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More Information | A Finding Aid to the Henry and Rose Pearlman papers, 1893-1995, bulk 1950-1980 | Digitized Collection

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

More Information

A Finding Aid to the Henry and Rose Pearlman Papers,
1893-1995
,
bulk 1950-1980
, in the Archives of American Art
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Finding aid prepared by Vanessa Catanzaro
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.
Language
English
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.
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.