1. George Santayana, The Last Puritan, A Memoir in the Form of a Novel (New York: Charles Scribner’s Sons, 1936), pp. 424–25.
2. “Boston Revolt,” The Art Digest, September 1928.
3. Quoted in Albert Franz Cochrane, “Approaching Dawn of Boston’s Important Art Season,” Boston Evening Transcript, September 15, 1928.
4. Albert Franz Cochrane, “Boston Arts Club Opens Season in Newly Decorated Galleries,” Boston Evening Transcript, October 20, 1928.
5. Edward Waldo Forbes, “The Relation of the Art Museum to a University,” Proceedings of the American Association of Museums 5 (1911): 52.
6. Brochure for the Harvard Society for Contemporary Art. All of the original documents from the Harvard Society for Contemporary Art are in scrapbooks prepared and given by Lincoln Kirstein to the library at the Museum of Modern Art.
7. Quoted in “American Taste,” The Art Digest, October 1, 1927.
8. In his memoir Self Portrait with Donors (Boston and Toronto: Little, Brown, 1974), John Walker lists Frank Crowninshield and Mrs. John D. Rockefeller, Jr., as also having been on the board. Although these two people were aware of the Harvard Society for Contemporary Art, this claim that they were trustees is erroneous. In Alfred H. Barr Jr. Missionary for the Modern (Chicago: Contemporary Books, 1989), Alice Goldfarb Marquis repeats the mistake.
9. Julien Levy, Memoir of an Art Gallery (New York: G. P. Putnam’s Sons, 1977), p. 113.
10. Conversation between Philip Johnson and NFW in New York City on March 30, 1989.
11. Walker, Self Portrait with Donors.
12. I am grateful to Philip Johnson for his observations along these lines. Johnson also characterized Walker as “the goy you have around for your reputation.”
13. Walker, Self Portrait with Donors.
14. Letter from Felix Warburg to E. M. M. Warburg on the occasion of his twenty-first birthday, June 1929.
15. E. M. M. Warburg in telephone conversation with NFW, January 9, 1989.
16. Conversation between Lincoln Kirstein and NFW in New York City on March 30, 1989.
17. Walker, Self Portrait with Donors, p. 24.
18. Conversation between Agnes Mongan and NFW, Cambridge, February 1, 1990.
19. Faculty meeting minutes at Bryn Mawr College, June 21, 1916, p. 1, quoted in Susanna Terrell Saunders, “Georgiana Goddard King (1871–1939): Educator and Pioneer in Medieval Spanish Art,” in Women as Interpreters of the Visual Arts, 1870–1979, ed. Claire Richter Sherman (Westport, Conn.: Greenwood Press, 1981).
20. Agnes Mongan, “Georgiana Goddard King: A Tribute,” Bryn Mawr Alumnae Bulletin, July 1937.
21. Ibid.
22. Unpublished school paper from 1927, courtesy Agnes Mongan.
23. Museum News, September/October 1975, p. 31.
24. Conversation with Agnes Mongan, February 1, 1990.
25. “The Jew and Modernism,” The Art Digest, November 1, 1927.
26. Lincoln Kirstein, “Loomis: a Memoir,” Raritan, Summer 1982, pp. 16–17.
27. All quotations from “Brancusi,” an essay that originally appeared in The Little Review, viii, I (Autumn 1921), reprinted in Literary Essays of Ezra Pound (Norfolk, Conn.: New Directions [undated]).
28. “Revolutions and Reactions in Painting,” International Studio, LI (December 1913), pp. cxxiii, cxxvi.
29. Joan Simon, Portrait of a Father (New York: Atheneum, 1960), pp. 217–18.
30. Quoted in Cleveland Amory’s introduction to Vanity Fair (New York: Viking Press, 1960), p. 9.
31. Conversation with Philip Johnson, March 30, 1989.
32. Lincoln Kirstein, Flesh is Heir. An Historical Romance (New York: Brewer, Warren & Putnam, 1932), p. 193.
33. Ibid., p. 192.
34. Ibid., p. 188.
35. Ibid., p. 195.
36. Ibid., p. 198.
37. The Times (of London), July 7, 1929, quoted in Nesta MacDonald, Diaghilev Observed (New York: Dance Horizons, 1975).
38. Nicholas Nabokov, Old Friends and New Music (Hamish Hamilton), p. 83, quoted in MacDonald, Diaghilev Observed, p. 355.
39. Kirstein, Flesh is Heir, p. 195.
40. Unpublished school paper from 1927; courtesy Agnes Mongan.
41. Serge Lifar, Serge Diaghilev (New York: De Capo Press, 1976), p. 372.
42. Ibid., p. 360.
43. Misia and the Muses, the Memoir of Misia Sert (New York: John Day, 1953), p. 157.
44. Edmonde Charles-Roux, Chanel and Her World (London: The Vendome Press, 1979), p. 234.
45. Conversation with Agnes Mongan, February 1, 1990.
46. Edward M. M. Warburg, As I Recall (privately published, 1978), p. 33. All unidentified quotations from E. M. M. Warburg come from the many conversations—in person and on the telephone—held between him and the author in the course of 1988 and 1989.
47. Frieda Schiff Warburg, Reminiscences of a Long Life (published privately in New York in 1956), p. 176. In the introduction to this book, Mrs. Warburg credits her son Edward for its concept. In conversation, Eddie has called it “one of the best things I’ve ever written.”
48. Ibid.
49. Undated notes of interview with E. M. M. Warburg conducted on behalf of Jewish Theological Seminary.
50. Schiff Warburg, Reminiscences.
51. Lincoln Kirstein, Quarry (Pasadena: Twelve Trees Press, 1986), p. 68.
52. Louis E. Kirstein, Better Retail Advertising, New York: National Better Business Bureau, 1925.
53. Walker, Self Portrait with Donors, p. 17.
54. This is how Edward Warburg and Lincoln Kirstein recall the event. John Walker, in Self Portrait with Donors, tells it differently: “I remember that Eddie Warburg and I got a truck and went to meet Calder’s train. I headed for the express office to pick up the boxes containing the exhibition, and Eddie went to the platform to greet our artist. To my horror no boxes had arrived. I joined Eddie and Sandy, and there was the sculptor with a coil of wire over his arm. He said he intended to make the exhibition in the gallery; forty-eight hours, he stated, was plenty of time” (p. 27). Walker, however, seems less reliable than Warburg and Kirstein; he gets the list of trustees all wrong, and also makes the erroneous claim that the society was the first place where Calder’s Circus was ever exhibited; it’s true that it was the first public exhibition, but it had previously been performed on a number of private occasions. That mistake is repeated, with further errors, in Modern Art at Harvard by Caroline A. Jones (New York: Abbeville Press, 1985), where it is stated (p. 45), “Alexander Calder rode up on the train from New York with a reel of bailing wire and some clippers to create his first ‘circus.’ ” The false claim is also made by Alice Goldfarb Marquis in her Alfred H. Barr Jr. Missionary for the Modern, when she quotes Walker about the pickup at the train and his assembling his show at Harvard, and then goes on to say (p. 45), “The work that resulted is Circus, the object of reverent gazes from the multitudes who daily mill around the lobby of New York’s Whitney Museum.” Despite these assertions, Calder unquestionably did not create the Circus at Harvard.
Russell Lynes, in Good Old Modern (New York: Atheneum, 1973), makes it sound as if Warburg’s memory of the Calder event was erroneous, but Lynes somewhat contradicts Calder’s account in support of that claim. Lynes says, “Legend (which Calder now denies) says that he arrived in Cambridge with nothing but a suitcase containing a few pieces of clothing, a coil of copper wire, and a pair of pliers” (pp. 24–25). What Calder actually says in his autobiography is “I repeated my bundle of Berlin days, but Eddie protested that I arrived with nothing but a roll of wire on my shoulders and pliers in my pocket. I admit there was some truth to this, for I always traveled with a roll of wire and a pair of pliers. I took the circus along too, and showed it to the Harvard boys. I stayed on a cot in Eddie’s quarters in the Yard” (p. 108 in Alexander Calder, An Autobiography with Pictures [London: Allen Lane, The Penguin Press, 1967]). What seems most plausible is that Calder did take along, as he says, his Berlin bundle—which was the Circus and which he assembled a few days later for its presentation in the Fogg courtyard—but that he made all the wire sculptures, which were the substance of his exhibition at the Harvard Society for Contemporary Art, on the spot.
55. Conversation with Philip Johnson, March 30, 1989.
56. Richard S. Kennedy, The Window of Memory (Chapel Hill: The University of North Carolina Press, 1962).
57. Calder, Autobiography with Pictures, p. 107.
58. Thomas Wolfe, You Can’t Go Home Again (New York: Harper & Row, 1934), p. 231 and pp. 278–80.
59. So the documents indicate; Kirstein and Warburg, in conversations with NFW, were both incredulous on being told this.
60. Isamu Noguchi (New York: Harper & Row, 1968), p. 19.
61. April 3, 1929.
62. An Account of the Committee of the Museum of Modern Art, 1931–1938, MoMA Archives. My special thanks go to Rona Roob, the museum’s archivist, for steering me to this document.
63. May 9, 1938.
64. Note by Margaret Scolari Barr attached to photocopy of Barr article “Contemporary Art at Harvard,” The Arts, April 1929. MoMA Archives: Alfred H. Barr, Jr., Papers; RR/AHB Bibliography # 199.
65. A. Conger Goodyear, The Museum of Modern Art: The First Ten Years, copyrighted 1943 by A. Conger Goodyear, New York; produced under the direction of Vrest Orton, p. 47.
66. New York Herald Tribune, March 15, 1931.
67. The Nation 131, no. 3391 (July 2, 1930), pp. 6–7.
68. E. M. M. Warburg, As I Recall, p. 37.
69. Ibid.
70. Undated clipping from Harvard Crimson in Harvard Society Scrap-books.
71. Henry McBride, “The Inimitable Picasso at Large,” New York Sun, December 5, 1931.
72. May 11, 1932.
73. May 8, 1932, The New York Times.
1. “Masquerade Ball Planned by the Atheneum,” Hartford Courant, March 19, 1928.
2. Quoted in “ ‘The New Athens’: Moments from an Era” by Eugene R. Gaddis, in Avery Memorial (Hartford: The Wadsworth Atheneum, 1984), p. 42.
3. “Prof. H. R. Hitchcock Discusses Modern French Artists,” Hartford Times, December 7, 1929.
4. These and other Soby quotations are all from the unpublished memoirs of James Thrall Soby. They were provided to me by Soby’s stepson Samuel W. Childs, to whom I am exceptionally grateful.
5. Ibid.
6. Soby, unpublished memoirs, p. 7 of the section called “1924–28.”
7. Henry Russell Hitchcock, Jr., “Soby Collection Placed on View,” Hartford Times, November 17, 1930.
8. “French Paintings Praised by Austin,” Hartford Times, November 19, 1930.
9. A. Everett Austin, Jr. (Hartford, Conn.: The Wadsworth Atheneum, 1958), p. 18.
10. Wadsworth Atheneum Annual Report, 1931, p. 4.
11. A.E.A., Jr., p. 33.
12. Julien Levy, Memoir of an Art Gallery (New York: G. P. Putnam’s Sons, 1977).
13. “Atheneum Plans Major Exhibits,” Hartford Times, November 7, 1931.
14. Ibid.
15. Levy, Memoir of an Art Gallery, p. 80.
16. This is what Henry Russell Hitchcock suggested to the Atheneum Bulletin, October 1931, p. 30.
17. A.E.A., Jr., p. 33.
18. Soby, unpublished memoirs, p. 10 in chapter 1. (Each chapter has its own page numbers.)
19. Fleur Cowles, The Case of Salvador Dali (London: Heinemann, 1959), p. 212.
20. On pp. 150 and 151 of Memoirs of an Art Gallery, Julien Levy discusses at some length his attempts to import and show this film. There seems to be no connection with the screening at Soby’s, for which the main source of information is Soby’s unpublished autobiography. Eleanor Bunce, who was Mrs. James Thrall Soby from 1938 to 1952, attended the screening on Westwood Road—although it was years before she married Soby. (Conversation with NFW, July 18, 1989.)
21. Conversation with Eleanor Bunce, July 18, 1989.
22. Cowles, Salvador Dali, p. 213.
23. Soby, unpublished memoirs, chapter called “Chick Austin,” p. 3.
24. Alfred H. Barr, Jr., Picasso: Fifty Years of His Art (New York: The Museum of Modern Art, 1946), p. 148. (This is in part a later edition of the 1939 book.)
25. Soby, unpublished memoirs, chapter called “Collecting: The Early Years,” p. 6.
26. Ibid.
27. “A. Everett Austin, Jr.,” catalog for the Brummer Gallery, Inc., February 9–29, 1932.
28. Soby, unpublished memoirs. Unnumbered manuscript page.
29. AEA address to WA trustees, AEA Archives, quoted and footnoted in “From the Fogg to the Bauhaus: A Museum for the Machine Age” by Helen Searing in Avery Memorial.
1. Copy of letter in Dance Collection of the New York Public Library at Lincoln Center.
2. Conversation with Philip Johnson, March 30, 1989.
3. A. Everett Austin, Jr. (Hartford, Conn.: The Wadsworth Atheneum, 1958), p. 64.
4. Interview with Paul Cooley, quoted on p. 67 of Avery Memorial (Hartford: the Wadsworth Atheneum, 1984).
5. Lincoln Kirstein, The New York City Ballet (New York: Alfred A. Knopf, 1973).
6. Copy of telegram in Dance Collection of the New York Public Library at Lincoln Center.
7. Kirstein, New York City Ballet, p. 20.
8. Eddie Warburg’s and Lincoln Kirstein’s versions of this early period of the ballet differ considerably. The primary source for Kirstein’s account of that time is The New York City Ballet—for which he wrote the text—published by Alfred A. Knopf, New York, 1973. Warburg touched on the ballet history in As I Recall (privately published, 1978), but the primary source for his reminiscences of the period is the author’s extensive interviews with him in late 1988 and early 1989, and tapes he dictated in response to the author’s questions and that were kindly transcribed by his secretary, David Sinkler. Kirstein makes it sound as if a lot of the decisions about support were Felix’s; Eddie says his parents were not involved in the least. When Eddie remembers that walk in the woods at Woodlands, all that he recalls is agreeing to pay the round-trip steamship fare for either Balanchine or Dimitriev, with the understanding that Kirstein would pay for the other. Kirstein says that Warburg had in fact already agreed to cover both fares, in a letter he had written to Kirstein in Paris a few weeks earlier. If Warburg thought he had agreed to nothing more than travel costs, what Kirstein felt he gained during the walk in the woods and subsequent conversations, some with Felix sitting in, was “Eddie Warburg’s guarantee of at least two years’ help of solid financial support for the new institution.” Eddie may not have spelled it out as such, but it was Eddie’s response that “made it easier to think of approaching George Balanchine with a bit of conviction … His later large support permitted us to make promises that led to the first steps without which nothing could have followed” (p. 18, New York City Ballet). Eddie’s comment is “I signed the necessary checks rather than giving any time guarantee for the maintenance” (January 11, 1989).
9. Marian Murray, “Dancers Leap Hurdle at Port,” Hartford Times, October 18, 1933.
10. Soby, unpublished memoirs, section 4, p. 16.
11. “Divergent Views on Ballet Here,” Hartford Courant, October 19, 1933.
12. “Ballet School Here Cancelled by Austin,” Hartford Times, October 28, 1933.
13. Advertisement for the School of the American Ballet, The New York Times, December 3, 1933.
14. Letter from Edward Warburg to Alfred Barr, August 31, 1933; MoMA Archives; AHB Papers.
15. Quoted in Hans M. Wingler, The Bauhaus, trans. Wolfgang Jabs and Basil Gilbert, ed. Joseph Stein (Cambridge, Mass.: MIT Press, 1969), p. 188.
16. Soby, unpublished memoirs, p. 9–9 in “Collecting: the Early Years.”
17. Telephone conversation between Ted Dreier and NFW, June 4, 1989.
18. Martin Duberman, Black Mountain: An Exploration in Community (New York: E. P. Dutton, 1972), p. 19.
19. Ibid. p. 29.
20. Telephone conversation with Ted Dreier, June 4, 1989.
21. Conversation with Philip Johnson, March 30, 1989.
22. Undated letter from Philip Johnson to Alfred Barr, MoMA Archives; AHB Papers.
23. Letter to NFW of March 6, 1989.
24. Letter of April 4, 1933, Beinecke Library, Yale University.
25. Gerald Nordland, Gaston Lachaise (New York: George Braziller, 1974), note II-19.
26. Letter of March 3, 1933, NFW translation, Beinecke Library.
27. Conversation with E. M. M. Warburg, January 13, 1989.
28. Museum of Modern Art press release of July 10, 1934, Beinecke Library.
29. Letter of September 28, 1933, to his stepson Edward Nagle, Beinecke Library.
30. Transcript of E. M. M. Warburg’s answers to interview of Steven Watson, November 24, 1987.
31. A.H.B. to E.M.M.W., February 1935, MoMA Archives; AHB Papers.
32. New York Sun, October 26, 1935.
33. Letter of September 1, 1939, Beinecke Library.
1. Letter in the Dance Collection of the New York Public Library at Lincoln Center.
2. A. Everett Austin, Jr. (Hartford, Conn.: The Wadsworth Atheneum, 1958), pp. 66–67.
3. T. H. Parker, “Negroes Mastering Stein Opera,” Hartford Courant, December 25, 1933.
4. Virgil Thomson, Virgil Thomson (New York: Alfred A. Knopf, 1966), p. 105.
5. From Carl Van Vechten’s introduction to Four Saints in Three Acts (New York: Random House, The Modern Library, 1934), p. 6.
6. Thomson, Virgil Thomson, p. 219.
7. Ibid., p. 236.
8. John Houseman, Run Through (New York: Simon and Schuster, 1972), p. 101.
9. Four Saints, p. 47.
10. T. H. Parker, “Negroes Mastering Stein Opera.”
11. December 16, 1933, quoted in James Mellow, Charmed Circle (New York: Avon Books, 1974), p. 440.
12. Program, February 13, 1934.
13. Thomson, Virgil Thomson, p. 239.
14. Joseph W. Alsop, Jr., “Gertrude Stein Opera Amazes First Audience,” New York Herald Tribune, February 8, 1934.
15. Houseman, Run Through, p. 115.
16. Julien Levy, Memoir of an Art Gallery (New York: G. P. Putnam’s Sons, 1977), p. 141.
17. Houseman, Run Through, p. 116.
18. New York Herald Tribune, Sunday, February 11, 1934.
19. Houseman, Run Through, p. 118.
20. Levy, Memoir of an Art Gallery, p. 142.
21. Mellow, Charmed Circle, p. 442.
22. Interview with Gertrude Stein conducted by NBC reporter William Lundell on November 12, 1934, on WJZ and NET radio; published in The Paris Review, Fall 1990, pp. 89 and 95.
23. Agnes Mongan, “Stein on Picasso,” a review of Picasso by Gertrude Stein, The Saturday Review of Literature, March 18, 1939, p. 11.
24. Agnes Mongan to A. Everett Austin, March 7, 1934, by permission of the Harvard University Archives.
25. This is how Mongan frequently referred to Warburg and the others in her letters of the period.
26. Agnes Mongan to Georgiana Goddard King, February 15, 1934, by permission of the Harvard University Archives.
27. Alfred H. Barr, Jr., Picasso: Fifty Years of His Art (New York: The Museum of Modern Art, 1946), p. 106.
28. Ibid., p. 122.
29. Laurie Eglinton, “Picasso Exhibit a Notable Event in Avery Opening,” The Art News, February 10, 1934.
30. Conversation between Agnes Mongan and NFW held at Harvard Faculty Club, April 7, 1989.
31. “Some People Think It’s Awful, Others Say It’s Marvelous: An Explanation of the Picasso Exhibition at Avery Museum,” Hartford Courant, February 25, 1934.
32. Thomas Craven, Modern Art (New York: Simon and Schuster, 1934), pp. 177–93.
33. Lincoln Kirstein, letter to Agnes Mongan, undated, by permission of the Harvard University Archives.
34. Dino Ferrari, “A Challenging View of Modern Art,” The New York Times Book Review, May 20, 1934.
35. Frank Jewett Mather, “Real and False Among Modern Artists,” New York Herald Tribune Books, May 13, 1934.
36. George Brooks Armstead, “Notes on Belated Defense of Modern Movement in Art. Current Deflation of Picasso Stein and Vacuous Bohemia,” Hartford Courant, May 29, 1934.
37. “Revolution on Beekman Place,” House & Garden, August 1986.
38. Ibid.
39. Stephen Birmingham, Our Crowd (New York: Harper & Row, 1967), p. 189.
40. Lincoln Kirstein, The New York City Ballet (New York: Alfred A. Knopf, 1973), p. 24.
41. Richard Buckle, George Balanchine (New York: Random House, 1988), p. 88.
42. James Paul Warburg, The Long Road Home (New York: Doubleday, 1964).
43. Washington Post, December 9, 1934.
44. Providence Rhode Island Journal, December 3, 1934.
45. Lucius Beebe’s column, New York Herald Tribune, November 1934.
46. T. H. Parker, “Ballet Wins Ovation in Avery Debut,” Hartford Courant, December 7, 1934.
47. R.E.R., “Ballet Appears in a Burlesque of Our Foibles,” Washington Post, December 9, 1934.
48. Beebe is wrong on this point. He reports that people gathered around her, but I know from Kay Swift herself, as well as from others of her family members, that she was in Reno at the time.
49. Hartford Times, December 8, 1934.
50. T. H. Parker, “Ballet Wins Ovation.”
51. Washington Post, December 9, 1934.
52. Kirstein, New York City Ballet, p. 42. From Kirstein’s point of view—fairly nasty here—part of the significance of Alma Mater is that it took Eddie Warburg out of his frustrated rich boy role. “Warburg could feel that his contribution, for once, was more on the side of art than cash … Alma Mater had some importance economically and even politically, because it temporarily proved to Eddie that he had use past signing checks” (pp. 41, 42).
1. Mary Berenson’s diary, November 18, 1903, quoted in Ernest Samuels, Bernard Berenson: The Making of a Connoisseur (Cambridge, Mass.: Harvard University Press, 1979).
2. E. H. Gombrich, Aby Warburg (Chicago: University of Chicago Press, 1986), pp. 142–43.
3. F.M. Warburg to B.B., September 17, 1926. I Tatti.
4. F.M.W. to B.B., January 5, 1928. I Tatti.
5. A.M. to B.B., September 9, 1929. I Tatti.
6. PJ.S. to A.M., June 1, 1933, by permission of the Harvard University Archives.
7. A.M. to B.B., July 25, 1934. I Tatti.
8. August 21, 1930.
9. Letters by permission of the Harvard University Archives.
10. Agnes Mongan, “Drawings in the Platt Collection,” American Magazine of Art, July 1932, p. 49.
11. Ibid.
12. Ibid., p. 53.
13. Ibid., p. 54.
14. Ibid.
15. Ibid., p. 53.
16. Ibid., p. 54.
17. Agnes Mongan, “Collector of Old Master Drawings,” Boston Evening Transcript, December 21, 1931.
18. Agnes Mongan, “Rare Drawings in Fine Art Exhibit Held in Buffalo,” The Art News, December 29, 1934.
19. A.M. to B.B., July 25, 1934. I Tatti.
20. Letter from M.B. to A.M., September 23, 1935, by permission of the Harvard University Archives.
21. A.M. to A.H.B., January 20, 1933, by permission of the Harvard University Archives.
22. A.H.B. to A.M., February 19, 1933, by permission of the Harvard University Archives.
23. A.M. to A.H.B., March 2, 1933, by permission of the Harvard University Archives.
24. June 4, 1936.
25. January 15, 1936, E.W. to A.M., by permission of the Harvard University Archives.
26. Conversation with Agnes Mongan, February 1, 1990.
27. Letter by permission of the Harvard University Archives.
28. Conversation with Agnes Mongan, February 1, 1990.
1. John Martin, “The Dance: The Ballet,” The New York Times, March 10, 1935.
2. “E. M. Warburg Sees Future for Ballet,” The New York Times, March 17, 1935.
3. Letter from Alfred H. Barr, Jr., to E. M. M. Warburg, January 17, 1935. MoMA Archives, AHB Papers.
4. Conversation of January 11, 1989.
5. E. M. M. Warburg, As I Recall (privately published, 1978), p. 55.
6. Lincoln Kirstein, The New York City Ballet (New York: Alfred A. Knopf, 1973), p. 43.
7. Ibid.
8. E. M. M. Warburg, As I Recall, p. 55.
9. Virgil Thomson, Virgil Thomson (New York: Alfred A. Knopf, 1966), p. 250.
10. Ibid., p. 251.
11. “Dali Gives His Theories on Painting,” Hartford Courant, December 19, 1934.
12. Avery Memorial (Hartford: The Wadsworth Atheneum, 1984), p. 52.
13. “Austin Raises Question over Art Interest,” Hartford Times, January 20, 1935.
14. T. H. Parker, “Avery Opens Exhibition of Abstract Art,” Hartford Courant, October 25, 1935.
15. Le Corbusier, Quand les cathédrales étaient blanches: Voyage au pays des timides (Paris, 1937); quoted in Avery Memorial, footnote 79.
16. Soby, unpublished memoirs, p. 7–2.
17. Wolfe Kaufman, “Hartford Arty Festival Flivs,” Variety, February 19, 1936.
18. A. Everett Austin, Jr. (Hartford, Conn.: The Wadsworth Atheneum, 1958), p. 71.
19. “Ballet Event Tonight on Avery Stage,” Hartford Courant, February 14, 1936.
20. T. H. Parker, “Society Attends Gay and Exotic Paper Ball Here,” Hartford Courant, February 16, 1936.
21. Ibid.
22. Henry McBride, “All Arts United in Hartford,” New York Sun, February 22, 1936.
23. Soby, unpublished memoirs, 7–5, and conversation with Eleanor Bunce, July 18, 1989.
24. Ibid., 7–5, 7–6.
25. Telephone conversation, June 10, 1989.
26. The issue of who went into the water has about as many versions as there were people at the Paper Ball. Eleanor Bunce says only one person went in, but also admits that although she didn’t leave the party until dawn, there were still a few people there.
27. Julien Levy, Memoirs of an Art Gallery (New York: G. P. Putnam’s Sons, 1977) p. 145.
28. “Paper Ball,” Vogue, March 15, 1936.
29. “James Thrall Soby and His Collection,” in The James Thrall Soby Collection (New York: Museum of Modern Art, 1961), p. 19.
30. Conversation with Samuel Childs, March 4, 1990.
31. Soby, unpublished memoirs, pp. 9–20.
32. Ibid., 9–19.
33. Ibid., 6–1.
34. Ibid., 6–2.
35. Exhibition catalog for the Balthus exhibition he mounted at the Museum of Modern Art in 1956.
36. Soby, unpublished memoirs, 26–3.
37. Conversation with Eleanor Bunce, July 18, 1989.
38. My account of these events is based largely on Soby’s unpublished memoirs, and therefore differs slightly from the account given by Sabine Rewald in her book Balthus.
39. Soby, unpublished memoirs, 26–8.
40. Bernard Taper, Balanchine (London: Collins, 1974), p. 154.
41. Kirstein, New York City Ballet, p. 44.
42. Ibid.
43. “Orpheus and Eurydice Given at Metropolitan,” New York Evening Post, May 23, 1936.
44. Time, June 1, 1936.
45. “ ‘Orfeo’ Presented at Metropolitan,” New York Sun, May 23, 1936.
46. “The Opera ‘Orfeo’ Done in Pantomime,” The New York Times, May 23, 1936.
47. “Pleasure from Orpheus,” Time, June 15, 1936.
48. Igor Stravinsky and Robert Craft, Themes and Episodes (New York: Alfred A. Knopf, 1966), pp. 36–37.
49. None of the sources provide a first name for this man.
50. Lawrence Gilman, “Stravinsky’s Card Party,” New York Herald Tribune, 1937 (clipping undated).
51. Kirstein, New York City Ballet, p. 48.
52. E. M. M. Warburg, As I Recall, p. 56.
53. Ibid.
54. Stravinsky and Craft, Themes and Episodes, p. 36.
1. W. McNeil Lowry, “Conversations with Kirstein—1,” The New Yorker, December 15, 1986, p. 52.
2. Ibid., p. 53.
3. The New York Times, October 21, 1937.
4. E. M. M. Warburg, As I Recall (privately published, 1978), p. 82.
5. A.M. to B.B., July 12, 1938. I Tatti.
6. A.M. to B.B., July 23, 1938. I Tatti.
7. A.M. to B.B., August 4, 1938. I Tatti.
8. A.M. to B.B., October 29, 1940. I Tatti.
9. A.M. to B.B., August 10, 1939. I Tatti.
10. A.M. to B.B., December 15, 1938. I Tatti.
11. A.M. to Rico Lebrun, December 2, 1938, by permission of the Harvard University Archives.
12. A.M. to B.B., December 15, 1938. I Tatti.
13. B.B. to William Ivins, February 19, 1938, quoted in Ernest Samuels, Bernard Berenson: The Making of a Legend (Cambridge, Mass.: Harvard University Press, 1987).
14. B.B. to Mary Berenson, January 24, 1937, quoted in Samuels, Bernard Berenson.
15. B.B. to Ivins, ibid.
16. A.M. to B.B., October 29, 1940. I Tatti.
17. A.M. to B.B., July 25, 1934. I Tatti.
18. A.M. to B.B., January 21, 1941. I Tatti.
19. Letter of July 8, 1939, by permission of the Harvard University Archives.
20. Letter of July 11, 1939, by permission of the Harvard University Archives.
21. Agnes Mongan, “What Makes a Museum Modern?,” Art News, August 1–31, 1944.
22. B.B. to Mary Berenson, July 10, 1937, quoted in Samuels, Bernard Berenson.
23. A.M. to B.B., January 2, 1939. I Tatti.
24. A.M. to B.B., November 29, 1940. I Tatti.
25. Ibid.
26. A.M. to Thomas Howe, June 25, 1943, by permission of the Harvard University Archives.
27. Virgil Thomson, Virgil Thomson (New York: Alfred A. Knopf, 1966), p. 275.
28. “Austin Will Request Sabbatical Leave,” Hartford Times, June 11, 1943.
29. Paul J. Sachs, Introduction, Modern Art and the New Past (Norman: University of Oklahoma Press, 1957), p. viii.
30. Lowry, “Conversations with Kirstein—1.”
31. A.M. to B.B., January 9, 1948. I Tatti.
32. Telephone conversation between A.M. and NFW, June 14, 1990.
33. A.M. to B.B., January 21, 1941. I Tatti.
34. Telephone conversation between A.M. and NFW, June 14, 1990.
35. A.M. to B.B., January 11, 1947. I Tatti.