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A077_IX_001

A077 Galerien Thannhauser

Galerien Thannhauser

- Thannhauser: Notes
We thank Francine Snyder (Manager of Library and Archives, Solomon R. Guggenheim Museum) for the information that
"The Solomon R. Guggenheim Museum Archives recently created finding aids for two archives collections that have materials related to the Thannhauser bequest. They are:

* Thomas M. Messer records. A0007.
* Daniel Catton Rich papers. M0014.

The finding aids for these collections can be found at: http://www.guggenheim.org/new-york/collections/library-and-archives/archive-collections
Please feel free to share this URL.

The "JKT Notes" cited in Vivian Barnett's Thannhauser catalog are located within the Daniel Catton Rich papers, M0014. As with all non-restricted materials in our collections, these folders, listed as box 000549 "Justin K. Thannhauser Notes" (3 folders) 1972, 1975, are available to researchers by advance appointment."


“Notes” von JKT, vgl. Drutt, S. 21, Anm. 3: „See Justin Thannhauser, notes to Guggenheim trustee Daniel Catton Rich, probably 1972, Salomon R. Guggenheim Archive, New York (hereafter cited as Thannhauser, notes). These and other notes in the archive were written by Justin in an informal manner; some are handwritten and others are typescripts with handwritten corrections.”

Weitere "Notes" sind nach Auskunft des Guggenheim-Archivs den Bildakten der Thannhauser Collection im Guggenheim-Archiv beigefügt und betreffen hauptsächlich die einzelnen Provenienzen.

Transkription:

"I
THANNHAUSER
Since 1911 Universities Paris, Munich, Berlin and Florence. (Art History; Philosophy; Psychology.) Studies with Wölfflin, Bergson, Adolf Goldschmidt, etc.) Friendship with Wölfflin, - Organization of the only private lectures he ever held, - a series of such lectures at the Thannhauser Gallery in Munich. Organisation of similar lecture series by other well known University teachers and Writers at that Gallery.

Help in organisation of the Exhibitions which his father Heinrich undertook in the Munich Galleries - the largest of its kind in Europe at that period. Assistance at such shows since 1909. Among others: two first Van Gogh Shows of great numbers of his paintings at different periods. The first one contained the finest oils and graphics which were all unsold at that time, - and none could be sold during the first one, In spite of prices of approximately 1,000 Dutch guilders for paintings like the Sunflowers, Bedroom in Arles, Cypresses, etc. etc.; and prices of ca. 100 Guilders for the finest Drawings existing, from all periods. Through friendship established with Van Goghs sister-in-law, Mme. Cohen-Gosschalk-Bonger and son Vincent, since ca. 1911/12, second big Van Gogh-Show; this time with sales results coming up. (Sale of Arlésienne to writer Carl Sternheim, 13,000 Mark. He resold it – before the first World war, to Mrs von Goldschmid-Rothschild, for many times this amount.) ---- First exhibitions of many artists like Franz Marc, Paul Klee, the later so famous FIRST EXHIBITION of the “Blue Rider”, as well as of the “Neue Künstler-Vereinigung, - with Kandinsky, Franz Marc, Jawlensky, Werefkin, Münter, Arnold Schönberg, etc., etc. --- Large Show of the “Futurists, through relation to Marinetti, their leader, - many controversies at that time!! Ferdinand Hodler exhibitions, - one containing 100 Paintings, in 1911. Cuno Amiet, Father Giacometti, Hermann Haller, the Swiss sculptor, Valloton, Pellegrini, Max Bill [?], Othon [?] Fries [?], Matisse, Macke, Neue Sezession, Brücke, Egon Schiele. FIRST EXHIBITION anyplace of Picasso Feb. 1913, containing 114 paintings etc. with Catalog, - Foreword written by J.K.T. (There were some small shows before in very small Galleries, - Vollard’s, Berthe Weil[l]’s, Kahnweiler’s, were small shops showing often a few paintings.) But Kahnweiler’s friendship since 1911 helped arranging the big First Exhibition of P. ever held. This show went immediately to other places like Prague, Cologne, etc. through the T’s [?] efforts. Picasso himself always consideres it as the beginning of his appreciation in the whole world.
II
Later on Picasso’s always hanging in the Galleries. A very large exposition of his works at the Munich Galleries in June 1922, ill. Catalog with Foreword by Paul Rosenberg, Paris. --- There were always irregularly exhibitions of the different Expressionists, Neo-Impressionists; and especially also of the Impressionists themselves, which were not understood and were ridiculed even by prominent writers and critics then: even the most important first showing of the Manets of the famous Pellerin Collection, in 1910 (including his most famous paintings existing, found the greater part of the visitors, and especially some of the best appeciated art critics) absolutely unprepared to accept them or to take them even seriously. The “Déjeuner à l’Atelier” went to the Munich Museum, and a number of other such master works to other famous public and private Collections. The “Bar aux Folies-Bergères” for instance to a prominent Central European Collection from which we could sell it ca. 14 years later to the just then developing Collection of Mr. Courtauld in London. Etc. etc.
Before World War I there were first exhibitions of Sisley and Pissarro; of Renoir – who had visited Munich – a remarkable exhibition of chefs-d’œuvre with the assistance of the Durand-Ruels; Henri Rousseau; Robert Delaunay; a Marquet Show; Odilon Redon; a great Cézanne Show, with assistance of Vollard etc., with sensational effect although not common understanding. In August 1910 the first large exhibition of GAUGUIN, - although Paris had given him, after his death, 2 shows at the Salon d’automne and at Vollard’s shop, but the artist did not find respect and admiration for many years, - was continually belittled as beeing only “Decorative”. (A very large memorial show which the Th. Galleries presented at their Berlin Galleries in Oct. 1928, was then an immense success; it contained an introduction by the then Director of the Kunsthalle in Basl, W. Barth, and 230 works of his hand.) Seurat and the “Neo-Impressionists”, - Rysselberghe and his contempories were shown extensively before World War I. And all the forward looking Artists from Germany, Switzerland, Austria, and a number of other countries received continually extensive showings. Further back, an unusally extended showing of Adolf Menzel, - 358 œuvres! And also the other older members of the German, French, Swiss and other European countries. – July 1922, - more than ten years after his first showing at Th. – another large KANDINSKY Exposition. Much earlier large comprehensive Show of ALFRED KUBIN. And Feininger, - Archipenko, Mopp, Toulouse-Lautrec, - Bracque – Delaunay, etc. etc. Immediately after World War I: the first showing of the whole series of Degas’ Bronzes – discovered after his passing – with many paintings.

III
Contribution in 1913 – at the invitation of Walt Kuhn, Walter Pach and other American friends, - of circa 28 works by different artists for the later so famous ARMORY SHOW, - held then in NEW YORK, BOSTON and CHICAGO. –
Friendship (and sales) with Albert Barnes, etc., the Arensbergs, - the Eddie’s in Chicago, - the Bartletts, Winterbothams, Lewisohns, Henry Goldman, and very many of the other well known American Collectors of the earlier periods, - and naturally, of later periods as well, as also with the European Collectors and Directors of Museums.
Early in 1927, - opening of the very large BERLIN GALLERIES, - with several tremendously large showings, attracting tens of Thousands of Visitors internationally.
After complete rebuilding of an old Berlin Mansion, again Exhibitions of the greatest caliber; especially French Art, and German Art, etc. Compare mention of Th. Shows in Sinclair Lewis’ Sam Dodsworth. (The Munich activities often forthcoming in the literature, as for instance in the famous play by Frank WEDEKIND (Marquis von Keith). etc.)
Among the BERLIN Exhibitions: after Claude Monet’s death the large MEMORIAL SHOWING with contributions from the Ministère des Beaux-Arts and the Louvre-Luxembourg museums and many French and German Collections and Museums; Georges Clémenceau came spontaneously forward in suggesting his coming to Berlin to hold a memorial speech in the Galleries to honor his great friend. (he had to cancel it suddenly, because of illness.)
In 1930 the greatest MATISSE SHOW, - with the most active help by Matisse and his Family, containing 265 items! It had a sensational effect everywhere in the world, and brought – like the other shows – thousands and thousands of visitors; whole classes of students from Germany and other (Scandinavian etc.) countries, and publications and Books everywhere.
-----
Organization – and/or Participation – during the decades, on innumerable Exhibitions in Museums and Galleries in many parts of the Universe, mostly at the Museums.
Many donations – during those decades, - to a great number of Museums. (Regretted only where the donations are not being shown…
The art works, stolen by the Germans in the Hitler era, - in Germany as well as in Paris, - came never to light … (Including the whole Libraries, old Furnitures and Rugs and Gobelins, Collections of China and other old Art objects, Music Instruments,
FOREVER LOST (for instance): Whole correspondence from Marc, urging Heinrich Th. to bring him together with Kandinsky – with all his reasons – and after H. T. had responded and brought them together at his Gallery, letter of profuse thanks by Marc, with numerous highly interesting details! (These correspondences could been saved to bring to Paris, - but here again the Germans raided “scientifically” the whole contents of the house!!) Never to be replaced … The same, as they did with the paintings etc etc. which had been left in Germany …”

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25.04.2025, 10:35 MESZ