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The Secret Histor y of
ROGUES’ t h e Mog u l s a nd t h e Mo n e y
G A L L E RY That Made t he Metropolit a n Muse um
( Michael Gross
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Copyright © 2009 by Idee Fixe Ltd. All Rights Reserved Published in the United States by Broadway Books, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York. www.broadwaybooks.com broadway books and its logo, a letter B bisected on the diagonal, are trademarks of Random House, Inc. Book design by Maria Carella Photo on section openings courtesy Andrew Prokos Photography Library of Congress Cataloging-in-Publication Data Gross, Michael, 1952– Rogues’ gallery : the secret history of the moguls and the money that made the Metropolitan Museum / Michael Gross. — 1st ed. p. cm. 1. Metropolitan Museum of Art (New York, N.Y.)—History. 2. Art—Collectors and collecting—United States—Biography. I. Title. N610.G76 2009 708.147109—dc22 2008041480 ISBN 978-0-7679-2488-7 printed in the united states of america 1 3 5 7 9 10 8 6 4 2 First Edition
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To purchase a copy of
Rogues’ Gallery visit one of these online retailers: Amazon Barnes & Noble Borders IndieBound Powell’s Books Random House
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Private Vices by the dextrous Management of a skillful Politician may be turned into Publick BeneďŹ ts. Bernard Mandeville, The Fable of the Bees
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Conte nts Leaders of the Metropolitan Museum xi
Introduction 1
Archaeologist: Luigi Palma di Cesnola, 1870–1904 21
Capitalist: J. Pierpont Morgan, 1904–1912 65
Philanthropist: John D. Rockefeller Jr., 1912–1938 113
Catalyst: Robert Moses, 1938–1960 171
Exhibitionist: Thomas P. F. Hoving, 1959–1977 237
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Contents
Arrivistes: Jane and Annette Engelhard, 1974–2009 373 Acknowledgments 487
Notes 491
Bibliography 523
Index 529
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Le ade rs of t he Me t r o p o l i t a n Mu s e u m Directors Luigi Palma di Cesnola, 1879–1904 Caspar Purdon Clarke, 1905–1910 Edward Robinson, 1910–1931 Herbert Winlock, 1932–1939 Francis Henry Taylor, 1940–1955 James Rorimer, 1955–1966 Thomas Hoving, 1967–1977 Philippe de Montebello, 1977–2008 Thomas P. Campbell, 2009–
Presidents John Taylor Johnston, 1870–1889 Henry Marquand, 1889–1902 Frederick Rhinelander, 1902–1904 John Pierpont Morgan, 1904–1913 Robert de Forest, 1913–1931 William Sloane Coffin, 1931–1933 George Blumenthal, 1934–1941 William Church Osborn, 1941–1946 Roland Redmond, 1947–1964 Arthur Houghton, 1964–1969
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Leaders of the Metropolitan Museum
C. Douglas Dillon, 1969–1978 William Butts Macomber Jr., 1978–1986 William Henry Luers, 1986–1998 David E. McKinney, 1998–2005 Emily Rafferty, 2005–
Chairmen Robert Lehman, 1967–1969 Arthur Houghton, 1969–1972 C. Douglas Dillon, 1972–1983 J. Richardson Dilworth, 1983–1987 Arthur Ochs Sulzberger, 1987–1998 James Houghton, 1998–
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( Rogues’ Gallery
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Introduction
On a chilly winter day, early in 2006, I sat in the office of Philippe de Montebello, then director of the Metropolitan Museum of Art (he would announce his retirement two years later). Montebello is generally considered, even by his most fervent admirers, a little arrogant, a touch on the pompous side, and his mid-Atlantic Voice of God (wellknown from his Acoustiguide tours of exhibitions) does nothing to dispel the impression of a healthy self-regard. So I was nervous; I was there to discuss my plan to write an unauthorized book about the museum and to ask for his support, or at least his neutrality. He wasn’t happy to see me. My brief conversation with the museum administration, then racing to an abrupt conclusion, had actually begun in the fall of 2005, when I called Harold Holzer, the senior vice president for external affairs, and told him my plans. His reaction was quick and negative. “Nobody here is ever of a mind” to cooperate with an author, he said. “The only kind of books we find even vaguely palatable are those we control.” Nonetheless, the museum had just “broken precedent” to cooperate with another author writing about the museum. It was “vaguely palatable” because it was “a controlled entity.” Once it was published, I’d see there was no point in my writing another. “If we tell you we won’t cooperate, will you go away?” Until now, there have been only two kinds of books on the museum. Some have had agendas, whether personal (the former Met director www.BroadwayBooks.com
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Thomas Hoving’s memoir, Making the Mummies Dance, was a score-settling romp; John L. Hess covered Hoving as a journalist for the New York Times, came to hate him, and explained why in The Grand Acquisitors) or political (Debora Silverman disdained the upper classes of the 1980s, the way they disregarded history and merchandised high culture, and explained why in Selling Culture: Bloomingdale’s, Diana Vreeland, and the New Aristocracy of Taste in Reagan’s America). The other kind of Met book was commissioned, authorized, published, or otherwise sanctioned by the museum. The first among those, appearing in two volumes in 1913 and 1946, was by Winifred E. Howe, the museum’s publications editor and in-house historian. They are, to be kind, dutiful. Two later, somewhat juicier histories were commissioned by Hoving and published to coincide with the museum’s 1970 centennial, one a coffee-table book called The Museum by the late Condé Nast magazine writer Leo Lerman, the other, Merchants and Masterpieces, a narrative history by Calvin Tomkins, a writer for The New Yorker. Though Merchants is an “independent view of the museum’s history,” as Tomkins wrote in his acknowledgments, the book was conceived by and for the museum, he used museum-paid researchers, and he submitted his manuscript to museum officials for comment. Danny Danziger, author of the 2007 book Museum: Behind the Scenes at the Metropolitan Museum of Art (the one I was supposed to wait for), had changes forced on him. Early that year Viking Press distributed advance proofs of the book, made up of a series of edited interviews with museum employees, friends, and trustees, which was to be published that May. But then Museum didn’t appear as scheduled. What did was a brief New York magazine article revealing that it had been delayed so it could be expurgated. The publisher said the changes were “run-of-the-mill,” and Harold Holzer said they were “a matter of fact-checking,” with no “wild-eyed running around to get things changed.”1 But a side-by-side comparison of the proofs with the book that was finally published suggests that a few of the Met’s most powerful demanded and won changes. Cutting remarks made by the vice chairman Annette de la Renta, a list of paintings owned by the trustee Henry Kravis, and an entire section on the trustee emerita Jayne Wrightsman all vanished. And their words aren’t the only ones that the muwww.BroadwayBooks.com
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seum has tried to erase. Simultaneously, The Clarks of Cooperstown by Nicholas Fox Weber, a book about the family that produced two of America’s greatest modern art collectors, Stephen and Sterling Clark, the former another Met trustee, was banned from the museum’s bookshop, even though it had been rushed into print to coincide with a Met exhibition of the Clark brothers’ collections and the museum promised to “aggressively sell the book in its stores.” Publishers Weekly noted that the book portrayed Alfred Clark (Stephen and Sterling’s father) as leading a double homosexual life, and mentioned Sterling Clark’s involvement in a plot to overthrow FDR. Ever since its founding, the Metropolitan has bred arrogance, hauteur, hubris, vanity, and even madness in those who live in proximity to its multitude of treasures and who have come to feel not just protective but possessive of them. “Being involved with it made you special to the outside world,” says Stuart Silver, for years the museum’s chief exhibition designer. “It was a narcotic. You were high all the time.” The Metropolitan is more than a mere drug, though. It is a huge alchemical experiment, turning the worst of man’s attributes—extravagance, lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into the very best, transmuting deadly sins into priceless treasure. So the museum must be seen as something separate from the often-imperfect individuals who created it, who sustained it, and who run it today, something greater than the sum of their myriad flaws. Without taking anything away from the Louvre or the Orsay in Paris, Madrid’s Prado, St. Petersburg’s Hermitage, the British Museum (which has no pictures), Britain’s National Gallery (which has only pictures and sculpture), the Vatican in Rome, the Uffizi in Florence, Vienna’s Kunsthistorisches Museum, the Art Institute of Chicago, Berlin’s Pergamon, Amsterdam’s Rijksmuseum, the Smithsonian Institution, the National Gallery of Art, the Museum of Fine Arts in Boston, the Getty in Malibu, or other vital New York museums like the Whitney, the Guggenheim, and the Museum of Modern Art, the Metropolitan is simply (and at the same time not at all simply) the most encyclopedic, universal art museum in the world. In Montebello’s office that day, he’d been slumped sullenly in his chair as I made my pitch, but straightened up defensively as I finished. “You are laboring under a misimpression,” he told me. “The museum has no secrets.” www.BroadwayBooks.com
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Its scope is mind- boggling. The Metropolitan Museum of Art is a repository for more than two million art objects created over the course of five thousand years. Its more than two million square feet occupying thirteen acres of New York’s Central Park, and encompassing power and fire stations, an infirmary, and an armory with a forge, make it the largest museum in the Western Hemisphere. The Met portrays itself as a collection of separate but integrated museums, “each of which ranks in its category among the finest in the world.” Its seventeen curatorial departments cover the waterfront of artistic creation: separate staffs are dedicated to American, Asian, Islamic, Egyptian, medieval, Greek and Roman, ancient Near Eastern, and what was once known as primitive art but is now described with the more politically correct name Arts of Africa, Oceania, and the Americas. European art is so vast it gets two departments, one for paintings, another for sculpture and decorative objects. Additional departments are devoted to arms and armor, costumes (which includes both high fashion and everyday clothing), drawings and prints, musical instruments, and photographs. Modern art has its own curatorial department and is housed in its own wing. The collections are almost all contained in a building that has grown in fits and starts since it first opened in 1880 to contain the then-ten-yearold museum. In the years since, it has nearly filled the five-block-long plot of Central Park set aside for it by the New York State legislature in 1871. The first redbrick Gothic Revival building, which opened into Central Park, was designed by Calvert Vaux and Jacob Wrey Mould, the park’s structural architect, and was leased, rent- and real-estate-tax-free, in perpetuity to the museum’s trustees by New York City, appropriately enough on Christmas Eve 1878. That first structure has since been almost entirely enveloped by additions. Only a few hints of the redbrick original remain, a bit of its southern facade and the undersides of staircases. Today’s imperial neoclassical facade and entrance opened on Fifth Avenue in 1926; they were conceived by Richard Morris Hunt, one of the founding trustees. Hunt not only designed the museum’s familiar face; he www.BroadwayBooks.com
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also created its first comprehensive master plan, but wouldn’t live to see the only part of his plan that was fully realized, the monumental Great Hall through which most visitors enter. The famous firm of McKim, Mead & White signed on two years later to complete Hunt’s unfinished business. Over the next quarter century, their work resulted in the opening of a new library in 1910 and northern and southern wings through the following decade, and after an interregnum for war, into 1926. Yet another wing was posthumously named for John Pierpont Morgan, the industrial-era financier. Morgan served first as a trustee and then as the museum’s president from 1904 until his death in 1913. The Morgan Wing, which now contains the popular arms and armor collection, opened in 1910 as a home to the museum’s decorative arts collection. The American Wing, built onto the museum’s northwest corner in 1924, was inspired and paid for by its then president Robert de Forest, the museum’s first great champion of American art. His wing grew further in 1931 with the addition of the Van Rensselaer period room, the grand entrance hall of a manor house built near Albany, New York, in the 1760s. The museum itself would later call the wing “awkwardly placed” and that period room a “haphazard appendage.”2 Later in that decade, a more successful appendage, the Cloisters, a branch of the museum dedicated to medieval art and architecture, opened about seven miles away in Fort Tryon Park at the northern tip of Manhattan, paid for in its entirety by John D. Rockefeller Jr., who, though he never joined the board of trustees, was as decisive a force in the museum’s history as Morgan. During World War II, the Metropolitan’s fifth chief, Francis Henry Taylor, who created the model of director as populist, reconceived the museum as a collection of smaller ones defined by civilizations and cultures, and started planning to modernize and expand the building. He managed to build a gallery connecting the Morgan Wing to the Fifth Avenue building, but frustrated in turn by war, financial shortfalls, the Whitney Museum of American Art, which briefly toyed with a merger with the Metropolitan, and a hidebound board of trustees, an exhausted Taylor produced no more buildings before he quit his job in 1955. His successor, a medievalist named James Rorimer who’d befriended Rockefeller, shouldered the burden of www.BroadwayBooks.com
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modernization but got little credit, as upgrading electricity, lighting, and air-conditioning was hardly as glamorous as erecting new brick and mortar. In September 1967, after New York City, long at odds with the museum, refused to pay for any new buildings until a comprehensive master plan was created, Tom Hoving commissioned one from the young firm of Kevin Roche John Dinkeloo and Associates. Unveiled in 1970 during the museum’s eighteen-month centennial celebration, it proved to be as controversial as it was ambitious. Roche’s park-side wings (the Temple of Dendur on the north, the modern and European art galleries and Lehman pavilion to the west, and the Michael Rockefeller primitive art wing on the south), all wrapped in glass and limestone, weren’t completed until 1992; the interior the plan envisioned was finally finished fifteen years later with the restoration of the Greek and Roman galleries in the museum’s southeast corner, where they had been before Taylor replaced them with a restaurant. By that time, work had already begun on the next great museum expansion, this one created by the Montebello regime and dubbed the Twenty-first Century Met. Hemmed in by the promise the museum was forced to make to the city to win approval for the Roche expansion—which forever set the building’s outer limits—it has ever since engaged in what it calls “building-from-within,” revamping underused areas, turning air shafts and empty space into exhibition galleries and offices, and even excavating beneath the building, as it was doing beneath the Charles Engelhard Court as this book was being written. The story of the Metropolitan’s ceaseless expansion is as fascinating as that of the evolution of its collections and of the cast of characters that created and sustains it all.
( Visited by about 4.6 million people a year, more than a third of them from other countries, the Metropolitan styles itself the premier tourist attraction in New York City. More than a mere museum, it is also a food and drink purveyor in its employee and public cafeterias and six other dining venues (the Petrie Court Café, the Trustees Dining Room for
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members only, the Iris and B. Gerald Cantor Roof Garden Café, the Great Hall Balcony Bar, and an under-construction café in the latest iteration of the American Wing). It is a concert and lecture hall, a catering facility and event space, a vast retail and wholesale operation (with thirteen separate shops inside the main museum and another thirty-nine around the world), a scholarly center and library, an educational resource offering worldwide tours and travel programs, lectures, symposia, films, and workshops (20,773 events in all in the year ending June 30, 2006, that attracted 830,607 people), as well as reference services, apprentice and fellowship programs, and a publishing house employing some two thousand people. Less tangibly, it is a repository of desire, and not just for the art objects on display. Unlike its peers in Paris, Madrid, and St. Petersburg, and countless other museums around the world, the Metropolitan was started from scratch by self-made men rather than springing full-blown from a noble collection. Yet acceptance by the museum—whether as an employee, a scholar, a donor, a trader or seller of art, a member of one of its many groups and committees, or, best of all, a member of its ruling board of trustees—is a version of ennoblement, the ultimate affirmation of success, material and d’estime that our democracy has to offer. The museum repays its supporters with social prestige and affirmation of their cultivation. Of course, what you get depends on what you give. And the price is always rising. A seat on the board of trustees will set you back in excess of $10 million. The price of being a benefactor, which chisels your name into the marble plaques beside its Great Hall staircase, is $2.5 million. There are only 267 living benefactors. But for a mere $95 annual membership (up from $10 in 1880), almost anyone can get free admission, use of the Trustees Dining Room in summertime (when the trustees are mostly out of town), a couple of exhibition previews and magazines, and a 10 percent discount at the Met Store. And $65 of that is tax deductible. In the American social firmament, the Metropolitan looms as more than a museum. “In the status-driven world of upper-income New York,” the New York Times has said, “one sure route to social stardom is a seat on the board of a prominent arts institution. A savvy player will aim for the top: the Metropolitan Museum of Art.”
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“No club, church, philanthropy, or fraternal order in New York enjoys quite the same prominence or confers quite the same radiant status,” New York magazine agreed. “Sitting on its board is arrival reaffirmed, the ultimate compliment from the ultimate peers,” wrote the social observer David Patrick Columbia. The art dealer Richard Feigen has called the board of the Met “the most exclusive club in the world.” But Feigen has also compared the museum to a nice girl “who just once in a while goes out and turns tricks for pocket change.”3 And in recent years, as costs have escalated and government support of the arts has shrunk, she’s grown promiscuous, creating councils and committees, stepping out with big corporations, even tying her fortunes to fashion magazines, all for one purpose: to generate cash. The Met offers memberships ranging from $50 national associates, who live outside New York (there were 42,167 in 2007), to annual fellows in the President’s Circle, 25 in all, paying $20,000 a year for membership. There are dozens of ways to get your name in the back of the annual report. You can donate to the annual appeal to members; join the President’s Circle or the Patron Circle; make your company a corporate patron; sponsor an exhibition like Balenciaga, Condé Nast, and Party Rental Ltd. all did in 2007; donate art or funds to acquire art; make plans for a charitable annuity; join the Pooled Income Fund or a Friends Group (the Alfred Stieglitz Society, Amati, and Philodoroi, the Friends of the various curatorial departments, the Friends of Concerts and Lectures, of Inanna, of Isis, of the Thomas J. Watson Library); become a William Cullen Bryant Fellow; give a memorial gift; donate to the Christmas Tree Fund or the Fund for the Met ($5 million or more gets you top billing); or join the Chairman’s Council, the Met Family Circle, the Apollo Circle for young donors in training, the Real Estate Council, the Professional Advisory Council, the Multicultural Audience Development Advisory Committee, or one of the visiting committees, where devotees of one department or another get to rub shoulders and share special privileges with curators and trustees. All it takes is interest, and the willingness to cough up coin. In America, state-owned museums are the exception, and most, though founded by public-spirited citizens, were nurtured in the soil of private enterprise and live in a complex environment, “expected to be as costwww.BroadwayBooks.com
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effective as a business while serving as an educational resource, a civic institution and a community partner—usually on the same day,” the museographer Marjorie Schwarzer wrote. Like Feigen’s well-bred whore, “the contemporary museum has had to embrace some apparent contradictions as it attempts to define itself for its many publics: being a charitable nonprofit organization in a marketplace culture, being a place of memory, reflection and learning in a nation that stresses action and immediacy, being a champion of tradition in a land of ceaseless innovation.” The Metropolitan occupies a state-owned building sitting on public land; has its heat and light bills, about half the costs of maintenance and security, and many capital expenditures paid for by New York City; receives direct grants of taxpayer dollars from local, state, and national governments; and for most of its existence has indirectly benefited from laws that allow, and even incentivize, private financial support in exchange for generous tax deductions. So it is clearly a public institution. But even though New York State has statutory authority to supervise the assets of charities— a vague but powerful standard—over the years the Met’s board has considered itself beholden to no one. It has functioned as a private society. In the Metropolitan’s early days, that meant its wealthy and powerful trustees took a straightforward attitude of “the public be damned,” closing the museum on Sundays, for instance, even though it was the only day that the working class had free for leisure pursuits (and even though the trustees would sometimes unlock the place, Sabbath notwithstanding, for themselves and their friends). Over the years, that arrogance has been toned down, but it has never been entirely abandoned. Today the museum shames visitors into paying a $20 admission fee, even though its lease says it must be open free five days and two nights a week and its own official policy is that anyone can enter for a contribution of as little as a penny. And although it promised, as part of the 1971 agreement with the city that implemented the Hoving master plan, to create open and direct access to the building from Central Park through two courtyards, those entrances, now named the Carroll and Milton Petrie European Sculpture Court and the Charles Engelhard Court, remain shuttered to this day. Some neighbors argue that Philippe de Montebello’s building-fromwithin policy also violates the museum’s 1971 agreement by altering the www.BroadwayBooks.com
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three-dimensional silhouette of the building, which they consider sacrosanct. One protesting group, the Metropolitan Museum Historic District Coalition, was recently able to stop a plan to excavate more space beneath the museum’s front apron, its fountains, and Fifth Avenue. Some residents of apartment houses across Fifth Avenue suspect that the museum is still up to something underground, pointing to cracked foundations as evidence.
( The Metropolitan Museum is a not-for-profit partnership between the city of New York and the museum’s trustees. While the charitable corporation owns the art in the museum, some argue that it really holds its treasures in “trust,” as first defined by the courts of fifteenthcentury England. “The board doesn’t own the art; it simply manages the corporation,” says Ronald D. Spencer, an art law specialist. “The corporation functions as a caretaker for the public,” which makes the trustees the stewards of those priceless assets, obliged to protect them and to manage the institution that contains them. The people are the beneficiaries of that trust. The museum’s board must raise funds for acquisitions, exhibitions, conservation, education, and other costs not covered by the public’s contributions, which have, over the years, ebbed and flowed with the currents of economic and political change. Though much is opaque about the Met’s operations and finances, its scope can be gleaned from its tax return and annual reports, which are available for public scrutiny: in the year that ended on June 30, 2007, the Met had $299.5 million in revenue, $50 million of which came from public contributions, gifts, and grants, $27 million from the city (which included $12 million worth of gas and electricity, provided for free), almost $24 million from fees paid by its 134,291 members, and just under $26 million from the voluntary admission fees it requests at its entrances.4 Auxiliary activities and other income brought in more than $113 million. In 2006, the Met earned $10.6 million from entry fees for lectures and concerts, $8.6 million from major fund-raising parties (including two for the Costume Institute, which alone brought in $4.5 million), and $2.5 milwww.BroadwayBooks.com
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lion from its parking garage. It also netted $26.8 million selling art (the proceeds restricted to acquiring more), almost $4 million from its restaurant, and $41 million selling merchandise, most of which went untaxed because the museum claims that the goods, ranging from scholarly books to reproductions of art on ties and Christmas cards, are “related to the museum’s charitable function” as an educational organization. That’s just the beginning. As of June 30, 2007, the museum’s assets (not including its art) were valued at $3.6 billion, representing a 21.7 percent increase over 2006. Of that increase, $573.2 million came from dividends, interest, and capital gains on its $2.96 billion investment portfolio (which includes stocks, bonds, investment and hedge funds, and private equity and real estate investments). Of that, $69 million was transferred from the museum’s endowment to its operating budget. The endowment contributed 30 percent of the museum’s revenues that year, gifts from the public 26 percent, New York City 14 percent, admission contributions and membership fees 13 percent each, leaving an operating surplus of $2 million (compared with a $3 million deficit in 2006). That money paid for the museum’s seventeen curatorial departments and eighteen hundred employees (whose efforts are augmented by about nine hundred volunteers) as well as its ancillary activities. Its payroll—or at least the paychecks of its top officers—reflects its status as a huge and hugely successful business. Montebello’s total compensation topped $5 million in 2006; six other officers, including the PR man Holzer, were paid in excess of $300,000, and five more received only slightly less. Raking in well-earned big bucks were its chief investment officer (about $1.2 million), deputy chief investment officer ($700,000-plus), and senior investment officer ($337,000), as well as a computer operations manager (just under $400,000), registrar (about $375,000), and technology chief (about $327,000). Outside law firms earned $1 million from the museum in 2006, outside accountants almost $800,000, a human resources consultant almost $400,000, architects almost $6 million, construction contractors the same amount, and shipping and customs brokers almost $3.7 million. The museum also spent almost $35 million on art that year; $63 million to operate its curatorial, conservation, cataloging, and scholarly publishing departments; $47.3 million on guards; $40 million on its merchandise www.BroadwayBooks.com
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operations; $27 million on its galleries; $11 million on education and community services; the same to mount special exhibitions; almost $4 million for public relations; $3.8 million to run its restaurants; $3.4 million for its auditorium; $3 million on member services; $1.4 million to operate its garage; $712,000 on corporate events; $182,000 on government lobbying; $2 million on advertising; $4.3 million on repairs and maintenance; $3.7 million on insurance; almost $2 million on bank and credit card services; $1 million on reference and research materials; $1.3 million on its various programs; $1.8 million for catering; and more than $500,000 on interns and honoraria. In the two years ending June 30, 2007, the museum also made significant capital improvements, spending some $240 million renovating its Greek and Roman wing and the Ruth and Harold D. Uris Center for Education, $22 million to renovate the wing housing its African, Oceania, and Central and South American collections, almost $17 million to begin remaking the American Wing, $4.2 million to reinstall the Wrightsman Galleries, and about $27 million on other projects. About $61 million in contracts for capital improvements were in the pipeline. Also outstanding were bond liabilities of about $163 million, and a debt of $85 million on a $100 million line of credit from the JPMorgan Chase bank. All of this earned the Met the No. 36 spot on the 2007 NonProfit Times list of America’s largest nonprofit organizations (the Red Cross was No. 1, the New York Public Library, No. 42). And that doesn’t count the value of the art. “There is no way to calculate it,” says the dealer Richard Feigen. “Most of the items are beyond prices realized in the market because the quality is generally beyond anything that has appeared. Think of all the departments . . . Asian, Egyptian, classical . . . it’s billions and billions and billions.” Consider that a Jackson Pollock painting sold in 2006 for $140 million. The Met owns at least two, forty Pollock drawings, and three sketchbooks. That same year, a de Kooning painting sold for $137.5 million (the Met owns four and four drawings), and a Klimt painting for $135 million (the Met has two, although they are not as valuable). In 1990, van Gogh’s Portrait of Dr. Gachet sold for $82.5 million and a Renoir, Bal au Moulin de la
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Galette, Montmartre, for $78.1 million. Ten years later, the Met owned twentyseven Renoirs, and “they have over a billion dollars’ worth of van Goghs alone,” including at least eighteen paintings, another one of New York’s top dealers says. Exact numbers are hard to come by. The Met’s Web site refers to only seventeen van Gogh paintings and three drawings. The central catalog, a card file of museum holdings that was once open to the public, “is no longer updated,” a member of that department e-mails in response to a request for information, so “is now rather incomplete.” And the various curatorial departments have grown so territorial and secretive that they will not even share their records of departmental holdings with the museum’s own Thomas J. Watson Library, as I learned when I called to confirm the numbers I could find. Michael Botwinick, director of New York’s Hudson River Museum, formerly the assistant curator in chief of the Met, points out that it owns more—lots more—than paintings. What’s it all worth? It’s priceless, of course, since the Met will never sell its collection. But here’s a ballpark estimate. “Consider today’s art market,” Botwinick says. “Twenty-five million dollars is not an unusual price for ‘sought after’ objects, $50 million is not an unusual price for ‘important objects,’ masterpieces are certainly going to fetch $100 million, and then there are the touchstone pieces [that are worth] let’s say $250 million. Let’s say there are a thousand in the $25 million sought-after category, five hundred in the $50 million important category, a hundred in the $100 million masterpiece category, and ten in the $250 million touchstone category. That alone is over $60 billion. “Add to that all of the harder-to-figure things like the Cuxa Cloister, the Wrightsman period rooms, and the Temple of Dendur. Add to that the high-volume collections. I have little trouble thinking you could argue $100 billion easily.” Harry S. Parker III, a former vice director of the Met and later director of San Francisco’s Fine Arts Museums, goes even higher. “I’d take a guess at $300 to $400 billion.”
(
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From its inception, oversized personalities have dominated the Metropolitan; many loom large in American history, too. John Jay, grandson of the first chief justice of the Supreme Court, conceived of it. William Cullen Bryant, the orator, poet, journalist, publisher, and clubman, was one of the most eloquent advocates of the museum’s creation. In recent times, its board heads have been some of America’s most powerful businessmen: in the 1930s, George Blumenthal, who headed Lazard Frères; in the 1960s, Robert Lehman, the head of Lehman Brothers; in the 1970s, C. Douglas Dillon, John F. Kennedy’s secretary of the Treasury; and in the 1990s, Arthur Ochs “Punch” Sulzberger, the chairman of the New York Times. Some of these characters defined distinct eras in the museum’s colorful history. Luigi Palma di Cesnola, named the first director by the mostly self-made founders, was an Italian count, a Civil War veteran given to inflating his rank, an American diplomat, and an amateur archaeologist, some of whose finds from Cyprus remain treasures in the museum’s collections today; his excesses mark it still. J. Pierpont Morgan is credited with turning the Met from a semiprivate clubhouse for the trustees into a professional operation. Following Morgan and dominating throughout the mid-twentieth century, though never serving as a trustee or officer, John D. Rockefeller Jr. was quietly its greatest benefactor, and his relationship with James Rorimer, the sixth director, was a model for the symbiosis between the rich and the scholarly that made the Met blossom even more after Morgan. Thomas Hoving, a scholar but also a showman like Cesnola, was appointed by a board of trustees led by a group of gunslinging veterans of John F. Kennedy’s New Frontier administration; at their urging, he reinvented the Met, and in the process redefined all museums during his mere ten years as director, beginning in 1967.
( In 1920, at the museum’s fiftieth birthday celebration, the former secretary of state and Met trustee Elihu Root unveiled two marble slabs carved with benefactors’ names in the Great Hall. Among the first names to be added were those of Rockefeller (who later contributed his www.BroadwayBooks.com
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collection of medieval art and the Cloisters to house it); the banker George Baker, who started what’s now called Citibank and gave the museum an unrestricted seven-figure gift; and Frank Munsey, known as the most hated newspaper publisher in New York, who handed over an amazing $20 million in 1925—then the largest cash gift ever given to a museum—making the Met the wealthiest museum in the world. Ever since, the Met has been a political, cultural, and social spectacle, especially when all three come together in the cauldron of fund-raising. Then the fun really begins. You can get a seat on the board by wielding power (like Henry Kissinger, who was recruited to lend geopolitical savvy), or waving your family bloodline or corporate flag (among the Met’s brandname trustee dynasties have been Morgans, Astors, Whitneys, Rockefellers, Annenbergs, Houghtons, and various representatives of the Lazard Frères investment bank), or possessing a useful skill or connections (like any number of financiers, developers, and media titans such as Mrs. Ogden Reid, Henry R. Luce, and Sulzberger). But money counts most of all: a commitment to donate six-figure sums every year, or to twist the arms of other potential givers. “Give, get, or get out” is the rule. Committee membership can cost even more, particularly if one lands a coveted seat on the acquisitions committee, where you’re expected to cough up cash to buy treasures. The only exceptions are those who are rich in art and are wooed in the hope that those riches will one day be donated to the museum. Like the wine committee in a social club, acquisitions is the most fun, but not the most powerful, sinecure. That honor goes to executive, which really runs the show. As recently as thirty years ago, the museum’s board actually functioned like one, arguing about issues, making a difference. Nowadays, it simply serves as an applauding claque for the smaller group that actually makes the decisions. To oversimplify only somewhat, the Metropolitan Museum has always swung between two poles, two kinds of directors, revolutionaries and reactionaries, change agents and consolidators. Bomb throwers like Hoving and Francis Henry Taylor have wanted to open the museum up to the people, while the knee-jerk reflex of the trustees is to disdain the clamoring hordes. Montebello, almost all agree, was a brilliant example of the elitist director— the type that tends to be favored by executive trustees—but he was also a www.BroadwayBooks.com
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consummate bureaucrat, which may well explain how he lasted thirty years in his job. A distinguished success, well paid and highly respected, he was neither exciting nor adventurous—nor was he loved. He was hired to be exactly what he became: the keeper of a great tradition. Under Montebello, as in the heyday of the Brahmins, the museum—behind a curtain of secrecy— could do what it wanted.
( Back in Philippe de Montebello’s office, I wound up my pitch for the museum’s cooperation by gently telling him and Emily Kernan Rafferty, the museum’s president, that I was aware that some months before the curatorial staff had been ordered not to speak to me. “Well,” huffed Montebello, “we wouldn’t do that! That would violate the principles of the museum. It would be wrong.” Then he said it again. “It would be wrong.” Out of the corner of my eye, I noticed Rafferty trying to signal him, first subtly, then broadly, until finally she spoke up. “Uh,” she interrupted, “Philippe . . . ?” She had in fact told her senior staff not to speak to me if I called them, she said. “Well, that was wrong,” Montebello huffed, but his heart was no longer in it. I left the room shortly after that with the distinct feeling that I was on my own. For I already knew that a curtain of secrecy had been hung over the museum long before Montebello’s time. With the stakes so high and the money and egos involved so big, the Met has always had to operate in the shade, whether it was acquiring art under questionable circumstances, dealing with donors hoping to launder very sketchy reputations, or merely trying to appear above reproach in a world where behind almost every painting is a fortune and behind that a sin or a crime. So I was disappointed but unsurprised when, a few days later, a letter arrived, confirming that the museum, its staff, and supporters would not cooperate. But that wasn’t my last encounter with the top of the museum’s organizational chart. Dietrich von Bothmer, the museum’s then eighty-nine-year-old curator emeritus of Greek and Roman art, was, I was told, close to death. “Get www.BroadwayBooks.com
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him now,” more than one person urged. “He ought to have a lot to say.” It was just at the moment when the heat was being turned up on antiquities in American museums. Bothmer’s counterpart at the J. Paul Getty Museum in Los Angeles, Marion True, was going on trial for acquiring and smuggling illegally looted antiquities in Italy (she would later face charges in Greece as well). Its government was pressuring the Met to return the greatest prize Bothmer ever brought home, the so-called Euphronios or Sarpedon krater, a huge vessel originally used to mix water with wine, painted with a scene of the death of Sarpedon, Zeus’s son, by the Greek master Euphronios in about 515 b.c. At the time, Montebello was digging in his heels; he didn’t want to give it back. When he’d bought the krater from True’s co-defendant in Rome, a dealer named Robert Hecht Jr., Bothmer was hailed a hero—it was the finest of twenty-seven surviving vases by the painter—but he was also condemned by archaeologists who insisted that he had to have known it had just been dug from Italian soil. Surely, Bothmer had stories to tell. Maybe he would tell them. Maybe he hadn’t gotten Rafferty’s memo. Maybe he was too old to care. So I wrote him a letter, and a few days later his wife, the former Joyce Blaffer, a Texas oil heiress, called and said that she would arrange with Miles, the nurse’s aide who accompanied Bothmer to the museum each day, for me to interview him. Miles and I arranged to meet at the Met on February 1, 2007. Greeting me at the security desk, he said that after I spoke to Dr. Bothmer, the curator wanted me to read “his memoirs.” Upstairs, in one of the hidden warrens where the museum’s staff works, Bothmer was sitting in a wheelchair, holding a wooden walking stick in his left hand, in the small windowless office the museum had assigned him in retirement. He was sharply dressed in a black jacket and black sweater, his museum ID on a chain around his neck. He has straight white hair, a large, jutting face with a strong square chin, and searching eyes behind rectangular glasses. Clearly, he’d once been quite handsome. He was still imposing. I spent a pleasant hour chatting about everything from his family’s background to his first days at the museum in the 1940s. While we were talking, two curators, James C. Y. Watt, the Brooke Russell Astor Chairman of the museum’s Department of Asian Art, and his www.BroadwayBooks.com
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wife, Sabine Rewald, the Jacques and Natasha Gelman Curator in the Department of Nineteenth-Century, Modern, and Contemporary Art, stopped in. I was introduced to Rewald, who asked what I was doing. I explained I was interviewing Bothmer for a book on the museum, and she asked if I’d been “sent” by the museum’s Communications Department. I said no, I was an independent author and hoped to interview her, too. Later that day, I would innocently call and leave her a message. She never replied. Though Bothmer’s recollections sometimes got what I’d call “stuck”— he would elaborate on stories we’d already covered as I tried to move the conversation forward—those moments were brief, and mostly he was engaged and engaging. Still, at the end of an hour, he was clearly tiring, so I suggested we continue the next day. At that, he was wheeled home, but not before Bothmer, his aide, and his assistant, Elizabeth, all urged me to stay and read his book, pointing to a large manuscript box sitting on Bothmer’s desk. The “book” turned out to be one of a series of oral history interviews with the museum’s top trustees and staff, this one conducted in 1994 for the Archives of American Art at the Smithsonian Institution. I had asked to read them, but I’d been told I needed the permission of the interviewees to see them and that had to come via the museum, so I was out of luck. Thrilled to finally be seeing one, I began by reading a cover letter from Ashton Hawkins, the museum’s secretary and chief counsel from 1969 to 2001. It said, “We want to leave it up to you to decide whether to restrict access to the interview during your lifetime.” I got through about a third of the book that day, then left when Elizabeth had to go home. We discussed a plan for the next day and decided that I would return at 9:45 a.m. and continue reading until Bothmer joined me at 11:45 to resume the interview. Sometime after 10:00 the next morning, Elizabeth excused herself briefly. The day before, Miles had asked me to pick up the phone if it rang, so when it did, I answered without thinking. A mistake. The caller identified herself as Sharon Cott, Ashton Hawkins’s successor, the museum’s senior vice president, secretary, and general counsel. “Is Miles there?”
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I explained that he had not arrived and Elizabeth had stepped out. With a sinking feeling—I’d been busted!—I asked to take a message. “Who is this?” she asked. “Just a visitor.” Why in God’s name had I picked up the phone? Had Rewald called Cott instead of returning my call? Elizabeth appeared, and I went back to reading while she returned Cott’s call, instantly turning guarded. Elizabeth referred her to Miles. The phone rang again. Elizabeth listened and turned. “They”—Miles and Bothmer? Cott?—didn’t want me to read the oral history, she said. But then she turned away and let me keep reading. I started skimming, skipping ahead to the pages on more recent events. Elizabeth’s cell phone rang, and she left the room just as I reached a page that warned that what followed was not to be released until years after Bothmer’s death. I stared at that page, wondering what lay beyond it, until Elizabeth returned. Now she said she really did have to take the pages away. But Bothmer would be there any minute. Soon, Miles pushed Bothmer into the office, apologizing. With a glance, I tried to tell him no explanation was necessary. But explain, he did, in a rush. He had to take Bothmer “to therapy,” an appointment he’d just remembered and that could not be switched. “You’ve got five minutes,” he said. “Make the most of it.” Less than three minutes later, Miles was back. He seemed embarrassed and confused when I suggested we continue another day as Bothmer was clearly enjoying himself. He’d even said so. Then Miles and I stepped into the hall outside, where he said that “the museum” felt Bothmer was “doddering” and “senile” and because of “his condition” didn’t want him speaking to me. He added something about having to stop me because we were on museum property. Anticipating that problem, I had originally suggested to Joyce Bothmer that I interview him at home. Miles promised to speak to “Madam” about that. When we returned to the office, Bothmer was upset at the abrupt end of our conversation. I suggested that I walk Miles and Bothmer out of the museum. Miles was buttoning Bothmer’s coat when Sharon Cott appeared, grinning stiffly,
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saying nothing, arms tightly wound. Miles pushed Bothmer into the hall, where an awkward pas de quatre took place—no one acknowledging what was going on. Cott finally said she wanted to talk to Bothmer. He asked, “Is this a conspiracy?” I’d decided I liked him. “Several,” I said. “I don’t know what you mean,” Cott reprimanded me. I wondered, is this what you learn in law school? I told her we were all leaving. Did she want me to leave alone? She did. As I walked down the hall, Miles pushed a slightly bewildered Bothmer back into his office. Perhaps Bothmer knows no secrets. But Tom Hoving told me that’s not what the Italian government believed; he says the Euphronios krater was only returned after Italy threatened to indict Bothmer as it did Marion True and drag him into court. With their curator emeritus confined to a wheelchair and, in the museum’s estimation, doddering and senile, perhaps the museum’s leaders were worried for his health. Or perhaps their concern was what he might say if questioned. Regardless, he will take his secrets to the grave—at least until his full oral history emerges, if it ever does. The Metropolitan Museum is a storehouse of human memory. But it appeared, that day at least, it would just as soon its own be erased.
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Archaeologist Luigi Palma di Cesnola, 1870–1904
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Capitalist J. Pierpont Morgan, 1904–1912
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Philanthropist John D. Rockefeller Jr., 1912–1938
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Catalyst Robert Moses, 1938–1960
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Exhibitionist Thomas P. F. Hoving, 1959–1977
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Arrivistes Jane and Annette Engelhard, 1974–2009
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Acknowledgme nts
In my past books, out of both gratitude and diligence, I have listed and thanked the hundreds of people who typically help me with interviews, information, and pointers to others. With this book, however, I felt the need to balance my desire to do the same against the clear perception that identifying those who helped me might put them at risk of retaliation from a very powerful institution and the individuals who run it. The Metropolitan Museum of Art has been overtly hostile to this project since its inception. Members of its board, administration, and staff have made its opposition widely known. To protect their livelihoods or their social positions, many of my sources insisted on remaining anonymous. Others said they didn’t care or were willing or proud to defy the museum, and some of those are quoted by name in the text or acknowledged in the notes. But rather than try to decide which of the hundreds of people who helped me might be at risk, I concluded it would be best to thank them all here collectively for their commitment to the idea that independent inquiry into powerful institutions and individuals has value. That said, some have been so very generous of their time and resources that I must single them out. Thanks to Tom and Nancy Hoving, for their memories and for the unlimited access they gave me to their papers; to the various members of the Johnston, de Forest, Marquand, Taylor, Rorimer, Redmond, Lehman, Wrightsman, and Houghton families who were willing to speak to me; to Jerri Sherman, Ellie Dwight, William Cohan, Murielle Vautrin, Stephen Yautz of SMY Historical Services, and www.BroadwayBooks.com
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Acknowled gments
Stephanie Lake for their generosity with their own research; to Melik Kaylan and Engin Ozgen for their help on the Lydian Horde story; to Marian L. Smith, immigration historian of the Department of Homeland Security; to the Rockefeller family, and their creation the Rockefeller Archive Center, and Darwin Stapleton and Ken Rose, who run it; to Leonora A. Gidlund and the New York City Municipal Archives; to Calvin Tomkins and the Museum of Modern Art Archives; to the library of the Rijksmuseum Amsterdam; to the Center for American History at the University of Texas; to Christine Nelson and the Morgan Library; to the New York Public Library; to the Beinecke Rare Book and Manuscript Library at Yale University; to the Columbia University Rare Book and Manuscript Library; to the Hagley Museum and Library; to Jane C. Waldbaum, president of the Archaeological Institute of America; to Norm Turnross of the Baillieu Library at the University of Melbourne; to the Leo Baeck Institute; to ArtWatch; to Barbara Niss and the Mount Sinai Archives; to Pat Nicholson, Samuel Peabody, and the Metropolitan Museum Historic District Coalition; to the Smithsonian Institution and its Archives of American Art; to the Altman Foundation; to the New-York Historical Society; to Ian Locke, Gary Combs, Nil端fer Konuk, Dan Weinfeld, Anja Heuss, Anna Marangou, and Arthur Oppenheimer; to Harold James of Princeton University, Johannes Houwink ten Cate of the University of Amsterdam, and Jonathan Petropoulos of Claremont McKenna College; and to my journalist comrades-in-arms Charles Finch, Walter Robinson, Jean Strouse, Marianne Macy, Russell Berman of the New York Sun, Autumn Bagley of the Flint Journal, Laura Harris of the New York Post, and Tom Mooney at the Wilkes-Barre Times Leader. The researchers who helped me are beyond compare. Thank you to Ryan Hagen, Kerrie Lee Barker, Asli Pelit, Amanda Rivkin, Alexandra Schulhoff, Cynthia Kane, Eric Kohn, Laila Pedro, Lisette Johnson, Raymond Leneweaver, Zachary Warmbrodt, and Sarah Shoenfeld, and to Bouke de Vries, Gerard Forde, Benedetta Pignatelli, Oliver Hubacsek, Radhika Mitra, Laila Pedro, and Ewa Kujawiak for their skilled translations. Finally, personal thanks to my wife, Barbara, my sister, Jane, Peter
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Gethers, Kathy Trager, Claudia Herr, Bette Alexander, Ingrid Sterner, Christina Malach, and Brady Emerson of Random House, Dan Strone of Trident Media, Maria Carella, Robert Ullmann, Ed Kosner, Roy Kean, and Barry and Karen Cord. My gratitude to each of you is limitless. Michael Gross New York City
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Bibliography
Abbott, James Archer. Jansen. New York: Acanthus, 2006. Alexander, Jonathan, and Paul Binski (eds.). Age of Chivalry: Art in Plantagenet England 1200–1400. London: Weidenfeld and Nicholson, 1986. Argyll, Margaret Campbell, Duchess of. Forget Not. London: W. H. Allen, 1975. Astor, Brooke. Footprints: An Autobiography. Garden City, N.Y.: Doubleday, 1980. Bartlett, Apple Parish, and Susan Bartlett Crater. Sister: The Life of Legendary American Interior Decorator Mrs. Henry Parish II. New York: St. Martin’s, 2000. Beaton, Cecil. Beaton in the Sixties. New York: Knopf, 2004. ———. The Unexpurgated Beaton. New York: Carroll & Graf, 2002. Berman, Avis. Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art. New York: Atheneum, 1990. Biddle, Flora Miller. The Whitney Women. New York: Arcade, 1999. Birmingham, Stephen. Our Crowd: The Great Jewish Families of New York. New York: Harper & Row, 1967. Booker, Christopher, and Richard North. The Great Deception. New York: Continuum, 2005. Burnham, Sophy. The Art Crowd. New York: David Mackay, 1973. Burt, Nathaniel. Palaces for the People. Boston: Little, Brown, 1977. Callow, Alexander B. The Tweed Ring. New York: Oxford University Press, 1966. Chernow, Ron. The House of Morgan. New York: Grove, 1990. Cohan, William D. The Last Tycoons: The Secret History of Lazard Frères. New York: Doubleday, 2007.
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Coleman, Laurence Vail. The Museum in America: A Critical Study. Washington, D.C.: American Association of Museums, 1939. Constable, W. G. Art Collecting in the United States of America. London: Thomas Nelson and Sons, 1964. Craven, Thomas. Modern Art: The Men, the Movements, the Meaning. New York: Simon & Schuster, 1934. D’Alton, Martina. The New York Obelisk; or, How Cleopatra’s Needle Came to New York and What Happened When It Got Here. New York: Metropolitan Museum of Art/Abrams, 1993. Dalzell, Robert F., Jr., and Lee Baldwin Dalzell. The House the Rockefellers Built. New York: Henry Holt, 2007. de Forest, Emily Johnston. John Johnston of New York, Merchant. New York: privately printed, 1909. ———. John Taylor: A Scottish Merchant of Glasgow and New York, 1752–1833. New York: privately printed, 1917. di Cesnola, Louis Palma. Cyprus: Its Ancient Cities, Tombs, and Temples: A Narrative of Researches and Excavations During Ten Years’ Residence in That Island. New York: Harper & Brothers, 1878. Doheny, David A. David Finley: Quiet Force for America’s Arts. Charlottesville: University of Virginia Press, 2006. Douglas, Kirk. The Ragman’s Son. New York: Simon & Schuster, 1988. Dwight, Eleanor. Diana Vreeland. New York: William Morrow, 2002. Feigen, Richard. Tales from the Art Crypt. New York: Knopf, 2000. Feldman, Gerald. The Great Disorder: Politics, Economics, and Society in the German Inflation, 1914– 1924. New York: Oxford University Press, 1993. Fosdick, Raymond B. John D. Rockefeller Jr., a Portrait. New York: Harper, 1956. Fry, Roger Eliot. Letters of Roger Fry. London: Chatto & Windus, 1972. Gelb, Arthur. City Room. New York: Putnam, 2003. Gordon, Meryl. Mrs. Astor Regrets. Boston: Houghton Mifflin Harcourt, 2008. Haden- Guest, Anthony. True Colors: The Real Life of the Art World. New York: Atlantic Monthly Press, 1996. Harclerode, Peter, and Brendan Pittaway. The Lost Masters. New York: Welcome Rain, 2000. Hays, Charlotte. The Fortune Hunters. New York: St. Martin’s, 2007. Heckscher, August. Alive in the City: Memoir of an Ex-commissioner. New York: Scribner, 1974.
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McFadden, Elizabeth. The Glitter and the Gold. New York: Dial, 1971. McNall, Bruce. Fun While It Lasted. New York: Hyperion, 2003. Meier, Barry. Pain Killer: A “Wonder” Drug’s Trail of Addiction and Death. New York: Rodale, 2003. Meyer, Karl. The Art Museum: Power, Money, Ethics: A Twentieth Century Fund Report. New York: Morrow, 1979. ———. The Plundered Past: The Traffic in Art Treasures. New York: Atheneum, 1973. Miller, Sara Cedar. Central Park: An American Masterpiece. New York: Harry N. Abrams, 2003. Moses, Robert. Public Works: A Dangerous Trade. New York: McGraw-Hill, 1970. Nasaw, David. The Chief: The Life of William Randolph Hearst. Boston: Houghton Mifflin, 2000. Nicholas, Lynn H. The Rape of Europa. New York: Vintage, 1995. Osborn, Henry Fairfield. The American Museum of Natural History: Its Origin, Its History, the Growth of Its Departments. New York: Irving Press, 1911. Ozgen, Ilknur, and Jean Ozturk. Heritage Recovered: The Lydian Treasure. Istanbul: Ugur Okman for the Republic of Turkey, 1996. Pertinax. The Gravediggers of France. Garden City, N.Y.: Doubleday, Doran, 1944. Petropoulos, Jonathan. The Faustian Bargain: The Art World in Nazi Germany. New York: Oxford University Press, 2000. Picon, Carlos, et al. Art of the Classical World in the Metropolitan Museum of Art. New Haven, Conn.: Yale University Press, 2007. Pope-Hennessy, John. Learning to Look. New York: Doubleday, 1991. Reich, Cary. Financier. New York: Morrow, 1983. Renfrew, Colin. Loot, Legitimacy, and Ownership: The Ethical Crisis in Archaeology. London: Gerald Duckworth, 2000. Rorimer, James J. Survival: The Salvage and Protection of Art in War. New York: Abelard, 1950. Rosenzweig, Roy, and Elizabeth Blackmar. The Park and the People: A History of Central Park. Ithaca, N.Y.: Cornell University Press, 1992. Russell, John Malcolm. From Nineveh to New York. New Haven, Conn.: Yale University Press, 1997. Saarinen, Aline Bernstein. The Proud Possessors: The Lives, Times, and Tastes of Some Adventurous American Art Collectors. New York: Random House, 1958. Samuels, Ernest. Bernard Berenson: The Making of a Connoisseur. Cambridge, Mass.: Belknap Press, 1979.
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Abbey of Saint-Michel-de-Cuxa cloister, 13, 119–20 Abstract Expressionism, 185, 216, 220, 226–27, 235, 263, 264, 321 Adam and Eve (Barnard), 120, 123, 131–33, 135–36 Adams, Cindy, 469 Adams, Frederick, Jr., 290, 294 African Americans, 100, 224–25, 317–19, 321, 324, 331, 342 Age of Innocence, The (Wharton), 29, 54 Agee, William, 409 Agnelli, Gianni, 376, 456, 458 Aldrich, Nelson, 93, 116 Alexander, Christine, 249, 255 Altman, Benjamin, 61, 70, 71, 99–102, 103, 108, 130, 232, 287–88 American Association of Museums, 179, 182 American Federation of Arts, 93, 156 American Museum of Natural History, 34, 35–36, 40, 41, 61, 68–69, 90, 124, 177, 187, 260, 285, 336, 338, 340, 478 American Wing, 5, 7, 12, 95, 137–41, 145, 160, 177, 204, 209, 304, 312, 345, 347–48, 404, 416, 417, 420–21, 471 Annenberg, Leonore, 376, 456 Annenberg, Walter H., 368–72, 410, 418 Annenberg Center, 369–72 Antioch Chalice, 219, 228
anti-Semitism, 51, 104, 124, 162, 260–61, 291, 317–19, 345–46, 381–83 Archaeological Institute of America, 84, 359 Aristotle with a Bust of Homer (Rembrandt), 141, 243–47, 428 Armory Show (1913), 148, 223 Arms and Armor Department, 5, 84–85, 90–91, 163, 174, 189, 235, 326 Arsenal, 26, 41, 289, 293 Art Institute of Chicago, 3, 75, 118 Astor, Brooke, 261, 295–96, 301, 314, 319, 325, 326, 327, 330, 332, 333, 335, 339, 343, 350, 352, 357, 368, 414, 421, 422, 423–24, 452, 456, 461, 467–70, 476 Astor, Minnie Cushing, 228, 295 Astor, Vincent, 228, 295–96 Astor Chinese Garden Court, 421, 424 Autumn Rhythm (Number 30, 1950) (Pollock), 227, 303 Avery, Samuel P., 27, 39 Azcárraga, Emilio, 439
Babel’s Tower: The Dilemma of the Modern Museum (Taylor), 182, 185, 189 Bache, Jules S., 205–6, 232, 276, 287–88 Bacon, Francis, 337, 349, 365, 439 Baker, George F., 15, 93, 105, 107, 136 Baker, Walter, 224, 248, 350 Baldwin, Sherman, 157n, 284
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Balenciaga, Cristobal, 376, 379, 459 Balthus, 405, 439, 440 Balzac, Honoré de, 277, 382 Barbizon school, 70, 72, 101, 224 Barnard, George Grey, 117–24, 131–33, 134, 135, 143–47, 153, 154, 155, 165, 167–68, 169 Barr, Alfred, 184, 194, 419, 437 Bass, Mercedes Kellogg, 423, 435, 457–58, 477 Bass, Sid, 423, 435, 456, 457–58, 477 Beame, Abe, 343, 344, 345 Beaton, Cecil, 308, 309 Beck, John C., 430, 431 Bell, Malcolm, 443, 446, 449 Belmont, August, 27, 61 Bemberg, Patricia “Bébé,” 380, 388 Berenson, Bernard, 96, 101, 119, 134, 206, 230, 273–74 Berggruen, Heinz, 419 Berman, Avis, 150, 191, 216 Biddle, Flora, 151, 204, 216 Biddle, George, 188, 222, 223 Biddle, James, 297, 304 Billings, C. K. G., 121, 123, 131, 136, 144, 146 Bishop, Heber R., 57, 79 Blass, Bill, 375, 378, 463 Bliss, Lillie, 149, 151, 184 Blodgett, William Tilden, 27, 34, 35, 37– 40, 42, 44, 45, 48, 59 Blum, Stella, 454, 455 Blumenthal, Florence, 156, 461 Blumenthal, George, 14, 93, 97, 123–25, 134, 147, 156, 160, 161–64, 165, 168, 174–75, 178, 183, 187, 189–90, 191, 192, 202, 233, 252, 261, 332 Bonnard, Pierre, 148, 221, 244, 419 Bosworth, William Welles, 116–17, 119, 121–24, 125, 131, 146, 164, 165 Bothmer, Bernard von, 248, 249, 356 Bothmer, Dietrich Felix von, 16–20, 248– 51, 253–58, 290, 291, 294, 297, 323, 338, 356–62, 432, 443, 446 Bothmer, Joyce Blaffer von, 294, 357 Botwinick, Michael, 13, 298, 322–23, 327, 332, 348, 356, 371, 415 Bourhis, Katell le, 454, 455, 462 Branch Bank of the United States (Assay Office), 138–39, 158, 420
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Brancusi, Constantin, 148, 225, 349 Braque, Georges, 221, 244, 419, 438, 439 Breck, Joseph, 110–11, 119, 132, 144, 156, 157–58, 160 Brian, Guy Louis Albert, 380, 384, 391 British Museum, 3, 25, 47, 54, 78, 106, 366, 482, 483 Brock, Horace “Woody,” 397, 466 Bronzino, 73, 149 Brummer, Joseph, 162, 166, 196–98, 215– 16, 228 Bryant, William Cullen, 14, 24, 27–28, 34 Buckley, Pat, 376, 377, 455, 456, 457, 462 Burden, Amanda Jay Mortimer, 337, 355 Burden, S. Carter, Jr., 334, 336–38, 340, 341, 343, 345, 350, 355 Burroughs, Bryson, 146, 148, 174, 184, 185, 349 Burt, Nathaniel, 25, 28, 60, 111, 179 Bury St. Edmunds Cross, 242, 289, 291– 92, 411 Butler, Howard Crosby, 96, 99
Cadwalader, John, 93, 140 Campbell, Thomas P., 479–83, 485, 486 Canaday, John, 317, 321, 350, 352, 353, 354, 359, 360 Canaletto, 279, 329, 382, 391 Caravaggio, 441, 484 Card Players (Cézanne), 184, 243 Carmel, Ann, 275, 276, 277, 278 Carnavon, George Edward Stanhope Molyneux Herbert, Earl of, 139, 140 Carnegie, Andrew, 61, 78, 142 Carroll and Milton Petrie European Sculpture Court, 9, 436–37 Cassatt, Mary, 71, 72, 73, 149, 225 Cassini, Igor “Ghighi,” 273, 281 Cellini, Benvenuto, 80, 95 Central Intelligence Agency (CIA), 253, 269, 285, 299, 413 Century Association, 29, 33–34, 37, 38, 224, 233 Cesnola, Luigi Palma di, 23–64 as archaeologist, 14, 23, 29, 31–33, 43– 48, 51–54, 64, 88, 119, 134
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collection of, 14, 32–33, 43–48, 49, 51–54, 62, 64, 68, 81, 134, 137, 218, 258 Cyprus excavations of, 14, 28, 31–33, 43–48, 51–54, 64 death of, 64, 85, 112, 473 as diplomat, 14, 23–24, 31–33, 43, 44 as director, 14, 24, 44–45, 48, 49, 50, 51–54, 55, 56, 57–58, 62–64, 73, 75– 78, 80, 81, 82, 83, 85, 94, 112, 156, 299, 323, 473, 484 Feuardent lawsuit of, 51–54, 55, 56 Morgan’s relationship with, 68–69, 75, 80, 83, 112 press coverage of, 24, 51–54, 63, 64 reputation of, 23–24, 28, 31–33, 43–48, 51–54, 55, 62–64, 73, 94 wealth of, 31–32, 33, 44, 47, 49 Cesnola, Mary Jennings Reid di, 30, 31, 33, 64 Cézanne, Paul, 59, 148, 149, 184, 214, 243, 244, 311, 349, 365, 418, 419 Chardin, Jean-Siméon, 151, 382, 391–92 Charles Engelhard Court, 6, 9, 420–21, 432, 437, 457–58 Château Haut-Brion, 332, 365 Choate, Joseph Hodges, 28, 29, 34, 35, 36, 40–41, 48, 49–50, 52, 53, 56, 61, 63, 75, 78, 102, 103, 105, 107, 110, 136 Christiansen, Keith, 441–42 Christie’s, 389–90, 428, 461–62, 467 Church, Frederic E., 27, 28, 32, 34, 37, 38, 42 Clark, Stephen, 3, 184, 185, 226, 243, 471 Clark, Sterling, 3, 471 Clarke, Caspar Purdon, 86–88, 89, 91– 92, 93, 119, 162, 473 Cleveland Museum of Art, 245, 293, 294 Cloisters, 5, 14–15, 115, 120–25, 131, 136, 143–47, 152–55, 158–69, 175, 183, 195–98, 201, 214–19, 228, 229–36, 240, 242, 246, 255, 256–57, 288, 289, 293–94, 301–2, 340 Coffey, Diane, 433 Coffin, William Sloane, 140–41, 156, 157, 160–61 Cohan, William, 161–62, 417 Cohen, Steven A., 364, 471–73, 475, 481, 484, 485
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Cohn, Roy, 460 Collens, Charles, 158, 160, 195 Colonna Madonna (Raphael), 74, 81 Comfort, George Fisk, 28, 34, 40 Committee of Fifty, 28–29, 33–34 Condé Nast, 8, 377, 378, 465 Constable, John, 38, 59 Contemporary Arts Department, 303–4 Cooke, Terence Cardinal, 319, 320 Cormier, Francis, 214, 222 Corot, Jean-Baptiste-Camille, 37, 70, 149, 275, 349, 416 Corporate Patron Program, 451–52 Cosgrove, Frank, Sr., 476 Costume Institute, 10, 206–9, 228, 239– 40, 375–79, 404, 439–40, 453–56, 457, 462–65, 479, 484 Cott, Sharon, 18–20, 84 Courbet, Gustave, 70, 72, 148, 349 Cousin, Jean, the Elder, 406, 407 Cranach the Elder, 78, 244 Crivelli, Carlo, 391, 428 Crosby Brown Collection of Musical Instruments, 183–84 Crucifixion (Piero della Francesca), 151–52, 201 Cubism, 148, 225, 239, 438 Curium treasure, 46–47, 62 Cussi, Paula, 439–40 Cyprus: Its Ancient Cities, Tombs, and Temples (Cesnola), 46, 48
Dalí, Salvador, 249, 405 Daumier, Honoré, 59, 149, 419 David, Jacques-Louis, 96, 146, 279, 304 David-Weill, Berthe, 252, 315, 316, 317, 365, 378 David-Weill, David, 124, 382, 403, 417 David-Weill, Pierre, 252, 394–95 Davis, Gordon, 425, 426 Davis, Theodore, 125, 126 Davison, Daniel Pomeroy, 284–85, 290, 293, 297, 370 Davison, Henry Pomeroy, 89, 103, 284 Decorative Arts Department, 89–90, 110, 119, 158–59, 336, 432 de Bodisco, Aino, 459–60
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de Forest, Emily Johnston, 60, 78, 138, 139–40, 157, 209 de Forest, Robert, 5, 40, 60–61, 62, 73, 86, 94, 97, 104, 105, 107, 109, 110, 111–12, 124, 125, 126–27, 129, 130, 131, 134–35, 137–47, 148, 149, 150, 153, 154, 156–57, 179, 209, 284 Degas, Edgar, 71, 72, 149, 151, 243, 416, 418, 419, 439, 458 de Groot, Adelaide Milton, 187–88, 353 de Kooning, Willem, 12, 226, 227, 361n, 364, 440 Delacroix, Eugène, 59, 70, 72, 406, 418 de la Renta, Annette (Anne France Mannheimer Engelhard Reed), 2, 380–81, 385, 386, 387–88, 392, 394, 396, 399–402, 406, 421, 422, 423, 424, 436–37, 444, 457, 458–62, 463, 465, 466–70, 473, 474, 475–77, 478, 485 de la Renta, Françoise de Langlade, 375, 376, 423, 460–61 de la Renta, Oscar, 375, 376, 378, 381, 402, 404, 457, 458–62, 463, 465 Democratic Party, 29, 35–36, 103, 397–98, 403 Demotte, George Joseph, 133–35, 145, 147 Dendur, Temple of, 6, 13, 310–13, 331, 336, 341, 344–47, 424, 455, 457–58 Dennis, Jessie McNab, 292, 338, 339 Devree, Charlotte, 370 Devree, Howard, 185–86, 225, 370 de Wolfe, Elsie, 384, 387, 404 d’Harnoncourt, Rene, 329, 330 DiCicco, Pat, 270, 271 Dienststelle Mühlmann, 253, 390 Dillon, C. Douglas, 14, 228, 285, 290, 293, 301, 306, 314, 319, 320, 326, 332–33, 336, 341–50, 354–60, 365, 368, 370, 371, 372, 377, 378, 380, 400, 401, 410–17, 422–26, 429, 430, 431, 435 Dillon, Phyllis, 378, 422, 423 Dilworth, J. Richardson, 284, 290, 291, 293, 306, 319, 339, 430, 432, 433, 444, 450, 457 Dinkins, David, 451, 452 Dior, Christian, 378, 463 Dorotheum, 228, 326, 339, 447–48 Douglas, Kirk, 272–73, 282
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Draper, Dorothy, 187, 228, 233 Duccio di Buoninsegna, 79, 201, 370, 470, 481, 484 Durand, Asher, 27, 37, 38 Durand-Ruel, Paul, 71, 75 Dürer, Albrecht, 81, 125 Duveen, Henry, 70, 71, 100, 101, 102 Duveen, Joseph, 74, 118–19, 133–35, 151– 52, 205–6, 244 Duveen Brothers, 101, 108, 117, 129–30, 141, 274 Dwight, Eleanor, 207, 454
Eakins, Thomas, 128, 225, 416 Easby, Dudley, 212, 215, 229, 330 Egyptian Art Department, 88–89, 96–97, 125, 126, 129, 157, 247, 310–13, 326, 344–47 Eisenhower, Dwight D., 213, 224, 254, 285, 332 El Greco, 72–73, 75, 149, 192, 243, 279 Elizabeth Clarke Freake and Baby Mary, 181–82 Elliott, Duane Garrison, 301, 324, 325, 326, 327 Engelhard, Charles William, Jr., 392, 394– 404, 420, 423, 434, 466 Engelhard, Charles William, Sr., 395–97 Engelhard, Jane (Marie Annette Jane Reiss-Brian Mannheimer), 368, 376, 377, 379–80, 384, 385–404, 420–22, 423, 436–37, 454, 458, 461–62, 466 Erickson, Alfred, 141, 243, 244, 245 Ertegun, Mica, 444, 454 Etruscan biga (chariot), 81–82, 84 Etruscan warriors, 256–58, 294, 444 Euphronios (Sarpedon) krater, 17, 20, 348, 358–62, 369, 443, 445, 446, 448, 449 European Paintings Department, 243, 251, 261, 315, 364–67, 406–7, 417–19, 440–42, 464, 471 European Sculpture and Decorative Arts (ESDA), 432–35, 479
F-111 (Rosenquist), 304–5, 484 Fahy, Everett, 423
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Feigen, Richard, 8, 9, 12, 434 Feuardent, Gaston, 51–54, 55, 56 Field, Marshall, 175, 176, 215, 226 Fine French Furniture (FFF), 36, 244, 274, 309–10, 325, 331–32, 428 Fischer, Henry, 310–11, 313 Fisher, Donald, 472 Flandes, Juan de, 428, 429 Fleming, Ian, 397 Fletcher, Isaac Dudley, 126–27, 245 Fogg Art Museum, 174, 252, 346 Forbes, Malcolm S., 397–98, 461 Force, Juliana, 150–51, 185, 191, 193–94, 216–17 Ford, Gerald R., 322n, 367, 413 Fort Tryon Park, 5, 147, 154, 159, 168 Fortune Teller, The (La Tour), 258–60 Fosburgh, Minnie Astor, 296, 314, 332, 350, 380 Foxcroft School, 399–400, 422 Fra Carnevale, 441–42 Fragonard, Jean-Honoré, 74, 81, 107, 244, 391, 393, 403 France, 117, 118–20, 121, 132, 133–35, 148, 164–66, 194, 199–200, 229, 233, 252, 256–58, 287, 307, 332, 333, 383–87, 391–92, 417, 466 Frelinghuysen, Peter H. B., 319–20, 350 French, Daniel Chester, 93, 106 Frick, Henry, 69, 93, 101, 107, 108 Frick Museum, 241–42, 304, 486 Fulton, Robert, 94, 167
Gage, Nicholas, 359–60, 361, 362 Gainsborough, Thomas, 38, 59, 81, 126, 244, 275 Gardner, Albert Ten Eyck, 69, 262–63, 304 Gauchez, Léon, 38, 39 Gauguin, Paul, 149, 184, 244, 352 Gelb, Arthur, 359 Geldzahler, Henry, 227, 260–66, 267, 290, 303, 304–5, 312, 320–22, 349, 352, 353, 412, 425, 426, 432, 437, 450, 484 Gellatly, John, 144–45, 153–54 Gelman, Jacques, 18, 438, 439
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Gelman, Natasha, 438–39, 440 Genauer, Emily, 286, 321 George Washington Crossing the Delaware (Leutze), 27, 304 German Expressionism, 151, 434 Germany, Nazi, 162, 174, 199–201, 203, 243, 248, 250, 252, 253, 254, 276, 378, 381–87, 390–91, 393, 394, 395–96, 417, 465 Gerschel, Laurent, 418 Getty Museum, 3, 17, 20, 447 Gilbert, S. Parker, 381n, 431, 473, 474, 476 Gilbert, S. Parker, Jr., 431–32 Gilpatric, Roswell, 285, 290, 293, 301, 303, 305, 319, 320, 341, 355, 370, 412 Glueck, Grace, 352, 416 Göring, Hermann, 200–201, 253, 390 Gorky, Arshile, 227, 260, 349 Gothic Fund, 145, 166 Goya, 38, 59, 72, 73, 126, 149, 151, 192, 309 Graham, Katharine, 308, 379 Great Britain, 68, 80, 82, 86, 87, 98–99, 383, 389–90 Greek and Roman Art Department, 6, 12, 16–20, 81–84, 96, 111, 228, 233, 235, 248–51, 255, 256–58, 323, 348, 356– 62, 432, 443–47, 470, 476 Greene, Belle, 95, 96, 103, 108 Guardi, Francesco, 38, 317, 391 Guest, C. Z., 377 Guggenheim Museum, 3, 256, 439
Hackenbroch, Yvonne, 277–79 Hale, Niké, 220, 226, 263, 264, 265 Hale, Robert Beverly, 219–26, 227, 236, 260, 261, 263–64, 265, 266, 303–4 Hals, Frans, 38, 59, 74, 95, 101, 141, 149, 244 Halsey, Richard Townley Haines, 137–38, 140, 141, 183, 187 Hannon, Patrick, 380, 385, 386 Harkness, Edward S., 93, 97, 107, 125, 129, 189 Harlem on My Mind exhibition (1969), 314, 315, 317–19, 324, 327, 331 Harvard University, 174, 251, 262, 284, 363, 406, 435, 450
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Hassam, Childe, 225, 468 Havemeyer, Henry Osborne, 59, 61, 71– 75, 101, 148, 149–50, 152, 232 Havemeyer, Horace, 149, 150 Havemeyer, Louisine Waldron Elder, 71– 73, 148–50, 232 Havemeyer Collection, 148–50, 184, 232 Hawkins, Ashton, 18, 306, 332, 337, 346, 360, 377, 378, 401, 423–24, 425, 429, 435, 444, 446, 449, 450 Hays, Charlotte, 402, 436 Hearn, George A., 128, 150 Hearn Fund, 150, 184, 185–86, 191–92, 194, 216, 220, 223–24, 260, 264 Hearst, William Randolph, 255, 258, 269 Hearst Foundation, 255, 258 Hecht, Robert, Jr., 17, 358–59, 361–62, 443, 446 Heckscher, August, 299, 314, 335, 336, 341, 342 Heinz, Drue, 456, 461 Henry Luce Foundation, 315, 318 Hermitage, 3, 33, 382 Herrick, Dan, 305–6, 322n, 332, 333, 340, 371, 406, 415, 416 Hess, John L., 2, 350, 353–56 Hess, Thomas B., 437 Hewitt, Abram, 58, 59 Hirst, Damien, 471–73, 474 Hitchcock, Hiram, 31, 33, 43, 44, 46, 47, 54, 57, 61, 62, 63, 64, 79 Hitler, Adolf, 252, 253, 276, 382, 387, 390– 91 Hoare, Oliver, 364 Hobby, Theodore, 130, 162 Hoentschel, Georges, 89–90, 110, 111 Hofmann, Hans, 226, 262 Holbein, Hans, 25, 96, 244 Holden, Don, 225–26, 236, 257, 258, 259– 60 Holzer, Harold, 1, 2, 11, 443 Homer, Winslow, 37, 225, 416 Hoppin, William J., 34, 35 Hoppner, John, 101, 192 Houdon, 279, 462 Houghton, Arthur Amory, Jr., 228, 283– 86, 287, 290, 292–93, 294, 296, 297–98, 299, 302, 303, 305, 306, 314,
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318, 319, 323, 324, 330, 332, 333, 350, 357, 362–64, 401, 422, 450 Houghton, James “Jamie,” 422, 450, 451, 452, 473, 474, 476 Houghton, Maisie, 401, 422 Houston Museum of Fine Arts, 408–9, 415 Hoving, Nancy Bell, 240, 241, 242, 283, 295, 298, 308–9, 370, 371 Hoving, Thomas Pearsall Field, 239–372 as author, 1–2, 242, 283, 290–91, 329, 346, 356n, 361, 411, 442–43, 444, 445, 448, 482 background of, 240–42 as Cloisters assistant curator, 240, 242, 255, 288, 289, 301–2 controversies of, 299, 317–19, 320, 348–62, 445, 448 as director, 1–2, 6, 9, 14, 15, 179, 190, 268, 276, 278, 279, 282, 295, 296– 352, 378, 404, 410, 415, 416, 418, 423, 425, 480 donors cultivated by, 306–13, 323–32, 344–47, 418, 423 exhibitions mounted by, 299–301, 304– 5, 314, 317–22, 324, 327, 331, 340, 365–66, 367, 416, 455 as medievalist, 240, 241–42, 322 Montebello’s relationship with, 346, 348, 361n, 407, 408–11, 413, 415, 416, 432–33, 442–43, 445, 448, 454, 469– 70, 480 as parks commissioner, 289–92, 293, 295, 296, 297–99, 302, 334 populism of, 15, 179, 239–40, 299, 314– 15, 334, 352 press coverage of, 239, 299, 305, 306, 315, 317–19, 350–56, 359–62, 370, 371, 376, 432–33 reputation of, 239–40, 242, 295, 296, 367–72, 411 resignation of, 346, 367–72, 410–11, 473 Rorimer’s relationship with, 239–40, 242, 243, 255, 287–89, 291–92, 293, 311–12 trustees as viewed by, 258, 268, 282, 297–99, 305–10, 319, 331–32, 333, 341–42, 350, 367–72 Hoving, Walter, 240–41, 301, 342 Howe, Winifred E., 2, 48, 158
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Hudson-Fulton exhibition (1909), 94–95, 102, 128, 137, 138, 222 Hudson River school, 28, 34, 125 Hunt, Richard Morris, 4–5, 26, 34, 37, 60, 70, 75, 163 Huntington, Arabella, 141, 243 Huntington, Archer, 141, 211 Huntington, Collis P., 101, 141 Husband, Tim, 450 Huxtable, Ada Louise, 334, 351, 420
Ingres, Jean-Auguste-Dominique, 149, 353, 354, 382, 391, 418 Institute of Fine Arts (IFA), 257, 286, 291, 294, 301, 367, 406, 407, 441–42 Istanbul Archaeological Museum, 43, 54, 99 Italy, 17, 20, 25, 29–30, 68, 72, 73, 81–84, 182, 211, 241, 257–58, 259, 324, 358– 62, 445–48, 449 Ittleson, Henry, 302, 340 Ivins, William Mills, Jr., 125, 148, 163, 174, 175, 176–77, 181
James, Harold, 382 Jay, John, 14, 24, 25, 37, 61, 240, 337, 401 Jayne, Horace H. F., 183, 231 Johns, Jasper, 263, 349, 440 Johnson, Lyndon B., 285, 311, 332, 333, 398, 403, 413 Johnston, John Taylor, 26–27, 33, 34, 35, 36–39, 42, 44, 45, 46, 47–48, 49, 52, 55, 56, 59, 60, 62, 68, 150 Josephs, Devereux, 192, 197, 213, 214, 284, 319 J. P. Morgan & Co., 105, 108, 192, 224, 395, 431 JP Morgan Chase, 12, 467, 468–69, 481 J. S. Morgan & Co., 47, 67, 105, 381 Juan de Pareja (Velázquez), 348–49, 470
Kann, Rodolphe, 118, 141 Karp, Ivan, 262, 263 Kaye, Lawrence, 444–45
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Kaylan, Melik, 444, 445 Kelekian, Dikran, 123, 152 Kelleher, Bradford, 225, 342 Kelly, Ellsworth, 261, 263 Kennedy, John F., 14, 239, 280–81, 282, 285, 307, 310, 313, 316, 320, 332, 333, 398, 413 Kennedy, Joseph P., 280, 307, 436 Kennedy, Robert F., 281, 334, 337 Kensett, John Frederick, 27, 28, 34, 35, 37, 38, 44, 45 Kent, Henry W., 86, 110, 130, 131, 137–38, 163, 175, 184, 186 Kertess, Klaus, 316, 475 Kiernan, Frances, 423, 424 Kimmelman, Michael, 464–65 King of the Confessors (Hoving), 242, 411 Kinnicutt, Dorothy May (Sister Parish), 396–97, 398, 399, 401, 404, 422 Kissinger, Henry, 367, 423, 426, 466, 467 Klimt, Gustav, 12, 438 Knoedler & Co., 70, 109, 259 Koch, Ed, 412, 425–27, 433, 451 Koda, Harold, 463 Koons, Jeff, 485 Kramer, Hilton, 305, 321, 351, 366 Kravis, Henry, 2, 435–36, 458 Kress, Samuel, 166–67, 193 Ku Klux Klan, 100, 149, 267
Lagerfeld, Karl, 464 La Guardia, Fiorello, 168, 174, 187, 210 Lake, Stephanie, 275, 276, 277, 278 Lambert, Eleanor, 207, 208, 454 Lamont, Thomas, 103, 166, 195, 197, 217, 223 Landmarks Preservation Committee, 340, 341 Lane, Kenneth J., 375 Lansdowne Room, 234, 325 Larkin, Aileen “Chuggy,” 268–69, 272 Last Judgment and the Crucifixion, The (Van Eyck), 181–82 Latin America, 186, 191, 228–29, 329 La Tour, Georges de, 258–60, 279 Lauder, Estée, 325, 435
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Lauder, Ronald, 227n, 472 Laura Spelman Rockefeller Memorial Fund, 136, 211 Lazard Frères, 93, 124, 156, 252, 320, 347, 382, 386, 388–89, 394–95, 398, 417 Ledyard, Lewis Cass, 105, 167 Lee, Sherman, 293, 294 Lehman, Philip, 192, 193 Lehman, Robert “Bobbie,” 14, 192–93, 195, 218, 223, 232, 245, 246, 261, 271, 285–87, 290, 301–3, 327–29, 331, 332, 340, 347, 350, 417 Lehman, Robin, 192, 286, 287, 302, 328– 29 Lehman Brothers, 192, 193, 329, 481 Lehman Wing, 286–87, 301–3, 327–29, 331, 334, 335, 336, 338, 341, 342, 343, 351, 365 Leigh, Dorian, 402 Leonardo da Vinci, 59, 287–88, 314 Lerman, Leo, 2, 50, 290 Leutze, Emanuel, 27, 304 Levai, Rosie, 318, 349, 354, 365, 377, 416 Levy, Leon, 446, 447–48 Lewisohn, Irene, 206, 207, 352 Lewisohn, Sam A., 195, 206, 223, 224, 226 Lieberman, William S., 437–40 Lila Acheson Wallace Wing, 348, 419, 425–26, 432, 438 Lincoln, Abraham, 24, 30, 31, 64, 118 Lindsay, John V., 288–89, 296, 298–99, 302, 317, 318, 325, 334, 335, 343 Linsky, Belle, 427–30 Linsky, Jack, 427–28, 429 Locke, Ian, 385, 393 Loughry, J. Kenneth, 293, 305 Louis XIV, King of France, 25, 85, 117, 399, 415 Louis XV, King of France, 81, 111, 279, 428, 475 Louis XVI, King of France, 111, 279, 331– 32, 428 Louvre, 3, 25, 36, 54, 99, 149, 259, 262, 286, 365 Love, Iris Cornelia, 256, 257, 258, 444 Luce, Henry L., 15, 224 Luers, William Henry, 430–31, 432, 434, 435, 443, 446, 449, 450, 451, 452, 453
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Lydian Hoard, 348, 356–58, 360, 443–45 Lythgoe, Albert, 88, 89, 93, 96, 97, 103, 139, 310
McFadden, Elizabeth, 46, 47 MacGregor, Neil, 482, 483 McHenry, Barnabas, 311, 312–13, 412, 425– 26, 457 McKim, Charles, 91, 93, 104 McKim, Mead & White, 5, 84, 91, 104, 139, 152, 217 McKinney, David E., 450–51, 452, 465 Macomber, William Butts, Jr., 412–15, 424, 425, 426, 430, 431, 433, 437, 444, 449 Macy, Valentine Everit, 152, 227 Madonna and Child (Duccio), 79, 470, 481, 484 Making the Mummies Dance (Hoving), 1–2, 442–43 Malraux, André, 233, 260, 367 Man and the Horse exhibition (1984), 455–56, 463 Manet, Édouard, 75, 126, 149, 244, 350, 416, 418 Mannheimer, Fritz, 380–92, 399, 403 Mansfield, Howard, 93, 157n, 189 Mapplethorpe, Robert, 379 Marlborough Gallery, 349, 353, 354 Marquand, Henry Gurdon, 28, 37, 52, 56, 58, 59–60, 61, 62–63, 64, 71, 74, 78, 79, 96, 219 Marshall, Anthony, 467–70 Martin, Richard, 463, 464 Masterpieces of Fifty Centuries exhibition (1970–1971), 315, 320, 322, 327 Matisse, 148, 184, 214, 220, 221, 244, 262, 349, 438, 439, 440 Mayor, A. Hyatt, 174, 181–82, 234 Mazzetta, Tito, 82–83, 84 Medici, Giacomo, 445–46, 447 Medici Conspiracy, The (Watson and Todeschini), 445–46 Medieval Department, 242, 290–91, 322 Medieval Sculpture Hall, 287, 432, 457 Meissonier, Jean-Louis-Ernest, 37, 38 Mellon, Andrew, 246, 252
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Mendelssohn & Co., 381–82, 385–86 Menschel, Ronay, 433 Messer, Thomas, 439 Metropolitan Fair Picture Gallery (1864), 27, 31, 38 Metropolitan Museum of Art: acquisitions committee of, 15, 133–35, 147, 184, 202, 222, 224, 229, 230, 245, 246, 331–32, 348–56, 424, 445, 481– 82 administration of, 1–2, 11, 15–16, 28, 33–40, 85–88, 89, 94, 111–12, 137– 38, 157–58, 174–77, 179, 183, 213, 217–18, 231, 233, 247–48, 255–56, 282–83, 293–94, 299, 305–6, 323, 347, 367, 411–12, 430–31 admission fee for, 9, 10, 45, 48, 55, 186, 213, 339, 340 annual meetings of, 35, 61, 62, 220, 221–22, 303, 452 annual reports of, 10, 47, 87, 94, 128, 137, 164, 203, 452, 482 architecture of, 4–5, 202–3 art bequeathed to, 76–79, 125–28, 141– 43, 148–50, 219, 278–79, 353, 416– 17, 469 art deaccessioned by, 11, 39–40, 54, 152, 218, 235, 247, 349–56, 359, 410, 429 art donations to, 34, 42, 47, 49–50, 55, 59, 73–76, 78, 87, 89–90, 97, 99– 102, 103, 125–28, 130, 141–43, 148– 50, 177, 184, 189, 205–6, 213, 219, 232, 276–79, 285–87, 301–3, 345–56, 353, 416–19, 438–39, 469 art loaned to, 34, 59, 72, 73–74, 89–90, 95, 106–12, 126, 129–30, 146, 148, 175, 181–82, 186, 191–92, 193, 216– 17, 218, 219–27, 232, 267, 285–87, 322, 327, 406–7 art purchased by, 11–12, 34, 37–40, 41, 42, 43–49, 78, 81–85, 86, 91, 127–28, 133–35, 136, 143–47, 148, 213, 243–47, 258–60, 290–92, 314, 322, 331–32, 348–49, 470, 471 art restrictions set for, 55, 59, 78, 102, 112, 127, 177, 189, 206, 213, 232, 285– 87, 302–3, 345–47, 419 attendance figures for, 6, 7, 9, 10, 45, 48, 55, 56, 61–62, 109, 128, 129, 137, 149,
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177, 186, 213, 222, 234, 246, 247, 287– 88, 314, 318, 322, 327, 339, 340, 366 author’s research on, 1–3, 16–20 books written about, 1–3, 38–39, 290, 326 branch museums of, 161, 190, 203, 314– 15, 334, 338 “building-from-within” program of, 6, 9–10, 482–83 capital improvements of, 9–10, 12, 50 centennial of (1970), 6, 290, 300, 303, 312–13, 314, 315, 320, 322, 323–27, 328, 330, 334, 341, 352, 367 Central Park location of, 4, 9, 26, 34–35, 40, 42, 44, 45, 48–50, 55, 56, 63–64, 194, 205, 209, 232, 288, 328, 334–38, 341, 342, 433 chairman of the board of, 302–3, 367, 424, 430, 431, 432–33, 473 commercialization of, 7, 11, 128, 137, 140–41, 208, 225, 247, 300–301, 306, 321, 342, 348n, 366, 411, 453–58, 462–65, 484 constitution of, 33–36, 136, 220–21, 303, 333, 349, 411–12 controversies of, 14, 16–20, 51–54, 55, 56, 73, 78–79, 81–84, 133–35, 153–54, 256–60, 299, 317–19, 320, 338–40, 342, 346, 348–62, 416, 442–61 corporate sponsorship of, 8, 212, 315, 323–24, 345, 451–53, 481–82 curatorial departments of, 4, 13, 16–20, 41, 44, 76, 87, 89–90, 137–39, 146, 153, 176–77, 182–83, 185, 188, 195, 199, 216, 218, 247, 250, 297, 299–301, 303, 304, 305, 323, 331–32, 338, 342, 343, 347, 349–50, 354, 364–65, 406– 7, 410, 416, 437–38, 442, 480, 481 debts and deficits of, 39, 42, 57, 94, 107, 128, 129, 130, 136–37, 142–43, 176, 177–78, 186–87, 212–13, 247, 320, 327, 339, 340, 342, 348–49, 414, 431, 451–53, 482 directors of, 1–11, 14, 15, 73, 86–99, 102–4, 110–12, 150–51, 156, 157–58, 162, 174–77, 179–84, 185, 221–22, 230–36, 243–51, 290–95, 306–13, 323–32, 474–76, 478–83, 484, 485– 86; see also specific directors
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discrimination lawsuit against, 297, 338–40 educational mission of, 12, 128, 161, 190, 203–4, 220–21, 334, 338, 471, 483– 84 endowment of, 11, 59, 78, 86, 87, 92, 129, 136–37, 147, 161–62, 164, 175, 186, 188, 203, 204–5, 206, 209, 232, 245, 246, 247, 312–13, 323–25, 430, 451–53, 470, 481–82, 486 excavations funded by, 87, 88–89, 92– 93, 96–97, 163, 247, 250 executive committee of, 33–40, 44, 60– 63, 75, 112, 177, 206, 213, 218, 287, 290, 319, 342, 369–70, 410, 411–12, 424, 432, 468 exhibitions of, 59, 90, 94–95, 102, 128, 195, 218, 222, 287–88, 299–301, 304–5, 314, 317–22, 324, 327, 331, 340, 365–66, 367, 410, 416, 454, 455, 457, 458, 464, 483–84; see also specific exhibitions expansion of, 4–5, 6, 9–10, 34–35, 40, 51, 58–59, 61, 62, 63–64, 91, 103–4, 110–11, 128, 152, 163, 201–3, 209–10, 217–18, 311–12, 333, 334–38, 340, 342, 343–48, 349, 352, 452, 482– 83 fiftieth anniversary of (1920), 14–15, 129, 130, 136–37 financial donations to, 7, 8–9, 10, 14–15, 34, 37, 49–50, 57, 59, 61, 68–69, 73– 79, 97, 107, 136, 141–43, 161, 186–87, 209, 212, 243, 246, 267, 312–13, 314, 323–27, 343, 411, 433–37, 451–53, 469, 474–78, 480–82 financial statements of, 10–12, 35, 75– 76, 129, 130, 136–37, 175, 177–78, 192, 212–13, 214, 287, 333 founding of (1870), 4, 14, 24–29, 33– 42, 48–51, 129, 208, 240, 337, 456 fundraising efforts of, 7, 8–12, 14–15, 26, 27–29, 35, 37, 39, 47, 48, 68, 78, 129, 201, 210–13, 323–25, 343, 430, 431, 451–54, 472 gallery space in, 25–27, 43–48, 59–60, 101–2, 176–77, 204–5, 228, 231, 232, 335–36, 344, 347, 356, 418, 451, 482, 485
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grand staircase of, 110, 129, 321, 336, 338, 475, 476 Great Hall of, 5, 7, 14–15, 52, 73, 75, 88, 110, 111, 129, 235, 240, 246, 247, 312, 313, 321, 326, 328, 336, 338, 342, 352, 475, 476 guards in, 62, 146, 178, 184, 212, 231, 232, 234, 246, 287–88, 318, 332, 338, 339–40, 465 investment portfolio of, 11, 136, 141, 143, 144, 145, 161–62, 192, 215, 229, 313, 431, 452 legal battles of, 11, 16–20, 51–54, 55, 56, 73, 133–35, 153–54, 338–40, 342, 346, 353, 359–62 libraries of, 5, 7, 8, 12, 13, 198, 204, 218, 232, 235, 243 master plan for, 4–5, 6, 9, 202–4, 217– 18, 311–12, 327, 328, 333, 334–38, 347–48, 349, 415, 432, 448, 470 modern art collection of, 160, 175–76, 184, 185–86, 188, 191–94, 214, 219– 27, 231, 243–44, 260–66, 303–4, 320–22, 348, 349, 361n, 432, 437–40, 471–73, 484–85 modernization of, 5–6, 85–86, 94, 163, 203–4, 217–18, 232, 247–48 New York City subsidies for, 4, 6, 9, 10, 11, 35–36, 45, 47, 56–57, 58, 59, 75, 84, 91, 103–4, 105, 107, 128–29, 130, 136, 163, 177–78, 185, 187, 188, 201–2, 205, 209–10, 231–32, 298, 311, 314, 340, 343–44, 370–71, 412, 425–27, 433, 451, 482 one hundred twenty-fifth anniversary of (1995), 157n operating budget of, 10–12, 35, 47, 49, 55, 57, 63, 75–76, 93–94, 107, 128–29, 130, 142–43, 161–62, 163, 164, 175, 177–78, 186–87, 188, 204–5, 212–13, 247, 339, 340, 343–44, 414, 415, 433, 451–53 paintings in, 4, 12–13, 26, 37–40, 42, 45, 54, 59, 62, 148, 195, 258–60, 348–56, 417–19 physical plant of, 4–6, 10, 34–35, 44, 48–50, 75, 91, 94, 130, 137, 163, 174, 178, 185, 187, 188, 190–91, 202, 204, 217, 243, 293, 297
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populist agenda for, 5, 9, 15, 27, 36, 55– 58, 161, 176–79, 182–83, 185, 186, 203–4, 222–23, 239–40, 290, 299, 314–15, 334, 352 presidents of, 34–37, 52, 58–64, 79, 107, 111–12, 137–47, 148, 156–62, 174–75, 189–90, 209–10, 213, 218, 225, 230– 31, 290–91, 302, 319, 332–33, 410, 411, 412–15, 425, 426, 430–31, 452– 53 press coverage of, 2, 7, 41, 42, 49, 52–64, 73, 78–79, 87–88, 92, 134, 152, 175, 180, 184, 204, 212, 216–17, 222, 223, 225, 234, 239, 243, 246–47, 257, 258, 259, 260, 265, 299, 305, 306, 315–27, 336, 339, 341, 350–56, 359–62, 370, 371, 376, 408, 409, 411, 412, 426, 432–33, 437, 451, 456–65, 471, 472– 73, 475 as private vs. public institution, 5, 8–9, 11, 14, 15, 27, 35–36, 40, 41, 42, 45, 48, 49–50, 55–58, 59, 61–62, 109, 173– 79, 290, 314–15, 485–86 renovations of, 63, 187, 188, 201–3, 206, 209–10, 212, 217–18, 223, 228, 232, 234, 235, 243, 312–13, 418 reorganization of, 85–86, 94, 112, 186, 213, 305–6 reputation of, 1–3, 7–9, 14–15, 38–40, 51–54, 55, 64, 81–84, 85, 111, 137, 150–51, 161, 173–75, 204, 216–17, 243–47, 256–60, 303, 317–19, 327, 348–62, 366, 456–58, 472–76, 484– 86 restaurants of, 6, 7–8, 11, 204, 228, 232–33, 366, 463 salaries of, 11, 56, 92, 130, 136, 137, 180, 210, 231, 233–34, 297, 338–40, 377, 451 sculpture in, 4, 42, 43–48, 54, 152–53, 176, 236, 256–58, 294, 444 security arrangements of, 62, 80, 146, 178, 212, 231, 232, 234, 242, 246, 287–88, 317, 318, 331, 332, 338, 339– 40, 465 seventy-fifth anniversary of (1945), 201, 203, 210, 212–13, 217 shops operated by, 7, 11, 128, 137, 140– 41, 208, 225, 247, 342, 348n, 366, 455
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social events hosted by, 7–8, 14–15, 28– 29, 208–9, 239–40, 324–27, 346, 353–58, 375–76, 404, 439–40, 453– 58, 463–65 staff of, 11, 56, 76, 86, 94, 128, 137, 174, 176–78, 179, 182–83, 184, 186, 195, 198–99, 204, 210, 212, 213, 222, 231, 232, 261, 295, 297, 319, 323, 325, 338– 40, 347, 353–54, 410, 424, 451, 452– 53, 479 trustees of, 2–10, 14, 15, 29, 33–55, 59– 69, 78, 79, 85–94, 107, 110, 111, 124, 127, 128–30, 136–37, 142, 144, 148, 150, 155–67, 174–78, 182–83, 186– 98, 201–28, 233, 234, 236, 245, 246, 247, 258–68, 282–99, 302–10, 318, 319, 323–24, 331–35, 341–56, 365, 367–72, 411–15, 424–37, 442, 450– 52, 470, 474–76, 480–86 twenty-fifth anniversary of (1895), 62 Web site of, 13, 453, 484 women employees of, 86, 94, 198–99, 231, 297, 338–40, 347, 452–53 women trustees of, 187–88, 192, 211, 223, 227–28 Meyer, André, 252, 320, 332, 347, 350, 386, 388–89, 394–95, 403, 417–19, 461 Meyer, Karl, 175, 342, 480 Meyer Galleries, 417–19 Michelangelo, 118, 210–11 Miereveld, Michiel Jansz. van, 391, 393 Miles (von Bothmer’s aide), 17, 18, 19, 20 Miller, Flora Whitney, 193, 205, 216 Millet, Jean-François, 70, 126, 149 Mills, Ogden, 125, 186 Modigliani, Amedeo, 184, 221, 244, 438, 439, 440 Mona Lisa (Leonardo), 287–88, 314 Monet, Claude, 71, 126, 148, 149, 260, 275, 311, 314, 325, 349, 352, 461–62 Montebello, Edith Myles de, 406, 453, 456 Montebello, Jean Lannes, duc de, 404 Montebello, Philippe de, 405–80 as acting director, 410–11, 416, 437 as administrator, 15–16, 407, 409–10, 411, 415, 430, 431, 437–38, 442, 451, 470, 486 background of, 380, 396, 404–8, 413, 415, 450
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controversies of, 16–20, 416, 442–51 as director, 1–2, 3, 6–10, 11, 15–16, 404, 413–16, 424, 425, 426, 427, 429, 430, 431, 432–33, 437, 438–39, 440, 442– 50, 451, 454, 455, 456, 464, 465, 469– 70, 478, 479, 480, 482, 484, 486 donors cultivated by, 346, 347, 419, 424, 427, 429, 431, 438–39, 440, 454 exhibitions of, 410, 416, 454, 455, 457, 458, 464, 484 Hoving’s relationship with, 346, 348, 361n, 407, 408–11, 413, 415, 416, 432– 33, 442–43, 445, 448, 454, 469–70, 480 press coverage of, 1–2, 3, 408, 409, 426, 432–33, 437, 464, 471 reputation of, 1–2, 3, 408–9, 413–14, 415, 437, 470–76, 478, 486 retirement of, 405–6, 471, 473–76, 478, 479, 480 trustees as viewed by, 15, 342n, 413–14, 415, 442, 470 Montebello, Roger André de, 396, 404, 405, 406 Morgan, Henry Sturgis, 112, 175, 285, 306 Morgan, John Pierpont, Jr. “Jack,” 91, 93, 103, 105–12, 157, 159–60 Morgan, John Pierpont, Sr., 67–112 art collection of, 68–70, 74, 79–81, 89–99, 101, 103–12, 117, 118–19, 129–30, 276, 287 congressional testimony of, 103, 104 death of, 104–5, 148, 275 in Egypt, 88, 92–93, 96–97, 102, 103, 104 estate of, 103, 105–12 as financier, 67–68, 74–75, 89, 103, 116, 166, 167 as patron, 57, 68–69, 73, 79–80, 81–82, 89–90, 92, 95–99, 103–12, 122 as president of Metropolitan, 14, 37, 64, 85–105, 107, 112, 118–19, 124, 175, 178, 179, 213 press coverage of, 85, 105, 107, 109 as trustee, 61, 62–63, 68–69, 75, 85, 129 wealth of, 68–70, 79–81, 85, 103, 105– 12, 160
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Morgan, Junius Spencer, 44, 47, 67–68, 73, 74, 81, 105, 125, 413 Morgan Library, 290, 294, 355, 462 Morgantina silver, 443, 445–47, 449 Morgan Wing, 5, 97, 103–4, 107, 110–11, 139, 152, 208 Morton, Pamela Taylor, 180, 203 Moses, Robert, 161, 173–74, 175, 177, 178–79, 185, 186–94, 201–3, 207, 209–12, 217, 218, 222–23, 226, 228, 231–32, 233, 236, 246, 258, 289 Motherwell, Robert, 226, 262 Mühlmann, Kajetan, 253, 390, 391 Munsey, Frank A., 15, 141–43, 164 Murnane, George, 389, 394, 395, 396 Muscarella, Oscar White, 357, 360 Museum: Behind the Scenes at the Metropolitan Museum of Art (Danzinger), 2–3 Museum of Costume Art, 206–9 Museum of Fine Arts (Boston), 3, 34, 88, 89, 174, 233, 441 Museum of Modern Art (MoMA), 3, 151, 175–76, 178, 182, 184, 191–92, 206, 214, 216, 217, 219, 221, 228, 249, 304, 329, 330, 437–38, 439, 471–72, 485 Museum of Primitive Art (MPA), 329–31
National Academy of Design, 37, 48 National Endowment for the Arts, 266, 451 National Gallery of Art (London), 3, 419, 428 National Gallery of Art (Washington, D.C.), 3, 153, 206, 211, 213, 228, 252, 254, 273–74, 287, 367, 439 Near Eastern Art Department, 153, 236 Netherlands, 381–83, 385, 390–93 Netto, David, 476–78, 485 Newman, Muriel Kallis Steinberg, 360– 61, 438, 471 Newsom, Barbara, 324, 372, 413 New York City Art Commission, 138–39, 217, 335
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New York City Board of Estimate, 56–57, 59, 103–4, 105, 107, 163, 228, 335, 344–45 New York City Parks Department, 44, 47, 49, 56, 57–58, 63, 163, 167, 178, 187, 246, 288–90, 311, 314, 335, 337–38, 412, 425–27 New Yorker, The, 150, 175, 183–84, 186, 253, 254, 321, 390 New-York Historical Society, 26, 27, 34, 187 New York Painting and Sculpture: 1940– 1970 exhibition (1969), 320–22, 331 New York Public Library, 12, 42, 202, 331, 424, 469 New York Times, 2, 7, 27, 35, 41, 42, 45, 49, 52, 53, 54, 55, 56, 58–59, 63–64, 73, 77, 79, 82, 83, 101, 107, 127, 134, 152, 156–57, 180, 185–86, 211, 212, 222, 225, 226, 239, 246, 257, 265, 282, 283, 299, 305, 317, 318, 320, 325, 334, 336, 339, 341, 347, 350–51, 353–56, 359– 62, 364, 365, 366, 370, 371, 400, 401– 2, 411, 426, 432–33, 437, 451, 457, 463, 464, 467, 471, 472–73 Nimrud bas reliefs, 152–53, 236 Nixon, Richard M., 352, 355, 367, 369 Noble, Joseph Veach, 247–48, 255–56, 257, 258, 291, 292, 293, 294, 299, 311, 313, 323, 326 Norwich, William, 453, 467 Number 17, 1951 (Pollock), 226–27
Oceanic Art and Native North American Wing, 470–71 Odalisque in Grisaille (Ingres), 353, 354 Office of Strategic Services (OSS), 213, 253, 269, 387, 413 Olmsted, Frederick Law, 28, 34, 147, 167– 68, 288 Onassis, Jacqueline Kennedy, 218, 280– 82, 285, 287, 307, 309, 313, 376, 377, 378, 398, 422, 455, 457 Osborn, William Church, 93, 124, 156, 178, 181, 182, 186, 189, 191, 195, 196, 197, 201, 203, 207, 209–10, 212, 213, 215
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Paley, Babe, 376, 378, 380, 460 Paley, William S., 335, 337, 435, 458, 460 Panic of 1873, 47, 50, 76 Panic of 1907, 68, 89, 167 Panic of 2008, 481–82 Parish, Sister (Dorothy May Kinnicutt), 396–97, 398, 399, 401, 404, 422 Parke-Bernet, 243–46 Parker, Harry S., III, 13, 290, 291–92, 293, 294, 305, 315, 318, 332, 363, 365, 371, 410 Party of the Year, 208–9, 239–40, 375– 76, 404, 439–40, 455, 456, 463–65 Patterson, Joseph Medill, 188, 211, 212 Payson, Joan Whitney, 246, 314, 315, 325, 345, 350, 357, 400, 416–17 Petrie, Carroll McDaniel de Portago, 436 Petrie, Milton, 436–37 Philadelphia Museum of Art, 146, 180, 182, 231, 294 Physical Impossibility of Death in the Mind of Someone Living (Hirst), 471–73, 474 Picasso, Pablo, 184, 214, 216, 220, 221, 225, 226, 244, 350, 405, 416, 418, 419, 438, 439, 440, 462 Piero della Francesca, 151–52, 201 Pietà Rondanini, The (Michelangelo), 211 Pissarro, Camille, 149, 244, 349 Pollock, Jackson, 12, 226–27, 265, 303, 337, 361n, 440 Polonaise carpets, 117, 146, 195–96 Pompadour, Madame de, 279, 428 Pop Art, 263, 264, 265, 321 Pope, John Russell, 147, 152, 163 Pope-Hennessy, John, 230, 234, 293–95, 366–67, 440–42 Postimpressionism, 148, 149, 151, 244, 419 Poussin, Nicolas, 38, 149, 279, 304 Prado, 3, 25, 230 Prime, William C., 52, 56, 61 Primitive Woman (Barnard), 120, 122, 123, 131 Princeton University, 180, 198–99, 241, 255 Prodigal Son, The (Barnard), 120, 135 Putnam, George Palmer, 24–25, 27, 34
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Radziwill, Lee, 282, 376 Rafferty, Emily Kernan, 16, 17, 452–53, 456, 463, 465, 478, 481–82 Raphael, 74, 81, 109, 110 Rashap, Arthur, 414 Rauschenberg, Robert, 321, 349 Reagan, Nancy, 421, 435 Reagan, Ronald, 423, 431, 433, 435, 456 Redmond, Lydia Bodrero Macy di San Faustino, 227, 280 Redmond, Roland Livingston, 167, 174, 175, 187, 189, 192, 205, 213–21, 225– 36, 242–47, 257, 259, 280–91, 295– 96, 297, 303, 305–6, 319, 326, 333, 342, 344, 349, 368, 411 Reed, Samuel Pryor, 377, 400–401, 444, 458, 461, 466–67 Reid, Mrs. Ogden, 15, 227 Reinhardt, Ad, 226, 263 Reiss, Hugo, 379–80, 381, 386, 396 Reiss-Brian, Ignatia Mary Valerie Murphy, 379, 380, 384, 396, 401, 405 Rembrandt van Rijn, 59, 69, 72, 95, 101, 102, 126, 141, 149, 177, 192, 195, 220, 243–47, 317, 418, 428 Renoir, Auguste, 12–13, 148, 149, 243, 244, 279, 311, 328, 350, 418, 419 Rewald, Sabine, 17–18, 19 Reynaud, Paul, 383, 384, 386–87 Reynolds, Joshua, 38, 141 Rheims Cathedral, 117, 164 Rhinelander, Frederick William, 37, 64, 79, 85 Richardson, Nancy, 485 Richter, Gisela, 249, 256, 257, 258 Riggs, William Henry, 90–91, 108 Rijksmuseum, 3, 25, 383, 391, 392–93 Robinson, Edward, 89, 91, 92, 93, 95, 97, 99, 102, 103, 104, 108–9, 111–12, 127, 130, 132, 134–35, 138, 143, 144, 146, 148, 149, 150–51, 152, 156, 157–58, 473 Roche, Kevin, 312, 327, 328, 334–35, 369, 415, 432 Rockefeller, Abigail Aldrich “Abby,” 93, 116, 151, 159–60, 162, 191, 197, 219 Rockefeller, David, 467
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Rockefeller, John D., Jr., 115–69 art collection of, 117, 122–25, 129–33, 134, 143–47, 151–53, 155, 159, 162–66, 214–16, 218–19, 228, 229–30 assassination attempts against, 122, 132–33 as benefactor, 14–15, 115–16, 120, 136–47, 152–53, 162–63, 168–69, 195–98, 199, 201, 214–16, 218–19, 228, 229–30 Cloisters funded by, 5, 14–15, 115, 121– 23, 131, 136, 144–45, 147, 152–55, 158–69, 195–98, 201, 214–19, 228, 229–36 death of, 116, 236 Metropolitan’s relationship with, 115– 16, 129–30, 131, 136–47, 152–53, 154, 156, 162–64, 168–69, 179, 189, 195– 98, 199, 201, 214–16, 218–19, 234, 235–36 press coverage of, 123, 132, 144, 145, 147, 153–54, 155 trusteeship declined by, 129–30, 131 wealth of, 108, 116, 117, 120–21, 131–33, 144–47, 153–54, 159, 160, 162, 164, 229, 235–36 Rockefeller, John D., Sr., 115–16, 117, 120, 123, 136, 155, 162 Rockefeller, John D., III, 296, 333 Rockefeller, Mary, 329–30, 414 Rockefeller, Michael, 6, 329–30, 341 Rockefeller, Nelson Aldrich, 158, 159, 160, 175–78, 183–87, 191, 195, 197, 198, 203, 212, 214–15, 218, 222, 228–29, 230, 288, 296, 314, 329–31, 333, 341, 343, 367–68, 411, 414, 419 Rockefeller Brothers Fund, 214–15, 228, 287, 315, 318, 343 Rockefeller Center, 115, 206, 207 Rockefeller Wing, 329–31, 334, 335, 336, 341, 343, 345, 347–48, 372, 414, 418, 425, 432 Rodin, Auguste, 176, 418 Rogers, Jacob S., 76–79, 82, 92, 99 Rogers Fund, 78–79, 85 Roosevelt, Franklin D., 3, 162, 167, 186, 188, 395 Roosevelt, Theodore, 61, 142
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Root, Elihu, 14, 28, 61, 73, 78, 79, 93, 105, 111, 112, 224 Root, Elihu, Jr., 215, 224 Rorimer, Anne, 158, 245, 289 Rorimer, James J., 5–6, 14, 158–59, 160, 164, 165–66, 169, 183, 195–201, 203, 213, 214–19, 229–36, 239–48, 249, 253–66, 277–79, 282, 283, 287–97, 300–312, 344, 428, 429, 473 Rorimer, Katherine Serrell “Kay,” 198–99, 245, 282, 287, 291, 292, 298, 326 Rosenberg, James Naumburg, 220–22, 223, 226 Rosenberg & Stiebel, 245, 363 Rosenblatt, Arthur, 296, 311, 312, 313, 318, 328, 334, 335, 336, 340, 345, 346, 348n, 354, 415, 425, 431, 438, 442–43 Rosenquist, James, 263, 304–5, 484 Rothko, Mark, 226, 353, 361n Rothschild family, 27, 80, 200, 253, 269, 274, 363, 375, 382, 435, 458, 460, 477 Rotten, Johnny, 465 Rouault, Georges, 221, 244, 416 Rousseau, Henri (Le Douanier), 349, 352 Rousseau, Théodore, 38, 70, 184, 213, 214, 377 Rousseau, Theodore, Jr. “Ted,” 219, 230, 249, 250–54, 258–60, 261, 290–97, 301, 305–9, 314–18, 322, 329, 332, 349–54, 359, 360, 364–65, 367, 375– 79, 390, 393, 404, 406, 407, 409, 415, 441, 450 Rousseau, Theodore, Sr., 251, 252, 254 Rubens, Peter Paul, 38, 59, 81, 95, 96, 126, 149, 200, 244, 407 Ruisdael, Jacob van, 95, 382, 391 Ruml, Beardsley, 136–37, 144, 211
Saarinen, Aline, 72, 235 Saatchi, Charles, 464 Sachs, Paul, 158, 174–75, 342, 437, 486 Sackler, Arthur M., 344–47 Sackler Wing, 311, 344–47 Saint-Gaudens, Augustus, 52, 61, 420 St. Hubert, Chapel of, 164–66 Saint Laurent, Yves, 378, 455 Sainty, Guy Stair, 480–81, 483–84
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Sargent, John Singer, 123, 125, 128, 146, 150 Sarpedon (Euphronios) krater, 17, 20, 348, 358–62, 369, 443, 445, 446, 448, 449 Schiff, Jacob, 61, 342 Schliemann, Heinrich, 45, 46 Scythian gold exhibition, 365, 366, 410 Seligman, Germain, 69, 70, 98, 175 Seligmann, Jacques, 69, 98, 99, 165, 206 Sensation exhibition (1999–2000), 464, 465 Seurat, Georges, 149, 184, 214, 221, 243, 350, 419 Seyss-Inquart, Arthur, 390, 391 Shahnameh, 362–64 Shaver, Dorothy, 207, 208, 227 Sischy, Ingrid, 464 Signac, Paul, 148, 184, 214, 244, 350 Silver, Stuart, 3, 300, 365, 414, 416, 454 Silverman, Debora, 456 Simpson, Colin, 119, 133, 134, 135 Sixteenth Amendment, 41, 117 Smithsonian Institution, 3, 43, 255, 302, 311, 346 Soap Bubbles (Chardin), 391–92 Sorbonne, 180, 198, 251, 262 Sotheby Parke Bernet, 418–19 South Kensington Museum, 80, 82, 86, 87, 106 Spain, 72–73, 166, 229–30, 234, 235–36, 258, 287, 293, 383 Standard Oil Co., 115, 116, 120, 144, 150, 152, 164, 168, 215, 229, 268 Stein, Gertrude, 216, 437 Steinberg, Saul Phillip, 433–34, 435, 457 Stella, Frank, 263, 321, 326 Stern, Henry, 297, 427 Steuben Glass, 283–84, 467 Strauss, Monica, 441–42 Strouse, Jean, 80, 104 Stuart, Gilbert, 37, 72 Stuyvesant, Rutherford, 61, 84–85 Sugar Trust, 71, 74–75 Sullivan, Louis, 420, 421, 437 Sulzberger, Arthur Hays, 211, 212, 246, 320, 351, 352 Sulzberger, Arthur Ochs “Punch,” 14, 320, 350–52, 359, 360, 361–62, 365, 423, 432–33, 445, 450 Sweeney, Peter, 35–36, 40
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Taubman, A. Alfred, 435 Taylor, Francis Henry, 5, 6, 15, 68, 81, 112, 179–233, 235, 239, 246, 247, 249, 250–51, 253–54, 259, 260, 293, 294, 296, 301, 306 Taylor, John, 456–57, 458 Taylor, Mary, 180, 232, 250 Terrasse à Sainte-Adresse, La (Monet), 314, 325 Thomas, Michael M., 243, 328, 472, 474 Three Museums Agreement, 214, 216–17, 220–21, 228, 231 Thyssen-Bornemisza, Hans Heinrich von, 245, 423, 435 Tiepolo, Giovanni Battista, 38, 279 Tiffany, Louis Comfort, 60, 61, 72, 140, 420, 421 Tiffany & Co., 48, 240, 324, 342 Tilden, Samuel J., 35, 275 Time, 254, 259, 265, 321–22, 333, 381–82 Tinterow, Gary, 418, 440, 441, 472, 474, 475 Tisch, Bob, 434–35, 457 Tisch, Larry, 434–35 Tisch Galleries, 434–35, 458 Titian, 81, 143 Tomkins, Calvin, 2, 38, 51, 161, 174–75, 290, 321, 326, 409 Toulouse-Lautrec, Henri de, 184, 416 Trescher, George, 300–301, 315, 321, 324– 25, 326, 334, 341, 342, 372, 423, 450 True, Marion, 17, 20, 447 Tufo, Peter, 377, 378, 379 Tuminaro, Dominick, 338–39, 340, 347 Turkey, 356–58, 443–47 Tutankhamen, 139–40, 367, 425 Tweed, William Megear “Boss,” 35–36, 40, 53 Twentieth-Century Art Department, 304, 369–70 Tyson, Mike, 422
Unicorn tapestries, 132, 159, 164, 166, 196, 199 Union League Club, 24–25, 27–28, 29, 38, 77, 89, 230 Untermyer, Frank, 277, 278, 279 Untermyer, Irwin, 274–79, 284 Untermyer, Nina, 275, 277, 279
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Untermyer, Samuel, 103, 104, 275, 276, 277 Utrillo, Maurice, 221, 244
Valland, Rose, 199–201 Valley of the Kings, 126, 139–40, 146 Vanderbilt, Cornelius H., 50, 62, 79, 395 Vanderbilt, William Henry “Billy,” 50, 57, 69 Vanderbilt, William K., 61, 252 van der Weyden, Rogier, 95, 201 Van Dyck, Anthony, 38, 59, 244 Van Eyck, Jan, 181–82 van Gogh, Vincent, 12, 214, 219, 221, 222, 244, 350, 352, 417, 418, 419, 457, 472 van Rijn, Michel, 448 Vatican, 3, 25, 83, 211, 421 Vaux, Calvert, 4, 28, 44, 163, 328 Velázquez, Diego Rodriguez de Silva, 38, 59, 73, 348–49, 470, 484 Vélez Blanco patio, 190, 299, 326 Venema, Adriaan, 384, 390 Venice Biennale (1966), 266–67 Vermeer, Jan, 59, 95, 102, 141, 220, 267, 279 Versailles, 117, 164, 218 Victoria and Albert Museum (V&A), 80, 82, 86, 87, 106, 230, 440–41 View of the Domaine Saint-Joseph (Cézanne), 59, 148, 349 Vigoroux, Jean, 133–35 Viking Press, 2–3, 455 Vlaminck, Maurice de, 221, 244 Vogue, 304, 308, 375, 377, 379, 384, 401, 453, 454, 460, 463, 467 Vreeland, Diana, 375–79, 401, 404, 453– 56, 462–63
Wadsworth Atheneum, 26, 105, 106, 109, 288 Wallace, Lila Acheson, 311, 312–13, 326, 344, 412 Walters, Henry, 107, 110, 134, 135 Walton, Alice, 472
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Warhol, Andy, 263, 264, 265, 266, 321, 376, 440 Warren, David, 408–9 Washington, George, 24, 72, 138 Washington Post, 49, 64, 76, 77, 87–88, 308, 347, 355, 379, 384–85, 401, 417 Watson, Francis J. B., 309–10, 350 Watson, Thomas J., Sr., 167, 212, 243, 250, 284, 320, 323, 450 Watteau, Antoine, 382, 391 Webb, Vanderbilt, 167, 175, 176, 178, 202– 3, 211–12, 221 Wehle, Harry B., 174–75, 184, 253–54 Weitzmann, Kurt, 241, 242 Wentworth, Catherine Denkman, 217, 232 Western European Arts Department, 293, 369–70 Wharton, Edith, 29, 54, 111, 247, 484 Whistler, James Abbot McNeill, 125, 275 White, Shelby, 446, 447–48 Whitney, Betsey, 376, 380 Whitney, Cornelius Vanderbilt “Sonny,” 194, 205, 246 Whitney, Gertrude Vanderbilt, 149, 150– 51, 185, 191–92, 193 Whitney Museum of American Art, 3, 5, 150–51, 182, 191–94, 204, 205, 206, 208, 209, 210, 212, 214, 216–17, 260, 262, 483, 485 Whittredge, Thomas Worthington, 27, 28, 38 Wildenstein, George, 241, 258–60, 353, 382, 391 Windsor, Duke and Duchess of, 271, 378, 460, 467 Winlock, Herbert, 88, 89, 96–97, 146, 157, 160, 161, 162, 163, 165, 166, 167–68,
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174, 175, 176, 179, 183, 184, 191, 310, 473 Wintour, Anna, 463–64, 465, 477 Wolfe Fund, 148, 150 Worcester Art Museum, 180–82, 207, 231, 233, 438 Works Progress Administration (WPA), 163, 191 World of Balenciaga exhibition (1973), 376, 379 Worthies tapestries, 196–98, 215–16, 218–19 Wrightsman, Charlene, 270, 272–73, 281 Wrightsman, Charles Bierer, 245, 246, 256, 258, 267–74, 279–82, 289, 290, 292, 294, 297, 306, 307–10, 315, 317, 319, 332, 341–42, 350, 367, 368, 423 Wrightsman, Irene, 270, 272–73, 282 Wrightsman, Irene Stafford, 267, 270, 280 Wrightsman, Jayne Larkin, 2, 245, 258, 267–74, 279–82, 289, 290, 292, 294, 307–10, 315, 317, 325, 341–42, 368, 387, 422, 423, 429–30, 463, 476–77, 478, 480, 485 Wrightsman, Stephanie, 268, 272, 273 Wrightsman Galleries, 12, 13, 331–32, 429–30
Yale University, 260–61, 262 Year 1200 exhibition (1970), 320, 321, 322, 334
Zabel, William, 429
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About t he Aut hor
Michael Gross is the bestselling author of 740 Park: The Story of the World’s Richest Apartment Building, Model: The Ugly Business of Beautiful Women, and other books. A contributing editor of Travel + Leisure, he has also written for major publications, including the New York Times, Vanity Fair, New York, Esquire, and GQ. He lives in New York City.
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To purchase a copy of
Rogues’ Gallery visit one of these online retailers: Amazon Barnes & Noble Borders IndieBound Powell’s Books Random House
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