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Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980

Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980

Pearlman, Henry, 1895-1974

Collector

Representative image for Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980

The papers of Henry and Rose Pearlman in the Archives of American Art were digitized in 2011. The bulk of the papers have been scanned in their entirety, and total 5,446 images.

Funding for the processing and digitization of this collection was provided by the Princeton Art Museum.

Collection Information

Size: 4.3 linear feet

Summary: The Henry and Rose Pearlman papers measure 4.3 linear feet and document the activities of art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs of artwork and exhibitions, and clippings ranging from 1909 to 1995 (bulk 1950-1980). Most of the materials relate to artists and pieces represented in the Pearlmans' collection, although a small amount of material concerns works considered or researched by Pearlman, but not purchased.

Biographical/Historical Note

Henry Pearlman (1895-1974) was an art collector in New York, N.Y. Pearlman and his wife Rose were collectors of Impressionist and post-Impressionist paintings of Cezanne, Kokoschka, Soutine, and Van Gogh, among others.

Provenance

The Henry and Rose Pearlman papers were donated to the Archives of American Art in 2004 by Dorothy Edelman and Marge Scheuer, daughters of Henry and Rose Pearlman, care of the Henry and Rose Pearlman Foundation.

Funding

Funding for the processing and digitization of this collection was provided by the Princeton Art Museum.

A Finding Aid to the Henry and Rose Pearlman Papers,
1893-1995
,
bulk 1950-1980
, in the Archives of American Art
AAA.pearhenr
Author
Finding aid prepared by Vanessa Catanzaro
Biographical Note
Henry Pearlman (1895-1974), a lifelong resident of New York City, rose through the ranks of the business world to found his own company, Eastern Cold Storage, in 1919. In 1925, Henry married Rose. In the early 1940s, Pearlman purchased a few realist paintings, but it wasn't until his 1943 purchase of Chaim Soutine's
Village Square
that he was inspired to build what would become a noted collection of Post-Impressionist works. Over the next three decades, Pearlman acquired numerous works by such well-known artists as Soutine, Modigliani, Cezanne, Van Gogh, Renoir, Manet, Matisse, and Toulouse-Lautrec, in addition to those of lesser-known artists. In the early 1950s, Pearlman began collecting Cezanne watercolors. These paintings would become the cornerstone of his collection and would be exhibited around the world. Pearlman died in 1974, leaving his wife, Rose, to manage his collection until her death in 1994. From the mid-1970s, the Pearlman Collection has been on long-term loan to the Art Museum of Princeton.
The Pearlmans founded the Henry and Rose Pearlman Foundation in the 1950s. Much of the Pearlmans' artwork is now officially owned by the Foundation.
Arrangement
The collection has been arranged into four series. Glass plate negatives are housed separately and closed to researchers.
Series 1: General Collection Files, 1950-1995 (Box 1, 5; 8 folders)
Series 2: Artists' Files, 1909-1995 (Boxes 1-5, MGP 5; 3.2 linear feet)
Series 3: Museum Files, 1951-1994 (Box 4; 20 folders)
Series 4: Personal Files, 1966-1993 (Box 4; 5 folders)
Scope and Content Note
The Henry and Rose Pearlman papers measure 4.3 linear feet and document the activities of art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs of artwork and exhibitions, and clippings ranging from 1909 to 1995 (bulk 1950-1980). Most of the materials relate to artists and pieces represented in the Pearlmans' collection, although a small amount of material concerns works considered or researched by Pearlman, but not purchased.
The bulk of the collection concerns the lending, reproduction, and exhibition of works of art owned by the Pearlmans and their foundation. Supplemental research material such as exhibition catalogs, photographs of artworks, and articles and clippings on artists, artworks or other private collections, make up most of the remainder. Oversized materials include a catalogue of the Pearlman Collection, a portfolio of reproductions of the Cezanne watercolors belonging to the Pearlmans, and photographs comparing Toulouse-Lautrec's Parody of the
Bois Sacre aux Arts et Muses
to the original.
Provenance
The Henry and Rose Pearlman papers were donated to the Archives of American Art in 2004 by Dorothy Edelman and Marge Scheuer, daughters of Henry and Rose Pearlman, care of the Henry and Rose Pearlman Foundation.
Processing Information
The papers were processed in July 2005, by Vanessa Catanzaro. The collection was prepared for scanning in 2011 by Judy Ng and fully scanned in 2011 with funding provided by the Princeton Art Museum. Glass plate negatives were re-housed in 2015 with a grant provided by the Smithsonian Collections Care and Preservation Fund.

Additional Forms Available

The bulk of the collection was digitized in 2011 and is available via the Archives of American Art's website. Blank pages, blank versos of photographs, photographs of artwork, duplicates, and medical, legal, and personal financial documents have not been scanned. In most cases, only the cover, title page, and individual relevant pages have been scanned from published materials. A few documents were not scanned at the request of the Princeton Art Museum because they contained sensitive information.

Restrictions on Access

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.

How to Cite This Collection

Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980. Archives of American Art, Smithsonian Institution.

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