DOCSLIB.ORG

Kunsthändler Und -Sammler Art Dealers and Collectors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Kunsthändler und -sammler Art dealers and collectors Die Eigentümergeschichte der Kunstwerke aus dem Bestand des Museum Berggruen bildet das Leitmotiv der Ausstellung. Die Namen derer, die mit e history of ownership of the artworks from the collection of the Museum den Werken in Berührung kamen oder deren Eigentum sie waren, lesen sich Berggruen is the leitmotif of the exhibition. e names of those who came wie ein „Who is Who“ der Kunstwelt der ersten Häle des 20. Jahrhunderts: into contact with the works or who owned them read like a "Who's Who" of Kunsthändler wie Alfred Flechtheim, Paul Rosenberg, Daniel-Henry Kahn- the art world of the rst half of the 20th century: Art dealers such as Alfred weiler oder Karl Buchholz, die Klee-Enthusiastin Galka Scheyer sowie die Flechtheim, Paul Rosenberg, Daniel-Henry Kahnweiler or Karl Buchholz, Sammler Alphonse Kann, Douglas Cooper und Marie-Laure Comtesse the Klee-enthusiast Galka Scheyer as well as the art collectors Alphonse de Noailles. Kann, Douglas Cooper and Marie-Laure Comtesse de Noailles. Die Kunstwerke rufen damit nicht nur ihre Besitzer und Eigentümer in e artworks do not only remind us of their owners and proprietors, whose Erinnerung, deren Lebensgeschichte in historische Ereignisse eingebettet biographies is embedded in historical events. eir provenances also express ist. Ihre Provenienzen drücken auch die Vielfalt der emen aus, welche die the variety of themes that shape the history of 20th century art: the popula- Geschichte von Kunst im 20. Jahrhunderts prägen: die Popularisierung der risation of Modernism, the development of the international art market, the Moderne, die Entwicklung des internationalen Kunstmarktes, die Emigra- emigration of art dealers and collectors and the translocation of artworks, tion von Kunsthändlern und Sammlern und die Translokation von Kunst- the art policy and the art looting of the National Socialists between 1933 werken, die Kunstpolitik und der Kunstraub der Nationalsozialisten and 1945. zwischen 1933 und 1945. Zudem erzählen die Provenienzen auch eine Sozialgeschichte, die bestimmt Additionally, the provenances also tell a social history that is determined ist von der internationalen Rezeption der Künstler Pablo Picasso, Paul Klee, by the international reception of the artists Pablo Picasso, Paul Klee, Georges Braque und Henri Matisse. Georges Braque and Henri Matisse. Die Ausstellung stellt die Biograen ausgewählter Kunstwerke der Sammlung e exhibition presents the biographies of selected artworks from the vor. Die Schwerpunkte liegen dabei auf der Eigentümergeschichte, einer collection. e focus is on the ownership history, a prominent provenance prominenten Provenienz oder dem historischen Kontext, in dem sich ein or the historical context in which a change of ownership took place. Besitzerwechsel vollzog. Die Objektschilder führen alle bekannten Besitzer e exhibition labels show all known owners of the artworks. der Werke auf. Daniel-Henry Kahnweiler 1907 ließ sich der gebürtige Mannheimer in Paris nieder und erönete in der Rue Vignon unter seinem Namen eine Galerie, die bis 1914 zur ersten Born in the German town of Mannheim, Daniel-Henry Kahnweiler settled Adresse für Moderne Kunst, insbesondere für die Kubisten Pablo Picasso down in Paris in 1907, where he established a gallery under his own name in und Georges Braque wurde. Dann brach der Erste Weltkrieg aus und der the Rue Vignon that, until 1914, became the rst address for modern art, gesamte Lagerbestand der Galerie wurde vom französischen Staat als most notably for the Cubists Pablo Picasso and Georges Braque. At the Feindesgut beschlagnahmt, denn ihr Inhaber, Daniel-Henry Kahnweiler outbreak of the Great War, the entire stock of the gallery was conscated by (1884-1979), war deutscher Staatsbürger. Zwischen 1921 und 1923 verstei- the French state as enemy property. is was because its owner, Daniel-Hen- gerte das traditionsreiche Auktionshaus Hôtel Drouot etwa 3000 Objekte, ry Kahnweiler (1884-1979) was a German citizen. From 1921 to 1923, the die ehemals der Kunsthandlung gehörten. Kahnweiler konnte einige Werke auction house Hôtel Drouot, one of the oldest in the eld, sold some 3000 zurückersteigern. Eine schwierige Rolle nahm hierbei Léonce Rosenberg, items that until then had been the property of the art gallery. Kahnweiler ebenfalls Galerist für kubistische Kunst, ein: Einerseits arbeitete er als managed to buy back some of the works. In this context, Léonce Rosenberg, Berater für das Auktionshaus, andererseits erwarb er auf den Auktionen another gallery owner specialising in Cubist art played a questionable role, selbst viele Kunstwerke, die einst seinem Konkurrenten Kahnweiler gehörten. on the one hand working as an advisor for the auctioneer while on the other hand purchasing many works of art for himself that had once belonged to his Mit der Galerie Simon, die Kahnweiler 1920 zusammen mit dem Namens- rival Kahnweiler. geber André Simon in der Rue d’Astorg gründete, gelang ihm der erfolgreiche Wiedereinstieg in den Pariser Kunsthandel. Zwar arbeitete Picasso nun mit e latter would later manage to launch a successful comeback on Paris’ Paul Rosenberg, dem Bruder Léonce Rosenbergs, zusammen, Kahnweiler art-dealing scene via the Galerie Simon, which he set up in the Rue d’Astorg wurde jedoch unter anderem internationaler Vertreter von Paul Klee. in 1920 together with the eponym, André Simon. While Picasso had in the meantime liaised with Paul Rosenberg, brother of Léonce Rosenberg, Im Zweiten Weltkrieg, während der Besetzung Frankreichs durch das Kahnweiler became international agent for Paul Klee and other artists. Deutsche Reich, musste Kahnweiler aufgrund seiner jüdischen Herkun untertauchen. Gemäß der Politik der Nationalsozialisten, den Juden die In the Second World War, while France was under German occupation, his wirtschaliche Basis zu zerschlagen, sollte seine Galerie „arisiert“, d.h. den Jewish roots forced Kahnweiler to go into hiding. In line with National Eigentümern Kahnweiler und Simon entzogen und unter „arische“ Leitung Socialist policy to strip Jews of their livelihood, the gallery was going to be gestellt werden. Seiner Stieochter (nach anderen Quellen seine Schwägerin) “Aryanised”, i.e. taken away from the owners Kahnweiler and Simon and und enge Mitarbeiterin Louise Leiris (1902-1988) konnte 1941 die Galerie placed under “Aryan” management. In 1941, his step daughter (sister-in-law unter ihrem Namen übernehmen. Ein Glücksfall, denn nach dem Krieg according to other sources) and close collaborator Louise Leiris (1902-1988) kehrte Kahnweiler als Teilhaber zurück. Er und Louise Leiris führten die took over the gallery under her own name—a stroke of luck, as Kahnweiler Kunsthandlung gemeinsam und erfolgreich bis in die 1970er Jahre und returned aer the war as partner. Together with Louise Leiris, Kahnweiler vertraten u.a. auch wieder Picasso. would lead the gallery successfully into the 1970s and once again take over representation duties for Picasso among others. Die Kunstwerke im Raum eint die Provenienz Kahnweiler, durch dessen Galerien sie ihre Biograen in verschiedenen Phasen führte. e works shown in this room all went through Kahnweiler's galleries, whose galleries housed them at one time or another in their biographies. Der Kunstraub in Frankreich im Zweiten Weltkrieg Nazi looted art in France during the Second World War Nach dem Waenstillstand vom 25. Juni 1940 zwischen dem Deutschen Reich und Frankreich beschlagnahmten deutsche Einheiten systematisch In the wake of the armistice concluded between the ird Reich and France jüdischen Besitz, darunter Kunstwerke. Judenverfolgung und Kunstraub on 25 June 1940, Jewish property, including works of art, was methodically gingen Hand in Hand. Beteiligt waren u.a. die Deutsche Botscha in Paris seized by German units. Persecution of Jews and the looting of art went hand unter der Leitung von Otto Abetz und der Einsatzstab Reichsleiter Rosenberg in hand, supervised by the German embassy in Paris headed by Otto Abetz (ERR), angeführt von Alfred Rosenberg, Chedeologe des Nationalsozialis- and the Einsatzstab Reichsleiter Rosenberg (ERR) organisation led by Nazi mus. Während der vierjährigen Besetzung wurden tausende Kunstwerke chief ideologist Alfred Rosenberg. ousands of art objects were conscated konsziert. during the four years under occupation. Vier Werke von Pablo Picasso, die Teil des NS-Kunstraubes in Frankreich Four works by Pablo Picasso, which had fallen victim to Nazi plunder in waren, gehören heute zum Bestand des Museum Berggruen: Kopf einer Frau France, have found their way into the Museum Berggruen’s collection: Head (1906-07), Sitzender Akt, sich den Fuß trocknend (1921), Stillleben mit blauer of a Woman (1906-07), Seated Nude Drying her Foot (1921), Still Life with Gitarre (1924) und Der gelbe Pullover (1939). Vor der Plünderung befanden Blue Guitar (1924), and e Yellow Sweater (1939). Prior to this, two works sich je zwei der Werke im Eigentum des Kunsthändlers Paul Rosenberg und each were in the possession of the art dealer Paul Rosenberg and the collector des Sammlers Alphonse Kann. Der ERR inventarisierte sie, wie alle beschlag- Alphonse Kann. Like all other conscated art objects, these were inventorised nahmten Kunstobjekte, in der Sammelstelle in Paris, dem nun als Depot by the ERR at the central collection point in Paris, the former Jeu de Paume fungierenden Museum Jeu de Paume. museum. Vor der Befreiung durch die Alliierten im Sommer 1944 versuchte der ERR, Before the liberation
Recommended publications
  • Galka Scheyer: Eine Jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19)

    Galka Scheyer: Eine Jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19)

    Galka Scheyer: eine jüdische Kunsthändlerin (Braunschweig, 26-28 Nov 19) Braunschweig, 26.–28.11.2019 Eingabeschluss: 30.04.2019 Katrin Keßler, Bet Tfila - Forschungsstelle für jüdische Architektur in Europa [English below] Die Malerin, Kunsthändlerin und –sammlerin Galka Scheyer, geboren 1889 als Emilie Esther Schey- er, stammte aus einer Braunschweiger Unternehmerfamilie, der die seinerzeit größte Konservenfa- brik der Stadt gehörte. Für ein jüdisches Mädchen aus gutbürgerlichem Haus ist ihre Biographie überraschend. Ihr Weg führte sie bis in die USA, wo sie seit 1924 lebte und 1945 in Hollywood starb. Eine allgemeine Bekanntschaft erlangte sie nicht, wohl aber die „Blaue Vier“, die sie gemein- sam mit vier anerkannten Künstlern des Weimarer Bauhauses gründete: Paul Klee, Wassily Kand- insky, Lyonel Feininger und Alexej von Jawlensky. Anfangs hatte Emilie Scheyer eigene künstlerische Ambitionen. Im Alter von 16 Jahren hatte sie Deutschland verlassen, um in England, Frankreich, Belgien und der Schweiz Malerei, Bildhauerei und Musik zu studieren. In der Schweiz lernte sie 1916 Jawlensky kennen und beschloss, nicht mehr selbst künstlerisch tätig zu sein, sondern ihre Energie der Vermittlung und dem Verkauf sei- ner Werke zu widmen. Mit der Gründung der Künstlergruppe „Blaue Vier“ im Jahre 1924 wurde sie zur offiziellen Kunsthändlerin der „vier blauen Könige“, wie sie selbst „ihre“ Künstler nannte. Sie organisierte zahlreiche Ausstellungen und Lichtbildvorträge, unternahm Reisen durch Europa, die USA und Asien. Mit einer internationalen Tagung wollen die Bet Tfila – Forschungsstelle für jüdische Architektur und das Städtische Museum Braunschweig in Kooperation mit der Stadt Braunschweig diese bedeutende Tochter der Stadt in den Blickpunkt nehmen. Trotz der großen Bedeutung der von ihr vertretenen Künstler in der Kunstgeschichte des frühen 20.
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988

    German Jewish Refugees in the United States and Relationships to Germany, 1938-1988

    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
  • Maven of Modernism: Galka Scheyer in California April 7–Sept

    Maven of Modernism: Galka Scheyer in California April 7–Sept

    October 2016 Media Contacts: Leslie C. Denk | [email protected] | (626) 844-6941 Emma Jacobson-Sive | [email protected] | (323) 842-2064 Maven of Modernism: Galka Scheyer in California April 7–Sept. 25, 2017 Pasadena, CA—The Norton Simon Museum presents Maven of Modernism: Galka Scheyer in California, an exhibition that delves into the life of Galka Scheyer, the enterprising dealer responsible for the art phenomenon the “Blue Four”—Lyonel Feininger, Alexei Jawlensky, Paul Klee and Wassily Kandinsky. In California, through the troubling decades of the Great Depression and the Second World War, German- born Scheyer (1889–1945) single-handedly cultivated a taste for their brand of European modernism by arranging exhibitions, lectures and publications on their work, and negotiating sales on their behalf. Maven of Modernism presents exceptional examples from Scheyer’s personal collection by the Blue Four artists, as well as works by artists including Alexander Archipenko, László Moholy-Nagy, Pablo Picasso Head in Profile, 1919 Emil Nolde (German, 1867-1956) and Diego Rivera, which was given to the Pasadena Art Institute in the Watercolor and India ink on tan wove paper 14-1/2 x 11-1/8 in. (36.8 x 28.3 cm) Norton Simon Museum, The Blue Four Galka Scheyer Collection early 1950s. All together, these works and related ephemera tell the © Nolde Stiftung Seebüll, Germany fascinating story of this trailblazing impresario, who helped shape California’s reputation as a burgeoning center for modern art. Galka Scheyer was born Emilie Esther Scheyer in Braunschweig, Germany, in 1889, to a middle-class Jewish family.
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO

    PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO

    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
  • Paul Klee, 1879-1940 : a Retrospective Exhibition

    Paul Klee, 1879-1940 : a Retrospective Exhibition

    -— ' 1" I F" -pr,- jpp«_p —^ i / P 1^ j 1 11 111 1 I f^^^r J M • •^^ | Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/paulklee1879klee PAUL KLEE 1879 1940 A RETROSPECTIVE EXHIBITION ORGANIZED BY THE SOLOMON R. GUGGENHEIM MUSEUM IN COLLABORATION WITH THE IMSADENA ART MUSEUM 67-19740 © 1967, The Solomon R. Guggenheim Foundation, New York Library of Congress Card Catalogue Number: Printed in the United States of America PARTICIPATING IIVSTITITIOWS PASADENA ART MUSEUM SAN FRANCISCO MUSEUM OF ART COLUMBUS GALLERY OF FINE ARTS CLEVELAND MUSEUM OF ART WILLIAM ROCKHILL NELSON GALLERY OF ART, KANSAS CITY BALTIMORE MUSEUM OF ART WASHINGTON UNIVERSITY, GALLERY OF ART. ST. LOUIS PHILADELPHIA MUSEUM OF ART Paul Klee stated in 1902: "I want to do something very modest, to work out by myself a tiny formal motif, one that my pencil will be able to encompass without any technique..."'. Gradually he intensified his formal and expressive range, proceeding from the tested to the experimental, toward an ever deepening human awareness. Because of his intensive concentration upon each new beginning, categories fall by the wayside and efforts to divide Klee's work into stable groupings remain unconvincing. Even styl- istic continuities are elusive and not easily discernible. There is nothing in the develop- ment of his art that resembles, for example. Kandinsky's or Mondrian s evolution from a representational toward a non-objective mode. Nor is it possible to speak of "periods" in the sense in which this term has assumed validity with Picasso.
  • Museum Berggruen Di Benedetta Baldessarelli E Margherita Savino Indice

    Museum Berggruen Di Benedetta Baldessarelli E Margherita Savino Indice

    Museum Berggruen di Benedetta Baldessarelli e Margherita Savino Indice • Heinz Berggruen (1914 -2007) • L’Edificio e i recenti restauri • La collezione • 1. “Picasso ed il suo tempo dal 1897 al 1972” • 2. L’organizzazione • 3. Gli altri artisti e Picasso • Confronti • Osservazioni Heinz Berggruen (1914 Berlino -2007 Berlino) Heinz Berggruen con il dipinto di Pablo Picasso “Large Reclining Nude” del 1942 (il dipinto è esposto al primo piano del museo) Cenni biografici • Mercante d'arte e collezionista • In America, l’uomo – di genitori ebrei – si era rifugiato nel 1936 per sottrarsi al regime nazista. • Arrivò nel 1947 a Parigi, dove aprì la sua prima galleria d'arte. Nella capitale francese diventò famoso grazie alla sua professione di gallerista e alla sua amicizia con Pablo Picasso. • Nel 1980, decise di abbandonare la direzione della rinomata Paris Gallery per dedicarsi soltanto all’acquisto di opere. • Dopo la morte (2007) i suoi quattro figli e la moglie Bettina annunciano la loro intenzione di supportare il museo. “Il primo quadro che ho acquistato in vita mia fu un lavoro di Paul Klee – racconta H. Berggruen, “avevo 25 anni ed ero in viaggio di nozze da San Francisco a New York… A Chicago mi offrirono un acquerello del grande pittore…Era intitolato Perspektiv Spuk (Fantasma), era di piccole dimensioni, del 1920 e lo pagai 200 dollari, e per me fu l’inizio di una storia d’amore. Paul Klee, Perspektiv Spuk (1920) L’Edificio e i recenti restauri Il Palazzo Stueler, che ospita la collezione Berggruen, si trova nel quartiere di Charlottenburg (di fronte al castello), nella zona Ovest di Berlino.
  • Open Windows 10

    Open Windows 10

    Leticia de Cos Martín Martín Cos de Leticia Beckmann Beckmann Frau than Quappi, much more more much Quappi, pages 47 — 64 47 — 64 pages Clara Marcellán Marcellán Clara in California in California Kandinsky and Klee Klee and Kandinsky of Feininger, Jawlensky, Jawlensky, of Feininger, and the promotion promotion the and Galka Scheyer Galka Scheyer ‘The Blue Four’: Four’: Blue ‘The pages 34 — 46 34 — 46 pages Manzanares Manzanares Juan Ángel Lpez- Ángel Juan ~' of modern art as a collector as a collector Bornemisza’s beginnings beginnings Bornemisza’s - ~~.·;•\ Thyssen Baron On ~ .. ;,~I il~ ' r• , ~.~ ··v,,,:~ ' . -1'\~J"JJj'-': . ·'-. ·•\.·~-~ . 13 — 33 pages Nadine Engel Engel Nadine Expressionist Collection Collection Expressionist Thyssen-Bornemisza’s German German Thyssen-Bornemisza’s Beginning of Hans Heinrich Heinrich Hans of Beginning 1, 1 ~- .,.... Museum Folkwang and the the and Folkwang Museum ,..~I,.. '' i·, '' ·' ' ' .·1,.~.... Resonance Chamber. Chamber. Resonance . ~I•.,Ji'•~-., ~. pages 2 — 12 2 — 12 pages ~ -~~- . ., ,.d' .. Ali. .~ .. December 2020 2020 December 10 10 Open Windows Windows Open Open Windows 10 Resonance Chamber. Museum Folkwang and the Beginning of Hans Heinrich Thyssen-Bornemisza’s German Expressionist Collection Nadine Engel Emil Nolde Young Couple, c. 1931–35 22 HollandischerDirektor bracht ✓ Thyssen-Schatzenach Essen Elnen kaum zu bezifiernden Wert bat elne Ausslellung des Folkwang-Museums, die btszum 20. Marz gezelgt wird: sie ent­ hiilt hundertzehn Melsterwerke der europaisdlen Malerei des 14. bis 18. Jahrhunderts aus der beriihmten Sammlung Sdtlo8 Roboncz, die heute Im Besitz des nodt Jungen Barons H. H. Thys­ sen-Bornemisza ist und in der Villa Favorlta bei Lugano ihr r Domlzil hat. Insgesamt mnfafll sie 350 Arbeiten.
  • Modern Paintings, Drawings, Sculptures : Arp

    Modern Paintings, Drawings, Sculptures : Arp

    Modern paintings, drawings, sculptures : Arp ... [et al.], donated by private collectors, artists and American & European dealers for the benefit of the Thirtieth Anniversary Fund of the Museum of Modern Art, New York : public auction ... April 27 ... Parke Bernet Galleries, Inc., New York, 1960 Date 1960 Publisher Parke-Bernet Galleries, inc. Exhibition URL www.moma.org/calendar/exhibitions/3407 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art FIFTY MODERN PAINTINGS AND SCULPTURES ESPECIALLY DONATED FOR THE BENEFIT OF THE 30TH ANNIVERSARY FUND OF The Museum of Modern Art NEW YORK PUBLIC AUCTION WEDNESDAY APRIL 27 AT 8:30 P.M. PARKE-BERNETGALLERIES INC 980 MADISON AVENUE NEW YORK 1960 MUSEUMO? MODERN PAINTINGS DRAWINGS SCULPTURES ARP BRAQUE CEZANNE CHAGALL DUBUFFET GIACOMETTI GRIS JAWLENSKY KANDINSKY KLEE LEGER MAILLOL MATISSE MIRO MOORE PICASSO PRENDERGAST RENOIR UTRILLO AND OTHER NOTABLE ARTISTS DONATED BY Private Collectors Artists and American& EuropeanDealers FOR THE BENEFIT OF THE THIRTIETH ANNIVERSARY FUND OF The Museum of Modern Art NEW YORK Public Autlion Wednesday April 27 at 8:30 p. m. PARKE-BERNET GALLERIES INC New York i960 MOlfllN* ART LIBRARY EXHIBITION AND SALE AT THE PARKE-BERNET GALLERIES INC 980 Madison Avenue New York 21 TRAFALGAR 9-83OO Public Exhibition — Admission $1 Saturday, April 23 from 10 a.m. to 5 p. m. Sunday, April 24 from 2 to 6 p. m. Monday, April 25 from 10 a.
  • SCHEDULE of EXHIBITIONS and EVENTS July, August, September 2017

    SCHEDULE of EXHIBITIONS and EVENTS July, August, September 2017

    SCHEDULE OF EXHIBITIONS AND EVENTS July, August, September 2017 Norton Simon Museum Media Contact 411 West Colorado Blvd. Leslie Denk Pasadena, CA 91105-1825 Director of External Affairs www.nortonsimon.org Phone: (626) 844-6941; Fax: (626) 844-6944 (626) 449-6840 Email: [email protected] In this Issue Page • EXHIBITIONS ................................................................................................................................... 2 • EVENTS & EDUCATION CALENDAR ................................................................................. 3–16 . Summer Concert Series ............................................................................. 3–4 . Lecture ................................................................................................................4 . Films ............................................................................................................... 5–6 . Game Night. ...................................................................................................... 6 . Adult Education Programs ....................................................................... 7–9 . In Studio…………………………………………………………………………………..9–10 . Guided Tours………………………………………………………………………….10–13 . Family Programs…………………………………………………………………….13–16 . Thursday Summer Fun……………………………………………………………15–16 . Young Artists’ Workshop……………………………………………………………..16 . Teen Arts Academy ....................................................................................... 16 • GENERAL MUSEUM INFORMATION ...................................................................................
  • Chc-2020-1883-Hcm Env-2020-1884-Ce

    Chc-2020-1883-Hcm Env-2020-1884-Ce

    Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2020-1883-HCM ENV-2020-1884-CE HEARING DATE: May 7, 2020 Location: 420-430 South Bundy Drive TIME: 10:00 AM Council District: 11 – Bonin PLACE : Teleconference (see Community Plan Area: Brentwood – Pacific Palisades agenda for login Area Planning Commission: West Los Angeles information) Neighborhood Council: None Legal Description: Westgate Acres, Lot PT 72 EXPIRATION DATE: The original expiration date of April 17, 2020 is tolled, and a revised date will be determined pursuant to the Mayor’s March 21, 2020 Public Order Under City of Los Angeles Emergency Authority re: Tolling of Deadlines Prescribed in the Municipal Code and April 17, 2020 Public Order Under City of Los Angeles Emergency Authority re: Tolling HCIDLA Deadlines and Revising Expiration of Emergency Orders PROJECT: Historic-Cultural Monument Application for WOODMERE REQUEST: Declare the property an Historic-Cultural Monument OWNERS: Cynthia Jopanda, Trustee Kato Pomer, Trustee Pomer Dec’d Trust Pomer Family Trust PO Box 889 430 South Bundy Drive Monterey Park, CA 91754 Los Angeles, CA 90049 APPLICANT: Hollywood Heritage, Inc. PO Box 2586 Hollywood, CA 90078 PREPARERS: Mary Mallory Laura Meyers 11161¼ Acama Street 1818 South Gramercy Place Studio City, CA 91602 Los Angeles, CA 90019 RECOMMENDATION That the Cultural Heritage Commission: 1. Take the property under consideration as an Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation suggest the submittal warrants further investigation. 2. Adopt the report findings.
  • Download the Full Brochure

    Download the Full Brochure

    NOVEMBER 18, 2011 – APRIL 8, 2012 PAM1102_Brochure.10.indd 1 12/9/11 9:19 AM PAM1102_Brochure.10.indd 1 12/9/11 9:19 AM his exhibition, for the first time, traces the entire development of the Pasadena Art Museum in the North Los Robles building Tthat now houses Pacific Asia Museum, and in the Pasadena Art Museum’s final location on Colorado Boulevard, where it became the Norton Simon Museum in 1974. Important works of art, borrowed from the Norton Simon Museum and from artists, galleries and private collections, provide key examples of art in or related to the Pasadena Art Museum collection. The exhibition also presents images of installations Facing page: of the exhibitions, and the important individuals and organizations Studio of J. Allen Hawkins, Pasadena involved in the Museum. Excerpts from interviews with artists, former Art Museum, Courtesy of the Archives, Pasadena Museum of History directors, curators and trustees give personal views of the Pasadena Art © Pasadena Museum of History Museum’s history. The exhibition provides a brief history of art from the 1910s through the Vasily Kandinsky (1866–1944), Pressure from Above, 1928, late 1960s. Works by Paul Klee, Vasily Kandinsky, Lyonel Feininger and Watercolor and India ink on wove paper, Courtesy of Norton Simon Alexei Jawlensky—all members of the Blue Four group of artists in Museum, The Blue Four Galka Germany after the First World War—show the effects of the development Scheyer Collection © 2011 Artists Rights Society (ARS), New York/ of Cubism. Their use of geometry to create compositions and express ADAGP, Paris imagination (in all four artists), and the use of abstraction to express spirituality (in Kandinsky and Jawlensky), demonstrate the many possibilities of Cubism’s new way of showing space and implied movement on a flat surface.
  • Los Angeles Department of City Planning RECOMMENDATION REPORT

    Los Angeles Department of City Planning RECOMMENDATION REPORT

    Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2017-4333-HCM ENV-2017-4334-CE HEARING DATE: November 16, 2017 Location: 2380-2460 Sunset Plaza Drive; TIME: 10:00 AM 9058-9060 Crescent Drive PLACE : City Hall, Room 1010 Council District: 4 - Ryu 200 N. Spring Street Community Plan Area: Hollywood Los Angeles, CA 90012 Area Planning Commission: Central Neighborhood Council: Bel Air – Beverly Crest Legal Description: Lookout Mountain Park Tract, Lot PT D PROJECT: Historic-Cultural Monument Application for the CHUEY RESIDENCE REQUEST: Declare the property a Historic-Cultural Monument OWNER(S): Paul and Gigi Shepherd 2460 Sunset Plaza Drive Los Angeles, CA 90069 APPLICANT: Adrian Scott Fine Los Angeles Conservancy 523 West 6th Street, Suite 826 Los Angeles, CA 90014 PREPARER: Jenna Snow PO Box 352297 Los Angeles, CA 90035 RECOMMENDATION That the Cultural Heritage Commission: 1. Take the property under consideration as a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation suggest the submittal warrants further investigation. 2. Adopt the report findings. VINCENT P. BERTONI, AICP Director of PlanningN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources [SIGNED ORIGINAL IN FILE] Melissa Jones, Planning Assistant Office of Historic Resources Attachment: Historic-Cultural Monument Application CHC-2017-4333-HCM 2380-2460 Sunset Plaza Drive Page 2 of 3 SUMMARY The 1956 Chuey Residence is a one-story single-family residence located on the ridge of a hill between Crescent Drive and Sunset Plaza Drive, overlooking West Hollywood and the Sunset Strip to the south in the Beverly Crest neighborhood.