letters and receipt for a group of paintings kept in storage at the Institute after an exhibition at the Arts Club of Chicago. Names: Earle Ludgin, Pool Committee, Society for Contemporary American Art; Hans Huth, associate curator, Department of Painting
- 78.28 Art Institute of Chicago, 1952
Letters, wires and receipts related to the acquisition of a big Miró Personnages with Star. Pierre Matisse asks the Institute for photographs of Henri Matisse paintings to be included in the book on portraits to be published in Paris. April, Pierre Matisse contributes $250.00 to the Institute Emergency Fund. July, drawings by Dubuffet and Giacometti lent to the Contemporary Drawings from Twelve Countries exhibition. One Dubuffet and two Giacometti were sold. Receipts of paintings sent to the Institute on approval or sent back to Pierre Matisse, some at request of Leigh B. Block (Henri Matisse, de Chirico, Picasso, Léger, Philip Martin). Names: Chausey McCormick, president; Morton Neumann, collector
- 78.29 Art Institute of Chicago, 1953–1955
1953, two sculpture by Roszak lent to the Sculpture of the Twentieth Century exhibition, news release from the Institute. Pierre Matisse letter introducing the art of Alfred Manessier, drawings by Miró and Roszak (eventually purchased) and a painting by Manessier sent on approval. May letter from Pierre Matisse on Sailors' Barracks by de Chirico. Florence by Philip Martin on loan at the Society for Contemporary American Art exhibition. Pierre Matisse contributes to the Culberg Fund. December, Pierre Matisse mentions the first American exhibition of Riopelle's work. 1954, two bronzes by Roszak lent to the LXI American Exhibition of Painting and Sculpture, one, Whaler of Nantucket, was purchased by the Institute. Five drawings by Roszak went to Paris on an exhibition organized by the Institute, one purchased by Mr. Rich. 1955 acquisition of L'action enchainée by Maillol. Receipts of paintings sent back on behalf of Mr. Block (Derain, Picasso). Some letters on an unknown doctor from Chicago who had Pierre Matisse send three gouaches by Miró to the Institute for him to decide on and never got in touch with them. Names: Hugh Edward, assistant curator
- 78.30 Art Institute of Chicago, 1956–1958
1956, Mr. Samuel Marx buys a Marini bronze and lends it to the Institute. The Institute acquires a watercolor by Roszak (Flying Vulture). 1957 acquisition of Juanita Obradors by Miró for the Winterbotham Collection, letters, receipts. News release from the Institute on the appointment of Mrs. Kuh, Curator of Paintings and Sculpture. 1958, shipping receipts of a Marini sculpture from Mr. Marx. Included Annual Report, 1955–1956.
- 78.31 Art Institute of Chicago, 1959–1964
1959, acquisition of Portrait of a Man by Giacometti. Hearth by MacIver lent to an exhibition of American painting and sculpture. 1960, March by MacIver is invited to the LXIV American Exhibition. Acquisition of a ceramic sculpture by Miró, letters, agreement. 1962, two pieces by Roszak invited to the LXVI American Exhibition. 1963, one watercolor and one drawing from the estate of Kay Sage Tanguy donated to the Institute. Sculpture by Giacometti Colonel du Roll (Col. Rol‐Tanguy?) on consignment at Pierre Matisse Gallery. 1964 acquisition of Patience by Balthus and painting by Giacometti, Annette. Letters, receipts, invoice. Names: Mr. Silvain Wyles, donor; John Maxon, director of Fine Arts; A. James Speyer, curator Twentieth Century Art; Mr. Leigh Block, chairman of the Advisory Committee on Twentieth Century Art; Joseph Shapiro, chairman, Exhibition Committee
- 78.32 Art Institute of Chicago, 1965–1976
1967, Femme by Miró/Artigas lent to the Sculpture: A Generation of Innovation which was eventually bought and donated to the Institute. 1968 acquisition of Oiseau Solaire by Miró. 1968, Henri Matisse's drawing of Professor Dewey lent to the Institute. 1969, Mason's The Crowd possibly on loan. 1974–1976, letters requesting provenance information or evaluations (Miró, Henri Matisse, Gromaire, Chagall). News clipping on the resigning of the Institute Director and his successor. Included are photographs of three works by Henri Matisse and one by Gromaire. Names: Allen Wardwell, curator, Primitive Art Department; Charlie Cunningham, director; Edwin A. Bergman, chairman of the Program Committee; Dennis Adrian, Department of Prints and Drawings
- 78.33 R Art Institute of Chicago, 1977–1987
Group of letters mainly on provenance or appraisal inquiries (Miró, Henri Matisse, Giacometti, Riopelle). 1978 correspondence related to the Centennial book on 100 masterpieces at the Institute for which Balthus and Chagall collaboration was needed. News clipping of the obituary for James Speyer (1986). Names: Mrs. Courtney Donnell, research assistant; James Alsdorf, chairman, Board of Trustees
- 78.34 Museum of Contemporary Art (Chicago), 1964–1987
1964 circular letter announcing the opening of the Museum. 1975, a Matta drawing on consignment for the III Benefit Auction was sold. 1979 letters related to the Balthus in Chicago exhibition to which Pierre Matisse was invited to give a presentation (Pierre Matisse declined, suggesting Mrs. Rosamund Bernier). Various letters asking for updated evaluations. Included photograph of a Matta drawing. Names: Edwin A. Bergman, president; Stephen Prokopoff, director; John Hallmark Neff, director (1980s); Judith Russi Kirshner, curator (1980s)
- 78.35 University of Illinois, 1949–1959
Letters, wires and receipts related to loans from Pierre Matisse Gallery.1949, works by Tamayo, Tanguy and Matta lent to the contemporary American paintings exhibition, Tanguy's Le malheur adoucit les pierres was awarded the Purchase Prize. letters, wires and receipts. 1950, paintings by Chagall, Lam, MacIver on loan. 1951, a painting by MacIver on loan to the spring show. 1953, works by Tanguy and Roszak on loan to the annual exhibition, Roszak's piece, The Migrant, was purchased by the University. 1955, works by Roszak, Tanguy and Riopelle on loan. 1957, loan of Prow of the Day and, in 1959, Parterre by Riopelle. Names: James D. Hogan, Department of Art
- 78.36 Krannert Art Museum (University of Illinois), 1960–1980
Letters on loans to the exhibitions of contemporary American painting and sculpture (MacIver, Roszak), provenance inquiries and request of permission to use photographic material under Pierre Matisse Gallery copyright. A 1965 letter mentions the problematic state of a painting by Riopelle. Catalogue dedication exhibition, 1961. Names: Cecil V. Donovan, director; Allen S. Weller, director (from 1960)
- 78.37 Assorted organizations, 1975–1985
First National Bank of Chicago letters asking for the evaluation of Chagall's mosaic Four Season. Art‐in‐the‐Center, Inc., asking for an evaluation of a ceramic that Miró made for Chicago. International Surrealist Exhibition, Chicago. Terra Museum of American Art. Article from ARTnews, May 1987 on Chicago's Art.
- 78.38 Assorted universities, 1966–1977
1967 letter asking to submit an important sculpture for possible acquisition (Marini, L'idea del cavaliere) from Northern Illinois University. 1960, letters from Southern Illinois University related to a loan of Derain works for an exhibition and, in 1965, invoice‐voucher for the purchase of Picasso's rug Ombres and MacIver drawing Comme boisson?. 1966, letters from the University of Chicago on the provenance of Giacometti's Head, 1928, in the collection of Mrs. Lillian Florsheim. Also in 1977, letters related to works by Butler and Miró offered for purchase. Names: Ben P. Watkins, curator, Department of Art, Mrs. Gordon E. Schmierer, research assistant, Department of Art; Catharine Lee Keefe, curator, the David and Alfred Smart Gallery
- Subseries: Indiana
- 78.39 Indiana University (Bloomington), 1944–1972
1945 paintings by Derain, Miró, Chagall, Henri Matisse on loan to the French Painting of the Twentieth Century exhibition. 1946, drawings by Henri Matisse, Miró, Matta, Lam on loan. Request of photographs of Chagall works for an article entitled Psychoanalytic approach to Chagall's painting. 1947, the University acquires a Dubuffet book. 1951, works by Miró, Matta and Lam on loan for exhibition. 1957, loan of a painting by MacIver and a sculpture by Giacometti. 1960, loan of sculpture by Roszak and Butler. 1967, the University acquires a drawing by Henri Matisse. 1968 and 1972, letters referring to interviews given by Pierre Matisse on the sculpture of Henri Matisse and the works of Tanguy (the latter on tape). Included catalogue of The Shapes of Recent Sculpture, 1960. Names: Henry R. Hope, chairman, Fine Arts Department; Albert Elsen, associate professor of Art History
- 78.40 John Herron Art Institute (Art Association Of Indianapolis, Indiana), 1941–1965
Letters, wires and receipts related to loans from Pierre Matisse Gallery. 1942, loan of a de Chirico for The Horse in Art exhibition. 1949, loan of Chagall's The Wedding. 1951, one sculpture by Giacometti. 1954, Miró's The Dancer on loan to the Children's Holiday Carnival of the Art exhibition. 1955, group of eight paintings on loan for the Contemporary American and European Oil Paintings exhibition. 1958, Aquarium by MacIver. 1964, Figure in Space by Reg Butler on loan to the Painting and Sculpture Today acquired by the Association. Includes news clipping on the nomination in 1965 of the new director and a reproduction of a Modigliani belonging to the Institute. Names: Wilbur D. Peat, director; John E. Brown, Curator of Education
- 78.41 Unsorted, 1966–1987
- Subseries: Iowa
- 78.42 Des Moines Art Center, 1958–1971
Letters and receipts on loans. 1958 loan of MacIver's Spring Snow. 1960, MacIver and Riopelle on loan to The Painting of Light exhibition. 1965 loan of a sculpture by Marini and a painting by Miró, later purchased by the Art Center. Letters requesting appraisals on Henri Matisse's Woman in a white dress and a Picasso painting. Included are one photograph of a Picasso painting, catalogue of the First Showing of Paintings, Gouache, Pastels and Drawings by Joan Miró exhibition at Pierre Matisse Gallery. In the letter dated November 20, 1965 Pierre Matisse gives provenance details about Miró's Femmes, oiseau, étoiles sent to the Art Center which doesn't appear in the "very incomplete" Dupin book. Names: Denys P. Mayer, director (1950's); Eva Ingersoll Gatling, acting director (1960); Thomas S. Tibbs, director (1961); Donald M. Halley, Jr., assistant director (1964)
- 78.43 R State University of Iowa, 1945–1987
Letters, wires and receipts on works on loan to the University Art Gallery. 1945, La lumière, la solitude by Tanguy and L'unité absolue by Matta on loan at the Ist Annual Exhibition. 1946, paintings by Tanguy and Matta at the Iowa Summer Show. 1947, loan of 11 paintings by Matta; eight paintings to the Iowa Summer Show. 1948, the University purchases Miró's A drop of dew falling from the wing of a bird... loaned with a group of other six paintings to the IV Iowa Summer Show. 1949, Man pointing by Giacometti on loan to the V Iowa Summer Show. 1950, loan of five paintings. 1954, loan of a MacIver for the Summer Show. 1958, two paintings by MacIver on loan at the XX Annual Fine Arts Festival. 1964, purchase of a drawing by Butler, previously loaned for exhibition. Correspondence related to the appraisal of a ceramic by Chagall and request of evaluation of Miró's A drop of dew... and Henri Matisse's Blue interior with two girls. Names: Lester D. Longman, Head of the Art Department
- Subseries: Kansas
- 78.44 Assorted institutions, 1977–1989
- Subseries: Kentucky
- 78.45 J.B. Speed Art Museum, 1956–1975
Letters of inquiries about various artists and their art, especially Butler, whose work was exhibited at the Museum in 1963. Names: Paul S. Harris, director (1950s); Addison Franklin Page (1960s)
- Subseries: Louisiana
- 78.46 Middle American Institute, Tulane University (New Orleans), 1938–1940
Pierre Matisse and Mr. Blom corresponding about pre‐Columbian publications and objects. List of publication available in 1938 from the University. Also two copies of the publications catalog. Names: Frans Blom, director
- 78.47 New Orleans Museum of Art, 1986
- 78.48 Isaac Delgado Museum of Art, 1948–1959
Letters related to an exhibition of French paintings held in 1949 to which Pierre Matisse Gallery lent seven paintings. Circular letter from the Museum (1959). Later becomes the New Orleans Museum of Art Names: Alonzo Lansford, director
- Subseries: Maine
- 78.49 Museum of Art of Ogunquit, 1953, 1958
Letters of request for loans. In 1958, two paintings by MacIver lent to the summer exhibition. Names: Robert Laurent, director (1953); Henry Strater, Trustee
- 78.50 Assorted, 1966, 1981
- Subseries: Maryland
- 79.01 Baltimore Museum of Art, 1933–1949
Letters on loans to or purchases by the Museum. 1935, the Museum acquires four etchings by Quintanilla (one as a gift to the San Diego Museum). 1937 correspondence on a Maya exhibition to which Pierre Matisse loaned three pieces. 1941, a mobile by Calder sent to the Industrial Design exhibition. 1942 loan of three works by Van Gogh. 1944 loan exhibition of works by Chagall for the Member Room at the Museum; the piece called Le solitaire was sold. 1945 loan exhibition of MacIver's works. 1946 loan of 20 African objects. 1949, Giacometti's plaster Man Pointing donated to the Museum by Mrs. May. Also receipt of a Giacometti drawing gift of Pierre Matisse. Included photograph of the Member's Room for Modern Art. Names: Adelyn D. Breeskin, curator of print; R.J. McKinney, director; Geltrude Rosenthal, general curator
- 79.02 Baltimore Museum of Art, 1951–1964
1952, Pierre Matisse requesting permission to reproduce Henri Matisse paintings belonging to the Museum in a book on Henri Matisse portraits. 1956, the Museum loans a MacIver to Pierre Matisse Gallery. 1957, letters mentioning an early polychrome plaster by Giacometti (1930) purchased by Mrs. May "...many years ago..." 1959–1963, letters, agreements and various receipts to and from the Rental Gallery where works by Dubuffet, Giacometti, Butler, Miró, Saura, Butler, Millares, MacIver, Marini, Rivera, Riopelle, Etrog, Calliyannis, Lam, Mason and Roszak were, at different times, given on consignment. 1960, letters, forms, receipts related to the Baltimore Museum choice of Roszak's work for the Venice Biennale. Purchase of a copy of Constellation by Miró and Breton. In 1964, two Henri Matisse paintings on loan to the 1914 exhibition. Included a catalogue of the Museum Director's Choice exhibition at the Sales and Rental Gallery. Names: Mrs. and Mr. Albert Lion, collectors; Charles Parkhurst, director (1960's); Victor Carlson, curator of Prints and Drawings (1964)
- 79.03 Baltimore Museum of Art, 1965–1978
1965–1972, letters, agreements and various receipts to and from the Rental Gallery where works by Saura, Francis, Butler, Millares, MacIver, Rivera, Riopelle, Etrog, Calliyannis, Lam, Mason, Hantaï and were, at different times, given on consignment. In 1968, Henri Matisse's Fleur de neige on loan to the From El Greco to Pollock... exhibition. In 1972, sale, through the Museum, of Miró's Female torso to Edward Gallagher. 1971–1972, letters related to a projected book by Paul Bianchini on Henri Matisse drawings to be published in Paris to which Victor Carlson is contributing. Included news clipping of the Henri Matisse exhibition in Baltimore in 1976; invitation to the Guggenheim Museum for the opening of a 1979 Matisse exhibition including works from the Cone Collection. Also photocopy of an article about the exhibition. One photograph of a Matisse drawing. On a letter dated April 26, 1971 there is a reference to a gift from Pierre Matisse to be presented at the Accession Committee meeting. Names: Jane Harrison Cone, associate director; Tom L. Freudenheim, director (1972)
- 79.04 Baltimore Museum of Art: Damage of Floating Tower by Roszak, 1966
Letters, claim forms and receipts among Pierre Matisse Gallery, the Baltimore Museum, the shipping company Santini Bros. and the insurance company Fireman's Fund American in relation to a damaged Roszak piece that was lent to the Museum.
- 79.05 Baltimore Museum of Art, 1985–1989
1986, formal invitation to the reopening, after renovation, of the Cone Wing. Invitation card to Matisse, The Spirited Line: Works on Paper from the Collection exhibition. Various portfolio, official and informal letters from the Board of Trustees announcing Pierre Matisse nomination to became a National Trustee of the Museum. Names: Margot W. Milch, president, Board of Trustees
- 79.06 Baltimore Museum of Art, 1987–1988
- Subseries: Massachusetts
- 79.07 Fogg Art Museum, Peabody Museum of Archaeology and Ethnology, 1931–1946
Letters introducing new acquisition at Pierre Matisse Gallery, especially tribal art, wires and loans receipts. 1934 loan of two Dufy watercolors. Correspondence between Pierre Matisse and Mr. Pleasants on the use of an article of his as the introduction of a Pierre Matisse Gallery tribal exhibition. 1937 loan of the Beggar Boy by Picasso. 1938, Pierre Matisse sends 50 drawings [Cinquante Dessins] by Henri Matisse as a gift to the Fogg Museum Library. 1940, two pre‐Columbian pieces on loan. 1940, two drawing by Picasso sent on approval, one was purchased. Names: Edward W. Forbes, director; Paul J. Sachs, professor; Agnes Mongan; John Seymour Thacher, assistant director, Fogg Museum of Art; Frederick R. Pleasants, Alfred M. Tozzer, Peabody Museum; Mr. Edgell; Mr. Hofer; Mr. Arthur Sacks, collectors
- 79.08 Fogg Art Museum, 1949–1988
Letters, wires concerning loans or provenance information. 1951, three works by Miró on loan to the Modern Painting exhibition (pieces selected by Meyer Schapiro and Robert Motherwell). 1960, a painting by Saura donated to the Museum by David Thompson. 1971, request for provenance of pieces belonging to the Pulitzer Collection and, in 1984, the Maurice Wertheim Collection. Names: Frank Anderson Trapp; John Coolidge; Charles Chetham; Gary Tinterow, guest curator
- 79.09 Harvard University (Cambridge), 1956, 1985
1956, letters related to an exhibition of Le Corbusier paintings at the Graduate School of Design. 1985 letter requesting information on a print by Miró. Names: Joseph Zalewski, chairman of the Exhibition Committee
- 79.10 Harvard University Art Museums, 1950–1955, 1984
1950, six Miró's paintings on loan to the Busch‐Reisinger Museum. 1984 request of appraisal for a Henri Matisse sculpture. Names: Charles L. Kuhn, curator, Busch‐Reisinger Museum
- 79.11 Massachusetts Institute of Technology [MIT] (Cambridge), 1951–1974
Letters related to loaned exhibitions. In 1954, ten paintings lent to the Tanguy/Sage exhibition. 1956, loan exhibition of Miró paintings. Names: Pricilla Green, museum assistant
- 79.12 Institute of Contemporary Art (formerly Boston Museum of Modern Art, then the Institute of Modern Art), 1936–1944
Letters, wires and receipts on loans. 1936 loan of a Calder mobile. 1938, January, loan of Study for la dance to The Ballet exhibition. October, one Picasso and two Henri Matisse paintings on loan. 1939 loan of Henri Matisse's gouache La Danse, reinterpretation 1938, and a Balthus paintings to the Sources of Modern Painting exhibition. 1940, letters and wires on the preparation of a Rouault exhibition traveling to the Phillips Collection and the San Francisco Museum of Art. 1943, January works by Chagall, Matta and Tanguy on loan to the Europe in America exhibition. In March, loan of ten gouaches by Lam, November loan of watercolors, etchings and La Bible illustrée by Chagall to a religious show. 1944 loan of Poèmes de Mallarmé illustrated by Henri Matisse. Included news clipping of the Henri Matisse/Picasso show. Invitation cards to the same and The Ballet exhibition. Names: Thomas N. Metcalf, vice‐president; James S. Plaut, director; Alfred J. Barr, Museum Advisory Committee
- 79.13 Institute of Contemporary Art (formerly Boston Museum of Modern Art, then the Institute of Modern Art), 1945–1982
Letters, wires and receipts on loans. Group of letters related to a seminar in 1960 on Dubuffet, conducted by Mr. Messer of the Institute of Contemporary Art [ICA]. 1945 loan of works by Chagall to the Soutine/Chagall exhibition. 1946, three pieces by Miró lent the Four Spaniard exhibition. September 1958, Giacometti's Standing Figure on loan to the Boston Art Festival. 1965, two Riopelle and a Stubbing on loan to the Painting without a Brush exhibition. Includes Modern Art and The American Public a statement by the ICA (1948), one catalogue of the Painting without a Brush exhibition. News clipping of the appointment of Sue Thurman as director of ICA (1961). Names: Anne L. Jenks, curatorial assistant; Sue M. Thurman, director; Elisabeth Sussman, curator
- 79.14 Mount Holyoke College (South Hadley), 1933–1934, 1945, 1957
1933, letters related to the purchase of The Faun by Masson. 1945, Pierre Matisse gives $50.00 to Le Foyer Fund. 1957, one painting by MacIver lent to the Hellenic Landscape exhibition. Names: Geltrude S. Hyde, chairman of Department
- 79.15 Museum of Fine Arts, Boston, 1933–1959
Letters from Pierre Matisse offering recently acquired works of art, mainly French modern and tribal pieces. 1933, the library of the Museum acquires Cinquante dessins by Henri Matisse. 1936 loan of a drawing by Van Gogh. 1957, Miró's Blue Moon on loan to the European Masters of Our Time exhibition. The first group of letters by Pierre Matisse are addressed to Mr. P. Hendy, Barclay's Bank, London Names: Philip Hendy, curator of Paintings; Charles Cunningham, assistant curator of Paintings; Mr. Fukushita; G.H. Edgell, director; Perry F. Rathbone, director (1955)
- 79.16 Museum of Fine Arts, Boston, 1960–1983
Letters, wires and receipts related to purchases or loans. 1961 purchase of Morning Cart by MacIver and, in 1962, of Head of Diego, painting by Giacometti. 1965, Marini's Dancer on loan to the Museum. 1969, Miró accepts the nomination as an International Patron of the Museum. Pierre Matisse refused it. Included a photograph of Marini's Dancer and news clippings on the change of the Museum's director. Names: Hanns Swarzenski, curator
- 79.17 Rose Art Museum, Brandeis University, 1960–1963
Letters requesting loans or information about artists. Letters related to the projected acquisition of a sculpture by Butler. Included an article from the Art Journal, winter about the Museum. Names: Sam Hunter, Director
- 79.18 Smith College Museum of Art, 1932–1939
Letters, wires and receipts of works on loan or acquired by the Museum. Also various letters from Pierre Matisse offering recently acquired works of art. 1932, Henri Matisse's Interior in Nice on loan. 1935, Femme et enfant by Picasso and Still Life by Henri Matisse on loan. The Museum purchases an Aztec head (culture uncertain) and a Calder mobile. Six paintings on loan to the Rouault exhibition. 1936, the Museum lends the Mexican head to Pierre Matisse Gallery. Portrait of a young girl by Miró and de Chirico's Le doux après midi on loan (the de Chirico was reserved for the Museum but eventually refused due to the condition of the canvas). 1937 loan of two African statuettes, one of which was purchased. Names: Jere Abbott, director
- 79.19 R Smith College Museum of Art, 1940–1982
Letters, wires, receipts related to works on loan to or purchased by the Museum. 1940 purchase of an illustrated book by Rouault. 1943 acquisition of Chagall's The Dream, Flight of the bird over the plain II by Miró on loan. Letter, dated 1948, from Pierre Matisse to Mrs. Morrow related to a piece by Chagall probably meant to be donated to the Museum. 1949, loan of The City by MacIver. 1964, a bronze and a painting by Giacometti sent on consideration then returned. 1973 purchase of MacIver's Subway Lights. 1977, Loren MacIver donates Sleep in memory of Lloyd Frankenberg. Names: Frederick Hartt, acting director (1946); Robert O. Parks, director (1956); Professor Charles Chetam, director (1964)
- 79.20 Springfield Art Museum [George Walter Vincent Smith Art Museum], 1932–1951
Letters and wires related to loans or offering artworks for purchase. 1933, the Museum purchases Cinquante dessins by Henri Matisse. 1935, two paintings by Henri Matisse and one by Masson lent to the French Paintings from Cézanne to the Present. Names: Josiah P. Marvel, director; John Lee Clarke, Jr., director (1935)
- 79.21 Worcester Art Museum, 1931–1941
Correspondence on pieces either offered for purchase or sent on consideration (Maillol, tribal and Persian art). 1931, circular letter from Pierre Matisse announcing the opening of the new gallery. 1936, letters among Mr. Taylor, Pierre Matisse and Mrs. Edward Thayer in reference to two paintings by Henri Matisse in the Dial Collection. 1941 letters and receipts related to the loan of Wounded Clown by Rouault. Names: Francis H. Taylor, director; Benjamin H. Stone, secretary; Charles H. Sawyer, director (1940)
- 79.22 Worcester Art Museum, 1942–1970
1942 acquisition of two pre‐Columbian pieces. Related letters and receipts. December loan of two drawings by Van Gogh. 1943, the Museum lends Henri Matisse's Nasturtiums to Pierre Matisse Gallery. 1947, MacIvers's Snow Fall lent to the Biennial Exhibition of Contemporary American Painting. 1948, Tamayo's Flames on loan to the American Painting of Today exhibition. 1951, Tanguy's Feu à éclats on loan. 1952, Shad blow by MacIver on loan. Photograph of Le cerf blessé attributed to Chagall. Newsletter from the Museum on the retirement of Daniel Catton Rich. Names: Daniel Catton Rich, director (1958)
- 79.23 Farnsworth Museum, Wellesley College, 1951–1973
1951, letters, wires and receipts related to the loan of a group of paintings by MacIver. 1973 letters and receipts related to An Early Spring returned to MacIver after an extended loan. Black‐and‐white photograph of MacIver's An Early Spring.
- 79.24 Assorted galleries, 1976, 1970
- 79.25 Assorted museums, 1969, 1935, 1986, 1966, 1967, 1976, 1979
Letters asking for evaluations or provenance information and requesting loans from Pierre Matisse Gallery, from Addison Gallery of American Art (Andover, 1969), Berkshire Museum (Pittsfield, 1935), Danforth Museum of Art (Framingham, 1986), De Cordova Museum (Lincoln, 1966), Isabella Stewart Gardnet Museum (Boston, 1967), and Williams College Museum of Art (Williamstown, 1976 and 1979).
- 79.26 Assorted schools and universities, 1979, 1984, 1968, 1973, 1968, 1973, 1977,
Letters requesting appraisals or loans from Pierre Matisse Gallery. Also inquiries on Henri Matisse's works. Senders are Assumption College (Worcester, 1979), Boston Athenaeum library (1984), Boston University (1968), Greenfield Community College (1973), Sterling and Francine Clark Art Institute (Williamstown, 1968, 1973, and 1977). Names: Sam Hunter (Sterling and Francine Clark Art Institute)
- Subseries: Michigan
- 79.27 Cranbrook Academy of Art, 1942–1944, 1950–1954
June 1942 correspondence re proposed visit to Cranbrook by Pierre Matisse. Correspondence re pieces sent on approval. 1943 purchase of Mayan vase. 1943 correspondence re sale to Mr. Richard Davis of a Modigliani drawing for his personal collection. Handwritten checklist. 1950 correspondence re requests for loans. May 25, 1951 Giacometti circular letter. December 22, 1952 letter re provenance of Picasso's Portrait of Pedro Manach [Petrus Manach]. Cables, shipping receipts.
- 79.28 Detroit Institute of Arts, 1931–1936, 1940–1944
Correspondence re various works in inventory of Pierre Matisse Gallery and possible purchase by Detroit Institute of Arts. Correspondence re works sent on approval. September 16, 1932 re Fifty Drawings [Cinquante Dessins] by Matisse. January 12, 1933 re purchase by Mr. Edsel Ford of bronze by Despiau. Booklet, Exhibition of Flower Paintings, May 15–June 23, 1940. Requests for loan exhibitions. 1941 correspondence re purchase of Ivory Coast figure by W. Hawkins Ferry. 1941, re purchase of Gromaire Basque Landscape watercolor. 1941, re purchase of African mask by Mr. John S. Newberry. December 1941, re purchase of watercolor by Léger by Institute. May 15, 1943, re purchase of Cambodian bronze Garuda as a memorial to Albert Kahn, trustee of the Institute. May 1944 correspondence re possible purchase of Matta by museum.
- 79.29 Detroit Institute of Arts, 1947–1952, 1956–1960
1947 correspondence re loans to exhibition of French paintings. 1948/1949, correspondence with John Newberry re his Chagall painting sent to Pierre Matisse Gallery on consignment. 1950 correspondence re loans to European sculpture exhibition. May 25, 1951, circular Giacometti letter. 1951/1952 correspondence re Institute purchase of Giacometti's Man Walking on a Sunny Morning. Check stub for sale of Philippe Martin's The House of Symbol. 1957 correspondence re Friends of Modern Art exhibition and loan of Butler. 1958 correspondence re sale of MacIver Flowertime. 1960 correspondence re sale of Giacometti, Annette Seated, 1958 oil on canvas. Shipping receipts, cables.
- 79.30 Detroit Institute of Arts, 1962–1967, 1970, 1976–1979, 1982, 1986
1962 correspondence re purchase of Reg Butler bronze, Study for Figure Bending II (1959), and two drawings (1957). 1962, re purchase of Butler's Manipulator, which had been in Hirshhorn collection. Page from 1963 Spring Bulletin showing drawing by Butler. One 8 x 10 black‐and‐white of Butler drawing. 1976 request for information needed to organize an exhibition at the Institute. With Xerox of brochure of exhibition An Exhibition of Paintings by Henri Matisse and Georges Rouault (November 27–December 15, 1934) at the Society of Arts and Crafts, Detroit. Request for evaluation of Dubuffet L'Oisif, with Polaroid photo. Acknowledgement of Gift of Woman in Tub, drawing by Henri Matisse from Pierre Matisse. With 8 x 10 black‐and‐white photo. Requests for insurance values. Shipping receipts.
- 79.31 Detroit Institute of Arts: Matisse Coquelicots cut‐out and window, 1969–1978
Correspondence about the possible acquisition of Coquelicots cut‐out and window. Correspondence between Frank Perls and Pierre Matisse. The window gets damaged during transport from France to New York. Correspondence with the restorer Paul Bony Pierre Matisse offers the Detroit Institute of Art a drawing of Henri Matisse, Femme au Tub as a donation. The acquisition is finally approved in 1978. Marguerite Duthuit declares in writing that there are only two windows having been executed, one will down go to the Detroit Art Institute. The other is to go to a French museum or art institute. Press clippings, black‐and‐white glossy photographs of the damaged window. Annual Report of the Detroit Institute of Arts, 1977–1978. Some of the correspondence is in French
- 79.32 R Detroit Institute of Arts: Miró outdoor sculpture, 1980–1982
Correspondence re possible purchase by Institute of large Miró sculpture to be placed outdoors. May 2, 1980, letters to Jay Belloli with Xerox copies of photographs of Miró sculptures. Price list of sculptures. May 16, 1981, re purchase of Miró Femme (1969). Sheet with drawings by Pierre Matisse of Miró sculptures, with Xerox copies.
- 79.33 University of Michigan, 1946, 1949–1950, 1953–1954, 1956, 1958–1960, 1962
1946, re purchase of Riopelle by University of Michigan. Correspondence re possible loans to exhibitions. Various requests for photographs. Correspondence re artists in residence program. 1958 correspondence re purchase of Giacometti bronze, Standing Figure (1957). 1959/1960 correspondence re purchase of Roszak's Invocation II (1951). Cables, shipping receipts.
- 79.34 Assorted institutions, 1942–1948, 1953, 1956, 1962, 1968–1970, 1975–1977, 1982, 1987
- Subseries: Minnesota
- 79.35 Minneapolis Institute of Arts, 1931–1933, 1935, 1944, 1947–1949
Correspondence between Pierre Matisse and Minneapolis Institute of Arts re various works of art for sale. Receipts, shipping receipts. April/May, 1947 correspondence re loans from Pierre Matisse Gallery to the 20th Century French Painters exhibit at the Institute. June 10, 1947 from Richard Dawis to Pierre Matisse re decision of Mr. and Mrs, John Cowles to purchase Derain Self‐Portrait from Pierre Matisse after museum committee decided not to purchase it for the Institute. June 27, 1947, re purchase by Pierre Matisse Gallery of Still Life from Mrs. Lydon King, patroness of the Institute. With handwritten letter from Mrs. King to Catherine Viviano. Cables.
- 79.36 Minneapolis Institute of Arts, 1950–1955
May 24, 1951, circulating Giacometti letter. October 1951 correspondence re invitational print show. November and December 1953, correspondence re purchase of Chagall painting, and correspondence re damage during shipment to Chagall (with ten 8 x 10 black‐and‐white photos of damage). Further correspondence re damage to painting on its return to Minneapolis after restoration in New York City. 1955 correspondence re purchase of Maillol marble sculpture by Institute. Shipping receipts, cables.
- 79.37 Minneapolis Institute of Arts, 1956–1959, 1967–1968, 1970, 1972, 1975, 1978, 1983–1984
Correspondence with Richard Davis, Assistant Director. 1956, desires to procure a Giacometti for Institute. 1957 correspondence re loans to American Paintings: 1945–1957 exhibition of MacIver paintings. Copy of letter to Joseph Hirshhorn re MacIver painting on loan from his collection. Copy of review of exhibition from the Minneapolis Star. January 1959 correspondence re sale to Institute of Miró's Head of a Woman (1938) as a gift of Donald Winston. Requests for authentications. 1983 correspondence with George Keyes, Curator of Paintings, re framing of Matisse's Boy with Butterfly Net, including one 8 x 10 black‐and‐white photograph. Requests for insurance values.
- 79.38 University of Minnesota, 1937–1972
1938 correspondence re loans to University of Minnesota's international exhibition. 1948–1951, various correspondence re loan exhibitions at the University. 1952 correspondence re print exhibition. 1953/1954 correspondence re sculpture exhibition. 1955 correspondence re Fish Forms in Art exhibition. 1967 correspondence re Balthus exhibition at the University. Various receipts, cables, photograph orders, et cetera.
- 79.39 Walker Art Center, 1940–1949
- 79.40 Walker Art Center, 1950–1955
May 23, 1951, Giacometti circulating letter. Correspondence re loans to Miró exhibition in 1952. Handwritten list of proposed paintings. 1953 correspondence re loans to exhibition The Classic Tradition in Contemporary Art. 1954 correspondence re Reality and Fantasy exhibition. Copy of letter sent directly to Tanguy re loan for same. Loan forms, cables, receipts, et cetera. 1955 copies of "consignment" agreements for works loaned to the Sales and Rental Gallery. 1955 correspondence re Expressionism exhibition. Paper yellowed and brittle
- 80.01 Walker Art Center, 1956–1959
- 80.02 Walker Art Center, 1960–1987
Catalogue of Recent Acquisitions, 1960 through 1962. May 15, 1963, Pierre Matisse invited to be guest speaker at opening dinner of Collectors Club. Correspondence re purchase of Miró's Tête er Oiseau (1967 bronze) in June 1970. 1972/1973 correspondence re acquisition by Center of Miró bronze Standing Woman, which was in part a gift of the Pierre Matisse Gallery. 1973 request for insurance valuation on Marini Horse and Rider with 8 x 10 black‐and‐white photograph. Various insurance valuations.
- 80.03 Unsorted institutions, 1946–1948
- Subseries: Missouri
- 80.04 Saint Louis Museum, 1933–1988
Correspondence attempting to interest the museum in various works of art. Correspondence re loans to exhibitions of works by Chagall, Tanguy, MacIver, 1941. 1942 correspondence negotiating for purchase of Chagall, Snowing. February 13, 1953, re purchase of Matisse drawing for Saint Louis Museum by Richard Wil for the Miriam O'Malley Memorial. November 26, 1954, from Perry T. Rathbone to Pierre Matisse with condolences on the death of Henri Matisse. January 4, 1955 letter to Eisendrath, Jr. assistant director, containing paragraphs of letter by Chagall re his painting, The Temptation. April 18, 1958 missive from Pierre Matisse with information on Miró, Portrait of J.F. Rafols and Femmes, etoiles, echelle d'envasion. 1965 correspondence re purchase of MacIver, Boat Train (1965). February 14, 1979 missive from Jack Cowart suggesting exhibition of photos taken by Matisse while on holiday. Names: Dave Thompson, Perry T. Rathbone (director), Joseph Pulitzer, Jr., Sydney M. Shoenberg, Jr., Charles Buckley, Jack Cowart
- 80.05 Stephens College (Columbia), 1948–1953
1948 correspondence re Stephens College's inauguration of a contemporary art collection. Correspondence re purchase of Matta, Mouth Orange. Various correspondence re paintings sent on approval, et cetera, cables.
- 80.06 Washington University (Saint Louis), 1945–1974
1945 correspondence between Mr. H.W. Janson and Catherine Viviano at Pierre Matisse Gallery, re purchase of New Guinea piece and Miró Composition (1933). January 1946, Washington University writes to purchase Tanguy, La Tour Marine. January 8, 1947, provenance information on all works purchased by the University. Requests for insurance valuations, catalogues, permission to quote, et cetera.
- 80.07 William Rockhill Nelson Gallery of Art, 1933–1984
December 1933, invitations to opening and dinners at William Rockhill Nelson Gallery of Art. May 16, 1942, re Rouault in museum collection which at one time belonged to Pierre Matisse and led to his showing the artist in his gallery. May 24, 1951, Giacometti circulating letter. November 29, 1952, letter re two Matisse paintings with interesting history and background from Pierre Matisse. December 6, 1952 missive from Paul Gardner with two black‐and‐white 8 x 10 photographs of the Kali Pierre Matisse had admired. 1956 purchase of Miro, Women at Sunrise. 1958, re purchase of Tanguy, Au hasard du soliel. Clipping. Names: Etta Cone, Morton G. Neumann
- Subseries: Nebraska
- 80.08 Joslyn Art Museum (Omaha), 1956–1967
- 80.09 University of Nebraska art galleries, 1946–1963
Correspondence re loans to exhibitions of Chagall, Tanguy, MacIver, Matta, Tamayo, Giacometti, Roszak, Miró, Phillip Martin, Riopelle. 1956 correspondence re possible purchase of MacIver. Cables, receipts, et cetera.
- Subseries: New Hampshire
- 80.10 Assorted institutions, 1957–1973
Loan request from the Currier Gallery of Art. December 16, 1963, provenance request from the Currier Gallery of Rouault painting, Wounded Clown.
- Subseries: New Jersey
- 80.11 Assorted institutions, 1946–1987
Requests for loans from the Newark Museum and the New Jersey State Museum. Sale of Butler bronze to Princeton University, 1970. Sale of MacIver Byzantium to Princeton, 1971. Copy of 1972 letter to MacIver about the acquisition of Byzantium. 1976 correspondence with Patrick Kelleher of Princeton re provenance and casts of the Butler sculpture The Bride.
- Subseries: New Mexico
- 80.12 Assorted institutions, 1968–1978
- Subseries: New York
- 80.13 Albright Art Gallery, 1931–1939
October 27, 1931 letter from Pierre Matisse to William Hekking, Director, announcing the opening of his gallery of "French art" in the Fuller Building. March 1933 correspondence between Pierre Matisse and Gordon Washburn re exhibition at Albright Art Gallery of Matisse's Fifty Drawings [Cinquante Dessins] exhibition. October 17, 1933, re Albright Art Gallery's desire to commission a statue by Maillol. 1934/1935, extensive correspondence between Pierre Matisse and Washburn re possible purchase of Degas La Coiffure by Albright museum. 1936 correspondence re pictures to be exhibited in the "Knox Room" (room of contemporary art). Handwritten thank‐you from Ruth Washburn for evening in Paris. Written aboard Holland‐America Line ship, New Amsterdam. 1939 correspondence with Alexina Matisse re possible purchase of La Musique by Matisse. October 27, 1931 letter torn, taped, disintegrating; place in protective sleeve (Xerox copy available)
- 80.14 Albright Art Gallery, 1940–1949
March 9, 1940 letter to Washburn persuading him to hang the small Tanguy Pierre Matisse is sending in his office to live with it for a while. Very informative about Tanguy. April 25, 1940, Washburn to return the Tanguy. Writes his reactions to Pierre Matisse. May 28, 1940 missive to Washburn, history of La Musique by Henri Matisse. Half page from catalogue showing Harlequin's Holiday by Miró. July 1942 Gallery Notes brochure. Extensive correspondence between Pierre Matisse and Gordon Washburn and then Dr. Ritchie about pieces sent on approval to Museum and then returned to gallery or purchased.
- 80.15 Albright Art Gallery, 1950–1959
May 25, 1951, Giacometti circulating letter. October 7, 1953 letter from Edgar Schenck, Director, to Roszak re return of his sculpture after consideration. Handwritten note to Pierre Matisse from Roszak on reverse. 1955 correspondence re purchase of Picasso, Nude Abstraction. December 9, 1958, to Gordon Smith with history of Courbet painting formerly of collection of Henri Matisse, La source de la Loue.
- 80.16 Albright Art Gallery, 1960–1969
1960 correspondence between Pierre Matisse, Albright Art Gallery, and Gino Severini re Severini painting that was in the collection of Henri Matisse and which the Gallery was interested in purchasing. Includes handwritten letter, April 21, 1960, from Severini to Pierre Matisse.
- 80.17 Albright‐Knox Art Gallery, 1970–1979
February 6, 1971 missive to Gallery with biography of Simon Hantaï. September 28, 1971, informative letter from Pierre Matisse re Courbet in Albright‐Knox collection. June 20, 1972 information from Pierre Matisse re Tanguy, Divisibilie Indefinie. Pierre Matisse to Robert Buck re Hantaï, with black‐and‐white photograph, untitled, 1960, 99½ x 83¼ inches. September–December 1975 correspondence re research on various pieces in Gallery collection. November 29, 1976 correspondence re provenance of various pieces in the Gallery collection. March 15, 1978, Pierre Matisse offers to donate part of purchase price of Giacometti oil, Tall Figure (1947), to the Gallery. Newspaper clipping of the obituary of Gordon Smith, New York Times (March 22, 1979). Clipping from Smithsonian magazine (December 1979) of "A Warm Setting for Modern Art in Buffalo."
- 80.18 R Albright‐Knox Art Gallery, 1980–1987
One copy of Auction '80, November 15, 1980, from Albright‐Knox Art Gallery with two copies of invitations to auction. 1983 correspondence re provenance of Miró and Hantaï in Gallery collection. 1985 black‐and‐white photograph of Giacometti, Man Walking and request for insurance value. 1986 black‐and‐white photograph of Chagall's Woman and Haystack and request for insurance value. Various insurance value requests. 1988 copy of invitation to Seymour Knox's 90th birthday party.
- 80.19 Albright‐Knox Members Gallery loans, 1962–1974
Correspondence re loans to Members Gallery, loan receipts, shipping receipts, et cetera. February 6, 1974 letter to Mrs. Jellinek from Pierre Matisse re Miró's Sobreteixims catalogue and works. Includes correction to plate number 3. Correspondence with Members Gallery policies, et cetera.
- 80.20 Albright‐Knox Art Gallery: Damaged frames, 1965–1966
Correspondence between Pierre Matisse, the Albright‐Knox Members Gallery, and Albert R. Lee & Co., Inc. (insurance adjusters), re damage to some frames on works loaned to the Members Gallery.
- 80.21 American Academy of Arts and Letters, 1971–1976
- 80.22 American Federation of Arts, 1938–1977
February 24, 1938, correspondence between Pierre Matisse and editor of AFA Exhibition magazine re non‐appearance of reviews of exhibitions at the Pierre Matisse Gallery. Correspondence re exhibitions. 1948, abstract and Surrealist American art; 1949, New Directions in Modern Painting, correspondence and letter of February 25, 1949 to Mrs. John Pope as to why Dubuffet should be represented despite the strong reaction he has caused. 1951 correspondence re damage to Giacometti sculpture scheduled to tour with the Tradition and Experiment in Modern Sculpture exhibition. 1957, Forged in Fire sculpture exhibition, Roszak piece to be included. 1957, AFA Preview: Younger Europeans, Philip Martin to be included. 1959, Corcoran Biennial, featured MacIver Lagoon. 1960, Contemporary Sculpture, featured Butler and Roszak. 1960, Canadian Watercolors and Graphics, featured Riopelle (including disintegrating Xeroxes of clippings). 1960, Private Worlds, featured Dubuffet (including Xerox of clipping). 1960, Abstract Expressionist Drawings, featured Millares and Saura. 1961, Hayter and Atelier 17, featured prints by Matta and Tanguy. AFA newsletter from January 1962. 1962, Dealers' Choice featured Miró.
- 80.23 American Museum of Natural History, 1931–1960
- 80.24 Brooklyn Museum, 1932–1986
Correspondence, receipts, re sale of Riopelle, Eskimo Mask of 1959. Correspondence re loans to exhibitions, including MacIver Hellenic Landscape sent to Mexico City by United States Information Agency and organized by the Brooklyn Museum, 1958. May 27, 1954 missive to Pierre Matisse from Frederick R. Pleasants, Curator of Primitive Art, re exhibition they are organizing on "African Negro Art," the first in New York City since 1935 at the Museum of Modern Art. December 21, 1951, receipted invoice for sale of MacIver, Fire Escape. May 25, 1951, circulating Giacometti letter. 1943 correspondence re "French War Relief" show. Pierre Matisse borrows African art. List with prices. 1933, Brooklyn Museum purchases copy of Cinquante Dessins for $15.00. Clipping of "Henri Matisse: the Brooklyn Museum Exhibits His Prints & Drawings."Brooklyn Daily Eagle (Sunday November 3, 1935)
- 80.25 Buffalo Museum of Science, 1939–1941
- 80.26 College Art Association of America, 1932–1958
- 80.27 Cornell University, 1950–1981
- 80.28 Solomon R. Guggenheim Foundation: Correspondence, 1938–1944
- 80.29 Solomon R. Guggenheim Museum: Correspondence,
, 1950–1959
October 17 and 20, 1953, correspondence with James Johnson Sweeney re his preface to Pierre Matisse Gallery 1953 Miró catalogue. March 1955, correspondence re purchase of three Giacometti bronzes. April 20, 1955, Pierre Matisse to Sweeney re dispute over dates of Giacometti Spoon Woman and Man and Woman. May 1955, correspondence re Giacometti exhibition at Guggenheim (list of paintings on loan, collections, insurance values, et cetera). February 7, 1956 letter to Pierre Matisse from Henri Allen Moe of Guggenheim Foundation, re application for fellowship from Pierre Clerk. 1957–1959, correspondence re loans and acquisitions by the Museum.
- 80.30 Solomon R. Guggenheim Museum, 1960–1969
April–June 1960, correspondence between Pierre Matisse and James Johnson Sweeney re Guggenheim's Spanish exhibition (Before Picasso After Miró). March–April 1961 correspondence re exhibition of Miró/Artigas ceramic at Guggenheim. January 16, 1964 letter from Lawrence Alloway, Curator, announcing Giacometti as winner of fourth Guggenheim Award exhibition. November 11, 1964 missive from Thomas Messer to Pierre Matisse re space for Miró mural. December 8, 1965 missive from Messer to confirm oral understanding re commission to Miró for ceramic mural in memory if Alicia Patterson Guggenheim. Handwritten letter from Miró to Patricia Matisse re mural for Guggenheim.
- 80.31 Solomon R. Guggenheim Museum, 1970–1991
Various research requests from Guggenheim curators 1970 to 1991. April 28, 1978 missive from Pierre Matisse to Vivian Barnett re casting of Giacometti, The Nose. Press release re administration of Peggy Guggenheim Collection. Press release re resignation of Margit Rowell. June 30, 1982 correspondence from Maud Lavin and 8 x 18 black‐and‐white photo of Matta's Chaque et. Clippings.
- 80.32 Solomon R. Guggenheim Museum: Loan exhibitions, 1954–1968
Loan forms (bound together) form 1954 to 1957. Loan forms, receipts, et cetera from 1960 to 1968. September 13, 1963 copy of letter to Galerie Maeght re Giacometti's participation in the fourth Guggenheim Award exhibition. Three 8 x 10 black‐and‐white photographs (Balthus's La Tasse de Cafe), Saura's Untitled, and Riopelle's La Danse). October 1, 1963 missive from Lawrence Alloway re Mirós feeling that he should not be in exhibition since he had won in the past. October 10, 1963, Alloway writes that Miró as agreed to take part "hors concours" with Blue II. December 26, 1963 press release re fourth Guggenheim International Awards exhibition. December 14, 1964 press release re Giacometti's winning top prize. May–September 1968, correspondence re Rousseau, Redon, and Fantasy exhibition. October 7, 1968 missive from Thomas Messer with clippings re Rousseau, Redon, and Fantasy exhibition.
- 80.33 The Jewish Museum, 1970
- 80.34 Metropolitan Museum of Art, 1932–1972
November 3, 1933 letter to William Ivins trying to interest him in some Van Gogh drawings which had been in the collection of Ambroise Vollard. May 2, 1935, Pierre Matisse mentions in a letter to Alan Priest, that the gallery is located on the 17th floor of the Fuller Building. December 23, 1949, receipted invoice to the Museum for purchase of MacIver painting, Paris for $1200. May 11, 1954 letter to Theodore Rousseau concerning Museum's purchase of Derain painting. Also letter from Galerie Louise Leiris (formerly Galerie Kahnweiler) re title of piece. June–September 1955, correspondence re Museum's purchase of Tanguy's Mirage Le Temps from the Tanguy Estate. Correspondence (April/May 1968) with Blaise Gautier, Minister of Cultural Affairs, Henry Geldzhaler of Metropolitan Museum of Art, Mr. Claude Virch of Metropolitan re correct position of central panel of Riopelle's Les Masques in the Painting in France exhibition. Correspondence re Museum interest in 1001 Nights by Matisse. Letter to Henry Geldzahaler explaining why it was not reproduced in the Verve's special issue (vol. IX nos. 35 and 36) of the "Dernieres Oeuvres de Matisse" 1950 to 1954. Newspaper clippings. Names: Henry Geldzhaler, Blaise Gautier
- 80.35 Metropolitan Museum of Art, 1973–1987
1974, clippings, letters, et cetera relating to death of Theodore Rousseau, Jr., vice director of Metropolitan Museum of Art. Correspondence re loan of Matisse Serpentine to Museum. Willem de Kooning Major Pictures catalogue from Janie C. Lee Gallery, Houston. Contains memorial to Tom Hess. Correspondence with Museum re their questions pertaining to the writing of the catalogue for the Lehman Collection. 1985, two issues of The Column, an in‐house publication of the Museum (November/December 1986 and January/February 1987). Names: Charles Boyer, Henry Geldzhaler
- 80.36 Metropolitan Museum of Art: 20th century art department,
, 1979–1987
October 6, 1980, correspondence re Balthus exhibition in planning stages. June 21, 1983 letter of receipt for final payment on Balthus Mountain. March 20, 1984 receipt for purchase of Setsuko. June 20, 1985 re Pierre Matisse's election to "Benefactor" status. November 20, 1986 letter to Sabine Rewald re Matisse drawing of "Nono," also a Xerox copy of excerpt from Pierre Schneider book on Matisse. September 17, 1986 correspondence with Gail Stavitsky of 20th Century Art, Metropolitan, re works in the Gallatin collection that were acquired from the Pierre Matisse Gallery. February 20, 1987, reply from Pierre Matisse. Invitation to opening of the Patron's Lounge. Numerous clippings: "Talking About the 20's & All That Jazz" by Barbara Rose and William S. Lieberman, Vogue (November 1979); "Listen! Is That Really The Voice of the Met Museum?" by Grace Glueck, New York Times (March 18, 1984; "Anne M. Lantzius Become a Bride" by Kay Larson, New York Magazine (August 26, 1985); "The Met Goes Modern" Kay Larson, New York Magazine (December 15, 1986); "Art: Unexpected Juxtapositions in the Met's New Wing" by John Russell, New York Times (January 21, 1987); "Another Temple for Modernism," Time magazine (February 2, 1987); "Amazing Space," Vogue (February 1987); "On the Right Wave Length," Avenue Magazine (February 1987); "The Metropolitan's New Wing," Art/World (February 15, 1987); "The Art World," New Yorker (February 23, 1987); "The Met's Master of Modern," W magazine (march 23, 1987); "New York's Metropolitan Enters the 20th Century with a Bang," Smithsonian (May 1987); William Lieberman, Interview magazine, undated. Names: Dominique Bozo, John Pope‐Hennessy, A.E. Gallatin.
- 80.37 Metropolitan Museum of Art: Gift, 1984–1988
Correspondence re gift of Balthus Mitsou book and Miró Painting. May 8, 1984 letter of appraisal from Lucien Goldschmidt for Balthus. May 3, 1984 letter from Pierre Matisse to Bill Lieberman re history of Miró work, Painting, being donated in memory of Pierre Loeb. Receipt for gift of painting. Letter of appraisal of Miró from Art Dealers Association. June 28, 1984 letter of thanks from Philippe de Montebello. February 1985, correspondence with Museum and with Harry Abrams Publishers re reissue of Balthus book. Metropolitan Museum March/April 1988 calendar with mention of gift of Miró painting (two copies).
- 80.38 Metropolitan Museum of Art: Publicity, 1973–1985
- 81.01 Munson‐Williams‐Proctor [Institute], 1950–1964
May 24, 1951 circular Giacometti letter. December 8, 1982 reserve Miró work. 1954 correspondence re MacIver works and their interest. Catalogue: The Figure in Contemporary Sculpture, 1956. Various loans receipts, correspondence re exhibition loans, et cetera. Two yearbooks: 1960–1961 and 1963–1964
- 81.02 Museum of Modern Art, 1931–1949
June 8, 1931 letter from Alfred Barr, Jr. re upcoming Matisse exhibition. Extensive correspondence re Matisse exhibition. Copies of letters from Barr to Mme Duthuit. August 25, 1931 copy of letter to Mme Duthuit posing a long list of questions for Henri Matisse re his paintings. March–October 1935 correspondence re loans of African pieces from collection of Charles Ratton. November 1, 1940 missive to Pierre Matisse from Mrs. Porter Chandler. Museum has established a small committee to attend and report on gallery openings. November 1942 correspondence about damage to Ferren plaster loaned to Museum. October 19, 1943 letter to Soby with postscript re Chagall and donors who paid his passage to the United States. September 1, 1944 missive to Pierre Matisse asking him to write to Georges Duthuit to clarify Rouault's relationship with the Fauves. February 7, 1946, Museum compiling list of Chagalls in American museums and public collections for inclusion in a book. Includes preliminary list. Cables. Names: (July 8, 1931) Sembat family, Guillaume and Rosenberg, Stein; (June 12, 1931) Hans Seligman, M. Bignou, Mr. Goodyear; (August 3, 1951) Oskar Mill, Scofield Taylor, Dial Magazine See also Museum of Modern Art: Alfred Barr, 1931–1956
- 81.03 Museum of Modern Art: Alfred Barr, 1931–1956
August 2, 1931, correspondence re Matisse exhibition at the Museum of Modern Art. Henri Matisse to pick painting to replace L'Idole which was damaged slightly. April 26, 1938, Museum of Modern Art purchases Balthus's Portrait of Joan Miró and His Daughters Dolores. Painting to be sent back to Balthus to be finished. July 16, 1942 missive from Pierre Matisse to Barr with information from Henri Matisse re picture in the Museum collection, "flower piece" of 1902. January 27, 1943 from Pierre Matisse re his Matisse exhibition opening on February 8, 1943. October 1, 1943 letter requesting photos and information on available paintings to show to an anonymous institution that is interested in making a purchase. Also copy of list of paintings and Miró December 8, 1942 announcement with notes re above on back. August 1, 1946, July 19, 1946, long letters to Pierre Matisse with questions pertaining to Barr's book on Matisse (an updated and expanded version of his 1931 monograph). October 27, 1948 missive from Barr re purchase of Giacometti's Femme Egorgee. Missive of December 12, 1948 re same. December 16, 1948 re Giacometti and Museum reserves Balthus's Le Salon. January 16 and 18, 1950, correspondence re Museum of Modern Art purchase of Roszak's Spectre of Kitty Hawk. June 19, 1950 long list of questions for Pierre Matisse re Barr's book on Matisse. July 25, 1950, more questions for book with handwritten notes added to letter by Pierre Matisse. August 15, 1950, more questions in response to Henri Matisse's answers. August 23 and September 10, 1950, Barr's response to Pierre Matisse's answers and more questions and handwritten notes from Pierre Matisse. December 28, 1951 re Barnes Foundation La Danse and who was responsible for getting the measurements wrong. Attached copy of February 2, 1932 letter from Barnes to Pierre Matisse. October 27, 1955 re purchase of Matisse Back and its placement on the Museum of Modern Art garden wall. Names: (August 15, 1942) Pierre Loeb, Lam; (August 1, 1946) Bill Lieberman; (October 31, 1949) "Miss" Bragazzi; (August 1, 1950) John Rewald See also Museum of Modern Art, 1931–1949
- 81.04 Museum of Modern Art: Exhibitions, 1931, 1933–1934, 1936–1937, 1939
- 81.05 Museum of Modern Art: Exhibitions, 1940–1941
- 81.06 Museum of Modern Art: Exhibitions, 1942–1943
- 81.07 Museum of Modern Art: Exhibitions, 1944–1945
- 81.08 Museum of Modern Art: Exhibitions, 1946–1949
- 81.09 Museum of Modern Art: Purchases, 1946–1961
Correspondence, invoices, receipts, et cetera, pertaining to the sale of artworks to the Museum of Modern Art or to private collectors via the Museum's art lending service. Also bills, receipts, et cetera, to the Museum for photographs purchased from the Pierre Matisse Gallery.
- 81.10 Museum of Modern Art: Art lending service, 1951–1959
Correspondence from Andrew Ritchie, director Department of Painting and Sculpture (April 30, 1951) concerning lending service, its goals, et cetera. Copies of contracts, waivers, riders, individual consignment agreements, et cetera. November 29, 1951, from Mrs. John D. Rockefeller, III, re progress of lending service, need for certain frames, et cetera. September 12, 1952 end‐or‐year progress report from Andrew Ritchie purchase orders for work of art sold. Memo to Museum for sale of Riopelle watercolor (May 13, 1954). Form Walter Bareiss, chairman lending service, update on various policies, et cetera. September 30, 1954 re sale of Miró gouache, Red Sun. May 18, 1955 re sale of Giacometti, Plaster Head. June 22, 1955 re sale of Tanguy, Ascaper. November 4, 1955 re sale of Riopelle gouache to Nelson Rockefeller. December 4, 1957 re sale of Dubuffet. February 27, 1958 re sale of Riopelle, Cuivre Nocturne. April 4, 1958 re sale of Riopelle Eskimo Maske #3373 to Ambrose Doskow. January 9, 1959 copy of annual report to trustees of Museum. July 25, 1959 re sale of Dubuffet, Where I Walk. Names: Ambrose Duskow (April 4, 1958), Nelson Rockefeller, Mrs. John D. Rockefeller
- 81.11 Museum of Modern Art, 1950–1957
Brochure, "A Statement on Modern Art" (March 1950). 1951/1952 general correspondence re Pierre Matisse's loan to traveling Matisse exhibition. March 4 1952 letter from Margaret Miller, Associate Curator, with postscript re "No‐Glare Locomotive Searchlight" designed by a Frenchman named Matisse. May 10, 1952, Mr. Leigh Block has purchased Matisse's Sailor II on tour with Museum show. 1953 correspondence re Rouault exhibition organized by the Museum of Modern Art and sent to other locations. Pierre Matisse loans The Wrestler. August 11, 1954 letter from Barr re Matisse painting Pierre Matisse found doubtful which Mr. Henry Pearlman was interested in buying. September 3, 1954, Barr to Pierre Matisse re Pearlman affair. Also writes that he understands that Henri Matisse has accepted a (confidential) commission from Nelson Rockefeller to design a memorial window for Mrs. John D. Rockefeller, Jr. Invitation to the preview of 15 Paintings by French Masters of the 19th Century and to meet the Ambassador of France. 1955 correspondence re Museum of Modern Art Tanguy exhibition, loans, et cetera. September/October 1955 correspondence between Pierre Matisse and Alfred Barr re discovery of a fourth Back by Matisse and the Museum's interest in purchasing it. September 18, 1955 letter from Pierre Matisse to Barr re Back discovery and also about the family's plans for Le Regina, Matisse's apartment in Nice. 1956/1957 correspondence re loans to Balthus exhibit at the Museum of Modern Art. January 8, 1958, Museum agrees to loan Miró gouache for inclusion in portfolio of reproductions being made in Paris by Jacomet. Names: Samuel Marx, Nelson Rockefeller, Walter Arensberg and Fiske Kimball of Philadelphia Art Museum, Leigh Block
- 81.12 Museum of Modern Art, 1958–1959
Undated letter about inspection of paintings on loan after Museum fire. Various correspondence re loans by Pierre Matisse. April: cables re safety of artworks after fire. Cleaning report on Pierre Matisse's loan of Seurat, Barbizon. December 23, 1958 letter to Bill Lieberman re upcoming MoMA Miró exhibit about which Pierre Matisse had been consulted. Including tentative list of Miró paintings for exhibit. February 18, 1959 list of Miró works to be requested from Pierre Matisse. Various loan forms. Clippings re fire at the Museum.
- 81.13 Museum of Modern Art: Exhibitions, 1950–1954
- 81.14 Museum of Modern Art: Exhibitions, 1955
- 81.15 Museum of Modern Art: Exhibitions, 1956–1957
- 81.16 Museum of Modern Art: Loan exhibitions, 1958–1973
Correspondence, loan forms, receipts, et cetera, re various exhibitions at Museum of Modern Art. 1959: Joan Miró at MoMA [Museum of Modern Art] and LACMA [Los Angeles County Museum of Art]. 1959: Dubuffet retrospective. 1959: Documenta II. 1960: The New Spaniard, for which Pierre Matisse loans works by Rivera and Millares. 1962: The Last Works of Henri Matisse: Large Cut Gouaches at MoMA, Art Institute of Chicago and San Francisco Museum of Art ("seen by 220,783 visitors"). May 28, 1962 missive from Monrow Wheeler to Pierre Matisse. 1963/1964 correspondence re "Art in Embassies" program. Pierre Matisse loans Roszak's Prometheus I to Warsaw. March 1, 1963 missive from Mrs. John D. Rockefeller re success of "Thirtieth Anniversary Building and Endowment Campaign." 1962/1963: The U.S. Government Arts Projects: Some Distinguished Alumni, Pierre Matisse loans Roszak and MacIver. 1966/1968: Art in the Mirror, Pierre Matisse loans Miró, Personnage in the Night. 1971–1973: Surrealism, Pierre Matisse loans Prince of Blood by Matta. Names: Porter McCray, Monroe Wheeler, Dorothy Miller
- 81.17 Museum of Modern Art: New Images of Man exhibition, 1959–1960
Loan forms and correspondence re Museum of Modern Art's exhibition, New Images of Man. Pierre Matisse loaned Dubuffet, Butler, Giacometti & Roszak. October 6, 1959 handwritten letter from Roszak re article in Times Magazine supplement on New Images of Man. Also contains "The Museum of Modern Art — Final Report — Twenty‐fifth Anniversary" from 1956 and "The Museum of Modern Art — A Pictoral Chronicle" from 1964. Clippings from the New York Times, New York Herald Tribune, New York Times Magazine.
- 81.18 Museum of Modern Art: Art lending service, 1960–1967
October 25, 1960, copy of annual report to the trustees of the Museum. Three (different) copies of "Art Lending Service" brochures. Art lending contracts and consignment agreements, various receipts et cetera.
- 81.19 Museum of Modern Art, 1960–1969
May 12, 1960, Pierre Matisse gives permission for Chagall's Musician to be reproduced as a Museum of Modern Art Christmas card. Correspondence between Pierre Matisse and copies of correspondence with Saura and Millares re New Spanish Painting and Sculpture exhibition July 1960 to December 1961. September 14, 1960 carbon copy of Pierre Matisse's handwritten letter to Alfred Barr, Jr. explaining the break in his relationship with Dubuffet. August 4, 1965 letter from Peter Selz with copy of Giacometti's letter of July 24, 1965, giving Mr. Selz the drawing of Chair as a gift. Press release re appointment of Bates Lowry as director of Museum (May 12, 1967). April 1968 correspondence re Museum of Modern Art's exiled artists exhibition. May 3, 1968 missive re request of a loan of a Matisse to Sargent Shriver and the American Embassy in Paris.
- 81.20 Museum of Modern Art: The Art of Assemblage, 1961
Correspondence re exhibition at Museum of Modern Art and traveling to Dallas and San Francisco. Pierre Matisse asked to loan Miró, Dubuffet, Duchamp, and Man Ray. July 26, 1961 memo to Patricia Matisse re exhibition from gallery staff person (?). May 17, 1962, Associate Curator William C. Seitz to Pierre Matisse, "As we expected the reactions of the press to this show were varied and in some cases extreme." Various loan forms.
- 81.21 Museum of Modern Art: Max Ernst exhibition, 1961
- 81.22 Museum of Modern Art: Tanguy and Magritte exhibition, 1961, 1962
October 4, 1961 letter from Waldo Rasmussen, Museum of Modern Art, requesting loans for exhibition which the Museum is organizing and which will travel on a one year tour in the U.S. and Canada. Loan forms. December 6, 1962 letter from Waldo Rasmussen with itinerary of exhibition. Various delivery receipts, et cetera. December 19, 1962 letter from Frank O'Hara to Pierre Matisse re minor damage to his Tanguy painting, Girl with Red Hair and report from restorer, Mr. Felrath Hines.
- 81.23 Museum of Modern Art: 15 Canadian Artists, 1963–1965
Correspondence re circulating exhibition 15 Canadian Artists. Pierre Matisse to loan sculpture, Le Nid by Riopelle. Exhibition prepared by Museum of Modern Art and Canadian Council and, in the U.S., also under the auspices of the International Council of the Museum of Modern Art, of which André Malraux is an honorary member. Correspondence with Seattle Art Museum re return of sculpture after its last tour. Loan receipts. Names: André Malraux
- 81.24 Museum of Modern Art: Giacometti loans, 1965–1966
Various undated handwritten notes and lists, one tag "Femme Leoni No. 4/6", list "Giacometti loans." One Pierre Matisse Gallery catalogue, Six Studies of Henri Matisse by Alberto Giacometti. Four 8 x 10 black‐and‐white photographs: Henri Matisse, June 30, 1954, Henri Matisse, July 6, 1954, Yanaihara, 1956, Femme XIII, 1964. One announcement for Giacometti: Sculpture, Paintings and Drawings, July 17 to August 30, 1965 at the Tate Gallery, London. Lists of Giacometti loans, sources, publications, et cetera. Copies of Museum correspondence with Giacometti, Maeght, et cetera. Copy of letter from Giacometti (nearly illegible). Correspondence re insurance values, location of pieces. June 8, 1965 missive from Peter Selz, curator stating that 2,000 people attended the opening of the Giacometti exhibition. Loan receipts. Loan agreements. Clippings.
- 81.25 Museum of Modern Art: Balthus, (1966 November–1967 November)
Correspondence pertaining to Balthus exhibition being organized by Museum of Modern Art [MoMA]. Pierre Matisse to loan Sleeping Girl II (pencil) and Portrait of Cathy. Loan forms and two black‐and‐white photos (small) of Portrait. Also list of Balthus oils and their collectors. Also names and addresses of collectors sent my Pierre Matisse to James T. Soby. April 26, 1966 copy of letter from Waldo Rasmussen, MoMA, to François Mathey, Conservator, Musées des Arts Décoratifs re their proposed Balthus exhibition. MoMA agrees to loan Portrait of Miró. Two copies of MoMA announcement of Balthus exhibition. Names: Frank O'Hara, James Thrall Soby
- 81.26 Museum of Modern Art: Dada, et cetera, 1967–1969
May 18, 1967 loan request letter from William Rubin for Dada exhibition. November 13, 1967 missive to Pierre Matisse from Bill Rubin to Mr. Gaffe with his proposal for shipping his painting La Naissance du Monde to the Museum without any possibility for damage. Correspondence with Mr. Gaffe. Letter from Pierre Matisse to Bill Rubin, October 13, 1967, re his visit with M. Gaffe on the Museum's behalf. November 9, 1967 letter from M. Gaffe to Mr. Rubin re loan of painting. November 24, 1967 letter from Pierre Matisse to M. Gaffe again exhorting him to loan the painting to the Museum of Modern Art. December 15, 1967 letter from M. Gaffe to Mr. Rubin finally consenting to loan the Miró painting. Correspondence with curator of Nelson Rockefeller Collection re loan of Miró to Jacques Dupin for his exhibition which overlaps with the Museum of Modern Art exhibition. March 6, 1968 letter from Lefebvre‐Foinet re transport of Gaffe Miró paintings and others. March 29, 1968 conservation report on Tanguy Fantomas. Loan forms, eight small black‐and‐white photos of works, clippings.
- 81.27 Museum of Modern Art: Acquisition of Matisse's La Piscine, 1973–1977
Letters from Bill Rubin to Pierre Matisse also to Gene Thaw. Description of the execution and advise for handling of the artwork. Black‐and‐white glossy photographs. Newspaper clippings. Some of the material is in French
- 81.28 Museum of Modern Art, 1970–1979
June 19, 1971 press release of restructuring at Museum of Modern Art and appointment of Bill Lieberman. 8 x 10 black‐and‐white of Miró collage and request for insurance value (June 22, 1972). March 12, 1973 invitation to an evening in tribute to Alfred Barr, Jr. 1972/1973 correspondence from Carolyn Lancher re Miró exhibition and provenances, et cetera. Invitation card to preview of Seurat to Matisse, June 11, 1974. February 10, 1976, from Alicia Legg, poor quality photocopy of revised edition of Sculpture of Matisse catalogue. March 30, 1976 copy of letter from William Rubin to Grace Glueck of the New York Times re Museum of Modern Art purchase of Matisse's Swimming Pool. 1979 invitation card to Art of the Twenties. Clippings, magazine articles, et cetera. Includes the Museum of Modern Art Biennial Report, 1974–1976.
- 81.29 Museum of Modern Art: Publicity, 1970–1991
- 81.30 R Museum of Modern Art, 1980–1985
February 22, 1980, copy of memo from Elderfield to Rubin re showing of Balthus The Guitar Lesson. Various requests for insurance values. March 3, 1982 missive to Bill Rubin re saga of Giacometti drawing stolen from van after fire and put up eventually for sale at Christie's. Now recovered and given to the Museum of Modern Art. April 11, 1983 letter to Pierre Matisse from Varied Directions, Inc. concerning his appearance in a film to appear on PBS re history of the Museum of Modern Art. Inaugural Annual Fund, 1984–1985 brochure. February 5, 1985 list of valuations, Xeroxes of photos, et cetera, for the Museum of Modern Art's five year re‐evaluations. 1985–1986 letter from John Elderfield requesting Pierre Matisse's help in re‐evaluating works in the department.
- 81.31 Museum of Modern Art, 1986–1993
- 82.01 Museum of Primitive Art, 1959–1975
November 20, 1962 letter of thanks to Pierre Matisse for the $200 contribution in response to letter of September 25, 1962, from John de Menil re carbon‐14 testing of African sculptures to determine true age. Two copies of bulletin re Raymond Wielgus Collection (November 23–February 5). Museum brochure, announcement for Ancient Peruvian Textiles (October 12–November 14 [no year]). Clipping from Newsweek, July 18, 1966, "Rocky Road to Art." Receipt for two works taken for carbon‐14 testing by Museum. List of Museum publications.
- 82.02 National Art Foundation, 1955–1956
- 82.03 New School Art Center, 1964–1973
Miscellaneous correspondence re exhibition loans. Invitation for cocktails (May 10, 1966) in honor of Manfred Schwartz. Announcement of exhibition, Humor, Satire, and Irony (October–December 1972). Also poster from same. Xerox of clipping from New York Post by Emily Genauer, Art and the Artist, November 3, 1973.
- 82.04 New York Studio School, 1964–1975
The New York Studio School is founded by Mercedes Matter who becomes dean of the school. It opens in 1964. In 1974, Pierre Matisse joins the board of trustees. Two brochures about the school. In 1975, Pierre Matisse donates Riopelle's Roi de Thule to the school for an auction.
- 82.05 New York Studio School, 1976–1980
- 82.06 Rochester Memorial Art Gallery, 1931–1960
Various miscellaneous correspondence re loans et cetera. April 8, 1932 missive to Gertrude Herdle, director, Pierre Matisse is offering a reduction of ten percent for Europe. List of African and pre‐Columbian pieces with prices. May 24, 1951, circular Giacometti letter sent to director.
- 82.07 Sarah Lawrence, 1955–1959
- 82.08 State University of New York, 1953–1956
- 82.09 Vassar College Art Gallery, 1933–1974
Miscellaneous correspondence re loans to exhibitions. Two postcards. June 2, 1939, the college orders Passion by Rouault for $225. March 25, 1940 re Cirque book for $200/ September 27, 1940, Pierre Matisse to Agnes Rindge: "The news is very confusing. Father is safe and as well as can be expected in the south of Franc..." 1950 list of MacIver paintings sent for exhibition at Vassar. Copy of invoice dated December 24, 1949 for MacIver painting, Spring Forest. Checklist of MacIver exhibit at Vassar, 1950. October 9, 1963 request for valuation of Rouault's Tête de Pierrot with small, black‐and‐white photo of the same. Two catalogues of Art since 1923, honoring Agnes Rindge Claflin (Mary 5–June 16, 1965). Black‐and‐white photo of a painting belonging to Mrs. Malcolm Pitt which appears to be a fake Miró. Separate folder, "Vassar College — Khmere Bronze, May 1939 to April 1940," contains correspondence between Vassar, Pierre Matisse, insurance companies, et cetera, re Dieu Garuda, sent on exhibition to Vassar and damaged upon its return. Some papers torn and discolored
- 92.10 Whitney Museum, 1946–1991
1946 correspondence re Matta painting, Mouth Organ loaned to 1946 Annual Exhibition of Contemporary Art and was damaged. April 25, 1949 receipted invoice for Balthus, Le Salon, purchased by Mr. John Hay Whitney. November 29 invoice to Museum for MacIver's Venice and Tanguy's Fear. Checklist of MacIver painting for exhibition January 8 to March 1, 1953. March 17, 1953 letter detailing purchases from exhibition in 1953 with Pereira. Letter of January 29, 1960 concerning purchase of MacIver, Olive Grove in Greece by Mr. Prentice Bloedel. March 4, 1966 missive from Pierre Matisse to Associate Director re his contribution of Matisse drawing to Whitney for their auction sale. Clippings from the New York Times: "Whitney Museum Has Gala Opening," September 28, 1966 and "Lawyer Named Administrator of Whitney Museum." January 9, 1991 press release, "Appointment of New Director."
- 82.11 Assorted institutions in New York City, 1953–1974
Various miscellaneous correspondence. 1953 Barnard College re Pierre Matisse's contribution to the Spanish Scholarship Fund. Two clippings, New York Times, 1965 re Sam Hunter at the Jewish Museum and Kynaston McShine at the Jewish Museum. Catalogue of Westchester Art Society, 1965–1966. Clipping, New York Times, "Jewish Museum Finds New Director..." Names: Federico Garcia Lorca
- 82.12 Assorted institutions in New York State, 1959–1979
Various miscellaneous correspondence. April 16, 1959, New York University re purchase of Giacometti table lamps. 1968 catalogue from the New York State Council on the Arts. August 5, 1968 slide of Frank Lloyd Wright stained glass window, American Life Federation. February 21, 1975, Neuberger Museum re purchase of MacIver, Poissons d'avril. February 21, 1976, re Matisse drawings of Teeny Matisse Duchamp. Correspondence and three catalogues from Nassau County Museum of Fine Arts, 1978–1980.
- 82.13 Assorted institutions in New York State, 1980–1989
Various miscellaneous correspondence. May 1986, announcement, checklist and poster for After Matisse at the Queens Museum. March 6, 1989 to Deborah Evetts of Morgan Library re restoration of Duchamp Valise.
- 82.14 Unsorted materials, 1971–1987
- Subseries: North Carolina
- 82.15 Weatherspoon Art Gallery, University of North Carolina, 1964–1982
Various miscellaneous correspondence. Brochure, "Matisse Prints from the Weatherspoon Collection." January 28–March 10, United Virginia Bank Gallery, 1972. Brochure from Weatherspoon Art Gallery, 1980. April 16, 1981 letter from James Tucker, Curator, re Head of Pierre by Matisse sold at auction at Sotheby's and questions regarding its authenticity. Names: Frank Perls, Benjamin Cone, Etta and Claribel Cone
- 82.16 North Carolina, 1960–1987
- Subseries: Ohio
- 82.17 Cincinnati Modern Art Society, 1940–1954
Carious correspondence re loans, loan forms, receipts, et cetera. January 1942, correspondence re Calder exhibition. March 23, 1942, Marion Becker to Pierre Matisse, proud to say that they set up all 12 pieces of the Calders without benefit of the drawings that Pierre Matisse was to send. Includes a sketch of #12. 1943 correspondence re surrealist show at Society. Pierre Matisse promises Tanguy, Miró, Chagall, Matta. March 22, 1943, checklist of paintings with prices. Catalogue from Society, Twelve Surrealists. June 5, 1943, Pierre Matisse to Mrs. Becker to say that André Breton was very impressed with the preface she wrote for the Surrealist catalogue. June 30, 1949, Edward Dwight, director, to Pierre Matisse, Society can no longer afford a paid director. March 19, 1954, Mrs. Warner Atkins, president of the Cincinnati Modern Art Society announcing the opening of the Contemporary Arts Center to be located in the Cincinnati Art Museum.
- 82.18 Cincinnati Art Museum, 1932–1987
October 14, 1932, Pierre Matisse offers Cinquante Dessins exhibition to Museum. Correspondence re same. December 23, 1932 list of etchings and lithos with their prices sent. November 25, 1940, Walter Siple, director, invites Pierre Matisse to speak at the Museum. Pierre Matisse regrets. February 4, 1941 letter from Pierre Matisse to Siple re Derain's The Three Baskets. Various loan receipts. May 25, 1951, circular Giacometti letter. Correspondence, July 1982, re Miró mural, 1947 at the Terrace Hilton Hotel, Cincinnati with black‐and‐white photo. See also Artists: Miró, Joan, 1893–1983: Commissions: Terrace Plaza Hotel mural, Cincinnati, Ohio, 1947–1948
- 82.19 Cleveland Museum of Art, 1933–1949
1933, correspondence re Henri Matisse submitting print for consideration for presentation to Print Club and printing of same, et cetera. December 17, 1934, Pierre Matisse to Mr. Francis re gallery to move to new quarters next door to old ones. October 4, 1934, Pierre Matisse agent for Ratton Collection in U.S. October 30, 1935, William Milliken, director, to purchase several pieces from Ratton Collection, correspondence re same. March 21, 1936, Museum requests loan of Matisse and Picasso for exhibition celebrating 20th anniversary of Museum and centenary of city of Cleveland. November 1936, correspondence between Pierre Matisse and Museum concerning 10% federal tax on gold pieces purchased by Museum. October 10, 1938 request for loan of Matisse paintings, including Odalisque with Straight Back, which Pierre Matisse had lent to the World's Fair in Chicago. December 16, 1942 re purchase of three gold pieces from Ratton Collection. Copy of invoice February 10, 1949 for The Jungle by Rousseau. Names: Lionello Venturi, John Rewald, Monroe Wheeler
- 82.20 Cleveland Museum of Art, 1950–1977
January 21, 1950 letter to William Milliken re Henri Matisse. May 25, 1951 circular Giacometti letter to Museum. June 13, 1951 reply to Giacometti letter, no funds for modern sculpture. February 15, 1952, Henri Francis, Curator of Paintings, to Pierre Matisse re Matisse exhibition: "Last Sunday alone, between one and six o'clock there were over seven thousand people here." April 26, 1952 missive to Mr. Henry Francis re Matisse painting, Interior with Etruscan Vase. Interesting background information. Page from February 1961 bulletin re exhibit Ancient Art in Viet Nam (March 7 o April 9). December 1963 correspondence re Museum "friends" decision to present Museum with Roszak sculpture, Mandrake. December 14, 1964 thank you to Pierre Matisse from director Sherman Lee for gift of Kay Sage Tanguy oil, A Bird in the Room, 1955. Gift of the Executors of her Estate. Invitation to Museum dinner, June 13, 1966. Two clippings from the New York Times: "Warrant Said to Be Issued for Art World Figure" (June 21, 1984); "Cleveland Acquires a Key Picasso" (1975?). April 15, 1969 re Miró's doing a print for Print Club. October 23, 1976, long letter re history of Matisse oil, The Windshield. Names: Gordon Bunshaft
- 82.21 Cleveland Museum: Loans, 1931–1958
Miscellaneous correspondence re various loans to Museum. February 8, 1932 mention by Pierre Matisse of depression and need to accept losses. February 1932 correspondence re Matisse pastel offered for sale to Museum. June 5, 1933 letter to Henri Matisse (care of Pierre Matisse) requesting that he submit a print for consideration for the Print Club for 1934. July 25, 1933, Pierre Matisse answers for his father accepting invitation. Loan forms from 1932 to 1958 (bound together).
- 82.22 Cleveland Museum: 50 Years of Modern Art, 1966 April–September
April 27, 1965, Edward Henning, Curator of Contemporary Painting to Pierre Matisse. He is putting together a major exhibition of the most important works created during the past fifty years. Clipping from the New York Times, "Concerning the Questions of Quality" (June 12, 1966). Various loan receipts and miscellaneous correspondence re exhibition. Names: James Soby, McLane, John Hay Whitney
- 82.23 Cleveland Museum: Subject Matter in Contemporary Art, 1961 October–1962 April
Loan forms (Xerox copies, disintegrating). Correspondence, receipts, et cetera, re Subject Matter in Contemporary Art (January 30–April 8, 1962.
- 82.24 Columbus Gallery of Fine Art, 1937–1969
Miscellaneous correspondence re loans to various exhibitions including Tanguy, Riopelle, MacIver, and Utrillo. Six cables re various topics.
- 82.25 Contemporary Arts Center (Cincinnati), 1955–1964
Loan receipts, 1955–1959. Two clippings from Cincinnati Enquirer: "Art—An Enjoyable Investment" (December 10, 1959) and "Contemporary Art Center Show a Dandy." Announcement re "Contemporary Arts Center Rental Gallery." Brochure, "Auction of the 20th Century Art to Benefit the Endowment Fund of the Contemporary Arts Center" (1961). Newsletter (September 1964).
- 82.26 Allen Memorial Art Museum, Oberlin College, 1941–1963
Various correspondence re loans to exhibitions, including Butler, Giacometti, Roszak. May 20, 1966 correspondence between Pierre Matisse and Mrs. Chloe Young, Curator, re Chagall painting, Green Dream and mysterious appearance of signature and date on the painting. Checklist of paintings and prices offered to Museum, 1940 and 1941.
- 82.27 Toledo Museum of Art, 1936–1966
September 1936, Museum News bulletin of the Toledo Museum of Art, number 76. December 12 and 16, 1936 correspondence re purchase of Lurçat by a collector and Severini by the Museum. October 1, 1946 letter from director Godwin to Pierre Matisse re Spirit of Modern France exhibition. December 19, 1947, from Mr. Blake‐More Godwin to Pierre Matisse re desire of Museum to exchange small Tanguy (voted most likeable in the Spirit of France exhibition in 1946) for a large on more befitting of a Museum. May 23, 1951, circular letter on Giacometti and his sculpture. Various correspondence concerning loans to exhibitions.
- 82.28 Assorted institutions, 1956–1987
Miscellaneous correspondence with: East Cleveland Museum, 1962–1968; Akron Art Institute, 1958–1968; Kent State University, 1967–1968 (including brochure of Second Kent Invitational, 1968 and catalogue of First Kent Invitational, 1967); Dayton Art Institute; Butler Art Institute; Art Institute of Zanesville; Toledo Modern Art Group; Taft Museum; Dennison University; Ohio State University; Cleveland Center (re joint Fellini exhibition with Pierre Matisse Gallery).
- Subseries: Oklahoma
- 82.29 Philbrook Art Center, 1960–1968
Correspondence re loans to sculpture exhibition in 1962, Butler, Giacometti and Matisse. Correspondence re loans to Collectors Exhibition in 1962, Miró MacIver and Butler.
- Subseries: Oregon
- 82.30 Portland Art Museum, 1934–1940
General correspondence re various exhibitions. April 17, 1934, Museum buys book of Matisse drawings for $22.50. June 13, 1940 letter from Pierre Matisse to director with interesting information on works being loaned for exhibition. Matisse painting, Le Reve was showing at the French pavilion at the New York World's Fair in 1939. Exhibition booklet, Chinese Sculpture, July 15 to September 15, 1940. Booklet, Guide to the Exhibition of Old Master Paintings, July 15 to September 15, 1940. September 23, 1940 letter from Pierre Matisse to director Robert Davis re Rouault painting the Museum is interested in. Pierre Matisse explains he cannot lower the price because of the shortage of paintings due to the ware and it is "a matter of weeks, perhaps days, before this part of France will fall into the hands of the Germans." Booklet, Guide to the Exhibitions of the 20th Century Figure Paintings, July 15 to September 15, 1940. October 5, 1940 letter from Robert Davis, the Art Committee has approved the purchase of the Rouault, Judges.
- 82.31 Portland Art Museum, 1940–1976
Various miscellaneous correspondence re loans to exhibitions. November 4, 1942, Pierre Matisse to director Robert Tyler Davis, interesting discussion of how photographs "flatter" the subject. September 29, 1942, long informative letter to director Robert Davis from Pierre Matisse about Ancient American Art, includes a checklist of all pieces. May 20, 1950, Museum buys Venturi/Chagall book for $10.00. File contains disintegrating news clippings of reviews of ancient jewelry exhibition held at the Museum to which Pierre Matisse loaned several pieces, November 1952. Many papers stained
- Subseries: Pennsylvania
- 82.32 Carnegie Institute, 1934–1949
June 2, 1939, request for Miró for 1939 International. April 22, 1943 answer to Pierre Matisse's letter requesting the whereabouts of Balthus's Portrait of a Young Girl that was in the 1939 International. Copy of coverage of Painting in the U.S., 1947 by the New York Times (October 9 and 12, 1947). 1948 correspondence re Pierre Matisse's loans (Carrington, Chagall, Matta, Tamayo, Tanguy) to fall exhibition at Carnegie. December 8, 1948, Pierre Matisse writes to confirm sale of Matta, A Grave Situation to Earle Ludgin of Chicago. December 11, 1948 missive from John O'Connor, Assistant Director, with three 8 x 10 black‐and‐white photographs of fall exhibition. Three cables.
- 82.33 Carnegie Institute, 1950–1959
January 15, 1950, Pierre Matisse to Director Homer Saint‐Gaudens re whereabouts of Tanguys and Chagall, who Saint‐Gaudens is interested in exhibiting in International. June 2, 1952 letter from Pierre Matisse to John O'Connor, Jr., indicating that Miró wishes to be including in the "French School" at the 1952 Carnegie International. June 12, 1952, Pierre Matisse to John O'Connor re title of Miró painting and its meaning. February 25, 1953, Pierre Matisse to Gordon Washburn to say that Mr. Dave Thompson has been in the gallery and purchased two Mirós. March 2, 1954, Gordon Washburn to Pierre Matisse thanking him for Dubuffet book and saying he wished he could share enthusiasm for Dubuffet's art. September 9, 1955, Gordon Washburn asks Pierre Matisse to contact Mr. H.J. Heinz II re Giacometti bronzes since he has indicated an interest in purchasing one. September 17, 1955, Pierre Matisse to Gordon Washburn (from St. Jean). Mentions trip to Italy to see Marini, first trip since "we had that unfortunate accident." Discusses artists "bad boy" Dubuffet and Miró, who does not want to be in International. Mentions law suit he is involved in. September 28, 1955, Washburn to Pierre Matisse. Maeght has loaned a superb Miró painting to the International which he thinks may take first prize. March 5, 1958, handwritten from Washburn in Turin to Pierre Matisse, he has just visited Marini. Looking for sculpture for the International (first time sculpture will be exhibited). May 31, 1958, Washburn to Pierre Matisse (handwritten from Paris). He has been to see Miró who refuses to be shown in the International. Washburn tried to convince him that he can be shown without competing "like Dubuffet." August 12, 1958, Washburn to Pierre Matisse. Wants portrait he saw in Giacometti's studio for International. "Perhaps Dave will go for another sitting..." Reference to Portrait of David G. Thompson, 1957 Fondation Alberto Giacometti. Illustrated in Alberto Giacometti, page 100.
- 82.34 Carnegie Institute, 1960–1990
April 28, 1961 letter from Washburn's secretary asking Pierre Matisse to submit a Butler drawing for Drawing International of the AFA. October 24, 1961 letter from Gordon Washburn announcing that Giacometti's Walking Man has won first prize for sculpture in the 1961 Pittsburgh International. January 16, 1962 correspondence re invoice for Walking Man by Giacometti. October 23, 1967, invoice for Miró, Portrait f Queen Marie Louise of Prussia. October 5, 1967 letter from von Groschwitz, director to Pierre Matisse announcing Miró's Queen Marie Louise of Prussia had won one of the Carnegie Institute's painting awards. Copy of invoice to Institute for Matisse One Thousand and One Nights, with exhibition history. Three‐page clipping from Time (November 3, 1967) re Pittsburgh International Exhibition at Carnegie. September 30, 1971 letter from Pierre Matisse to Arkus re reproduction of Matisse gouaches decoupees in Verve. July–September 1971, correspondence re sale to Institute of Matisse gouache collage, One Thousand and One Nights. August 8, 1973, director Leon Arkus writes to ask Pierre Matisse to be a speaker for the Man and Ideas series. Pierre Matisse declines. December 20, 1973 through February 4,1974, correspondence re Giacometti table purchased from Pierre Matisse and given to Institute by Arthur Kobacker. August 28, 1990 letter requesting value on Matisse, One Thousand and One Nights, with 8 x 10 photo.
- 82.35 Pennsylvania Academy of Fine Arts, 1948–1969
Prospectus of 145th Annual Exhibition, January 22 to February 26, 1950. October 6, 1950 press release re $30,000 purchase fund. Bulletin re 146th Annual Exhibition, January 21 to February 25, 1951. February 26, 1953 re Academy's purchase of Tanguy, Illimited Sequences. 1957 correspondence re loans of Roszak's and MacIvers to 151st Annual Exhibition. March 18 to April 10, 1960, announcement and checklist of exhibition of contemporary French and Italian paintings. One cable.
- 82.36 Philadelphia Museum of Art, 1933–1949
March 26, 1949, Pierre Matisse to Henry McIlhenny re 1908 Matisse ceramic plate. Correspondence re 1949 Third Sculpture International. April 29, 1948 letter from henry Clifford, Curator of Painting, to Pierre Matisse re Matisse exhibition and Dr. Barnes's reactions. April 21, 1948, Henry Clifford to Pierre Matisse, handwritten postscript re overwhelming success of Matisse exhibit. Typed copy of "L'Exactitude N'Est Pas la Verite" by Henri Matisse, Vence, Mai 1947 with translation into English. 1947/1948, various correspondence re Matisse exhibition April 3 to may 9, 1948. Correspondence re Mexican Art Today, March/April 1943. April 15, 1937, McIlhenny to Pierre Matisse, he loves the Miró but mother hates it and will not let him buy it. Letters re Degas exhibition and list of lenders (November 7 to December 7, 1936).
- 82.37 Philadelphia Museum of Art, 1950–1989
February 14, 1950 correspondence between Pierre Matisse and E.M. Benson, Chief of Division of Education re Sartre's piece in Giacometti catalogue. June 19, 1950, Pierre Matisse agrees to dedicate one of his upcoming exhibitions to the Philadelphia Museum in honor of its 75th anniversary. October 19, 1950 copy of cable to Giacometti asking him to phone Sartre on behalf of the Museum. December 5, 1950, Pierre Matisse writes to say that he will dedicate an exhibition in February of recent paintings by Miró to the Diamond Jubilee of the Philadelphia Museum. June 4, 1964 letter from Henry Gardiner, Assistant Curator, re provenance question on pieces in the Louis E. Stern Collection. November 11, 1966, 5 x 7 black‐and‐white Marini lithograph and correspondence. April 5, 1967 letter from director Evan Turner asking about Balthus paintings a member of the board saw at the Pierre Matisse Gallery in New York. September 3, 1968 Henry Gardiner to Pierre Matisse re painter Arthur B. Carles and details of a possible acquaintance with Henri Matisse. July 19, 1978 New York Times clipping, "Museum Names Director" re appointment of Jean Sutherland Boggs. Two 8 x 10 black‐and‐white photos, Balthus's Young Girl Asleep and Young Girl on Bed, from Museum collection.
- 82.38 Philadelphia Art Alliance, 1961–1966
- 82.39 University Museum, University of Pennsylvania, 1934–1974
- 82.40 Pennsylvania State University, 1983
- Subseries: Rhode Island
- 82.41 Museum of Art, Rhode Island School of Design, 1931–1938
Extensive correspondence with director L. Earle Rowe attempting to interest him and the Museum in acquiring various works of art. January 26, 1932 letter to Rowe describing marble "statuette" by Maillol and how it was created. February 9, 1932 letter to Rowe, Pierre Matisse mentions his desire to establish good relationships with museums in this country and to "carry on through this depression..." September 16, 1932 letter from Biddeford Pool, Maine to Rowe. Pierre Matisse says he brought back the 50 Matisse drawings for an exhibition that were reproduced in the Cinquante Dessins book. December 8, 1933 letter to Rowe discussing why Pierre Matisse thought that Degas has left his painting, La Coiffure seemingly unfinished. December 21, 1933 missive to Rowe mentions holding two Matisse exhibitions at the "Valentine Gallery" in 1927 and 1929. November 2, 1934 letter to Rowe mentions that he has new space in the Fuller Building (same floor next to his old rooms). October 23, 1935 missive to Rowe mentions showing in his gallery a group of ancient Peruvian textiles, tapestries and embroideries. Price list of Mexican statuettes. Card announcing death of L. Earle Rowe on February 17, 1937. Two cables.
- 82.42 Museum of Art, Rhode Island School of Design, 1940–1949
November 26, 1940 stock and price list for pre‐Columbian pieces. August 26, 1940–February 6, 1941, various correspondence re pre‐Columbian pieces including 8 x 10 black‐and‐white photo of Totonac head. September 29, 1942 list and exhibition history of works being loaned for exhibition at Museum called Free French. Undated clipping announcing Gordon Washburn's appointment as director of RISD Museum. November 1942 announcement card of French Art of the 19th and 20th Centuries. Receipt for payment of bill (April 30, 1943) for Palma Kneeling Figure. May 24, 1943 long letter to Gordon Washburn re history of Aztec bas‐relief. January 28, 1944, price list of African and Mayan objects. May 20, 1944 letter to Gordon Washburn from Pierre Matisse, "I have moved my gallery down to the 6th floor of the same building..." March 31, 1948, receipted invoice for sale to Museum of Miró colored etching.
- 82.43 Museum of Art, Rhode Island School of Design, 1950–1984
Various correspondence re loans to exhibitions. (Paris, February 5, 1968, typed and signed original letter from Wifredo Lam to Pierre Matisse re his painting Presence Eternelle, in the collection of the RISD Museum, which he would like included in the retrospective at the Musée d'Art Moderne de la Ville de Paris. January 6, 1969–February 14, 1969 correspondence and condition report re extensive damage to Lam Presence Eternelle en route back from Paris.
- Subseries: Texas
- 83.01 Dallas Museum of Art, 1936–1983
Correspondence and forms re loans: 1936, loan of Fruits and Flowers of Nice by Matisse. 1951 loan of Fire Escape by MacIver. 1953 loan of Dublin by MacIver. 1955 loan of Portrait of the Artist's Son by Matisse. 1958 loan of two pieces by Stefan Knapp. 1961 loan of Thunder by MacIver. Letter dated May 12, 1966 from Pierre Matisse to Merrill Ruepple in which he mentions that he cannot sell one of the Dubuffet Metro gouaches since the series must stay together. Contains seven cables, press releases.
- 83.02 Contemporary Arts Museum (Houston), 1951–1976
Various correspondence re loans to exhibitions. Pierre Matisse loans Van Gogh's End of Day to Van Gogh exhibit in 1951. Copy of letter dated February 16, 1951 from John Hay Whitney to John de Menil, Chairman, offering Van Gogh to Museum as a gift. 1951, three 4 x 5 black‐and‐white photos of Van Gogh exhibition and news clippings of review from Houston Post. Names: James Johnson Sweeney (August 9, 1960), John de Menil, Chairman, John Hay Whitney (February 16, 1951)
- 83.03 Dallas Museum for Contemporary Arts, 1957–1963
General correspondence regarding loans to exhibitions. July 12, 1958 letter to Riopelle re upcoming Canadian art exhibition. October 1, 1958 letter from insurance company re condition of Riopelle painting, Ciel de Lilas, which, due to an inherent vice, is curling. June 1, 1959 letter from Edward Marcus, president, detailing some of the history of the Museum. July 1963 press release re close of museum. Collection to be moved to Dallas Museum of Fine Arts. Loans include Portrait of Yanaihara by Giacometti in 1962, Portrait of Pierre Matisse by Henri Matisse in 1959, The Leg by Giacometti in 1959, Ciel de Lilas by Riopelle in 1958, The Golden Days and The Game of Patience by Balthus and Hearth by MacIver in 1958. Six cables. Names: Katherine Kuh (June 1, 1959)
- 83.04 Fort Worth Art Association, 1949–1958
- 83.05 Museum of Fine Arts, Houston, 1954–1958
General correspondence re loans of works to exhibitions including MacIver, de Chirico, Marini. Shipping receipts, two cables, March 5, 1956 letter from director Lee Malone asking Pierre Matisse to be on a panel at the Museum.
- 83.06 Museum of Fine Arts, Houston, 1962–1987
General correspondence re various loans of Miró, Matisse, sale and restoration of Miró gouache‐dessin (1962/1963), loan of Miró's Blue I, II, and III. April 30. 1964 letter from Pierre Matisse to Director James Johnson Sweeney re history of Matisse painting Studio at Clamart. Contains seven cables. Two clippings on exhibit containing Pierre Matisse's loan of Ipousteguy (Houston Post and Los Angeles Times, both October 16, 1966). Newsletters from January and February 1964. Catalogues (Recent Accessions, March 8–April 22, 1962; Recent Accessions, May 4–June 2, 1963; Space and Fantasy, January 24–February 14, 1963; Five Sculptors, March 3–March 28, 1966; The Southwest: Painting and Sculpture, December 7, 1962–January 20, 1963.
- 83.07 Assorted institutions, 1960–1987
Various general correspondence. April 17, 1987, copy of certificate of authentication fro Chagall painting given to Wichita Falls Museum and Art Center. October 22, 1979 letter from Del Mar College in Texas asking Pierre Matisse to serve as juror for art show. Pierre Matisse declines. January 6 to April 12, 1978, correspondence from Kimbell Museum re poster they are printing of an image from Matisse's Jazz. Catalogue, Dallas Collects, November 3, 1959–January 11, 1960.
- Subseries: Vermont
- 83.08 Assorted institutions, 1967–1976
General correspondence with Vermont art institutions. Includes letter from professor Robert Reiff of Middlebury College requesting information on the influence of Japanese prints on the art of Matisse. Letter unanswered. Names: Charles Ratton, Henri Matisse
- Subseries: Virginia
- 83.09 Randolph‐Macon College, 1956–1959
- 83.10 Virginia Museum of Fine Arts, 1949–1977
General correspondence requesting loans to exhibitions of Brancusi, Miró, MacIver, Giacometti, and Tanguy. Correspondence re Accession Committee's interest in purchasing either MacIver's Fire Escape or Tanguy. Tanguy's De Mains Pales aux Cieux Lasses awarded the John Barton Payne medal "for merit" by James Johnson Sweeney. Contains two clippings about award. Letter from Pierre Matisse to Director Leslie Cheek trying to interest Museum in purchase of a Giacometti for their collection, date May 23, 1951 (same letter sent to other museums [circular]). Contains to miscellaneous cables.
- 83.11 Assorted institutions, 1977–1981
- Subseries: Washington
- 83.12 Seattle Art Museum, 1i933–1952
General correspondence between Pierre Matisse and Dr. Richard Fuller, director, attempting to interest Dr. Fuller in various artists and various works. April 13, 1933, Dr. Fuller orders copy of Matisse's Cinquante Dessins. Includes article on Dr. Richard Fuller and Mrs. Eugene Fuller from the Seattle Washington Town Crier, June 24, 1933.
- 83.13 University of Washington (Seattle), 1937–1953
- 83.14 Assorted institutions, 1976
- Subseries: Wisconsin
- 83.15 Elvehjem Art Center, 1968–1969
Correspondence between Pierre Matisse and Millard F. Rogers, Jr., director, concerning desire of Museum to purchase a work by Balthus.
- 83.16 Milwaukee Art Center, 1933–1979
General correspondence re loans and possible purchases. Letter from John Pick, Chairman, 41st Annual Exhibition Wisconsin Art, asking Pierre Matisse to be one man jury of awards and to give Memorial lecture in honor of his father (January 22, 1955). Correspondence attempting to interest Center in Giacometti (May 24, 1951 [circular]).
- 83.17 University of Wisconsin (Madison), 1953–1970
February 24 to 27, 1953 correspondence between Pierre Matisse and James Watrous, chairman, concerning reed drawing, Portrait of Mme Manguin [by Henri Matisse]. April 10, 1953 letter to Yves Tanguy (care of Pierre Matisse) inviting him to submit a drawing to the University's drawings exhibition.
- 83.18 Assorted institutions, 1980–1987
- Subseries: Assorted states
- 83.19 Assorted institutions, 1933–1973
Correspondence. 1933 letter to Pierre Matisse from Advance American Art Committee for an article appeared in the World Telegram and the Herald Tribune. Answer from Pierre Matisse, stating Henri Matisse has been misquoted. 1960, the Dean of Columbia University, School of Architecture is hoping for "Senior students to meet with Artists." Loan requests and thank you letters. 1934, loans of Dufy, Rousseau; 1943, loan of Tamayo; 1958, loan of Marino Marini; 1959, loan of Riopelle; 1959, loan of Marino Marini, Giacometti, Butler. Purchases and requests re Jazz set by Henri Matisse in 1951. Cables, including from Pierre Matisse to Auchincloss Foundation, ready to buy back a Tanguy painting. Reproduction requests. Names: Reeves Lewenthal, Director of Public Relation, National Commission to Advance American Art File ordered alphabetically by group or organization and then chronologically within the group
- Subseries: Universities and art schools
- 83.20 Assorted educational institutions, 1936–1963
Correspondence on loans from the gallery to different universities or art schools, including loans to American University (Washington, D.C.) of a Giacometti in 1951; Wesleyan University (Illinois) of Chagall, Miró, Tanguy in 1948 and of Chagall, Lam in 1949; Phillips Academy (Andover, Massachusetts)of Miró, Matta in 1953 and MacIver, Roszak in 1955; Williams College (Williamstown, Massachusetts) of MacIver in 1957; Syracuse University (New York) of Giacometti in 1956; Bennington College (Vermont) of Quintanilla in 1936. University of Virginia, loan of Balthus in 1957. Names: Everett Austin Jr. Founder of the Fine Arts Department at Trinity College (Hartford, Connecticut) The order is alphabetical by state then chronological
- Series: Museums and art institutions, international
This series dates approximately from 1935 to 1990 and is arranged by country, then city, then institution. It includes documentation similar to that in the series Museums and art institutions, United States series, with the emphasis on French organizations such as the Ministry of Culture, as well as many provincial museums. Notable institutions are the Art Gallery of Toronto, (1935–1976), National Gallery of Canada, (1952–1971), Tate Gallery, London, (1935–1990), Musée national d'art moderne, Paris, (1945–1974), Musée d'art moderne: Centre Georges Pompidou, Paris, (1976–1990), Hamburger Kunsthalle, (1958–1981), Kestner‐Gesellschaft, Hannover, (1960–1989).
Selected financial files dating from 1980 to the end will be restricted as follows until 2020. - Subseries: Argentina
- 91.01 Assorted institutions, 1966, 1969
- Subseries: Australia
- 91.02 Australian National Gallery, 1977–1981
Correspondence between Pierre Matisse and James Mollison, Director, re acquisition by the Australian National Gallery if a suite of Matisse drawings. December 16, 1980 letter from Pierre Matisse with list of suggested drawings and prices. Shipping receipts. February 13, 1981, James Mollison writes of approval of purchase by the Australian National Gallery. Correspondence with the Australian National Gallery and VAGA, N.Y. [Visual Artists and Galleries Association, Inc.] re printing of poster. Photocopy of check. 23 black‐and‐white photographs of drawings. 1981 correspondence re schedule of payment, et cetera.
- 91.03 R Australian National Gallery, 1982–1987
Correspondence between Pierre Matisse and Michael Lloyd, Acting Curator of European and American Art before 1970, re possible purchase of important early Miró. December 14, 1982, Pierre Matisse offers possible painting. Correspondence re Tanguy Vieil Horizon. March 8, 1983 missive from Lloyd re provenance of Miró purchased from Gordon Bunshaft. May 1, 1083 copy of invoice for Tanguy painting. Cables re shipment. Small black‐and‐white photo of back of Bunshaft Miró painting (Paysage, 1927). Receipt for Tanguy from Australian National Gallery. One clipping on Australian National Gallery from the New York Times.
- 91.04 Assorted institutions, 1974–1990
- Subseries: Austria
- 91.05 Assorted institutions, 1967–1986
- Subseries: Belgium
- 91.06 Assorted institutions, 1959–1979
- Subseries: Brazil
- 91.07 Assorted institutions, 1954–1984
- Subseries: Canada
- 91.08 Art Association of Montreal, 1937–1942
Correspondence between Pierre Matisse and the Art Association of Montreal re paintings for sale, loans for exhibitions, et cetera. 1942, re loans of Derain and Matisse to Art Association of Montreal for exhibition. File contains original cables in brittle condition
- 91.09 Art Gallery of Toronto, 1935–1947
Correspondence between Pierre Matisse and the Art Gallery of Toronto re purchases, exhibition loans, provenances, et cetera. April 22, 1937 purchase of Morrice painting, Trinidad. 1941 missive re loan of Calder mobile to Art Gallery of Toronto exhibition. 1944 missive re loan of Chagall's The Wedding to the Art Gallery of Toronto. 1947, re loan of Derain and Marchand to the Art Gallery. Shipping papers, customs declarations, original cables, et cetera.
- 91.10 Art Gallery of Toronto, 1954–1959
Correspondence between Pierre Matisse and the Art Gallery of Toronto. 1954 missive re purchase of Riopelle's Coups sur coups. Copy of Riopelle catalogue, First American Exhibition at the Pierre Matisse Gallery (January 5–23, 1954) with notes and some prices indicated. January 12, 1956 customs invoice for Marini bronze Dancer being sent on exhibition. Copies of Canadian customs papers, shipping papers.
- 91.11 Art Gallery of Toronto, 1960–1976
Correspondence between Pierre Matisse and the Art Gallery of Toronto. July 14, 1965 request for provenance of Morrice painting, Trinidad, purchased from Pierre Matisse in 1937. April 26, 1966 list of collectors of Sorel Etrog. August 18, 1971 letter to Riopelle re works in collection. Canadian customs papers, shipping papers.
- 91.12 Montreal Museum of Fine Arts, 1958–1982
August 20, 1965 invitation to Pierre Matisse to open Morrice exhibition. 1982, re purchase of Giacometti Head on Stele I. Some correspondence in French
- 91.13 National Gallery of Canada (Ottawa), 1952–1955
1952 correspondence between Pierre Matisse, National Gallery of Canada and Henri Matisse re purchase of Matisse painting in blocked francs. January 1954 missive from McCurry, Director of the National Gallery, re inclusion of Riopelle in Venice Biennale. Copy of Riopelle catalogue of the First American Exhibition at Pierre Matisse Gallery (January 5–23, 1954) with notations. February 23, 1954 long letter from Pierre Matisse to the National Gallery with descriptions of Riopelle works. April 1, 1954 missive from Dr. Hubbard, curator of the National Gallery of Canada, re final selection of Riopelles for the Venice Biennale. December 9, 1954 missive to Hubbard re loan of Riopelle Tramontane to the Canadian Embassy. Cable to Dr. Hubbard re change in paintings. February 24, 1954 missive from Hubbard with list of Riopelles shipped to the Bienal Internacional de São Paulo. Some correspondence in French
- 91.14 National Gallery of Canada (Ottawa), 1956–1957
1956 correspondence between Pierre Matisse and Hubbard re purchase by the National Gallery of Canada of Derain, Nature morte, and Chagall, La Tour Eiffel. May 24, 1956 cable from Hubbard confirming ratification of purchase. May 9, 1956 confirmation letter, sale includes Riopelle painting Composition No. 3188. Copy of invoice. Original cables. Canadian customs forms. Some correspondence in French
- 91.15 National Gallery of Canada (Ottawa), 1958–1959
1958 correspondence re purchase by the National Gallery of Canada of Matisse, Nu au canapé jaune. April 21, 1958 missive from Alan Jarvis, director of the National Gallery of Canada re damage to Riopelle paintings on loan from Pierre Matisse to traveling exhibition. June 23, 1959, re loan of Riopelle works to graphics exhibition. Customs papers.
- 91.16 National Gallery of Canada (Ottawa), 1960–1971
1960, correspondence re selection of Riopelle paintings to be sent for the International Guggenheim Prize. Letter to Riopelle. Loan receipts, shipping receipts. original cables. Clippings. September 11, 1970 missive from Pierre Matisse Gallery re provenance of Derain, Nature morte, acquired by the National Gallery of Canada. Some correspondence in French
- 91.17 Winnipeg Art Gallery Association, 1954–1986
Miscellaneous correspondence between Pierre Matisse and the Winnipeg Art Gallery Association. Requests for loans to exhibitions. 1954, re Matisse painting, Pineapple being sent on exhibition. December 7, 1954 clipping from "Tribune" dated Wednesday, November 3 sent with a letter from Ferdinand Eckhardt, director of the Winnipeg Art Gallery Association. Canadian customs papers. Original cables.
- 91.18 Assorted institutions, 1980s
Miscellaneous correspondence with various Canadian museums and art institutions. Correspondence re purchases with Evelyn Aimis Fine Art (see also Beaux Arts International). Art Gallery of Nova Scotia purchase of Riopelle, Font des neiges. Helene Artur Galleries purchase of Riopelle, Perce‐neige. Shipping receipts, customs papers, et cetera. Some correspondence in French Papers filed alphabetically according to institution name
- 91.19 R Assorted institutions, 1970s–1980s
Miscellaneous correspondence with various Canadian museums and art institutions, including Galerie Giles Corbeil (correspondence re purchase of Riopelle), Galerie Claude Lafitte (re purchase of Riopelle), Galerie de Montreal (re purchase of Riopelle), Galerie Klinkhoff (re purchase of two Riopelles), Guernica Gallery (re purchase of Saura painting). Some correspondence in French Papers filed alphabetically according to institution name
- 91.20 R Assorted institutions, 1970s–1990
Miscellaneous correspondence with various Canadian museums and art institutions, including David Mirvish Gallery (authentication of Miró), Musée Contemporain de Montreal (re sale of Riopelle, with black‐and‐white photograph, and in 1990, re provenance information), Musée du Québec (value for Riopelle painting. Some correspondence in French
- 91.21 Assorted institutions, 1960s–1991
Miscellaneous correspondence with various Canadian museums and art institutions, including Place des Arts (purchase of Riopelle). Some correspondence in French
- Subseries: Colombia
- 91.22 Assorted institutions, 1967–1972
- Subseries: Czechoslovakia
- 91.23 Assorted institutions, 1968
- Subseries: Denmark
- 91.24 Assorted institutions, 1965–1989
1963 correspondence with Louisiana Museum re possible Giacometti exhibition. 1965 request from Louisiana to extend Pierre Matisse's loan of Giacomettis to include exhibition there. 1971 request from Louisiana for loan of Man ray's Optical Hopes and Illusions. Other miscellaneous correspondence. Some correspondence in French
- 91.25 Hanne Finsen, Musée Royal des Beaux‐Arts [Statens Museum for Kunst], 1970–1980
Correspondence between Pierre Matisse and Hanne Finsen. Miscellaneous correspondence of a personal nature. February 27, 1973 missive from Hanne Finsen re offer from Gallimard to publish correspondence between Henri Matisse and André Rouveyre. April 18, 1973, further correspondence re Matisse letters. Copies of correspondence with Mme Duthuit re same. Correspondence from Robert Gallimard re publication of correspondence. September 1, 1973 missive from Hanne Finsen with photocopy of letter sent to Jean Matisse with his notations. May 30, 1975 correspondence with R.M. Light re nineteenth century drawings from Hanne Finsen. September 5, 1976, questions to Pierre Matisse re Matisse correspondence. Various postcards. Correspondence in French
- Subseries: England
- 91.26 Arts Council of Great Britain, 1961–1977
Requests for poster, catalogues. April 14, 1966, re Dubuffet loans for exhibition (conservation note re one of the paintings). April 18, 1966, re same. April 22, 1966, Pierre Matisse response. May 3, 1966 missive from Elizabeth Davison re Dubuffet's reaction to missing tooth from Tàpies painting (black‐and‐white photograph in file). December 29, 1966, re organization of Derain exhibit at the Arts Council of Great Britain. April 20, 1967 missive from Pierre Matisse re whereabouts of Derain.
- 91.27 Institute of Contemporary Arts, 1966–1972
1966 correspondence between Pierre Matisse and Roland Penrose re Pierre Matisse donation to auction for funds for the Institute of Contemporary Art. February 22, 1968 missive from Pierre Matisse re loan of Mason work for exhibition. 1972, shipping papers and correspondence re sale of Giacometti to Pierre Matisse.
- 91.28 National Gallery, 1935–1941
November 9, 1936 invoice to Kenneth Clark for Rouault, Matisse, Picasso, and Belgian Congolese pendant. Shipping receipts, correspondence relating to the shipping of works. 1936/1937 correspondence re Degas painting, La Coiffure, sent on approval to the National Gallery and request from Louvre for loan of same. February 11, 1937 cable announcing National Gallery purchase of Degas. March 1, 1938, Pierre Matisse writes to say some question has arisen about the authenticity of the ivory mask acquired by Kenneth Clark. Offers to exchange and to continue to look into provenance. February 12, 1940, Mrs. Clark writes to Pierre Matisse advising him that they plan to sell their Matisse. July 9, 1940 cable from Clark to accept offer for painting. February 7, 1941, Pierre Matisse writes to say that the Matisse is now in the Duncan Phillips Collection. Also writes news of war and news of Henri Matisse. May 5, 1941 letter from Mrs. Clark to say that she will be sending further pictures for sale. Contains original cables.
- 91.29 Tate Gallery, 1935–1968
April 6, 1951 request from the Tate Gallery for provenance of a de Chirico. April 12, Pierre Matisse response. September 15, 1952, re Cézanne painting with black‐and‐white photo. October 2, 1952, Pierre Matisse response. June 16, 1966 request for information on Giacometti works, with black‐and‐white photographs.
- 91.30 Tate Gallery, 1971, 1976–1979
June 9, 1971 request for provenance of Matta painting, with black‐and‐white photo. October 8, 1971 response from Pierre Matisse Gallery. 1979 correspondence re possible purchase of Matisse painting by the Tate Gallery.
- 91.31 R Tate Gallery, 1980–1992
1980, continued correspondence re search for Matisse painting for Tate collection. October 20, 1980, Alan Bowness, director, expresses interest in locating major Balthus work. October 29, 1980 list of available Miró and Balthus paintings. 1982 correspondence concerning Reg Butler. February 18, 1983, Bowness very interested in obtaining works by Raymond Mason. April 15, 1983, Bowness interested in obtaining Miró in honor of his 90th birthday. May 13, 1983 list of available Miró works. Papers and correspondence relating to shipment of Miró and Mason. May 26, 1983, Tate Gallery agrees to purchase Mason's Barcelona Tram. August 8, 1983 invoice for Miró, Une etoile caresse le sein d'une negresse. December 9, 1983 letter with exhibition history of painting. 1987 correspondence re title of Miró painting. April 1988, questions concerning Matisse's painting, Studio Interior.
- 91.32 Assorted institutions: "A" to "O", 1936, 1959–1992
Miscellaneous correspondence with various British museums and art institutions. June 10, 1968 purchase by Brook Street Gallery of Chagall gouache, At the Circus. Correspondence with Leicester Galleries re purchase of Redon drawing. Requests for authentication, provenances, et cetera. Some correspondence in French
- 91.33 Assorted institutions: "P" to "Z", 1937, 1945, 1970s–1980s
- Subseries: France
- 91.34 Amiens, 1984–1990
1984–1985 correspondence, insurance, shipping arrangements re Dubuffet, Blondeur et fard, sent on approval, then acquired by Musée de Picardie. 1990 inquiry to Pierre Matisse Gallery re museum's Balthus.
- 91.35 Bordeaux, 1967–1971
Inquiries, request to Pierre Matisse Gallery re catalogues, et cetera. 1971, re Surrealism exhibition, request to borrow from Pierre Matisse Gallery Miró and Tanguy, insurance, shipping, et cetera, and return.
- 91.36 ArtServices, 1973–1974, 1980
Correspondence re Marc Vaux photographs of works by Matta, Balthus, Miró, et cetera, regarding rights, prints, et cetera, especially the Vaux photograph of Balthus's portrait of Pierre Matisse.
- 91.37 Louvre (Paris), 1972, undated
One letter from Pierre Matisse (February 28, 1972) to Mme Adhémar. Floor plans, "L'Aile orientale du Louvre...," undated.
- 91.38 Ministry of Culture, 1975
Correspondence among Marguerite Duthuit, Pierre Matisse, Jean Matisse, Dominique Bozo (two undated), Michel Guy (Minister of Culture) re Matisse family donation of five Henri Matisse drawings to Musées de France/Musée National d'Art Moderne.
- 91.39 Ministry of Culture, et cetera, 1976
- 91.40 Musée National d'Art Moderne (Paris), 1945, 1955–1959
Correspondence with Jean Cassou, other staff members, Jean Leymarie (Louvre), mainly re 1956 Henri Matisse retrospective and Pierre Matisse gift of Tanguy painting. Copies of lists of Henri Matisse works reproduced in 1952 Barr book and Philadelphia 1948 exhibition catalogue, with owners. List of names and addresses of U.S. owners of Henri Matisse works. 1959, re Patricia Matisse loan of Ernst Nageur aveugle.
- 91.41 Musée National d'Art Moderne (Paris), 1960–1968
Correspondence, Cassou, Bernard Dorival, and Museum staff members, including Société des Amis de Musée National d'Art Moderne. 1962–1963, re Museum Miró exhibition, Pierre Matisse Gallery loan (and damage thereto), re Chagall exhibition in Japan. 1965–1966, re Balthus and Pierre Matisse Gallery's inability to lend, re Museum Fauve exhibition (traveling), and re Riopelle. 1967, re Severini and Pierre Matisse Gallery help to client in making loan. 1968, Lam (including original Lam letter), also two handwritten letters from Geneva, indecipherable signatures.
- 91.42 Musée National d'Art Moderne (Paris), 1971–1974
Correspondence with Museum staff members re Rouault, Léger, Brauner. April 10, 1972 Dominique Bozo, Conservator of Museum. January 21, 1974 missive with letterhead "Etablissement public du Centre Beaubourg." Isabelle Rouault and Marguerite Duthuit letters.
- 91.43 Musée d'Art Moderne de la Ville de Paris, 1977, 1989
- 91.44 Musée d'Art Moderne, Centre Georges Pompidou (Paris), 1976
Correspondence between Pierre Matisse and Pontus Hulten (Director of Centre Georges Pompidou) re Balthus and opening exhibition for Centre, 1977: Paris‐New York. Requests for loans, information re catalogue. December correspondence re Balthus La Toilette de Cathy. Tear sheet from unidentified publication.
- 91.45 Centre Georges Pompidou (Paris), 1977
Correspondence between Pierre Matisse, Pontus Hulten and staff members re opening exhibition for Centre Georges Pompidou, inquiries re Henri Matisse Blue Nude (Quinn/Cones, et cetera), other information, photographs, et cetera. April correspondence re Pompidou purchase of Balthus (La Toilette de Cathy), papers re transaction, et cetera. Dubuffet loan, form, shipping, insurance, et cetera, two invitations to opening, press reviews.
- 91.46 Centre Georges Pompidou (Paris): Opening, 1977
- 91.47 Centre Georges Pompidou (Paris): Opening, French press, 1977
- 91.48 Centre Georges Pompidou (Paris): Opening, American press, 1977
- 91.49 Centre Georges Pompidou (Paris), 1978–1979
- 91.50 Centre Georges Pompidou (Paris), 1980–1982
Correspondence between Pierre and Maria‐Gaetana Matisse and Bozo et al. re Dubuffet, Miró, Lam, Mason, et cetera. Pierre Matisse Gallery sale of Lam's La Réunion and Balthus's Painter and his Model to Centre Georges Pompidou, including correspondence, sketch of Balthus painting and purchase contract for it. Reference to photos Pierre Matisse took at Rossinière while painting was worked on.
- 91.51 Centre Georges Pompidou (Paris), 1980s
- 91.52 Centre Georges Pompidou (Paris): Correspondence, 1980
Exhibition: Paris‐Paris, Créations en France 1937–1957, May 16–November 2, 1981. Correspondence re several requests for loans. Photocopies of catalogue pages of Dubuffet's Metro gouaches. Loan forms. Pierre Matisse to S. Solow urging him to lend Henri Matisse's Acrobats.
- 91.53 Centre Georges Pompidou (Paris): Exhibition, 1980
Exhibition: Les Réalismes entre Révolution et Réaction, 1919–1939, December 17, 1980–April 20, 1981. Balthus's La montagne and Giacometti's La Table requested and lent, Paris only. Correspondence, loan forms, shipping and insurance papers, invitations.
- 91.54 Centre Georges Pompidou (Paris): Exhibition, 1981
Exhibition: Paris‐Paris, Créations en France 1937–1957, May 16–November 2, 1981. Further re several loans, loan forms, travel, shipping, insurance arrangements and form. Two invitations, press clippings, magazine. See also folder 91.52
- 91.55 R Ministère des Relations Extèreures: Paris/London exhibition, 1981–1982
Exhibition to inaugurate Barbican Center, London: Aftermath, New Images of Man, France 1945–1954, also shown in Louisiana Museum, Denmark, March–August 1982. Correspondence with Paris and London venues, loan forms, shipping, insurance papers. Request to photo works in London exhibition. Brochure for Barbican exhibition.
- 91.56 R Centre Georges Pompidou (Paris): Exhibition, 1982
Exhibition: Paul Éluard et ses amis peintres, November 1982. Correspondence re Miró and Dubuffet loans, including loan forms, shipping and insurance papers. Two invitations, one press clipping.
- 91.57 R Centre Georges Pompidou (Paris), 1983–1984
Correspondence re Pierre Matisse Gallery sales of Matta Xpace and the Ego, Rouan drawings. 1984 correspondence between Pierre Matisse and Bozo re possible Pierre Matisse Gallery sale of Miró's Bleu II and Bleu III to Centre Georges Pompidou (Miró's Bleu I mentioned in error, owned by Maeght). June, Pierre Matisse awaiting purchase contract. Pompidou lists of acquisitions and exhibitions, 1981–1983 and 1983–1984. See also Maeght files
- 91.58 R Centre Georges Pompidou (Paris): Miró's Bleu II and III, 1984–1988
Correspondence re Miró's Bleu II and Bleu III of 1961, both paintings sent on approval by Pierre Matisse Gallery May 1984. Includes shipping papers, et cetera. Museum could not meet price. May 25, 1984 approval of purchase from Pierre Matisse Gallery of Bleu II, through de Menil Foundation. September 16, 1985 Centre relinquishes option on Bleu III. May 3, 1988 Centre approval of purchase of Bleu III. Contract (several copies), shipping arrangements, financial arrangement, payment. Periodical reproducing Bleu III.
- 91.59 R Centre Georges Pompidou (Paris), 1985
Correspondence re Pompidou exhibitions Giacometti and Qu'est‐ce que la sculpture moderne? (Margit Rowell latter). Acquisitions of Rouan and Matta works from Pierre Matisse Gallery. Further discussion re Miró Bleus. Undated Pierre Matisse notes re Miró sculptures. Three invitations. See also previous file re Miró Bleu II and Bleu III (folder 91.58)
- 91.60 R Centre Georges Pompidou (Paris): Donation, 1986
Correspondence re Pierre Matisse donation of Dubuffet Pierre Matisse, Portrait Obscur to Musée National d'Art Moderne, Centre Georges Pompidou, and subsequent visit in November to Pierre Matisse Gallery of a group of benefactors of the Museum. Thank‐you notes from some of them. Five‐page list of biographical information.
- 92.01 Centre Georges Pompidou (Paris): Exhibition, 1986
Exhibition: Qu'est‐ce que la sculpture moderne? July 1–October 13, 1986 (D. Bozo and Margit Rowell). Includes correspondence, two invitations, review clippings.
- 92.02 R Centre Georges Pompidou (Paris), 1986–1988
Correspondence re Giacometti exhibition; Pierre Matisse Gallery not able to lend. Dubuffet loan (forms, et cetera) Pierre Matisse donation of Dubuffet's Pierre Matisse, Portrait Obscur, of 1947. Computer printout of 1986 Pompidou acquisitions. Biographical notes on members of Société des Amis du Musée Nationale d'Art Moderne. Listing (computer) of what appears to be Pierre Matisse Gallery exhibitions, July 9, 1943–December 12, 1959. Inquiry re photo of Henri Matisse painting near Loup River, circa 1920, and photocopy of it. Also re Henri Matisse drawing and dating. Brochure for Centre Georges Pompidou tenth anniversary.
- 92.03 Centre Georges Pompidou (Paris): Exhibition, 1988
Exhibition: Années 50, June 28–October 17, 1988. Loan request for Dubuffet's Gymnosophie, loan form, photocopy of photograph, insurance and shipping papers. Invitation.
- 92.04 Centre Georges Pompidou (Paris): Exhibition, 1989–1991
Maria‐Gaetana Matisse correspondence re exhibition: André Breton, La beauté convulsive, March 23–August 26, 1991, including request to consult Pierre Matisse/Breton letters at Bibliothèque Doucet. Maria‐Gaetana Matisse approval. Three invitations, review clippings, Pompidou Magazine.
- 92.05 ;Musée Rodin, 1963–1965
- 92.06 R Rennes, 1986–1990
1986–1987, inquiry, correspondence, price list, re Riopelle, and acquisition of Untitled 1953 by Musée des Beaux‐Arts et d'Archéologie de Rennes. 1989–1990, re Rennes exhibition Arts de Bretagne..., Tanguy loan.
- 92.07 Assorted institutions ("B" to "M"), undated
Correspondence with various institutions, such as Collioure, Evry, Laval, Limoges, Lyon, Marseille, Montauban, including inquiries re exhibitions, loans, catalogues, to and from Pierre Matisse Gallery.
- 92.08 Assorted institutions ("N" to "V" [excluding Paris]), undated
Correspondence with institutions in various locations, such as Nantes, Nice, Ornans, Quimper, St. Etienne, Strasbourg, Thiais, Vaucluse, including inquiries re exhibitions, loans, catalogues, et cetera.
- 92.09 Assorted institutions, 1980–1984
Inquiries from and to Pierre and Maria‐Gaetana Matisse. Loans, Pierre Matisse Gallery sales (Tanguy to Rennes). Correspondence with Museum of City of Brest concerning possibility of purchase of Tanguy from Pierre Matisse Gallery includes letter to Pierre Matisse from Jacqueline Matisse–Monnier; purchase not made.
- 92.10 Assorted institutions (Paris), undated
Inquiries to Pierre Matisse Gallery re catalogues, exhibitions, works of art, et cetera from various Parisian art organizations.
- 92.11 Publicity, circa 1970s, 1980s
- Subseries: Germany
- 92.12 Kunstsammlung Nordrhein‐Westfalen (Düsseldorf), 1962–1987
Pierre Matisse offers the collection a Balthus, La rasse de cafe. Dr. Schmalenbach declines. Except for 88 Klees, the collection starts from scratch. They are interested in buying Miró, Tanguy, Giacometti, and Riopelle. Museum will open in 1965. In 1969, the museum buys a Miró from Pierre Matisse. Correspondence about the acquisition of La Reunion by Lam and a Matta, The Pilgrim of Doubt.
- 92.13 Hamburger Kunsthalle, 1958–1981
- 92.14 Kestner‐Gesellschaft (Hannover), 1960–1989
- 92.15 Museum Pfalzgalerie Kaiserslautern, 1987–1988
- 92.16 Haus der Kunst (Munich), 1958–1979
Preparation for a pre‐Columbian art exhibition (1958), the first in Europe. Pierre Matisse lends eight pieces. Correspondence about a Chagall exhibition (1959). The pre‐Columbian art exhibition travels to Zürich, Rome, Paris, the Hague, London, Berlin, and Vienna.
- 92.17 Assorted institutions (Baden‐Baden to Düsseldorf), undated
- 92.18 Assorted institutions (Frankfurt to Stuttgart), undated
- Subseries: Holland
- 92.19 Museum Boymans‐Van Beuningen (Rotterdam), 1955, 1971–1979
May 12, 1971 request for loan to Patricia Matisse. Loan forms from Boymans. Correspondence re insurance for exhibition. 1971 request by Fratelli Fabbri Editori to reproduce Man Ray's Optical Hopes and Illusions on exhibition at Boymans (black‐and‐white photograph in file). 1974, Museum interested in acquiring Balthus. October 1, 1974 cable from Pierre Matisse reserving Balthus, Jouers de Cartes from Boymans. October 1, 1974 letter following from Pierre Matisse. October 8, 1974, Museum asks for reduction in price. October 14, 1974 missive from Pierre Matisse re the restoration of painting by Gustav Berger. Correspondence and shipping papers re same. 1975, Pierre Matisse passes along request from loan of painting to exhibition at the Los Angeles County Museum of Art. Some correspondence in French See also Artists: Balthus, 1908–2001: Correspondence: Restoration of La Partie de Cartes (folder 1.41)
- 92.20 R Stedelijk Museum, 1950, 1969–1982
1965 correspondence re loans to Giacometti exhibition. 1970, re Matisse exhibition. December 5, 1973, Stedelijk Museum hopes to exchange Dubuffet painting (accompanied by transparency). January 22, 1974, Stedelijk Museum to acquire La pointe au pitre by Dubuffet. August 23, 1974, Pierre Matisse sends list of prices of Dubuffets in which de Wilde of the Stedelijk Museum is interested. April 24, 1979 missive from de Wilde with copies of letters received by the Museum asking permission to translate Matisse cut‐out into stained glass window. November 21, 1979 letter to Balthus re exhibition at Stedelijk Museum. 1980 correspondence re possible purchase of La Tireuse de Cartes by Balthus. December 19, 1980 correspondence re condition of La Tireuse de Cartes
- 92.21 Assorted institutions, 1963–1964, 1972
- Subseries: Ireland
- 92.22 Exhibition: ROSC: The Poetry of Vision (Dublin), 1967–1968
- Subseries: Israel
- 92.23 Assorted institutions, 1965–1982
Miscellaneous correspondence with various museums and art institutions in Israel. Correspondence from Israel Museum concerning the Pierre Matisse Gallery loan of Marini and Roszak sculptures. Request from Pierre Matisse for their return. Correspondence re same with America‐Israel Cultural Foundation. Shipping papers. Some correspondence in French
- Subseries: Japan
- 92.24 Assorted institutions, 1960–1979
Miscellaneous correspondence with various Japanese museums and art institutions. 1973 correspondence with Fuji International Art Company re purchase of Chagall. Shipping papers, invoice. 1978 Gallery 2000 request for authentication of Chagall gouache. 1978 correspondence with Nantenshi Gallery re authenticity of Giacometti. Some correspondence in French
- 92.25 Assorted institutions, 1980–1992
Miscellaneous correspondence with various museums and art institutions in Japan. Requests for loans to exhibitions. Copies of Chagall and Dubuffet certificates of authentication. 1980 correspondence with Gallery Sanjyo Gioa re purchase of Zao Wou‐ki painting. 1989 correspondence re sale of Chagall to Mitsukoshi Inc. Some correspondence in French
- Subseries: Mexico
- 92.26 Assorted institutions, 1965–1991
Miscellaneous correspondence with various Mexican museums and art institutions. 1979, Galeria Ponce re purchase of Millares works on paper. 1991, the Mexican Museum requests loan of Carrington, La Chasse.
- Subseries: Norway
- 92.27 Sonja Henies Og Niels Onstads Stiftelser, 1979–1987
July 16, 1987 request for loan of Henri Matisse, Nu aux Oranges for exhibition, Hommage à la France. August 4, 1987, Pierre Matisse declines due to fragility of piece. Correspondence in French
- Subseries: South Africa
- 92.28 South African institution, 1984
- Subseries: Spain
- 92.29 IVAM Centre Julio Gonzalez (Valencia), 1986–1989
Correspondence relating to purchase of Millares painting, Cuadro 97. May 21, 1986 pro forma invoice. Correspondence with shipper and broker. August 1986 correspondence re purchase of Millares's Personnage Oscuro and Cuadro 163. Agreement, in Spanish and English, between Pierre Matisse Gallery and IVAM for purchase of Cuardo 97. Correspondence re same. Airway bills, shipping receipts.
- 92.30 Museo Nacional Centro de Arte Reina Sofía, 1988–1991
- 92.31 Assorted institutions, 1952, 1966–1979
Correspondence with Ediciones Poligrafa re collaboration on book on Miró. News clipping on Franco, Picasso, and Guernica. September 25, 1973 invoice to Ibstsa for Millares oil. Correspondence, shipping documents, receipts, et cetera. One clipping in German. Some correspondence in French
- 92.32 Assorted institutions, 1980–1989
Miscellaneous correspondence with various art museums and institutions. March 27, 1987 invoice to Leandro Navarro for purchase of Millares Cuadro (1964). February 22, 1988 sale to Mr. Jean‐Pierre Toulouse of Miró gouache. December 8, 1987 correspondence and invoices re sale of Saura paintings to Promotores Artisticos. March 24, 1987 correspondence and invoices re sale of Millares paintings to Fernando Guereta. News clipping.
- Subseries: Sweden
- 92.33 Assorted institutions, 1928, 1930, 1963–1989
Miscellaneous correspondence with various Swedish museums and art institutions. January 4, 1968, Svensk‐Franska Konstgalleriet, Stockholm, re sale of two important works, Apollon by Matisse and Picasso's Femme nue au rocking‐chair. 1965, Moderna Museet, correspondence with K.G. Hulten re correct title for Giacometti sculpture (accompanied by black‐and‐white photograph). Copy of 1965 letter to Marguerite Duthuit from Arkiv For Dekorativ Konst re Matisse (with newspaper clippings). Letter to Pierre Matisse thanking him, his sister, and his brother for their donation. Correspondence in French and Swedish
- Subseries: Switzerland
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