rogues' gallery, by michael gross - excerpt

8/14/2019 Rogues' Gallery, by Michael Gross - Excerpt

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R O G U E S

G A L L E R Y

The Secret History of

the Moguls and the Money

That Made the Metropol i tan Museum

(

Michael Gross


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Contents

Leaders of the Metropolitan Museum

xi

Introduction

1

Archaeologist: Luigi Palma di Cesnola, 18701904

21

Capitalist: J. Pierpont Morgan, 19041912

65

Philanthropist: John D. Rockefeller Jr., 19121938

113

Catalyst: Robert Moses, 19381960

171

Exhibitionist: Thomas P. F. Hoving, 19591977

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Arrivistes: Jane and Annette Engelhard, 19742009

373

Acknowledgments

487

Notes

491

Bibliography523

Index

529

x Contents


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Leaders of the

Metropol i tan Museum

Directors

Luigi Palma di Cesnola, 18791904

Caspar Purdon Clarke, 19051910

Edward Robinson, 19101931

Herbert Winlock, 19321939

Francis Henry Taylor, 19401955

James Rorimer, 19551966

Thomas Hoving, 19671977

Philippe de Montebello, 19772008

Thomas P. Campbell, 2009

Presidents

John Taylor Johnston, 18701889

Henry Marquand, 18891902

Frederick Rhinelander, 19021904

John Pierpont Morgan, 19041913

Robert de Forest, 19131931

William Sloane Coffin, 19311933

George Blumenthal, 19341941

William Church Osborn, 19411946

Roland Redmond, 19471964

Arthur Houghton, 19641969


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C. Douglas Dillon, 19691978

William Butts Macomber Jr., 19781986

William Henry Luers, 19861998

David E. McKinney, 19982005

Emily Rafferty, 2005

Chairmen

Robert Lehman, 19671969

Arthur Houghton, 19691972C. Douglas Dillon, 19721983

J. Richardson Dilworth, 19831987

Arthur Ochs Sulzberger, 19871998

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 gen-

erally considered, even by his most fervent admirers, a little arrogant, a

touch on the pompous side, and his mid-Atlantic Voice of God (well-known 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 dis-

cuss my plan to write an unauthorized book about the museum and to ask

for his support, or at least his neutrality.

He wasnt 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 con-

trol. 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, Id see there was

no point in my writing another. If we tell you we wont cooperate, will you

go away?

Until now, there have been only two kinds of books on the mu-

seum. Some have had agendas, whether personal (the former Met director


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Thomas Hovings 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: Bloomingdales, Diana Vreeland, and the New Aristocracy of Taste in

Reagans America).

The other kind of Met book was commissioned, authorized, pub-

lished, or otherwise sanctioned by the museum. The first among those, ap-

pearing in two volumes in 1913 and 1946, was by Winifred E. Howe, themuseums publications editor and in-house historian. They are, to be kind,

dutiful. Two later, somewhat juicier histories were commissioned by Hov-

ing and published to coincide with the museums 1970 centennial, one a

coffee-table book called The Museum by the late Cond 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 inde-

pendent view of the museums history, as Tomkins wrote in his acknowl-edgments, the book was conceived by and for the museum, he used

museum-paid researchers, and he submitted his manuscript to museum of-

ficials 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

thenMuseum didnt appear as scheduled. What did was a brief New Yorkmag-

azine 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 run-

ning 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

Mets 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 arent the only ones that the mu-

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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 occu-

pying thirteen acres of New Yorks 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 mu-seums, each of which ranks in its category among the finest in the world.

Its seventeen curatorial departments cover the waterfront of artistic cre-

ation: 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 cor-

rect name Arts of Africa, Oceania, and the Americas. European art is so vast

it gets two departments, one for paintings, another for sculpture and deco-rative objects. Additional departments are devoted to arms and armor, cos-

tumes (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-year-

old 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 parks

structural architect, and was leased, rent- and real-estate-tax-free, in per-

petuity to the museums 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.

Todays imperial neoclassical facade and entrance opened on Fifth Av-

enue in 1926; they were conceived by Richard Morris Hunt, one of the

founding trustees. Hunt not only designed the museums familiar face; he

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also created its first comprehensive master plan, but wouldnt 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 Hunts 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 museums president from 1904 until his death in1913. The Morgan Wing, which now contains the popular arms and armor

collection, opened in 1910 as a home to the museums decorative arts col-

lection.

The American Wing, built onto the museums northwest corner in

1924, was inspired and paid for by its then president Robert de Forest, the

museums first great champion of American art. His wing grew further in

1931 with the addition of the Van Rensselaer period room, the grand en-trance 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 ap-

pendage, 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 museums history as Morgan.

During World War II, the Metropolitans fifth chief, Francis Henry

Taylor, who created the model of director as populist, reconceived the mu-

seum 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 build-

ing, 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 whod befriended Rockefeller, shouldered the burden of

5 Introduction


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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 mu-

seum, 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

museums eighteen-month centennial celebration, it proved to be as con-

troversial as it was ambitious. Roches park-side wings (the Temple of Den-

dur on the north, the modern and European art galleries and Lehman

pavilion to the west, and the Michael Rockefeller primitive art wing onthe south), all wrapped in glass and limestone, werent 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 museums

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 ex-

pansion, this one created by the Montebello regime and dubbed theTwenty-first Century Met. Hemmed in by the promise the museum was

forced to make to the city to win approval for the Roche expansionwhich

forever set the buildings outer limitsit 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 Metropolitans ceaseless ex-

pansion 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 pre-

mier 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 Caf, the Trustees Dining Room for

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members only, the Iris and B. Gerald Cantor Roof Garden Caf, the Great

Hall Balcony Bar, and an under-construction caf 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 peo-

ple), 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 ob-

jects 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 no-

ble collection. Yet acceptance by the museumwhether 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 trusteesisa version of ennoblement, the ultimate affirmation of success, material and

destime that our democracy has to offer.

The museum repays its supporters with social prestige and affirma-

tion 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 chis-

els 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.

7 Introduction


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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 Colum-

bia. 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 mu-

seum 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 govern-

ment support of the arts has shrunk, shes grown promiscuous, creatingcouncils 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 Presidents 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 Presidents Cir-cle or the Patron Circle; make your company a corporate patron; sponsor an

exhibition like Balenciaga, Cond Nast, and Party Rental Ltd. all did in

2007; donate art or funds to acquire art; make plans for a charitable annu-

ity; join the Pooled Income Fund or a Friends Group (the Alfred Stieglitz

Society, Amati, and Philodoroi, the Friends of the various curatorial de-

partments, 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 Chairmans Coun-

cil, the Met Family Circle, the Apollo Circle for young donors in training,

the Real Estate Council, the Professional Advisory Council, the Multicul-

tural 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 pri-

vate enterprise and live in a complex environment, expected to be as cost-

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effective as a business while serving as an educational resource, a civic

institution and a community partnerusually on the same day, the museo-

grapher Marjorie Schwarzer wrote. Like Feigens 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 non-

profit organization in a marketplace culture, being a place of memory, re-

flection 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 se-curity, and many capital expenditures paid for by New York City; receives

direct grants of taxpayer dollars from local, state, and national govern-

ments; and for most of its existence has indirectly benefited from laws that

allow, and even incentivize, private financial support in exchange for gener-

ous 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 standardover the years the Mets board has consid-ered itself beholden to no one. It has functioned as a private society.

In the Metropolitans 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 them-

selves 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 al-

though it promised, as part of the 1971 agreement with the city that imple-

mented 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 Montebellos building-from-

within policy also violates the museums 1971 agreement by altering the

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three-dimensional silhouette of the building, which they consider sacro-

sanct. One protesting group, the Metropolitan Museum Historic District

Coalition, was recently able to stop a plan to excavate more space beneath

the museums 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 partner-ship between the city of New York and the museums 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 fifteenth-

century England. The board doesnt own the art; it simply manages the

corporation, says Ronald D. Spencer, an art law specialist. The corpora-

tion functions as a caretaker for the public, which makes the trustees the

stewards of those priceless assets, obliged to protect them and to managethe institution that contains them. The people are the beneficiaries of that

trust.

The museums board must raise funds for acquisitions, exhibitions,

conservation, education, and other costs not covered by the publics contri-

butions, which have, over the years, ebbed and flowed with the currents of

economic and political change. Though much is opaque about the Mets op-

erations and finances, its scope can be gleaned from its tax return and an-

nual 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 en-

trances.4

Auxiliary activities and other income brought in more than $113 mil-

lion. 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 mil-

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lion from its parking garage. It also netted $26.8 million selling art (the pro-

ceeds 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 repro-

ductions of art on ties and Christmas cards, are related to the museums

charitable function as an educational organization.

Thats just the beginning. As of June 30, 2007, the museums 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 (whichincludes stocks, bonds, investment and hedge funds, and private equity and

real estate investments). Of that, $69 million was transferred from the mu-

seums endowment to its operating budget. The endowment contributed

30 percent of the museums revenues that year, gifts from the public 26 per-

cent, 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 museums seventeen curatorial departments

and eighteen hundred employees (whose efforts are augmented by about

nine hundred volunteers) as well as its ancillary activities. Its payrollor at

least the paychecks of its top officersreflects its status as a huge and

hugely successful business. Montebellos total compensation topped $5 mil-

lion 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 al-

most $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 mil-

lion to operate its curatorial, conservation, cataloging, and scholarly pub-

lishing departments; $47.3 million on guards; $40 million on its merchandise

11 Introduction


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operations; $27 million on its galleries; $11 million on education and com-

munity 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 sig-

nificant capital improvements, spending some $240 million renovating its

Greek and Roman wing and the Ruth and Harold D. Uris Center for Edu-

cation, $22 million to renovate the wing housing its African, Oceania, and

Central and South American collections, almost $17 million to begin re-

making the American Wing, $4.2 million to reinstall the Wrightsman

Galleries, and about $27 million on other projects. About $61 million incontracts 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 Americas

largest nonprofit organizations (the Red Cross was No. 1, the New York

Public Library, No. 42).

And that doesnt count the value of the art. There is no way to cal-

culate it, says the dealer Richard Feigen. Most of the items are beyond

prices realized in the market because the quality is generally beyond any-

thing that has appeared. Think of all the departments . . . Asian, Egyptian,

classical . . . its billions and billions and billions.

Consider that a Jackson Pollock painting sold in 2006 for $140 mil-

lion. The Met owns at least two, forty Pollock drawings, and three sketch-

books. 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 Goghs

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 twenty-

seven Renoirs, and they have over a billion dollars worth of van Goghs

alone, including at least eighteen paintings, another one of New Yorks top

dealers says. Exact numbers are hard to come by. The Mets Web site refers

to only seventeen van Gogh paintings and three drawings. The central cat-

alog, 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 re-

quest for information, so is now rather incomplete. And the various cura-

torial departments have grown so territorial and secretive that they will not

even share their records of departmental holdings with the museums ownThomas J. Watson Library, as I learned when I called to confirm the num-

bers I couldfind.

Michael Botwinick, director of New Yorks Hudson River Museum,

formerly the assistant curator in chief of the Met, points out that it owns

morelots morethan paintings. Whats it all worth? Its priceless, of

course, since the Met will never sell its collection. But heres a ballpark es-

timate. Consider todays art market, Botwinick says. Twenty-five milliondollars 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] lets say $250 million. Lets say there are a thousand in the $25 mil-

lion sought-after category, five hundred in the $50 million important cate-

gory, 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 direc-

tor of San Franciscos Fine Arts Museums, goes even higher. Id take a

guess at $300 to $400 billion.

(

13 Introduction


25/65

From its inception, oversized personalities have domi-

nated 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 museums creation. In recent

times, its board heads have been some of Americas most powerful busi-

nessmen: in the 1930s, George Blumenthal, who headed Lazard Frres; in

the 1960s, Robert Lehman, the head of Lehman Brothers; in the 1970s,

C. Douglas Dillon, John F. Kennedys 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 museums color-

ful 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 in-

flating his rank, an American diplomat, and an amateur archaeologist, some

of whose finds from Cyprus remain treasures in the museums 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 professionaloperation.

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.

Kennedys 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 museums fiftieth birthday celebration,

the former secretary of state and Met trustee Elihu Root unveiled two mar-

ble slabs carved with benefactors names in the Great Hall. Among the first

names to be added were those of Rockefeller (who later contributed his

14 Rogues Gallery


26/65

collection of medieval art and the Cloisters to house it); the banker George

Baker, who started whats now called Citibank and gave the museum an un-

restricted seven-figure gift; and Frank Munsey, known as the most hated

newspaper publisher in New York, who handed over an amazing $20 mil-

lion in 1925then the largest cash gift ever given to a museummaking

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 Mets brand-

name trustee dynasties have been Morgans, Astors, Whitneys, Rockefellers,

Annenbergs, Houghtons, and various representatives of the Lazard Frres

investment bank), or possessing a useful skill or connections (like any num-

ber of financiers, developers, and media titans such as Mrs. Ogden Reid,

Henry R. Luce, and Sulzberger). But money counts most of all: a commit-

ment to donate six-figure sums every year, or to twist the arms of other po-tential 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 youre 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 execu-

tive, which really runs the show. As recently as thirty years ago, the mu-

seums 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 reac-

tionaries, 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 trusteesbut he was also a

15 Introduction


27/65

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 adventurousnor was he loved. He was hired to be ex-

actly what he became: the keeper of a great tradition. Under Montebello, as

in the heyday of the Brahmins, the museumbehind a curtain of secrecy

could do what it wanted.

(

Back in Philippe de Montebellos office, I wound up mypitch for the museums cooperation by gently telling him and Emily Kernan

Rafferty, the museums president, that I was aware that some months be-

fore the curatorial staff had been ordered not to speak to me. Well, huffed

Montebello, we wouldnt 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 Montebellos time. With the stakes so

high and the money and egos involved so big, the Met has always had to op-

erate in the shade, whether it was acquiring art under questionable circum-

stances, 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 disap-

pointed but unsurprised when, a few days later, a letter arrived, confirming

that the museum, its staff, and supporters would not cooperate.

But that wasnt my last encounter with the top of the museums orga-

nizational chart.

Dietrich von Bothmer, the museums then eighty-nine-year-old cura-

tor emeritus of Greek and Roman art, was, I was told, close to death. Get

16 Rogues Gallery


28/65

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. Bothmers 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, Zeuss son, by the Greek master Euphronios in

about 515 b.c. At the time, Montebello was digging in his heels; he didntwant to give it back.

When hed bought the krater from Trues co-defendant in Rome, a

dealer named Robert Hecht Jr., Bothmer was hailed a heroit was the

finest of twenty-seven surviving vases by the painterbut he was also con-

demned 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 hadnt gotten Raffertys memo. Maybe he wastoo 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 nurses aide who accompanied Bothmer to the museum each day,

for me to interview him. Miles and I arranged to meet at the Met on Feb-

ruary 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 museums 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 be-

hind rectangular glasses. Clearly, hed once been quite handsome. He was

still imposing. I spent a pleasant hour chatting about everything from his

familys 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 museums Department of Asian Art, and his

17 Introduction


29/65

wife, Sabine Rewald, the Jacques and Natasha Gelman Curator in the De-

partment 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 Id

been sent by the museums 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 Bothmers recollections sometimes got what Id call stuck

he would elaborate on stories wed already covered as I tried to move the

conversation forwardthose moments were brief, and mostly he was en-gaged 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 Bothmers

desk.

The book turned out to be one of a series of oral history interviews

with the museums top trustees and staff, this one conducted in 1994 for theArchives of American Art at the Smithsonian Institution. I had asked to

read them, but Id 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 Ash-

ton Hawkins, the museums 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 Eliz-

abeth 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 morn-

ing, 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 Hawkinss suc-

cessor, the museums senior vice president, secretary, and general counsel.

Is Miles there?

18 Rogues Gallery


30/65

I explained that he had not arrived and Elizabeth had stepped out.

With a sinking feelingId been busted!I asked to take a message.

Who is this? she asked.

Just a visitor. Why in Gods 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

Cotts call, instantly turning guarded. Elizabeth referred her to Miles. The

phone rang again. Elizabeth listened and turned. TheyMiles and Both-

mer? Cott?didnt 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.

Elizabeths 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 af-

ter Bothmers 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 hed just re-

membered and that could not be switched.

Youve got five minutes, he said. Make the most of it.

Less than three minutes later, Miles was back. He seemed embar-

rassed and confused when I suggested we continue another day as Bothmer

was clearly enjoying himself. Hed 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 didnt 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 sug-

gested 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 Bothmers coat when Sharon Cott appeared, grinning stiffly,

19 Introduction


31/65

saying nothing, arms tightly wound. Miles pushed Bothmer into the hall,

where an awkward pas de quatre took placeno one acknowledging what

was going on. Cott finally said she wanted to talk to Bothmer. He asked, Is

this a conspiracy? Id decided I liked him. Several, I said.

I dont 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 thats

not what the Italian government believed; he says the Euphronios kraterwas 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 mu-

seums estimation, doddering and senile, perhaps the museums 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 graveat least until his fulloral history emerges, if it ever does. The Metropolitan Museum is a store-

house of human memory. But it appeared, that day at least, it would just as

soon its own be erased.

20 Rogues Gallery


32/65

ArchaeologistLuigi Palma di Cesnola,

18701904


33/65

CapitalistJ. Pierpont Morgan,

19041912


34/65

PhilanthropistJohn D. Rockefeller Jr.,

19121938


35/65

CatalystRobert Moses,

19381960


36/65

ExhibitionistThomas P. F. Hoving,

19591977


37/65

ArrivistesJane and Annette Engelhard,

19742009


38/65


39/65


40/65

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

489 Acknowledgments


41/65

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Index

Abbey of Saint-Michel-de-Cuxa cloister,13, 11920

Abstract Expressionism, 185, 216, 220,22627, 235, 263, 264, 321

Adam and Eve (Barnard), 120, 123, 13133,13536

Adams, Cindy, 469Adams, Frederick, Jr., 290, 294African Americans, 100, 22425, 31719,

321, 324, 331, 342Age of Innocence, The (Wharton), 29, 54Agee, William, 409Agnelli, Gianni, 376, 456, 458Aldrich, Nelson, 93, 116Alexander, Christine, 249, 255Altman, Benjamin, 61, 70, 71, 99102,

103, 108, 130, 232, 28788American Association of Museums, 179,

182American Federation of Arts, 93, 156American Museum of Natural History, 34,

3536, 40, 41, 61, 6869, 90, 124,177, 187, 260, 285, 336, 338, 340,478

American Wing, 5, 7, 12, 95, 13741, 145,160, 177, 204, 209, 304, 312, 345,

34748, 404, 416, 417, 42021, 471Annenberg, Leonore, 376, 456Annenberg, Walter H., 36872, 410,

418Annenberg Center, 36972Antioch Chalice, 219, 228

anti-Semitism, 51, 104, 124, 162, 26061,291, 31719, 34546, 38183

Archaeological Institute of America, 84,359

Aristotle with a Bust of Homer (Rembrandt),141, 24347, 428

Armory Show (1913), 148, 223Arms and Armor Department, 5, 8485,

9091, 163, 174, 189, 235, 326Arsenal, 26, 41, 289, 293Art Institute of Chicago, 3, 75, 118Astor, Brooke, 261, 29596, 301, 314, 319,

325, 326, 327, 330, 332, 333, 335, 339,343, 350, 352, 357, 368, 414, 421, 422,42324, 452, 456, 461, 46770, 476

Astor, Minnie Cushing, 228, 295

Astor, Vincent, 228, 29596Astor Chinese Garden Court, 421, 424

Autumn Rhythm (Number 30, 1950) (Pollock),227, 303

Avery, Samuel P., 27, 39Azcrraga, Emilio, 439

Babels Tower: The Dilemma of the Modern

Museum (Taylor), 182, 185, 189Bache, Jules S., 2056, 232, 276, 28788Bacon, Francis, 337, 349, 365, 439Baker, George F., 15, 93, 105, 107, 136Baker, Walter, 224, 248, 350Baldwin, Sherman, 157n, 284


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Balenciaga, Cristobal, 376, 379, 459Balthus, 405, 439, 440Balzac, Honor de, 277, 382Barbizon school, 70, 72, 101, 224Barnard, George Grey, 11724, 13133,

134, 135, 14347, 153, 154, 155, 165,16768, 169

Barr, Alfred, 184, 194, 419, 437Bass, Mercedes Kellogg, 423, 435, 45758,

477Bass, Sid, 423, 435, 456, 45758, 477Beame, Abe, 343, 344, 345Beaton, Cecil, 308, 309Beck, John C., 430, 431Bell, Malcolm, 443, 446, 449Belmont, August, 27, 61Bemberg, Patricia Bb, 380, 388Berenson, Bernard, 96, 101, 119, 134, 206,

230, 27374Berggruen, Heinz, 419Berman, Avis, 150, 191, 216Biddle, Flora, 151, 204, 216Biddle, George, 188, 222, 223

Biddle, James, 297, 304Billings, C. K. G., 121, 123, 131, 136, 144, 146Bishop, Heber R., 57, 79Blass, Bill, 375, 378, 463Bliss, Lillie, 149, 151, 184Blodgett, William Tilden, 27, 34, 35, 37

40, 42, 44, 45, 48, 59Blum, Stella, 454, 455Blumenthal, Florence, 156, 461Blumenthal, George, 14, 93, 97, 12325,

134, 147, 156, 160, 16164, 165, 168,17475, 178, 183, 187, 18990, 191,192, 202, 233, 252, 261, 332

Bonnard, Pierre, 148, 221, 244, 419Bosworth, William Welles, 11617, 119,

12124, 125, 131, 146, 164, 165Bothmer, Bernard von, 248, 249, 356Bothmer, Dietrich Felix von, 1620, 248

51, 25358, 290, 291, 294, 297, 323,338, 35662, 432, 443, 446

Bothmer, Joyce Blaffer von, 294, 357Botwinick, Michael, 13, 298, 32223, 327,332, 348, 356, 371, 415

Bourhis, Katell le, 454, 455, 462Branch Bank of the United States (Assay

Office), 13839, 158, 420

Brancusi, Constantin, 148, 225, 349Braque, Georges, 221, 244, 419, 438, 439Breck, Joseph, 11011, 119, 132, 144, 156,

15758, 160Brian, Guy Louis Albert, 380, 384, 391British Museum, 3, 25, 47, 54, 78, 106, 366,

482, 483Brock, Horace Woody, 397, 466Bronzino, 73, 149Brummer, Joseph, 162, 166, 19698, 215

16, 228Bryant, William Cullen, 14, 24, 2728,

34

Buckley, Pat, 376, 377, 455, 456, 457, 462Burden, Amanda Jay Mortimer, 337, 355Burden, S. Carter, Jr., 334, 33638, 340,

341, 343, 345, 350, 355Burroughs, Bryson, 146, 148, 174, 184, 185,

349Burt, Nathaniel, 25, 28, 60, 111, 179Bury St. Edmunds Cross, 242, 289, 291

92, 411Butler, Howard Crosby, 96, 99

Cadwalader, John, 93, 140Campbell, Thomas P., 47983, 485, 486Canaday, John, 317, 321, 350, 352, 353, 354,

359, 360Canaletto, 279, 329, 382, 391Caravaggio, 441, 484Card Players (Czanne), 184, 243

Carmel, Ann, 275, 276, 277, 278Carnavon, George Edward StanhopeMolyneux Herbert, Earl of, 139, 140

Carnegie, Andrew, 61, 78, 142Carroll and Milton Petrie European

Sculpture Court, 9, 43637Cassatt, Mary, 71, 72, 73, 149, 225Cassini, Igor Ghighi, 273, 281Cellini, Benvenuto, 80, 95Central Intelligence Agency (CIA), 253,

269, 285, 299, 413Century Association, 29, 3334, 37, 38,224, 233

Cesnola, Luigi Palma di, 2364as archaeologist, 14, 23, 29, 3133, 43

48, 5154, 64, 88, 119, 134

530 Index


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collection of, 14, 3233, 4348, 49,5154, 62, 64, 68, 81, 134, 137, 218,258

Cyprus excavations of, 14, 28, 3133,4348, 5154, 64

death of, 64, 85, 112, 473as diplomat, 14, 2324, 3133, 43, 44as director, 14, 24, 4445, 48, 49, 50,

5154, 55, 56, 5758, 6264, 73, 7578, 80, 81, 82, 83, 85, 94, 112, 156,299, 323, 473, 484

Feuardent lawsuit of, 5154, 55, 56Morgans relationship with, 6869, 75,

80, 83, 112press coverage of, 24, 5154, 63, 64reputation of, 2324, 28, 3133, 4348,

5154, 55, 6264, 73, 94wealth of, 3132, 33, 44, 47, 49

Cesnola, Mary Jennings Reid di, 30, 31, 33,64

Czanne, Paul, 59, 148, 149, 184, 214, 243,244, 311, 349, 365, 418, 419

Chardin, Jean-Simon, 151, 382, 39192

Charles Engelhard Court, 6, 9, 42021,432, 437, 45758

Chteau Haut-Brion, 332, 365Choate, Joseph Hodges, 28, 29, 34, 35, 36,

4041, 48, 4950, 52, 53, 56, 61, 63,75, 78, 102, 103, 105, 107, 110, 136

Christiansen, Keith, 44142Christies, 38990, 428, 46162, 467Church, Frederic E., 27, 28, 32, 34, 37, 38,

42

Clark, Stephen, 3, 184, 185, 226, 243, 471Clark, Sterling, 3, 471Clarke, Caspar Purdon, 8688, 89, 91

92, 93, 119, 162, 473Cleveland Museum of Art, 245, 293, 294Cloisters, 5, 1415, 115, 12025, 131, 136,

14347, 15255, 15869, 175, 183,19598, 201, 21419, 228, 22936,240, 242, 246, 255, 25657, 288, 289,29394, 3012, 340

Coffey, Diane, 433Coffin, William Sloane, 14041, 156, 157,16061

Cohan, William, 16162, 417Cohen, Steven A., 364, 47173, 475, 481,

484, 485

Cohn, Roy, 460Collens, Charles, 158, 160, 195Colonna Madonna (Raphael), 74, 81Comfort, George Fisk, 28, 34, 40Committee of Fifty, 2829, 3334Cond Nast, 8, 377, 378, 465Constable, John, 38, 59Contemporary Arts Department, 3034Cooke, Terence Cardinal, 319, 320Cormier, Francis, 214, 222Corot, Jean-Baptiste-Camille, 37, 70, 149,

275, 349, 416Corporate Patron Program, 45152

Cosgrove, Frank, Sr., 476Costume Institute, 10, 2069, 228, 239

40, 37579, 404, 43940, 45356,457, 46265, 479, 484

Cott, Sharon, 1820, 84Courbet, Gustave, 70, 72, 148, 349Cousin, Jean, the Elder, 406, 407Cranach the Elder, 78, 244Crivelli, Carlo, 391, 428Crosby Brown Collection of Musical In-

struments, 18384Crucifixion (Piero della Francesca), 15152,

201Cubism, 148, 225, 239, 438Curium treasure, 4647, 62Cussi, Paula, 43940Cyprus: Its Ancient Cities, Tombs, and Temples

(Cesnola), 46, 48

Dal, Salvador, 249, 405Daumier, Honor, 59, 149, 419David, Jacques-Louis, 96, 146, 279, 304David-Weill, Berthe, 252, 315, 316, 317, 365,

378David-Weill, David, 124, 382, 403, 417David-Weill, Pierre, 252, 39495Davis, Gordon, 425, 426Davis, Theodore, 125, 126

Davison, Daniel Pomeroy, 28485, 290,293, 297, 370Davison, Henry Pomeroy, 89, 103, 284Decorative Arts Department, 8990, 110,

119, 15859, 336, 432de Bodisco,Aino, 45960

531 Index
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de Forest, Emily Johnston, 60, 78, 138,13940, 157, 209

de Forest, Robert, 5, 40, 6061, 62, 73,86, 94, 97, 104, 105, 107, 109, 110,11112, 124, 125, 12627, 129, 130,131, 13435, 13747, 148, 149, 150, 153,154, 15657, 179, 209, 284

Degas, Edgar, 71, 72, 149, 151, 243, 416,418, 419, 439, 458

de Groot, Adelaide Milton, 18788, 353de Kooning, Willem, 12, 226, 227, 361n,

364, 440Delacroix, Eugne, 59, 70, 72, 406, 418de la Renta, Annette (Anne France

Mannheimer Engelhard Reed), 2,38081, 385, 386, 38788, 392, 394,396, 399402, 406, 421, 422, 423,424, 43637, 444, 457, 45862, 463,465, 46670, 473, 474, 47577, 478,485

de la Renta, Franoise de Langlade, 375,376, 423, 46061

de la Renta, Oscar, 375, 376, 378, 381, 402,

404, 457, 45862, 463, 465Democratic Party, 29, 3536, 103, 39798,

403Demotte, George Joseph, 13335, 145, 147Dendur, Temple of, 6, 13, 31013, 331, 336,

341, 34447, 424, 455, 45758Dennis, Jessie McNab, 292, 338, 339Devree, Charlotte, 370Devree, Howard, 18586, 225, 370de Wolfe, Elsie, 384, 387, 404

dHarnoncourt, Rene, 329, 330DiCicco, Pat, 270, 271Dienststelle Mhlmann, 253, 390Dillon, C. Douglas, 14, 228, 285, 290, 293,

301, 306, 314, 319, 320, 326, 33233,336, 34150, 35460, 365, 368, 370,371, 372, 377, 378, 380, 400, 401,41017, 42226, 429, 430, 431, 435

Dillon, Phyllis, 378, 422, 423Dilworth, J. Richardson, 284, 290, 291,

293, 306, 319, 339, 430, 432, 433, 444,450, 457Dinkins, David, 451, 452Dior, Christian, 378, 463Dorotheum, 228, 326, 339, 44748Douglas, Kirk, 27273, 282

Draper, Dorothy, 187, 228, 233Duccio di Buoninsegna, 79, 201, 370, 470,

481, 484Durand, Asher, 27, 37, 38Durand-Ruel, Paul, 71, 75Drer, Albrecht, 81, 125Duveen, Henry, 70, 71, 100, 101, 102Duveen, Joseph, 74, 11819, 13335, 151

52, 2056, 244Duveen Brothers, 101, 108, 117, 12930,

141, 274Dwight, Eleanor, 207, 454

Eakins, Thomas, 128, 225, 416Easby, Dudley, 212, 215, 229, 330Egyptian Art Department, 8889, 9697,

125, 126, 129, 157, 247, 31013, 326,34447

Eisenhower, Dwight D., 213, 224, 254, 285,332

El Greco, 7273, 75, 149, 192, 243, 279

Elizabeth Clarke Freake and Baby Mary, 18182Elliott, Duane Garrison, 301, 324, 325,

326, 327Engelhard, Charles William, Jr., 392, 394

404, 420, 423, 434, 466Engelhard, Charles William, Sr., 39597Engelhard, Jane (Marie Annette Jane

Reiss-Brian Mannheimer), 368, 376,377, 37980, 384, 385404, 42022,423, 43637, 454, 458, 46162, 466

Erickson, Alfred, 141, 243, 244, 245Ertegun, Mica, 444, 454Etruscan biga (chariot), 8182, 84Etruscan warriors, 25658, 294, 444Euphronios (Sarpedon) krater, 17, 20, 348,

35862, 369, 443, 445, 446, 448, 449European Paintings Department, 243, 251,

261, 315, 36467, 4067, 41719,44042, 464, 471

European Sculpture and Decorative Arts

(ESDA), 43235, 479

F-111 (Rosenquist), 3045, 484Fahy, Everett, 423

532 Index


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Feigen, Richard, 8, 9, 12, 434Feuardent, Gaston, 5154, 55, 56Field, Marshall, 175, 176, 215, 226Fine French Furniture (FFF), 36, 244,

274, 30910, 325, 33132, 428Fischer, Henry, 31011, 313Fisher, Donald, 472Flandes, Juan de, 428, 429Fleming, Ian, 397Fletcher, Isaac Dudley, 12627, 245Fogg Art Museum, 174, 252, 346Forbes, Malcolm S., 39798, 461Force, Juliana, 15051, 185, 191, 19394,

21617Ford, Gerald R., 322n, 367, 413Fort Tryon Park, 5, 147, 154, 159, 168Fortune Teller, The (La Tour), 25860Fosburgh, Minnie Astor, 296, 314, 332,

350, 380Foxcroft School, 399400, 422Fra Carnevale, 44142Fragonard, Jean-Honor, 74, 81, 107, 244,

391, 393, 403

France, 117, 11820, 121, 132, 13335, 148,16466, 194, 199200, 229, 233, 252,25658, 287, 307, 332, 333, 38387,39192, 417, 466

Frelinghuysen, Peter H. B., 31920, 350French, Daniel Chester, 93, 106Frick, Henry, 69, 93, 101, 107, 108Frick Museum, 24142, 304, 486Fulton, Robert, 94, 167

Gage, Nicholas, 35960, 361, 362Gainsborough, Thomas, 38, 59, 81, 126,

244, 275Gardner, Albert Ten Eyck, 69, 26263,

304Gauchez, Lon, 38, 39Gauguin, Paul, 149, 184, 244, 352Gelb, Arthur, 359

Geldzahler, Henry, 227, 26066, 267, 290,303, 3045, 312, 32022, 349, 352,353, 412, 425, 426, 432, 437, 450,484

Gellatly, John, 14445, 15354Gelman, Jacques, 18, 438, 439

Gelman, Natasha, 43839, 440Genauer, Emily, 286, 321George Washington Crossing the Delaware

(Leutze), 27, 304German Expressionism, 151, 434Germany, Nazi, 162, 174, 199201, 203,

243, 248, 250, 252, 253, 254, 276, 378,38187, 39091, 393, 394, 39596,417, 465

Gerschel, Laurent, 418Getty Museum, 3, 17, 20, 447Gilbert, S. Parker, 381n, 431, 473, 474, 476Gilbert, S. Parker, Jr., 43132

Gilpatric, Roswell, 285, 290, 293, 301, 303,305, 319, 320, 341, 355, 370, 412

Glueck, Grace, 352, 416Gring, Hermann, 200201, 253, 390Gorky, Arshile, 227, 260, 349Gothic Fund, 145, 166Goya, 38, 59, 72, 73, 126, 149, 151, 192, 309Graham, Katharine, 308, 379Great Britain, 68, 80, 82, 86, 87, 9899,

383, 38990

Greek and Roman Art Department, 6, 12,1620, 8184, 96, 111, 228, 233, 235,24851, 255, 25658, 323, 348, 35662, 432, 44347, 470, 476

Greene, Belle, 95, 96, 103, 108Guardi, Francesco, 38, 317, 391Guest, C. Z., 377Guggenheim Museum, 3, 256, 439

Hackenbroch, Yvonne, 27779Hale, Nik, 220, 226, 263, 264, 265Hale, Robert Beverly, 21926, 227, 236,

260, 261, 26364, 265, 266, 3034Hals, Frans, 38, 59, 74, 95, 101, 141, 149,

244Halsey, Richard Townley Haines, 13738,

140, 141, 183, 187Hannon, Patrick, 380, 385, 386

Harkness, Edward S., 93, 97, 107, 125, 129,189Harlem on My Mind exhibition (1969),

314, 315, 31719, 324, 327, 331Harvard University, 174, 251, 262, 284,

363, 406, 435, 450

533 Index


52/65

Hassam, Childe, 225, 468Havemeyer, Henry Osborne, 59, 61, 71

75, 101, 148, 14950, 152, 232Havemeyer, Horace, 149, 150Havemeyer, Louisine Waldron Elder, 71

73, 14850, 232Havemeyer Collection, 14850, 184, 232Hawkins, Ashton, 18, 306, 332, 337, 346,

360, 377, 378, 401, 42324, 425, 429,435, 444, 446, 449, 450

Hays, Charlotte, 402, 436Hearn, George A., 128, 150Hearn Fund, 150, 184, 18586, 19192,

194, 216, 220, 22324, 260, 264Hearst, William Randolph, 255, 258,

269Hearst Foundation, 255, 258Hecht, Robert, Jr., 17, 35859, 36162,

443, 446Heckscher, August, 299, 314, 335, 336, 341,

342Heinz, Drue, 456, 461Henry Luce Foundation, 315, 318

Hermitage, 3, 33, 382Herrick, Dan, 3056, 322n, 332, 333, 340,

371, 406, 415, 416Hess, John L., 2, 350, 35356Hess, Thomas B., 437Hewitt, Abram, 58, 59Hirst, Damien, 47173, 474Hitchcock, Hiram, 31, 33, 43, 44, 46, 47, 54,

57, 61, 62, 63, 64, 79Hitler, Adolf, 252, 253, 276, 382, 387, 390

91Hoare, Oliver, 364Hobby, Theodore, 130, 162Hoentschel, Georges, 8990, 110, 111Hofmann, Hans, 226, 262Holbein, Hans, 25, 96, 244Holden, Don, 22526, 236, 257, 258, 259

60Holzer, Harold, 1, 2, 11, 443Homer, Winslow, 37, 225, 416

Hoppin, William J., 34, 35Hoppner, John, 101, 192Houdon, 279, 462Houghton, Arthur Amory, Jr., 228, 283

86, 287, 290, 29293, 294, 296,29798, 299, 302, 303, 305, 306, 314,

318, 319, 323, 324, 330, 332, 333, 350,357, 36264, 401, 422, 450

Houghton, James Jamie, 422, 450, 451,452, 473, 474, 476

Houghton, Maisie, 401, 422Houston Museum of Fine Arts, 4089, 415Hoving, Nancy Bell, 240, 241, 242, 283,

295, 298, 3089, 370, 371Hoving, Thomas Pearsall Field, 239372

as author, 12, 242, 283, 29091, 329,346, 356n, 361, 411, 44243, 444, 445,448, 482

background of, 24042

as Cloisters assistant curator, 240, 242,255, 288, 289, 3012

controversies of, 299, 31719, 320,34862, 445, 448

as director, 12, 6, 9, 14, 15, 179, 190,268, 276, 278, 279, 282, 295, 296352, 378, 404, 410, 415, 416, 418, 423,425, 480

donors cultivated by, 30613, 32332,34447, 418, 423

exhibitions mounted by, 299301, 3045, 314, 31722, 324, 327, 331, 340,36566, 367, 416, 455

as medievalist, 240, 24142, 322Montebellos relationship with, 346,

348, 361n, 407, 40811, 413, 415, 416,43233, 44243, 445, 448, 454, 46970, 480

as parks commissioner, 28992, 293,295, 296, 29799, 302, 334

populism of, 15, 179, 23940, 299, 31415, 334, 352press coverage of, 239, 299, 305, 306,

315, 31719, 35056, 35962, 370,371, 376, 43233

reputation of, 23940, 242, 295, 296,36772, 411

resignation of, 346, 36772, 41011, 473Rorimers relationship with, 23940,

242, 243, 255, 28789, 29192, 293,

31112trustees as viewed by, 258, 268, 282,29799, 30510, 319, 33132, 333,34142, 350, 36772

Hoving, Walter, 24041, 301, 342Howe, Winifred E., 2, 48, 158

534 Index


53/65

Hudson-Fulton exhibition (1909), 9495,102, 128, 137, 138, 222

Hudson River school, 28, 34, 125Hunt, Richard Morris, 45, 26, 34, 37, 60,

70, 75, 163Huntington, Arabella, 141, 243Huntington, Archer, 141, 211Huntington, Collis P., 101, 141Husband, Tim, 450Huxtable, 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, 44142

Istanbul Archaeological Museum, 43, 54, 99Italy, 17, 20, 25, 2930, 68, 72, 73, 8184,

182, 211, 241, 25758, 259, 324, 35862, 44548, 449

Ittleson, Henry, 302, 340Ivins, William Mills, Jr., 125, 148, 163, 174,

175, 17677, 181

James, Harold, 382Jay, John, 14, 24, 25, 37, 61, 240, 337, 401Jayne, Horace H. F., 183, 231Johns, Jasper, 263, 349, 440Johnson, Lyndon B., 285, 311, 332, 333, 398,

403, 413

Johnston, John Taylor, 2627, 33, 34, 35,3639, 42, 44, 45, 46, 4748, 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, 46869, 481J. S. Morgan & Co., 47, 67, 105, 381

Juan de Pareja (Velzquez), 34849, 470

Kann, Rodolphe, 118, 141Karp, Ivan, 262, 263Kaye, Lawrence, 44445

Kaylan, Melik, 444, 445Kelekian, Dikran, 123, 152Kelleher, Bradford, 225, 342Kelly, Ellsworth, 261, 263Kennedy, John F., 14, 239, 28081, 282,

285, 307, 310, 313, 316, 320, 332, 333,398, 413

Kennedy, Joseph P., 280, 307, 436Kennedy, Robert F., 281, 334, 337Kensett, John Frederick, 27, 28, 34, 35, 37,

38, 44, 45Kent, Henry W., 86, 110, 130, 131, 13738,

163, 175, 184, 186

Kertess, Klaus, 316, 475Kiernan, Frances, 423, 424Kimmelman, Michael, 46465King of the Confessors (Hoving), 242, 411Kinnicutt, Dorothy May (Sister Parish),

39697, 398, 399, 401, 404, 422Kissinger, Henry, 367, 423, 426, 466,

467Klimt, Gustav, 12, 438Knoedler & Co., 70, 109, 259

Koch, Ed, 412, 42527, 433, 451Koda, Harold, 463Koons, Jeff, 485Kramer, Hilton, 305, 321, 351, 366Kravis, Henry, 2, 43536, 458Kress, Samuel, 16667, 193Ku Klux Klan, 100, 149, 267

Lagerfeld, Karl, 464La Guardia, Fiorello, 168, 174, 187, 210Lake, Stephanie, 275, 276, 277, 278Lambert, Eleanor, 207, 208, 454Lamont, Thomas, 103, 166, 195, 197, 217,

223Landmarks Preservation Committee, 340,

341Lane, Kenneth J., 375Lansdowne Room, 234, 325

Larkin, Aileen Chuggy, 26869, 272Last Judgment and the Crucifixion, The (VanEyck), 18182

Latin America, 186, 191, 22829, 329La Tour, Georges de, 25860, 279Lauder, Este, 325, 435

535 Index


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Lauder, Ronald, 227n, 472Laura Spelman Rockefeller Memorial

Fund, 136, 211Lazard Frres, 93, 124, 156, 252, 320, 347,

382, 386, 38889, 39495, 398, 417Ledyard, Lewis Cass, 105, 167Lee, Sherman, 293, 294Lehman, Philip, 192, 193Lehman, Robert Bobbie, 14, 19293,

195, 218, 223, 232, 245, 246, 261, 271,28587, 290, 3013, 32729, 331, 332,340, 347, 350, 417

Lehman, Robin, 192, 286, 287, 302, 32829

Lehman Brothers, 192, 193, 329, 481Lehman Wing, 28687, 3013, 32729,

331, 334, 335, 336, 338, 341, 342, 343,351, 365

Leigh, Dorian, 402Leonardo da Vinci, 59, 28788, 314Lerman, Leo, 2, 50, 290Leutze, Emanuel, 27, 304Levai, Rosie, 318, 349, 354, 365, 377, 416

Levy, Leon, 446, 44748Lewisohn, Irene, 206, 207, 352Lewisohn, Sam A., 195, 206, 223, 224,

226Lieberman, William S., 43740Lila Acheson Wallace Wing, 348, 419,

42526, 432, 438Lincoln, Abraham, 24, 30, 31, 64, 118Lindsay, John V., 28889, 296, 29899,

302, 317, 318, 325, 334, 335, 343

Linsky, Belle, 42730Linsky, Jack, 42728, 429Locke, Ian, 385, 393Loughry, J. Kenneth, 293, 305Louis XIV, King of France, 25, 85, 117, 399,

415Louis XV, King of France, 81, 111, 279,

428, 475Louis XVI, King of France, 111, 279, 331

32, 428

Louvre, 3, 25, 36, 54, 99, 149, 259, 262,286, 365Love, Iris Cornelia, 256, 257, 258, 444Luce, Henry L., 15, 224Luers, William Henry, 43031, 432, 434,

435, 443, 446, 449, 450, 451, 452, 453

Lydian Hoard, 348, 35658, 360, 44345Lythgoe, Albert, 88, 89, 93, 96, 97, 103,

139, 310

McFadden, Elizabeth, 46, 47MacGregor, Neil, 482, 483McHenry, Barnabas, 311, 31213, 412, 425

26, 457McKim, Charles, 91, 93, 104McKim, Mead & White, 5, 84, 91, 104,

139, 152, 217

McKinney, David E., 45051, 452, 465Macomber, William Butts, Jr., 41215,

424, 425, 426, 430, 431, 433, 437, 444,449

Macy, Valentine Everit, 152, 227Madonna and Child(Duccio), 79, 470, 481,

484Making the Mummies Dance (Hoving), 12,

44243Malraux, Andr, 233, 260, 367

Man and the Horse exhibition (1984),45556, 463

Manet, douard, 75, 126, 149, 244, 350,416, 418

Mannheimer, Fritz, 38092, 399, 403Mansfield, Howard, 93, 157n, 189Mapplethorpe, Robert, 379Marlborough Gallery, 34

rogues' gallery, by michael gross - excerpt

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