Press Release: October 18, 2012
 
LOS ANGELES—The Getty Research Institute (
http://www.getty.edu/research/ ) (GRI) announced today the acquisition
of the archive of the historic Knoedler & Company Gallery, the premier
American art gallery from the mid-19th century through the 20th century.
Dating from circa 1850 to 1971, the comprehensive archive is a vast
trove of diverse original research materials including letters,
telegrams, albums, sales books, stock and consignment books, card files
on clients and art works, rare photographs, reference photo archives,
and rare books.

“This tremendous archive represents a vital chapter in both American and
European art history and is an invaluable American cultural resource,”
said Thomas Gaehtgens, director of the Getty Research Institute. “We
look forward to the exceptional research, publications and exhibitions
that will no doubt arise from the Getty Research Institute’s ability to
make this material available to our own scholars and researchers from
around the world. We are already planning a research project which will
reconsider the history of the transfer of European art to the US based
on this outstanding trove.”

The meticulously kept archive provides a complete history of how the
Knoedler Gallery created a foothold in New York, bridging the
well-established business of art in Europe with the burgeoning art
market in the U.S., while consistently advocating and promoting American
artists.  From its start in the mid 1800s through the changing tides of
taste into the late 20th century, the Knoedler Gallery was consistently
a prestigious and influential player in the American art market.  The
Knoedler Gallery closed in 2011, after 165 continuous years in
operation.

“For nearly thirty years, the Getty Research Institute has selectively
acquired major archival collections of galleries and dealers that
chronicle the history of European and American taste in the 19th and
20th centuries,” said Marcia Reed, chief curator at the Getty Research
Institute. “Combined with the resources of our Project for the Study of
the History of Collecting and Provenance, these archives in the GRI’s
Special Collections make the GRI a premier international center for
research on the art market, provenance, and the history of collecting.”

In 1847, the rapidly growing Parisian print publisher Goupil, Vibert &
Cie, sent an agent to New York to establish an office catering to what
was then seen as the untapped and potentially huge market for art in
America. In 1848, William Schaus opened the Goupil branch downtown at
289 Broadway, near City Hall. Initially the firm successfully sold
reproductive prints made in Paris, making a profit and injecting French
aesthetics into the American art scene, with clients all over the East
Coast and as far west as the Mississippi River. The gallery also
astutely identified appealing original works of art by American artists
for reproduction in Paris, reintroducing them to the U.S. as affordable
engravings and lithographs.

In 1857 the firm’s second New York manager, Michael Knoedler, who was
trained by Adolphe Goupil in Paris, took the opportunity to buy out the
New York branch. Knoedler’s persistent energy, backed by the powerful
Maison Goupil (archives of which are already in the GRI’s collection),
contributed to a shift in American taste and culture. The archive
includes documentation of Knoedler’s interactions with movers and
shakers of the early New York art world—people such as John Taylor
Johnston, the first president of the Metropolitan Museum of Art; Robert
L. Stuart, a major donor to the New York Public Library, and prominent
collector Catharine Lorillard Wolfe.
The Knoedler Gallery continued to thrive and shifted focus from French
Salon paintings toward Old Masters and British Art. By the 1880s the
gallery had competition in New York but was still far and away the major
supplier of art to the Americ
an market—the peak years being 1905–1930.
Clients included notable names such as Henry Clay Frick, Andrew Mellon,
Robert Sterling Clark, Estelle Doheny, and the Huntington family. In
1930–31 this tidal wave of trade was punctuated by the landmark sale of
masterworks from the collection of the State Hermitage Museum in
Leningrad to Andrew Mellon.

Knoedler’s success continued into the mid-20th century, when in addition
to Old Masters, the gallery developed a contemporary art division
selling works by Louise Bourgeois, Salvador Dalí, Willem de Kooning,
Arshile Gorky, Eva Hesse, Henry Moore, Barnett Newman, Tony Smith, and
many others.
Housed for decades in the gallery’s New York office, this essential
archive on art, artists, collectors, museums and vicissitudes of style
and taste has never been widely accessible for research. The collection
is particularly significant for the light it sheds on the business side
of art dealing: it tells the story of how works of art moved back and
forth among Knoedler, other dealers, and collectors whose names
represent the crème de la crème of American society.

Especially notable in the Knoedler Archive is the considerable number of
letters from 19th and 20th century artists, collectors, and others. The
archive includes hundreds of letters written by the likes of Alexander
Archipenko, Léon Bakst, Sarah Bernhardt, Rosa Bonheur, Alexander Calder,
Edgar Degas, Max Ernst, Naum Gabo, Greta Garbo, Paul Gauguin, Childe
Hassam, Winslow Homer, Rockwell Kent, Henri Matisse, Irving Penn, Mark
Rothko, Augustus Saint-Gaudens, John Singer Sargent, John Sloan, Joseph
Stella, Edward Steichen, Louis Comfort Tiffany, and William Zorach. Many
of these letters are illustrated.  From Homer, for example, there are 14
letters with drawings.

Founded before most museums in the U.S., the Knoedler Gallery factored
significantly into the development of many American private collections,
in turn influencing the collections of America’s important public
museums. The J. Paul Getty Museum owns more than a dozen paintings and
drawings that were either brought to the U.S. via the Knoedler Gallery,
or sold by Knoedler at one point. Indeed the Getty Museum’s iconic
Irises (Vincent van Gogh, 1889) and Portrait of Madame Brunet (Édouard
Manet, about 1860–1863, reworked by 1867) were both acquired by the
prominent New York-based collector Joan Whitney Payson from the Knoedler
Gallery.

The massive archive must be cataloged, processed, and conserved by
experts at the GRI but it will eventually be made available to
researchers on site and digitized for online research. It joins other
gallery archives at the GRI including records for the Goupil & Cie and
Boussod Valadon galleries, the parent organization of Knoedler, and the
Duveen Brothers records.

Lind to Press Release:
http://news.getty.edu/press-materials/press-releases/knoedler-and-company-gallery-archives.htm
Link to GRI's Knoedler webpage:
http://www.getty.edu/research/special_collections/notable/knoedler.html
 Kathleen Salomon
Assistant Director
The Getty Research Institute


 
 


 


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