Grand Central Art Gallery Frederick Waughqgrand Central Art Gallery Frederick Waugh

Fine art gallery in New York, United States

G Central Art Galleries

Medal commemorating the founding of the Grand Cardinal Art Galleries
Established	1922
Dissolved	1994
Location	New York Metropolis, New York, Usa
Type	Art gallery
Manager	Erwin S. Barrie, James D. Cox
President	Walter Leighton Clark

The 1000 Central Art Galleries were the exhibition and authoritative space of the nonprofit Painters and Sculptors Gallery Association, an artists' cooperative established in 1922 by Walter Leighton Clark together with John Singer Sargent, Edmund Greacen, and others.^[one] Artists closely associated with the 1000 Primal Art Galleries included Hovsep Pushman, George de Woods Brush, and especially Sargent, whose posthumous testify took identify there in 1928.^[two]

The Galleries were active from 1923 until 1994.^[three] For 29 years they were located on the sixth floor of Chiliad Central Terminal. At their 1923 opening, the Galleries covered 14,000 square feet (one,300 1000^two) and offered 9 exhibition areas and a reception room,^[4] described as "the largest sales gallery of fine art in the world."^[5] In 1958 the Galleries moved to the second flooring of the Biltmore Hotel, where they had 6 exhibition rooms and an office.^[6] They remained at the Biltmore for 23 years, until it was converted into an role edifice.^[7] The Galleries and then moved to 24 West 57th Street, where they remained until they ceased activity.^[8]

In addition to their principal offices, the K Central Art Galleries directed a number of other enterprises. They launched the One thousand Primal School of Art in 1923, opened a branch gallery at Fifth Avenue and 51st Street in 1933,^[nine] and in 1947 established Grand Central Moderns^[ten] to show non-figurative works. The K Primal Fine art Galleries were besides responsible for the creation, design, and construction of the United states of america Pavilion at the Venice Biennale.^[11]

Origins [edit]

Floor plan of the K Central Art Galleries for their opening exhibition in 1923.

The Painters and Sculptors Gallery Association was established in 1922 by Walter Leighton Clark together with John Singer Sargent, Edmund Greacen, and others. As stated in the Galleries' 1934 catalog, their goal was to "give a broader field to American art; to exhibit in a larger mode to a more numerous audience, not in New York solitary merely throughout the country, thus displaying to the world the inherent value which our fine art undoubtedly possesses."^[9]

The founders envisioned a nonprofit, cooperative organization, but one firmly supported by the best business principles^[12] Greacen, an creative person, is credited with having suggested the Galleries' financial structure: Artists who wished to bring together were required to give a work of art each twelvemonth for iii years every bit an initiation fee, later which they became life members. Not-artists (referred to as "lay members") agreed to give a sum of coin (initially $600, the equivalent of $7,500 in 2008) to purchase one of the donated works, only available but after the offset year. As Clark wrote: "The beauty of this plan of operation is that it accomplishes results in a practical way and is free from the sting of charity because the artists are actually underwriting their own organization."^[nine] Initial interest was strong, with many artists and lay members joining the new organization. "We had upward of 1 hundred names on each of the to a higher place lists," Clark wrote.^[ix]

The original board of trustees consisted of Walter Sherman Gifford; the Galleries' architect, William Adams Delano; Robert West. DeForest, president of the Metropolitan Museum of Art; Frank Logan, vice-president of the Art Institute of Chicago;^[13] Irving T. Bush-league, president of the Bush Last Visitor; and artist and businessman Walter Leighton Clark. The association's lease and bylaws were written past Gifford and John G. Agar, president of the National Arts Guild.^[14] Clark was elected president, DeForest vice-president, and Gifford became secretary and treasurer. Erwin Due south. Barrie, manager of the art collection of Carson Pirie Scott, was hired as director.^[15]

The board sought a location in Manhattan that was central and easily accessible. Through the back up of Alfred Holland Smith, president of the New York Central Railroad, the top of the Grand Central Terminal was made available. The official street address was 15 Vanderbilt Avenue. The Painters and Sculptors Gallery Association signed a 10-year lease,^[9] and together with the railroad company, invested more than $100,000 in preparations.^[5] The Galleries extended over most of the concluding'southward sixth floor, fourteen,000 foursquare feet (i,300 yard²), and offered viii main exhibition rooms, a foyer gallery, and a reception area.^[4] A full of xx display rooms were to be created for what was intended to be "the largest sales gallery of art in the world."^[five] The builder was Delano, all-time known for designing Yale Divinity Schoolhouse's Sterling Quadrangle.

The Grand Central Art Galleries officially opened on March 23, 1923.^[4] The result featured paintings past Sargent, Charles Westward. Hawthorne, Cecilia Beaux, Wayman Adams, and Ernest Ipsen. Sculptors included Daniel Chester French, Herbert Adams, Robert Aitken, Gutzon Borglum, and Frederic MacMonnies, who showed a fountain, The Male child and the Fish. ^[4] The gala event attracted v,000 people and received a positive review from The New York Times:

"The initial exhibition, seen for its ain sake, is a dazzler. Every artist seems to have realized that it is an occasion for putting his best work forward, and his best piece of work could not be more favorably shown to the public. Even the galleries of the newest museums are non quite so favorable."^[4]

In keeping with the founders' conception of the Galleries as a commercial also as artistic organisation, the majority of the works on display were for sale. Prices ranged from $100 to $x,000, the almost expensive one existence by Hawthorne; Sargent's contribution was valued at $5,000. By 1934 Clark estimated that sales were $500,000 to $600,000 a yr. Total sales upwards to that year were approximately $4,000,000. Ii-thirds of proceeds on commercial sales were distributed to artists.^[9]

Members' Art Drawings [edit]

The Grand Central Fine art Galleries were founded on the idea of a respectful and mutually benign human relationship between artists and those interested in fine art. Artist members donated ane piece of work a year for iii years as their initiation fee; lay members gave a yearly sum in return for a piece of work of art after the first year's membership. Works donated by the artists were distributed to the lay members at an almanac drawing. A yearly itemize indicated the works to exist distributed at a cartoon and reception at the gallery.

As described in the 1934 catalog, the process was every bit follows:

"[The drawing] will be achieved by placing the proper name of each lay fellow member on a slip of paper in a sealed jar which will be shaken thoroughly. And then earlier the unabridged audience the seal will exist broken and a child will depict the names, one at a time, and they volition be read aloud and entered on a listing. The name first drawn will have first choice of all the contributed works of art. The second name fatigued will accept a free choice after number one has made his selection and the tertiary name will and then have the privilege of making his option from all the works that remain, and so on until the final proper noun."^[9]

Available works were played on brandish prior to the drawing, and lay members were requested to "make a list of xxx choices, arranging same in the order of his preference." This pre-selection would permit the awarded paintings to be announced the evening of the drawing. Because of the wide range of works being offered, the drawing — and in detail, an early on selection — was important.

• 1925: The name of Harold H. Swift, the Chicago meatpacker, was the get-go selected, and he chose John Singer Sargent'due south 1918 painting, Shoeing Cavalry Horses at the Forepart, worth $xv,000 at the fourth dimension.^{[16] [17]}
• 1927: The first name selected was that of Henry West. Cannon, who chose H. Bolton Jones's landscape In the Berkshires.
• 1930: The slips with the members' names were selected by Nancy Clark Dunn, granddaughter of Walter Leighton Clark. The works that year were reportedly worth $100,000. The person whose proper name was outset chosen selected Chauncey Ryder'due south River Road to Sheffield. ^[xviii]
• 1936: The first name fatigued was that of Walter S. Gifford, president of AT&T. he selected a Hovsep Pushman notwithstanding life of a Chinese statuette.^[19]
• 1941: Works of 82 artist-members are distributed at the annual drawing. Film star Gloria Swanson presided, "dressed in a simple black costume with a large black hat." The commencement name drawn was that of Arthur B. Davis, president of the Aluminum Company of America; he chose H. Bolton Jones's painting The Shore. Eugene Frank of Columbia University was selected next, and he chose Hovsep Pushman'due south Fading Rose. The tertiary name fatigued was A.E. Clegg, president of the Kerr Steamship Company, who selected Frederick Judd Waugh'south Invading Spindrift. ^[xx]

Yard Central School of Fine art [edit]

A twelvemonth after the Galleries opened the Painters and Sculptors Gallery Association established the Grand Key School of Fine art, which occupied 7,000 foursquare feet (650 mⁱⁱ) on the seventh flooring of the eastward wing of the Thousand Central Terminal. The school was directed past John Singer Sargent and Daniel Chester French; its showtime yr teachers included painters Edmund Greacen, Wayman Adams, Jonas Lie, George Elmer Browne, Nicolai Fechin, and Sigurd Skou; sculptor Chester Beach; illustrator Dean Cornwell; costume designer Helen Dryden; George Pearse Ennis, who worked in stained drinking glass and watercolors; and muralist Ezra Wintertime.^{[21] [22]}

The school enrolled more than than 400 students its commencement year; this soon grew to 900, making it i of the largest fine art programs in New York Metropolis. In 1925 Edmund Greacen engaged Arshile Gorky as an instructor, one of the school's about prominent teachers; he remained with the school until 1931.^[23] Information technology was in performance for nearly twenty years, including a summer programme in Maine, closing in 1944.

Exhibitions and Events [edit]

Creative person Malvina Hoffman; Stanley Field, director and the nephew of the founder of the Field Museum of Natural History in Chicago; and extra Mary Pickford; at the 1934 opening of Hoffman's Grand Central Art Galleries exhibition "The Races of Human being."

Throughout its history the Grand Key Art Galleries regularly held exhibitions big and pocket-sized. Whether events were free or admission was charged, they helped to publicize the Galleries likewise as accelerate the cause of the arts they championed.

• March 23, 1923: "Exhibition of Paintings and Sculptures Contributed by the Founders of the Galleries." The Grand Fundamental Art Galleries' opening exhibition featured 170 works, including Sargent's The Artist Sketching,^[24] Daffodils past Charles W. Hawthorne, Leslie Buswell past Cecilia Beaux, and Mr. Alleyne Ireland by Ernest Ipsen. Sculpture included Spirit of Life by Daniel Chester French, Summertime'south Freeze by Herbert Adams, Diana by Robert Aitken, and Roosevelt by Frederic MacMonnies.^{[iv] [25]}
• February 23, 1924: "Retrospective Exhibition of the Important Works of John Vocalizer Sargent.^[26] The exhibition featured 60 oil paintings, including Portrait of Mrs. H.F. Hadden (1878), The Lady with the Rose (1882), Portrait of Mrs. Fiske Warren and Daughter (1903),^[27] and Lake O'Hara (1916)^[28] as well as 12 watercolors. The catalog noted that exhibition was a benefit for the endowment fund of the Painters and Sculptors Gallery Association, "with which Mr. Sargent has from the kickoff been in active cooperation."^[29]
• Jan 11, 1925: More than 4,000 people attended the Galleries' "Retrospective Edition of British Paintings," which was organized under the auspices of the English-Speaking Union.^[30] Paintings ranged from the middle of the 18th century to present twenty-four hours, including works by William Hogarth from the "Rake's Progress" series, portraits by Joshua Reynolds, a landscape by Thomas Gainsborough, and a large canvas past Alfred Munnings, H.R.H., the Prince of Wales. John Singer Sargent showed x paintings, including his portrait of Ena Wertheimer, A Vele Gonfie;^[31] Troops Going Into Line; Head of a Bedouin Arab; and a portrait of Lady Sassoon.^[32]
• 1926: "Modern Italian Art," an exhibition organized under the auspices of the Italian American Society with a wide range of recent works by Italian masters. Included Medardo Rosso's Ecce Puer,^[33] Adolfo Wildt's The Virgin, Giovanni Boldini'due south Portrait of Whistler, and Amedeo Modigliani's Madame Modigiliani.^[34]
• March 7, 1926: The Galleries were the site of the Carnegie International Exhibition, the first time it had ever been held outside Pittsburgh. The event featured works of artists from 12 countries.^[35] More than 500 paintings selected for the show past Homer Saint-Gaudens, son of Augustus Saint-Gaudens and subject of an 1890 portrait by Sargent.^[36] Separate rooms were dedicated to each land, and considering of their number, the exhibition was divided into the exhibition into two parts. The start included America, Belgium, Federal republic of germany, Holland, Italy, Poland, Russia, and Spain; the second showed works from Republic of austria, Czechoslovakia, France, Great Uk, and Sweden.
• November xiii, 1926:* A flick-related "symposium and supper" was held at the Galleries. Organized together with the Film Bureau, "a volunteer organization for the promotion of the best pictures," the event took identify in the Sargent Room. Examples of motion pictures from several countries, including Russia's Moscow Art Players, were shown. Tickets were $5 (the equivalent of $60 in 2008), and attendees were encouraged to bring their ain amateur works.^[37]
• February xiv, 1928: "Exhibition of Drawings past John Singer Sargent." Sargent died in 1925, and three years afterwards the Grand Central Art Galleries organized a posthumous exhibition of previously unseen sketches and drawings from throughout his career.^{[38] [39]} The materials were establish in the artist'due south London studio after his decease, and Sargent's sisters chose Walter Leighton Clark to go through them. Clark selected several hundred works for consideration. They included early drawings made by Sargent when he was a teenager and experiments with watercolors from 1872, likewise every bit preparatory sketches for celebrated paintings such as Madame X, at present in the Metropolitan Museum of Art, and Gassed, at present in the National Gallery in London. Besides shown were preparatory studies for the murals in both the Boston Public Library and the Museum of Fine Arts, Boston. The exhibition catalog lists approximately 75 works as having been shown.^[xl]
• Feb two, 1930: "Thirty-iii Moderns," a show of contemporary piece of work from 33 artists of the advanced Downtown Gallery. More than 130 works were shown, included Morris Kantor'southward Woman Reading in Bed,^[41] Walt Kuhn's Beryl, Samuel Halpert's Girl in a Bathing Suit, Marguerite Zorach'southward Sixth Avenue, and "two cute babies" past Yasuo Kuniyoshi.^[42] The New York Times critic Edward Alden Jewell started his review with unbridled enthusiasm:

What a week it has been at the Grand Central Galleries, with xxx-three "radicals" from the Downtown Gallery occupying "an entire city cake," and Grand Central attachés going almost, every bit it were, brightly on tiptoe, tacitly exclaiming, "Nosotros feel actually devilish to be doing a affair similar this!" and Mr. Clark, the president, all smiles, observing quite openly: "Why it's a success, it'due south a success!" and Holger Cahill delivering an eleventh hour informal lecture to salespeople on "how to sell mod art," and near a dozen pictures sold on the opening day along, and important American collectors on hand who had probably never until that moment stepped foot in the premises, and for Mon's reception the gallery'due south best red china brought out, and tea poured in such quantities as are seldom exigent, and heaped plates of the most special kinds of cake, and everybody trying, generally in vain, to catch sight of the art over a Caliban body of water of shoulders.^[42]

"Things are at terminal beginning to be done in a really large fashion here," Jewell wrote later in the review of "33 Moderns," which was scheduled to run for three weeks at the Galleries.^[42]

• February 10, 1932: One-man show of paintings by Hovsep Pushman.^[43] Sixteen paintings were on display and all sold the opening day.^[44] The prices ranged from $3,500 up to $10,000 (the equivalent of more $150,000 in 2009).^[45]
• February 21, 1932: Portraits by Walter Leighton Clark; paintings past Charles Chapman and George de Forest Castor.
• Jan 31, 1934: "The Races of Man," a collection of 90 life-sized bronze sculptures by Malvina Hoffman. Among many others, the opening was attended by Hoffman, Field Museum of Natural History director Stanley Field, extra Mary Pickford, and philanthropist Helen Clay Frick.^{[46] [47]} During the exhibition, a special reception was held for Indian dancer Uday Shankar and his troupe.^[9]
• October 30, 1957: An exhibit of works by Gordon Grant. The evening of the opening, Grand Central Last was struck by a coma, the issue of a transformer burn. As The New York Times wrote: "In the Grand Key Fine art Gallery, high in the terminal, 350 fine art lovers had gathered for the opening of an showroom past Gordon Grant. Led past a single flashlight beam, they played follow-the-leader down nighttime stairways to the street."^[48]
• October xxx, 1962: "The Edge of Dreams," an exhibition of 32 paintings by Ruth Ray, an American painter in the magic realism style.^[49]
• November 7, 1977: "Nick Eggenhoffer and Harold Von Schmidt: A Retrospective/Exhibition."
• August 24, 1981: "Anita Loos and Friends," an exhibition of portraits, photographs and memorabilia relating to the actress and writer. She was to have attended the opening, but died on August eighteen. On view were oils, pastels, watercolors, and charcoal and pen-and-ink sketches by artists such as Raymond R. Kinstler, Modigliani, and John Singer Sargent.^[fifty] This was the last prove in the Galleries' Biltmore location.^[vii]
• October 26, 1983: "La Femme: Influence of Whistler and Japanese Print Masters on American Art, 1880-1917" brought together paintings by American artists influenced by James McNeill Whistler or who were associated with the spirit of his work.^[51] Movements referenced in the show included Japonisme, Art Nouveau, Symbolism, Tonalism and the works of the Pre-Raphaelites. Artists represented included Edwin Austin Abbey, John White Alexander, Elliot Daingerfield, Arthur Bowen Davies, George Hitchcock, Will Hicok Low, and Whistler.^[51]
• Apr 22, 1986: "Realism From the People'southward Republic of Cathay," featuring the work of artists and so living in the United States. They included Jin Gao, a painter, and her hubby, sculptor Wang Jida; and painters Li Quanwu, Chen Danqing, and Zhang Hongnian. Iv years subsequently, The New York Times wrote that Jin brought "the era of (forced) Communist propaganda fine art to a virtual end," and chosen her "one of [the Galleries'] most successful artists."^[52]
• December 13, 1988: "New York: Empire City in an Age of Urbanism, 1875-1945," an exhibition to benefit the Soviet-American Cultural Commutation Program. Tickets were $60 and included a buffet and entertainment.^[53]
• May xvi, 1989: "The Nutrient Show: Painting From Soup to Nuts," an exposition of contemporary paintings, many of which were created especially for the show.^[54]

The Galleries also organized traveling shows in "all major American cities" to promote and sell the work of its artist-members. While this do declined in the tardily 1940s as the United States railroad system was progressively dismantled and aircraft costs increased, it continued until at least the 1980s.^[55] During the steamship era the Galleries besides placed works in transatlantic liners and ships passing through the Panama Culvert. "As someone has remarked, these are exhibitions which people attend without meaning to," Clark wrote in 1934.^[9] Among other locations, a permanent display of piece of work was maintained in the Boca Raton Hotel.^[56]

United states of america Pavilion in Venice [edit]

Having worked tirelessly to promote American art at home the 1920s, in 1930 Walter Leighton Clark and the Grand Central Art Galleries spearheaded the creation of the U.S. Pavilion at the Venice Biennale.^[57] Up until then at that place was no place at the Biennale defended to American fine art, and Clark felt that it was crucial to establishing the credentials of the nation'due south artists abroad.^[58] The pavilion's architects were William Adams Delano, who as well designed the Yard Cardinal Art Galleries, and Chester Holmes Aldrich. The purchase of the land, design, and construction was paid for by the Galleries and personally supervised by Clark. As he wrote in the 1934 catalog:

"Pursuing our purpose of putting American art prominently before the earth, the directors a few years ago appropriated the sum of $25,000 for the erection of an exhibition edifice in Venice on the grounds of the International Biennial. Messrs. Delano and Aldrich generously donated the plans for this edifice which is synthetic of Istrian marble and pink brick and more than holds its own with the twenty-five other buildings in the Park owned by the various European governments."^[9]

The pavilion, owned and operated by the Galleries, opened on May 4, 1930. Approximately 90 paintings and 12 sculptures were selected past Clark to be shown for the opening exhibition. Artists featured included Max Boehm, Hector Caser, Lillian Westcott Hale, Edward Hopper, Abraham Poole, Julius Rolshoven, Joseph Pollett, Eugene Savage, Elmer Shofeld, Ofelia Keelan, and African-American creative person Henry Tanner. U.Southward. Ambassador John W. Garrett opened the show together with the Knuckles of Bergamo.^[xi]

The Grand Central Galleries did not participate in the Biennale in 1936 in a protest to the rise of fascism in Italy.^[59] In 1948, after the state of war's cease, the Galleries' sent 79 paintings to Venice.^[lx] It ran the pavilion until the 1950s, inviting organizations such as the Museum of Modern Art and Whitney Museum of American Art to present exhibitions.^[58]

The Galleries had built the pavilion with the hope that, like the other buildings at the Venice Biennale, it would eventually be run by nation whose art it showed. Support from the U.S. authorities was not forthcoming, however, and in 1954 the Galleries sold the pavilion to the Museum of Mod Fine art. Throughout the 1950s and 1960s shows were organized by the Modern, the Fine art Institute of Chicago, and the Baltimore Museum of Art. The Mod withdrew from the Biennale in 1964, and the U.s.a. Information Bureau ran the Pavilion until 1983, when it was sold to the Guggenheim Museum courtesy of funds provided past the Peggy Guggenheim Collection.^[61] In 2009 the Guggenheim sold the Pavilion to the Philadelphia Museum of Art.

Expansion [edit]

Entry to the Thou Primal Art Galleries' midtown location at 5th Artery and 51st Street, circa 1934.

In 1933 the Grand Cardinal Fine art Galleries opened a 2d location at Fifth Artery and on 51st Street in the sometime building of the Wedlock Society of the Metropolis of New York. The expansion was fabricated possible by Jeremiah Milbank, owner of the holding at the fourth dimension.^[ix] Every bit Clark wrote:

"These cute new Galleries with their many windows on Fifth Avenue and on 51st Street, have presented during the past eight months an ever-irresolute panorama of American Art which has been viewed by over one hundred one thousand people daily. Quite a number of paintings and bronzes accept been purchased by new clients."

The former Union Lodge building was used for six years, until 1939, when Galleries' "uptown division" moved to the second flooring of the Gotham Hotel on 5th Avenue. Eighty artists' works were shown at the new location'south December 9 opening, including those past Eugene Higgins, Wayman Adams, John Johansen, Albert Sterner, Sidney Dickenson, Carl Rungius, Randall Davey, John Follinsbee, Robert Brackman, Robert Philipp, and Leopold Seyffert.^[62]

To show modern art, in 1947 the Grand Fundamental Art Galleries established Yard Central Moderns. Founded by Erwin Due south. Barrie,^[63] information technology was directed from 1951 through 1965 past Colette Roberts.^{[64] [65]} Later on the gallery "wandered about for several years" information technology settled at 130 East 56th Street^[ten] in 1950. Artists represented by Yard Central Moderns included Byron Browne, Lamar Dodd, Jennett Lam, and Louise Nevelson. Yard Key Moderns closed in 1967.

Transition [edit]

While they were founded during the 1920s boom, the Grand Central Art Galleries were structured so that they could withstand economic downturns. Three funding streams were envisioned: members fees, which in the early years provided the majority of income; sales commissions; and proceeds from ticket sales. Income remaining after expenses safeguarded in a conservatively managed "sinking fund" (reserve) that the founders established. This strategy served the gallery well, but five years into the Depression, the Galleries' management felt the need for boggling measures:

"Although the lay membership subscription fee has been $600 annually during the x years of the being of the Galleries, information technology was deemed necessary by the management to reduce this subscription to $350 for 1933 and 1934, and we urgently invite those interested in American art and American artists to become members for this twelvemonth on this new basis."^[9]

Prosperity returned to the Galleries equally the Depression'due south effects lessened: By 1936 their lay membership had returned to 115, more twice equally they'd had in any year since 1929.^[19] Time brought new challenges, even so: Walter Leighton Clark had died in 1935,^[66] and Greacen followed in 1949. With the turn down of railway traffic later World War II, the New York Key Railroad sought to maximize the value of the country on which Yard Central Terminal sat. In 1954 developer William Zeckendorf proposed replacing the last with an 80-story belfry designed by I.1000. Pei. While this program came to zippo, in 1958 the visitor signed an understanding with developer Erwin S. Wolfson to demolish the colonnaded six-story building at the final's north finish and build the 59-story Pan Am Building in its identify.^[67] The determination pushed the One thousand Central Fine art Galleries out of the terminal from which they had taken their name.

Erwin S. Barrie, who had served as director of the since the Galleries' 1922 founding, supervised their relocation in 1958 to the nearby Biltmore Hotel, at 40 Vanderbilt Avenue. The new location, on the hotel's 2d flooring, offered six exhibition rooms, a reserve storage room, and an role.^[6] In 1977, after 19 years at the Biltmore, an auction was held of 500 lots of unclaimed artwork donated by members through the years. The works were given a two-day preview and so sold to benefit the artist-membership program.^[68] The Galleries remained at the Biltmore for 23 years, until the construction was gutted and converted into an office building.^[7] The final evidence was "Anita Loos and Friends." Describing the end of the Biltmore and the Thou Key Art Galleries' terminal show at that place, John Russell of The New York Times wrote:

"Hardly since Samson tore downwardly the great temple at Gaza has a building disappeared as speedily as the Biltmore Hotel. Just people have shown a rare persistence this last day or 2 in pushing their manner upstairs at the entrance on Vanderbilt Artery to where the Grand Central Galleries has been holding its ain."^[69]

Barrie retired in 1975, having led the Galleries for more than fifty years, and Gerry Thomas took over temporarily as manager. In 1976 James D. Cox became director, merely the second in the Galleries' history.^{[56] [70]} Cox led their second relocation, this time to 24 Westward 57th Street.^[8] There the Galleries had the entire second floor, ix,000 foursquare feet (840 thousandⁱⁱ), extending from 57th to 56th Streets. The archway on 57th featured an escalator, while that on 56th was at street level. At that place Cox worked to adjust the Galleries' approach to fit the times, holding shows such every bit "La Femme: The Influence of Whistler and Japanese Print Masters on American Art, 1880-1917."^[51]

The end [edit]

James D. Cox left the Grand Central Fine art Galleries in December 1989. Afterwards his departure they were managed by John Evans, a longtime salesman, until they closed in 1994.^[three]

The Galleries' archives as well as those of Edmund Greacen are at the Smithsonian Athenaeum of American Art.^{[71] [72]} The archives of the Grand Central Moderns are at Syracuse Academy^[73] and the Smithsonian.^[63] The athenaeum of the firm of William Adams Delano and Chester Holmes Aldrich are held by the Drawings and Archives Department in the Avery Architectural and Fine Arts Library at Columbia University; the university'south Avery Architectural and Fine Arts Library also has a significant collection of Chester Holmes Aldrich's correspondence.

During their operation the One thousand Cardinal Art Galleries were often incorrectly referred to by The New York Times and other publications as the "Grand Key Galleries," "1000 Central Gallery," and "Grand Central Art Gallery." Archive searches in the Times will reveal many news items, events, and exhibitions listed under those names. Please annotation that the "Grand Central Gallery" in Palm Beach, Florida, and the "Thousand Key Art Center" in Fullerton, California, have no relationship to the 1000 Key Fine art Galleries, past or present.

Come across also [edit]

• Thou Central Final art, general works of fine art in the station

References [edit]

1. ^ "Painters and Sculptors' Gallery Clan to Begin Piece of work," The New York Times, December 19, 1922
2. ^ "Grand Central Gallery Shows Material Found in Creative person's Studio After His Death," The New York Times, Feb fifteen, 1928
3. ^ ^{a b} "A Finding Help to the Yard Central Art Galleries records, 1931-1968, bulk circa 1952-circa 1965". Archives of American Art, Smithsonian Institution. November xiv, 2018. Retrieved December 7, 2018.
4. ^ ^{a b c d e f} "New Fine art Gallery Opens to Throng," The New York Times, March 22, 1923
5. ^ ^{a b c} "New Domicile for Fine art to Cost $100,000," The New York Times, March 11, 1923
6. ^ ^{a b} "Galleries to End 36 Years in Depot," The New York Times, October 31, 1958
7. ^ ^{a b c} "Retaining Gild to Block Biltmore Sabotage Expires," The New York Times, August 19, 1981
8. ^ ^{a b} Fraser, C. Gerald (Apr 22, 1986). "Going Out Guide". The New York Times . Retrieved March 3, 2010.
9. ^ ^{a b c d e f one thousand h i j thou l} http://www.aaa.si.edu/collections/drove/grancent.htm |1934 Grand Central Art Galleries catalog
10. ^ ^{a b} "In Two Electric current New York Shows," The New York Times, September 17, 1950
11. ^ ^{a b} "American Art Evidence Opened at Venice," The New York Times, May five, 1930
12. ^ "Peachy Fine art Gallery Will Open March 21," The New York Times, March 6, 1923
13. ^ "Frank M. Logan (1851-1937)," Message of the Art Institute of Chicago
14. ^ "Arts Club Warned of Thought Trust," The New York Times, November 13, 1913.
15. ^ "Erwin Due south. Barrie Dies at 97; Led Grand Central Galleries," The New York Times, July 27, 1983
16. ^ "Lucky Draw Wins Sargent Painting," The New York Times, October 3, 1925
17. ^ "John Singer Sargent, Works in Oil, 1910-1919," Jssgallery.org.
18. ^ "Here and There Among the Galleries," The New York Times, October 26, 1930
19. ^ ^{a b} "W.Southward. Gifford Draws Offset Choice for Art; He Selects Painting by Pushman," The New York Times, Nov 13, 1936
20. ^ "Lay Members of Grand Central Galleries Draw for Works of 82 Creative person Members," The New York Times, November 14, 1941.
21. ^ "New Art School Opens: Reception Held in Studios Over the Grand Central," The New York Times, October ii, 1924
22. ^ "Concluding Fire Not in Art School," The New York Times, Nov 23, 1924
23. ^ "Arshile Gorky: Water of the Flowery Factory (56.205.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Fine art". Metmuseum.org. Retrieved June x, 2014.
24. ^ Natasha. "John Vocalizer Sargent's The Creative person Sketching". Jssgallery.org. Archived from the original on July fourteen, 2014. Retrieved June 10, 2014.
25. ^ "Documenting the Golden Age: New York City Exhibitions at the Turn of the 20th Century: Stage I | Exhibition of paintings and sculpture contributed past the founders of the galleries : commencing June 27, 1923. [particular]". Gildedage.omeka.cyberspace. June 27, 1923. Retrieved June 10, 2014.
26. ^ "The World of Fine art: John Singer Sargent," The New York Times, Feb 24, 1924
27. ^ "Mrs. Fiske Warren (Gretchen Osgood) and Her Daughter Rachel -John Vocaliser Sargent, American, 1856–1925 | Museum of Fine Arts, Boston". Mfa.org. Retrieved June 10, 2014.
28. ^ Natasha. "John Singer Sargent'due south Lake O'Hara". Jssgallery.org. Retrieved June 10, 2014.
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External links [edit]

• Grand Central Art Galleries online at the Smithsonian Archives of American Fine art
• 1000 Central Moderns records online at Syracuse University
• John Vocalizer Sargent Letters Online at the Smithsonian Archives of American Art
• Edmund Greacen biography
• Hovsep Pushman biography
• Archives of the Thousand Central Last
• Documenting the Gilded Historic period: New York Metropolis Exhibitions at the Plow of the 20th Century. A New York Art Resources Consortium projection. A One thousand Primal Art Galleries exhibition catalog.

Coordinates: forty°45′10″Due north 73°58′36″Due west  /  40.7528°N 73.9768°W  / forty.7528; -73.9768

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Source: https://en.wikipedia.org/wiki/Grand_Central_Art_Galleries

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