Picasso's War, page 49
BACK TO NOTE REFERENCE 29
Quinn to Maud Gonne, August 29, 1921.
BACK TO NOTE REFERENCE 30
Roché, diary, August 15, 1921, in Roché, Carnets, 307.
BACK TO NOTE REFERENCE 31
Quinn to Gwen John, August 29, 1921.
BACK TO NOTE REFERENCE 32
14. KU KLUX CRITICISM
The case was Stoehr v. Wallace 255 U.S. 239 (1921), in which Quinn defended the constitutionality of the government sale of seized enemy assets. Quinn complained that despite his Supreme Court victory, the government reduced his fee by $19,000. Quinn to Walther Halvorsen, November 17, 1921.
BACK TO NOTE REFERENCE 1
Quinn to Margaret Anderson, October 19, 1921.
BACK TO NOTE REFERENCE 2
Quinn to Bryson Burroughs, March 24, 1921, in Gary Tinterow, “Picasso in the Metropolitan Museum of Art,” in Tinterow and Stein, Picasso in the Metropolitan Museum of Art, 5–6.
BACK TO NOTE REFERENCE 3
Quinn to Ezra Pound, May 7, 1921.
BACK TO NOTE REFERENCE 4
“1,500 See French Pictures: Work of Impressionist Painters a Surprise to Many Visitors,” New York Times, May 3, 1921; Augusta Owen Patterson, “Arts and Decoration,” Town and Country, June 1921, 30–32; “The Metropolitan French Show,” The Arts, April–May 1921, 2.
BACK TO NOTE REFERENCE 5
Forbes Watson, “Institutional Versus Individual Collectors: A Polite Plea for the Abolition of the Committee Rule,” Arts and Decoration, February 1921, 340.
BACK TO NOTE REFERENCE 6
“A Protest Against the Present Exhibition of Degenerate ‘Modernistic’ Works in the Metropolitan Museum of Art,” undated pamphlet [September 1921].
BACK TO NOTE REFERENCE 7
Quinn to John Butler Yeats, September 9, 1921, in Reid, Man from New York, 507.
BACK TO NOTE REFERENCE 8
“Pennell Enters Into Art War Here; Etcher Calls Post-Impressionist Exhibit at the Museum Dangerous,” New York Times, September 8, 1921; “Pennell Criticizes Post Impressionist Works as Rubbish,” New York Herald, September 8, 1921.
BACK TO NOTE REFERENCE 9
Johannes Hendrikus Burgers, “Max Nordau, Madison Grant, and Radicalized Theories of Ideology,” Journal of the History of Ideas, vol. 72, no. 1 (January 2011), 119–40.
BACK TO NOTE REFERENCE 10
Nordau, Degeneration, viii.
BACK TO NOTE REFERENCE 11
Brown, Armory Show, 164.
BACK TO NOTE REFERENCE 12
James Huneker, “The Case of Dr. Nordau,” The Forum, November 1915, 571–87.
BACK TO NOTE REFERENCE 13
Burgers, “Max Nordau,” 125.
BACK TO NOTE REFERENCE 14
Quinn to Yeats, September 9, 1921, in Reid, Man from New York, 507.
BACK TO NOTE REFERENCE 15
“Artists Rise in Aid of Post-Impressionists: John Quinn Calls Anonymous Attack on Museum Exhibit Ku Klux Criticism,” New York Times, September 7, 1921.
BACK TO NOTE REFERENCE 16
Roché to Quinn, November 22, 1921.
BACK TO NOTE REFERENCE 17
Quinn to Roché, December 29, 1921.
BACK TO NOTE REFERENCE 18
Quinn to Léonce Rosenberg, November 29, 1921.
BACK TO NOTE REFERENCE 19
Quinn to Roché, February 19, 1922.
BACK TO NOTE REFERENCE 20
Quinn to Roché, July 28, 1922.
BACK TO NOTE REFERENCE 21
Quinn to Léonce Rosenberg, November 29, 1921.
BACK TO NOTE REFERENCE 22
15. DANGEROUS LIAISONS
Roché, diary, November 10, 1921, in Carnets, 426.
BACK TO NOTE REFERENCE 1
Roché, diary, November 26, 1921, in Carnets, 448.
BACK TO NOTE REFERENCE 2
Roché to Quinn, January 27, 1922.
BACK TO NOTE REFERENCE 3
Roché, diary, November 30, 1921, in Carnets, 451.
BACK TO NOTE REFERENCE 4
Roché to Quinn, January 8, 1922.
BACK TO NOTE REFERENCE 5
Rosenberg to Picasso, January 21, 1921.
BACK TO NOTE REFERENCE 6
Rosenberg to Picasso, July 9, 1921.
BACK TO NOTE REFERENCE 7
Roché to Quinn, February 11, 1922.
BACK TO NOTE REFERENCE 8
Quinn to Roché, December 8, 1920.
BACK TO NOTE REFERENCE 9
Rosenberg to Picasso, July 9, 1921.
BACK TO NOTE REFERENCE 10
Quinn to Rosenberg, May 25, 1922.
BACK TO NOTE REFERENCE 11
Michael C. FitzGerald points out “how unusual Quinn’s purchases were at this time when the pool of buyers was still very shallow.” FitzGerald, Making Modernism, 114.
BACK TO NOTE REFERENCE 12
Roché to Quinn, January 8, 1922.
BACK TO NOTE REFERENCE 13
Picasso described Quinn’s purist approach to collecting at the time of Quinn’s death. Saarinen, Proud Possessors, 234.
BACK TO NOTE REFERENCE 14
Roché to Quinn, January 28, 1922 (addendum February 1).
BACK TO NOTE REFERENCE 15
Roché to Quinn, January 8, 1922.
BACK TO NOTE REFERENCE 16
Quinn to Roché, January 27, 1922.
BACK TO NOTE REFERENCE 17
Roché to Quinn, February 10, 1922.
BACK TO NOTE REFERENCE 18
Roché to Quinn, February 10, 1922.
BACK TO NOTE REFERENCE 19
Man Ray, Self Portrait (Boston: Bulfinch Press, 1998), 177.
BACK TO NOTE REFERENCE 20
Roché, diary, February 16, 1922.
BACK TO NOTE REFERENCE 21
Roché to Quinn, February 17, 1922.
BACK TO NOTE REFERENCE 22
Roché to Quinn (cable), March 7, 1922.
BACK TO NOTE REFERENCE 23
Quinn to Roché, February 19, 1922.
BACK TO NOTE REFERENCE 24
Quinn to Roché (cable), March 7, 1922.
BACK TO NOTE REFERENCE 25
Quinn to Roché, March 5, 1922.
BACK TO NOTE REFERENCE 26
Roché to Quinn, March 29, 1922.
BACK TO NOTE REFERENCE 27
Roché, diary, May 20, 1922.
BACK TO NOTE REFERENCE 28
Roché to Quinn, May 18 and June 19, 1922.
BACK TO NOTE REFERENCE 29
Reid, Man from New York, 541.
BACK TO NOTE REFERENCE 30
Quinn to George Russell, July 30, 1922.
BACK TO NOTE REFERENCE 31
Quinn to Lady Gregory, July 17, 1922, in Reid, Man from New York, 542.
BACK TO NOTE REFERENCE 32
James Joyce to Quinn (cable), February 3, 1922, in Reid, Man from New York, 529.
BACK TO NOTE REFERENCE 33
Roché to Quinn, June 19, 1922.
BACK TO NOTE REFERENCE 34
Roché to Quinn, July 10, 1922.
BACK TO NOTE REFERENCE 35
Roché to Quinn, July 2, 1922.
BACK TO NOTE REFERENCE 36
Sheldon Cheney, “An Adventurer Among Art Collectors,” New York Times, January 3, 1926.
BACK TO NOTE REFERENCE 37
Roché to Quinn, June 11, 1922.
BACK TO NOTE REFERENCE 38
Quinn to Roché, July 11, 1922.
BACK TO NOTE REFERENCE 39
16. DINNER AT QUINN’S
Rosenberg to Picasso, November 16, 1923.
BACK TO NOTE REFERENCE 1
Ford Madox Ford, It Was the Nightingale (Philadelphia and London: J. B. Lippincott, 1933), 311. Conrad had come to the United States as the guest of the publisher F. N. Doubleday, who apparently prevented him from seeing Quinn. Reid, Man from New York, 566–70.
BACK TO NOTE REFERENCE 2
Roché, “Hommage à John Quinn,” 967; Roché to Quinn, November 8, 1923.
BACK TO NOTE REFERENCE 3
Rosenberg to Quinn, November 20, 1923.
BACK TO NOTE REFERENCE 4
Quinn to Rosenberg, January 26 and March 2, 1922.
BACK TO NOTE REFERENCE 5
Rosenberg to Picasso, November 21 and 26, 1923.
BACK TO NOTE REFERENCE 6
Quinn to Roché, December 6, 1923, Harry Ransom Center.
BACK TO NOTE REFERENCE 7
Rosenberg to Picasso, November 26, 1923.
BACK TO NOTE REFERENCE 8
Quinn to Roché, December 6, 1923, Harry Ransom Center.
BACK TO NOTE REFERENCE 9
Quinn to Roché, June 1, 1922; Quinn to Ezra Pound, October 21, 1920, in Reid, Man from New York, 437.
BACK TO NOTE REFERENCE 10
Clive Bell to Mary Hutchinson, December 4, 1922, Mary Hutchinson Papers, Harry Ransom Center.
BACK TO NOTE REFERENCE 11
Rosenberg to Picasso, December 20, 1923.
BACK TO NOTE REFERENCE 12
Rosenberg to Picasso, December 11, 1923.
BACK TO NOTE REFERENCE 13
17. THE LAST BATTLE
Roché to Jos Hessel and Alphonse Bellier, October 11, 1926, Harry Ransom Center.
BACK TO NOTE REFERENCE 1
Kahnweiler to Quinn (receipt), October 31, 1923; Quinn to Kahnweiler, November 12, 1923.
BACK TO NOTE REFERENCE 2
Picasso told Marius de Zayas that he was very much disappointed with Rosenberg’s American venture and would have sold his “clowns” for 40,000 to 50,000 francs instead of the 75,000 or 80,000 francs the dealer insisted on. Quinn to Roché, March 14, 1924.
BACK TO NOTE REFERENCE 3
Roché to Quinn, March 28, 1924.
BACK TO NOTE REFERENCE 4
Roché, “Hommage à John Quinn,” 969.
BACK TO NOTE REFERENCE 5
Roché to Hessel and Bellier, October 11, 1926.
BACK TO NOTE REFERENCE 6
Roché to Quinn, February 1, 1924.
BACK TO NOTE REFERENCE 7
Roché to Quinn (cable), February 5, 1924.
BACK TO NOTE REFERENCE 8
Roché to Quinn (cable), February 6, 1924; Roché, diary, February 7, 1924.
BACK TO NOTE REFERENCE 9
Roché, diary, February 6, 1924; Roché to Quinn, February 11, 1924; Roché to Quinn (cable), February 7, 1924.
BACK TO NOTE REFERENCE 10
Reid, Man from New York, 624.
BACK TO NOTE REFERENCE 11
Quinn to Roché (cable and separate “confidential” cable), February 8, 1924.
BACK TO NOTE REFERENCE 12
Roché, diary, February 7, 1924.
BACK TO NOTE REFERENCE 13
Roché to Quinn, February 11, 1924.
BACK TO NOTE REFERENCE 14
Roché to Quinn, April 6, 1923.
BACK TO NOTE REFERENCE 15
Roché to Quinn (cable), February 15, 1924.
BACK TO NOTE REFERENCE 16
Foster to Aline Saarinen, January 1, 1958, quoted in Londraville, Dear Yeats, Dear Pound, 144–45.
BACK TO NOTE REFERENCE 17
Roché to Quinn, March 31, 1924 (addendum April 4).
BACK TO NOTE REFERENCE 18
Kahnweiler to Quinn, February 21, 1924.
BACK TO NOTE REFERENCE 19
Quinn to Walter Pach, April 21, 1924.
BACK TO NOTE REFERENCE 20
Quinn to Roché, March 14, 1924.
BACK TO NOTE REFERENCE 21
Quinn to Roché, June 25, 1924.
BACK TO NOTE REFERENCE 22
Foster to Quinn, August 16, 1921.
BACK TO NOTE REFERENCE 23
18. THE MAN VANISHES
Paul J. Sachs to Charles Rufus Morey, June 12, 1925, in Kantor, Intellectual Origins of the Museum of Modern Art, 83.
BACK TO NOTE REFERENCE 1
Kantor, Intellectual Origins of the Museum of Modern Art, 89.
BACK TO NOTE REFERENCE 2
The few exceptions were well outside of New York and Boston. The Detroit Institute of Arts acquired a Van Gogh and other modern works in the twenties, and the Worcester Art Museum in Massachusetts presented shows of twentieth-century modern art in 1921 and 1924.
BACK TO NOTE REFERENCE 3
Barr to Paul J. Sachs, July 5, 1955, Harvard Art Museums Archives.
BACK TO NOTE REFERENCE 4
Barr to Ben L. Reid, July 24, 1968, Alfred H. Barr Papers (I.A.580), MoMA Archives.
BACK TO NOTE REFERENCE 5
Murdock Pemberton, “Critique Art,” New Yorker, January 16, 1926; Sheldon Cheney, “An Adventurer Among Art Collectors: Modern Painting and Sculptures Gathered by John Quinn to Be Shown to the Public,” New York Times, January 3, 1926; Forbes Watson, editorial, and “The John Quinn Collection,” The Arts, vol. 9, no. 1 (January 1926), 3–5.
BACK TO NOTE REFERENCE 6
“52 Picasso Paintings Sold,” New York Times, January 10, 1926.
BACK TO NOTE REFERENCE 7
Reid, Man from New York, 645.
BACK TO NOTE REFERENCE 8
Judith Zilczer, “The Dispersal of the John Quinn Collection,” Archives of American Art Journal, vol. 19, no. 13 (1979), 15–21.
BACK TO NOTE REFERENCE 9
Roché to Quinn, June 29, 1922; Quinn to Roché, June 11 and 17, 1922.
BACK TO NOTE REFERENCE 10
To Clara, his other surviving sister, who had joined a convent in Ohio years earlier, he left a small bequest of $2,500 as well as a trust fund of $10,000, on the assumption that she would be looked after by Julia. Reid, Man from New York, 639.
BACK TO NOTE REFERENCE 11
Saarinen, Proud Possessors, 237.
BACK TO NOTE REFERENCE 12
Walter Pach, February 1956 interview by Aline B. Saarinen, in Zilczer, “Dispersal of the John Quinn Collection,” 16.
BACK TO NOTE REFERENCE 13
Londraville, Dear Yeats, Dear Pound, 147; “Girl Can’t Collect from Quinn Estate: Surrogate Finds No Proof That Lawyer Made $50,000 Investment for Miss Coates,” New York Times, June 16, 1926.
BACK TO NOTE REFERENCE 14
Foster to Thomas Curtin, October 18, 1924, in Zilczer, “Noble Buyer,” 58–61.
BACK TO NOTE REFERENCE 15
Reliquet, L’Enchanteur collectionneur, 150.
BACK TO NOTE REFERENCE 16
Roché, “Hommage à John Quinn,” 969.
BACK TO NOTE REFERENCE 17
Rosenberg to Picasso, September 5, 1924.
BACK TO NOTE REFERENCE 18
Roché to Rosenberg, January 10, 1925.
BACK TO NOTE REFERENCE 19
Henry McBride argued that Quinn had become an American Cousin Pons, Balzac’s misunderstood aesthete, in the novel of that name, whose extraordinary art collection falls prey to swirling intrigues. The Dial, March 1926.
