Archives Directory for the History of Collecting in America
Archives related to: Rosenberg, Léonce, 1879-1947
| title | Léonce Rosenberg papers, correspondence relating to Cubism, 1914-1932. | repository | The Museum of Modern Art |
| description | A collection of letters and postcards written to Rosenberg by poet Max Jacob, 1915-1917, and six Cubist artists, Juan Gris, 1918-1920; Auguste Herbin, 1912-1923; Fernand Léger, 1918-1920; Jean Metzinger, 1918-1927; Francis Picabia, 1930; and Gino Severini, 1924-1932. A copy of the auction catalogue describing the collection and an 81-page summary in English of the letters are also included. |
| extent | ca. 250 letters. |
| formats | Correspondence |
| access | The records are open for research and contain no restricted materials. |
| record link | http://www.moma.org/learn/resources/archives/EAD/Rosenbergf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991003541919707141 |
| finding aid | Online |
| acquisition information | The Léonce Rosenberg Papers were purchased by the Museum at an auction at the Parke-Bernet Galleries on October 31, 1961. James Thrall Soby Gift. |
| updated | 03/16/2023 10:29:45 |
| .................................................................... | |
| title | Correspondance échangée entre Léonce Rosenberg et Max Ernst | repository | Pompidou |
| description | Lettres manuscrites de Max Ernst adressées à Léonce Rosenberg, à l'encre, datées et signées ; double des lettres tapuscrites de Léonce Rosenberg adressées à Max Ernst, datées et non signées ; reçus tapuscrits ou manuscrits, sur papier timbré ou non Contient des lettres de Max Ernst adressées à Léonce Rosenberg, datées du 20 mars 1924, sur papier à en-t te du Café Restaurant Curveur à Paris, accompagnée d'une facture autographe du 20 mars 1924, signée (2 f.) ; du 7 janvier 1929, depuis Mégève (1 f.) ; du 28 janvier 1929, depuis Briançon (1 f.) ; une carte postale du 4 septembre 1929, depuis Paris, évoque un voyage prochain au Fex de Vesseaux dans l'Ardèche (1 f.) ; un télégramme du 23 septembre 1929, demandant de l'argent (1 f.) ; une lettre du 26 septembre 1929, depuis le Fex de Vesseaux (2 f.) ; une carte postale, depuis Auribeau, signée Max Ernst et Marie-Berthe, s.d. (1 f.) ; une lettre du 22 juillet 1930, depuis Meudon (1 f.) ; une lettre du 18 septembre 1930, depuis Saint-Jean de Luz, demandant de l'argent (1 f.) Contient des doubles de lettres de Léonce Rosenberg adressées à Max Ernst, datées du 19 mars 1924, envoyée au bon soin de Paul Eluard à Paris, lui demandant de reprendre son tableau "Le Nu" ne convenant pas à la Galerie de l'Effort Moderne (1 f.) ; du 7 janvier 1925, envoyée au bon soin de Paul Eluard à Eaubonne, évoque la vente au Directeur du Musée de Cologne du livre "Les Malheurs des immortels" fait en collaboration avec Eluard (1 f.) ; du 30 janvier 1925, envoyée aussi à Eaubonne, évoque la vente non conclue du tableau de Braque " Le Guitariste" qu'il souhaite aussi montrer à Paul Eluard (1 f.) ; du 23 septembre 1929, envoyée au Fex de Vessaux accompagne un envoi d'argent et un récépissé (1 f., 1 récépissé) ; du 26 septembre 1929, envoyée au Fex de Vesseaux, évoque les prix de vente de deux tableaux de Ernst exposés à la galerie Pierre Colle et Bonjean (1 f.) ; du 15 novembre 1929, envoyée à Paris, à propos de tableaux exécutés pour les chambres de ses filles (1 f.) ; du 17 avril 1931, envoyée à Paris, à propos de "La Femme tambour" échangée en complément de paiement contre du mobilier (1 f.) ; s.d., pneumatique envoyé à Paris, à propos de "La Femme tambour" (1 f.) ; du 3 octobre 1931, envoyé à Paris, à propos de la décoration de la chambre de sa fille Madeleine, évoque aussi son rôle de marchand auprès de de Giorgio De Chirico (1 f.) Contient des reçus datés du 25 février 1929, manuscrit, signé de Max Ernst, sur papier libre, pour "Fleurs sur fond rouge", "Fleurs sur fond vert", "Fleurs sur fond jaune", "Fleurs sur fond rouge et bleu", "Fleurs sur fond vert", Fleurs sur fond vert", "Fleurs sur fond gris" (1 f.) ; du 23 septembre 1929, tapuscrit, sur papier timbré, signé de Max Ernst, accompagné d'un récipissé au nom de Ernst, pour "T te", "Animal chimérique", "Fleurs" et "Fleurs" ; du 18 octobre 1929, tapuscrit, sur papier timbré, signé de Max Ernst (1 f.) ; du 29 octobre 1929, manuscrit, sur papier libre, signé de Max Ernst (1 f.) ; du 10 février 1931, tapuscrit, sur papier libre, signé de Max Ernst, à propos de "Fleurs" et "Disque sur fond noir", accompagné d'une liste manuscrite récapitulative des versements reçus pour des toiles pour la galerie L'Effort Moderne et pour l'appartement, non signée, datée du 10 février 1931 (2 f.) ; du 28 avril 1931, tapuscrit, sur papier libre, signé par Max Ernst, annoté au crayon "privé", à propos de "Nature morte" (1 f.) ; du 28 avril 1931, tapuscrit, sur papier timbré, signé de Max Ernst, à propos de "La Femme tambour" (1 f.) ; liste récapitulative des reçus touchés, non datée et non signée, à propos de "La Femme tambour" (1 f.) ; du 29 octobre 1931, manuscrit, sur papier libre, signé Marie-Berthe Ernst (1 f.) ; du 4 novembre 1931, tapuscrit, sur papier timbré, signé Marie-Berthe Ernst (1 f.) ; du 9 décembre 1931, manuscrit, sur papier libre, signé Max Ernst (1 f.) ; du 21 décembre 1931, tapuscrit, sur papier timbré, signé Max Ernst, à propos d'une table à ouvrage donnée pour solde de "La Femme tambour" (1 f.) |
| extent | Chemise, 34 f. ; formats divers |
| formats | Correspondence |
| access | Contact repository for restrictions and policies. |
| record link | http://www2.centrepompidou.fr/ClientBookline_Mnam/ |
| record source | http://www2.centrepompidou.fr |
| updated | 11/12/2014 11:29:47 |
| .................................................................... | |
| title | Correspondance échangée entre Léonce Rosenberg et André Lhote | repository | Pompidou |
| description | Lettres manuscrites autographes ou tapuscrites d'André Lhote, signées datées, quelquefois écrites sur papier timbré, portent quelquefois le cachet de réception de Rosenberg ; doubles de lettres tapuscrites de Rosenberg, sur papier pelure jaune, datées et non signées Contient des lettres d'André Lhote adressées à Léonce Rosenberg, datées du 29 janvier 1918, depuis Paris, faisant office de reçu à propos de "Cheminée", "Sous-bois", "Tulipes", "Tulipes", "Portrait", portant le cachet de réception de Léonce Rosenberg (2 f.) ; du 16 décembre 1918, depuis Paris, à propos de deux toiles intitulées "Jardin", évoque aussi précisément son travail en cours (1 f.) ; du 13 novembre 1919, depuis Paris, une liste d'oeuvres et de prix ainsi qu'un bar me du prix des peintures, dessins et aquarelles, valable du 15 novembre 1919 au 15 novembre 1920, évoque "Hommage à Watteau", "Paysage français", "Portrait", "Esquisse hommage", "Nature morte", des aquarelles et des dessins (2 f.) ; un double tapuscrit avec annotations manuscrites de la lettre manuscrite précédente ainsi que des listes (2 f.) ; du 15 novembre 1919, depuis Paris, à propos d'aquarelles, de dessins et de "Nature morte" et "Esquisse hommage" (2 f.) ; du 10 mai 1920, depuis Paris, à propos de l'achat par Rosenberg de "Nu à genoux", "Portrait", "Nu assis" (1 f.) ; une lettre sans date Doubles des lettres envoyées par Léonce Rosenberg à André Lhote, datées du 10 décembre 1919, projette l'achat des trois tableaux de Lhote exposés au Salon d'Automne, un "Portrait" et deux aquarelles (1 f.) ; du 28 janvier 1920, idem (1 f.) ; du 9 février 1920, idem, évoque le désir de Reçus sur papier timbré, datés du 4 mai 1920, pour "Nature morte", et du 22 juin 1921, signés des deux parties. |
| extent | Chemise, 26 f. ; formats divers |
| formats | Correspondence |
| access | Contact repository for restrictions and policies. |
| record link | http://www2.centrepompidou.fr/ClientBookline_Mnam/ |
| record source | http://www2.centrepompidou.fr/ |
| updated | 11/12/2014 11:29:47 |
| .................................................................... | |
| title | Correspondance échangée entre Léonce Rosenberg et Gustave Miklos | repository | Pompidou |
| description | Lettres manuscrites de Gustave Miklos adressées à Léonce Rosenberg, à l'encre, datées et signées ; double des lettres tapuscrites de Léonce Rosenberg adressées à Gustave Miklos, datées et non signées. Reçus manuscrits ou tapuscrits sur papier timbré et récipissés Contient des lettres de Gustave Miklos adressées à Léonce Rosenberg, datées du 14 octobre 1921 accusant réception d'un chèque (1 f.) ; 17 septembre 1922, acceptant les conditions d' exposition à la galerie de l'Effort Moderne (1 f.) ; du 13 janvier 1923, acceptant les conditions de location de vitrines pour son exposition (1 f.) Contient des doubles de lettres de Léonce Rosenberg adressées à Gustave Miklos datées du 13 octobre 1921, envoyant un chèque en recommandé, accompagné d'un récipissé (1 f.) ; du 15 septembre 1922, proposant des conditions pour une exposition personnelle de Miklos à la galerie de l'Effort moderne (2 f.) ; du 10 janvier 1923, accompagné de l'épreuve du carton d'invitation pour l'exposition de Miklos à la galerie de l'Effort moderne du 31 janvier au 23 février 1923 (2 f.) ; du 12 janvier 1923, pneumatique, sur les conditions de location de vitrines supplémentaires chez le fabriquant de vitrines Mantelet (1 f.) ; du 28 février 1923, évoque l'achat de bas reliefs par Monsieur Coard, évoque aussi les acheteurs Monsieur Legrain et Madame Taschard (1 f.) ; du 15 mars 1923, évoque l'achat de Madame Taschard (1 f.) ; du 24 février 1923 (1 f.) Contient des reçus datés du 24 mai 1921, tapuscrit sur papier timbré, signé de Miklos, pour deux "peintures à l'oeuf sur ciment" (1 f.) ; du 29 juin 1921, tapuscrit sur papier timbré, signé de Miklos, pour deux "figures" à l'oeuf (1 f.) ; du 20 juillet 1921, tapuscrit sur papier timbré, signé Miklos, pour deux "figures" à l'oeuf (1 f.) ; un chèque daté du 3 août 1921, sur papier imprimé, signé de Miklos (1 f.) ; d'un reçu manuscrit, sur papier timbré, daté du 5 octobre 1921, signé Miklos, pour une plaque en émail champlevé (1 f.) ; du 24 février 1923, tapuscrit sur papier timbré, signé Miklos (1 f.) ; du 24 février 1923, manuscrit sur papier timbré, signé Miklos, pour un émail champlevé (1 f.) ; du 1er mars 1923, tapuscrit sur papier timbré, signé Miklos, pour le compte de Monsieur Coard (1 f.) ; du 3 juillet 1923, sur papier imprimé annoté, timbré, signé Miklos (1 f.) ; du 16 mars 1923, tapuscrit sur papier timbré, signé Miklos, pour deux bas reliefs, pour le compte de Madame Taschard (1 f.) ; du 15 janvier 1923, tapuscrit sur papier libre, sans signature (1 f.) Un catalogue de l'exposition Emaux champlevés et métaux par Gustave Miklos, du 31 janvier au 23 février <1923>, à la galerie de l'Effort moderne |
| extent | Chemise, 28 f. ; formats divers |
| formats | Correspondence |
| access | Contact repository for restrictions and policies. |
| record link | http://www2.centrepompidou.fr/ClientBookline_Mnam/ |
| record source | http://www2.centrepompidou.fr/ |
| updated | 11/12/2014 11:29:47 |
| .................................................................... | |
| title | The Paul Rosenberg Archives, 1905-2000 | repository | The Museum of Modern Art |
| description | The Paul Rosenberg Archives is a natural complement to The Museum of Modern Art's extensive holdings of archival materials focusing on early 20th century modernism and particularly on the art of Picasso, Matisse, Braque and other artists of their circles. Furthermore, the Museum was one of Paul Rosenberg's most loyal clients, just as he was among its most supportive and enthusiastic advisors, and the Rosenberg family has always remained active among the Museum's membership. Numerous works in the Museum's collections have Paul Rosenberg and Company as source or donor. The Paul Rosenberg Archives comprise numerous sale records, photographs of every work in the galleries' inventories, correspondence, exhibition files, photographs of installations, and other published and unpublished artistic, literary, professional, and historical documents representing the careers of Rosenberg and his son Alexandre (art dealer, gallery director and founding president of the Art Dealers Association of America), and notable friends. The Archives also includes unedited texts of Paul and his son Alexander Rosenberg, indexes and reference tools prepared in 1998-2000 for the papers of the Galerie Paul Rosenberg (Paris), as well as 'stock books' of the Paris gallery, recomposed by memory and thanks to documentation that survived World War II. This was due to Paul Rosenberg's foresight in having part of his photograph print collections shipped to the USA via England before the Nazi invasion of France. Indexes which have been prepared in-house for most of the photographic collections are particularly useful. Paul Rosenberg's affiliations in international spheres of modern art predate the founding of The Museum of Modern Art, and his papers-in addition to their representation of significant aspects of twentieth-century ideas, art, and society-are critical for documenting the provenance of hundreds of paintings and sculptures in private and public collections and have been used extensively to research claims for Nazi-looted art. War losses and restitution dossiers were begun by PR&Co as early as the beginning of World War II itself and the consequent research and correspondence thus initiated continues, in many cases, to the present as active files. The Paul Rosenberg Archives chronicle the life of the gallery from its early beginnings until 1987, with a gap in the documentation from the years 1928-1939. The invaluable documents include: inventory cards, arranged by artist, accession, client or sale date; photographic prints and negatives of various format and of excellent quality of virtually every work in the gallery's inventory, arranged by artist; bills, statements, and insurance documents arranged chronologically and alphabetically; files concerning exhibitions and photographs of their installations. The correspondence of both Paul and Alexandre P. Rosenberg reflects the nature of their personal and professional relationships with artists, fellow dealers, collectors, museum professionals, as well as with many personal friends, students and art lovers throughout the world. This unique grouping of materials is particularly rich for the study of early twentieth-century French art, while it also documents or indicates interests in Renaissance and Neoclassical painting and sculpture, Mediterranean and Near Eastern antiquities, extra-European art, the decorative arts, book arts and design. Biographical and Company History The Rosenbergs have been active and prominent in the art world since the 19th century. It was Alexandre Rosenberg the elder ('père') (died 1913), father of Paul (1881-1959) and his brother Léonce (1878-1947), who had initially established himself as an antiques dealer in Paris in 1878. After 1898, he was well known within the circle of the leading dealers of Impressionist and Post-Impressionist art. He encouraged his sons to share these professional interests and afforded them ample opportunities in Paris and abroad (London, Berlin, Vienna, New York) to acquire experience and contacts and to collect art. Paul and Léonce first began to work as partners in 1906, when they assumed joint directorship of the gallery, upon the retirement of their father. They soon established distinct personalities and social networks in the creative effervescence of Paris in the early twentieth century and eventually opened separate galleries, Paul in the rue de La Boétie (from 1910), and Léonce nearby in the rue de la Baume, both in the city's 8th District. The rue de la Boétie has been described as the 'nerve center' of modern French art throughout the 1920s and 1930s or as the 'French Florence'. To his inventory of late 19th century art, Paul Rosenberg followed the lead of his elder brother Léonce - an early and well-known champion of Cubism - and added contemporary works by artists who were already in demand. Initially sharing the honor with his brother and with Daniel-Henri Kahnweiler, Paul Rosenberg eventually enjoyed a special exclusive contract with Pablo Picasso (from 1918 to 1940). While Léonce was first to show the Cubists in his gallery, L'Effort Moderne, it was Paul who possessed the social and financial possibility to provide artists such as Picasso and Braque (as of 1922) with the support they needed, as well as to promote lesser-known artists such as Marie Laurencin, with whom Paul had a warm and fraternal relationship for the rest of her life. Rosenberg also had fruitful arrangements with Fernand Léger (as of 1927) and became Matisse's dealer in 1936 and remained the artist's friend until the end. Paul Rosenberg's relationship with Picasso was a close friendship for the duration of their mature lives. In addition to cultivating and promoting each other's respective careers, Picasso even acted as witness for the birth of Paul's son Alexandre Paul Rosenberg (1921-1987), their families being neighbors in Paris for several years. Paul Rosenberg's legendary 'stock' included a rich selection of paintings, drawings and sculptures by Géricault, Ingres, Delacroix, Courbet, Rodin, Cézanne, Manet, Degas, Monet, Renoir, and Lautrec, along with the works by his modern artists, and regularly complemented by works of Henri Rousseau, Aristide Maillol. Odilon Redon and Amedeo Modigliani. His 'stock' from artists in the United States included painting and sculpture by Marsden Hartley, Max Weber, Abraham Rattner, Karl Knaths, Harvey Weiss, Oronzio Maldarelli. Both Paul and his son Alexandre also had contracts with Nicolas de Staël and Graham Sutherland. Alexandre Rosenberg was the American representative and close friend of the sculptors Kenneth Armitage and Giacomo Manzù. Paul Rosenberg opened a new branch of his Paris gallery - managed by his well-known antiquarian brother-in-law Jacques Helft - in London between World War I and World War II. From 1920 until the beginning of the Second World War in 1939, Paul Rosenberg's company was widely acknowledged to be without doubt the most active and influential gallery in the world in the field of 19th and 20th century French painting, specializing in the Impressionist, Post-Impressionist and Cubist schools, as well as in the developments contemporary to these 'schools'. All of the museums of the Western world and all of the great private collectors became clients of Rosenberg, and his exhibitions became points of reference for the promotion of quality painting. Having foreseen the imminence of the Second World War, Paul Rosenberg began to send his collections abroad, especially to England, America, Australia and South America and then put a hold on the operations of his Paris galleries. Even prior to his departure from France with his wife and daughter, his many friends in the United States encouraged and assisted his establishment in New York, where the Rosenbergs arrived, via Lisbon, in September of 1940. Rosenberg presence in New York had attracted so much interest that an issue of the Art Digest declared that "When rumor first intimated that Paul Rosenberg, internationally known Paris dealer in modern art, would open a gallery in New York, 57th Street anticipated something akin to a clap of thunder." Throughout the war and after its end, he was able to re-assemble in New York a very large proportion, though not all of his gallery stock and his personal collections. In this way, and almost without interruption or discontinuity, he re-established his gallery in New York and recommenced the activity previously undertaken in Paris. Alexandre Rosenberg, still a student at the time of the war's outbreak, found his way to England at the end of June 1940, shortly before the occupation of the last free French ports. During the next five years, he served as an officer with the Free French Forces in their military campaigns in Africa, France and Germany. After his demobilization in 1946, he went to New York to be with his family and after a period of study and apprenticeship, became an associate of Paul Rosenberg & Company in 1952, later assuming his father's place as director of the company after the death of Paul Rosenberg in 1959. Under Alexandre's guidance, the company maintained its position in its traditional field and continued to flourish as in the past, both in the United States and in Europe. While 19th and 20th century French painting remained the company's principal focus, however, its horizons also broadened to encompass more of the old masters and select aspects of contemporary painting, drawings and sculpture. Among colleagues and among museum professionals and collectors, Alexandre Rosenberg enjoyed the reputation of being one of the pre-eminent authorities in his field of activity. He was also known to be an excellent scholar and a dealer possessing an undisputed sense of integrity and taste. In 1962 he was one of the founders and the first president of the Art Dealers Association of America, a professional organization bringing together the most important galleries in New York and throughout the United States. The aims of the ADAA were the elevation and maintenance of standards for professionals in the art market. Alexandre Rosenberg remained one of the association's permanent Board members throughout his life. In this capacity, his assistance was very often requested also by the American government in dealing with various issues in the fine arts field. Notably, he served on a consulting committee for the Internal Revenue Service for several years. Throughout the 1970s and until his premature death in 1987, Alexandre Rosenberg was an active initiator of and participant in a wide variety of commercial and cultural projects both in the United States and abroad. He believed that while the wealth of the market in terms of pictures of high quality had considerably diminished over time through the acquisitions of museums and collectors in the 20th century, it was nonetheless still entirely possible to bring together objects of prime importance compatible with the requirements of museums in the field of 19th and 20th century French painting, watercolors, drawings and sculpture. All that was necessary to build such a collection was a certain body of knowledge and contacts and, most importantly, a solid sense of what is pre-eminent in a given class of works. He believed that the difficulty resided less in the rarity of high-quality works than in the increasing evidence of incompetence in evaluating that quality. With time, appropriate effort and careful planning, fine collections could indeed still be put together. Note: As established by Alexandre P. Rosenberg's own knowledge of the family's history, as well as his faith in the acuity of his father's recollections, and recorded in a note from the mid-1970s (Rosenberg family collection), the following dates and addresses are those most frequently referred to in the Rosenberg business and personal correspondence. The following list may therefore usefully serve as a reference for researchers. Preferred Citation Long version: The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, [series.folder]. The Museum of Modern Art Archives, New York. Short version: Paul Rosenberg, [series.folder]. MoMA Archives, NY. Related Material Among the holdings at The Museum of Modern Art Archives, correspondence with Paul Rosenberg and with Alexandre Paul Rosenberg is to be found among the Alfred H. Barr, Jr., Papers, René d'Harnoncourt Papers, William S. Lieberman Papers, James Thrall Soby Papers, James Johnson Sweeney Papers, Monroe Wheeler Papers, as well as among other collections of personal and business papers of Museum directors, curators and the Registrar officers. Of special interest within the Museum Archives holdings are the letters to Léonce Rosenberg from artists associated with his Galerie de l'Effort Moderne and its Bulletin. See: Léonce Rosenberg Papers: Correspondence relating to Cubism, 1914-1932. For information on individual artists associated with the Rosenberg galleries, see the Artist Files or relevant monographs in the Museum Library. Holdings of related and associated correspondence and documents may also be accessed at the following institutional repositories: Pierpont Morgan Library, New York [Paul Rosenberg correspondence with artists] Metropolitan Museum of Art, New York [Paul and Alexandre P. Rosenberg correspondence] Whitney Museum of American Art, New York [Paul and Alexandre P. Rosenberg correspondence] Ministère des Affaires Étrangères. Services des Archives et de la Documentation. Paris [Paul and Léonce Rosenberg correspondence] Musée Picasso, Paris [Paul Rosenberg correspondence with Pablo Picasso] Musée National d'Art Moderne, Paris [Léonce Rosenberg correspondence and photographs] Bibliothèque Jacques Doucet, Paris [Paul and Léonce Rosenberg correspondence with Doucet] The Archives of American Art of the Smithsonian Institution, Washington, D.C. [correspondence from Paul Rosenberg to many different artists, art dealers and collectors] The Durand-Ruel Archives, Paris [Alexandre (père), Paul and Léonce Rosenberg correspondence] Manuscripts Department, The New York Public Library [John Quinn papers, Paul Rosenberg correspondence] The Getty Center, Los Angeles [Douglas Cooper papers, Paul and Alexandre P. Rosenberg correspondence] The U.S. National Archives and Records Administration [documentary collections and official correspondence concerning Second World War art looting, recovery, and restitution] [See: Holocaust-Era Assets: A Finding Aid to Records at the National Archives at College Park, Maryland (Washington, D.C.: National Archives and Records Administration, 1999)] Fondazione Giacomo Manzù, Ardea (Rome) [Alexandre P. Rosenberg and PR&Co correspondence] |
| extent | 140 linear feet in 302 containers |
| formats | Business Papers Correspondence Financial Records Inventories Photographs |
| access | The records are open for research. For access to the papers, please contact The Museum of Modern Art Archives, the MoMA Archives will then forward the request for access to Mrs. Rosenberg, which will be granted to all qualified researchers. |
| record link | http://www.moma.org/learn/resources/archives/EAD/PaulRosenbergf |
| record source | https://library.nyarc.org/permalink/01NYA_INST/ai54l4/alma991005424089707141 |
| finding aid | online and in repository |
| acquisition information | A Gift of Elaine and Alexandre Rosenberg |
| updated | 11/29/2022 15:49:51 |
| .................................................................... | |
| title | James Johnson Sweeney Papers, ca. 1930s-1960s | repository | The Museum of Modern Art |
| description | The James Johnson Sweeney Papers in The Museum of Modern Art Archives contain correspondence and related material pertaining to Sweeney's involvement with MoMA, beginning in the early 1930s as a friend of MoMA, continuing through his brief tenure as Director of Painting and Sculpture in 1945 and 1946, and concluding in the 1950s and 1960s in various capacities. |
| extent | 1 linear foot |
| formats | Correspondence |
| access | The records are open for research and contain no restricted materials. |
| record source | http://www.moma.org/learn/resources/archives/ |
| acquisition information | The records are open for research and contain no restricted materials. |
| updated | 11/12/2014 11:30:13 |
| .................................................................... | |
| title | Douglas Cooper papers, 1900-1985, bulk 1933-1985. | repository | The Getty Research Institute |
| description | Organized in nine series: Series I: Correspondence; Series II: Manuscripts; Series III: Records of the Mayor Gallery, London; Series IV: Papers relating to Nazi art collections; Series V: Exhibitions; Series VI: Photographs, Slides and Transparencies; Series VII: Personal and Printed Matter; Series VIII: Audio tapes and film; Series IX: Toys. The collection embraces all papers relating to Cooper’s career as a critic, curator, and collector that remained with his estate at the time of his death. The correspondence reflects Cooper’s wide circle of friends and acquaintances in the art world, his work as an art expert, and his penchant for controversy. All of Cooper’s published books, catalogs, articles and reviews are represented. There is material documenting Cooper’s tenure at the Mayor Gallery and his investigation of Nazi art collections. Photographs, slides and transparencies comprise nearly one-third of the collection. There is comprehensive photograph documentation of the work of Gris and Braque, as of Cooper’s art collection and research. |
| extent | ca. 33 linear ft. |
| formats | Correspondence Photographs Electronic Resource Slides Exhibition Catalogs |
| access | Douglas Cooper pursued a long career as art critic, curator and collector, producing numerous books, catalogs, articles and reviews. He also amassed a distinguished collection of early Cubist paintings. |
| record link | http://hdl.handle.net/10020/cifa860161 |
| record source | https://primo.getty.edu/permalink/f/19q6gmb/GETTY_ALMA21126998090001551 |
| finding aid | http://archives.getty.edu:8082/cgi/f/findaid/findaid-idx?c=utf8a&idno=US::CMalG::860161 |
| acquisition information | Acquired from William McCarty-Cooper in 1986. |
| updated | 07/28/2023 16:33:44 |
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