Henry and Rose Pearlman papers
name: label: Creator
content: Pearlman, Henry, b. 1895
label: Names
content: The Henry and Rose Pearlman Foundation
label: Names
content: Cézanne, Paul, 1839-1906
label: Names
content: Degas, Edgar, 1834-1917
label: Names
content: Gogh, Vincent van, 1853-1890
label: Names
content: Kokoschka, Oskar, 1886-
label: Names
content: Lipchitz, Jacques, 1891-1973
label: Names
content: Modigliani, Amedeo, 1884-1920
label: Names
content: Pearlman, Rose, b. 1901
label: Names
content: Soutine, Chaim, 1893-1943
topic: label: Topic
content: Art -- Collectors and collecting -- New York (State) -- New York
acqinfo: label: Provenance
content: The Henry and Rose Pearlman papers were donated to the Archives of American Art in 2004 by Dorothy Edelman and Marge Scheuer, daughters of Henry and Rose Pearlman, care of the Henry and Rose Pearlman Foundation.
creator: label: Creator
content: Pearlman, Henry, b. 1895
setName: label: See more items in
content: Henry and Rose Pearlman papers
abstract: label: Summary
content: The records of the Henry and Rose Pearlman papers measure 4.38 linear feet and date from 1893 to 1995 (bulk 1950-1980). The collection documents the activities of Post-Impressionist and Modern art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs, and clippings.
bioghist: label: Biographical Note
content: Henry Pearlman (1895-1974), a lifelong resident of New York City, rose through the ranks of the business world to found his own company, Eastern Cold Storage, in 1919. In 1925, Henry married Rose. In the early 1940s, Pearlman purchased a few realist paintings, but it wasn't until his 1943 purchase of Chaim Soutine's Village Square that he was inspired to build what would become a noted collection of Post-Impressionist works. Over the next three decades, Pearlman acquired numerous works by such well-known artists as Soutine, Modigliani, Cezanne, Van Gogh, Renoir, Manet, Matisse, and Toulouse-Lautrec, in addition to those of lesser-known artists. In the early 1950s, Pearlman began collecting Cezanne watercolors. These paintings would become the cornerstone of his collection and would be exhibited around the world. Pearlman died in 1974, leaving his wife, Rose, to manage his collection until her death in 1994. From the mid-1970s, the Pearlman Collection has been on long-term loan to the Art Museum of Princeton.

The Pearlmans founded the Henry and Rose Pearlman Foundation in the 1950s. Much of the Pearlmans' artwork is now officially owned by the Foundation.
physdesc: label: Extent
content: 4.38 Linear Feet
unitdate: label: Date
content: 1893-1995
label: Date
content: bulk 1950-1980
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.pearhenr
objectType: label: Type
content: Collection descriptions
label: Type
content: Archival materials
label: Type
content: Photographs
arrangement: label: Arrangement
content: The collection has been arranged into four series. Glass plate negatives are housed separately and closed to researchers.

Series 1: General Collection Files, 1950-1995 (Box 1, 5; 8 folders)

Series 2: Artists' Files, 1909-1995 (Boxes 1-5, MGP 5; 3.2 linear feet)

Series 3: Museum Files, 1951-1994 (Box 4; 20 folders)

Series 4: Personal Files, 1966-1993 (Box 4; 5 folders)
processinfo: label: Processing Information
content: The papers were processed in July 2005, by Vanessa Catanzaro. The collection was prepared for scanning in 2011 by Judy Ng and fully scanned in 2011 with funding provided by the Princeton Art Museum. Glass plate negatives were re-housed in 2015 with a grant provided by the Smithsonian Collections Care and Preservation Fund.
altformavail: label: Alternative Forms Available
content: The papers of Henry and Rose Pearlman in the Archives of American Art were digitized in 2011, and total 5446 images.

Blank pages, blank versos of photographs, photographs of artwork, duplicates, and medical, legal, and personal financial documents have not been scanned. In most cases, only the cover, title page, and individual relevant pages have been scanned from published materials. A few documents were not scanned at the request of the Princeton Art Museum because they contained sensitive information.
genre_format: label: Genre/Form
content: Photographs
scopecontent: label: Scope and Content Note
content: The Henry and Rose Pearlman papers measure 4.38 linear feet and document the activities of art collectors Henry and Rose Pearlman through correspondence, research materials, exhibition catalogs, photographs of artwork and exhibitions, and clippings ranging from 1909 to 1995 (bulk 1950-1980). Most of the materials relate to artists and pieces represented in the Pearlmans' collection, although a small amount of material concerns works considered or researched by Pearlman, but not purchased.

The bulk of the collection concerns the lending, reproduction, and exhibition of works of art owned by the Pearlmans and their foundation. Supplemental research material such as exhibition catalogs, photographs of artworks, and articles and clippings on artists, artworks or other private collections, make up most of the remainder. Oversized materials include a catalogue of the Pearlman Collection, a portfolio of reproductions of the Cezanne watercolors belonging to the Pearlmans, and photographs comparing Toulouse-Lautrec's Parody of the Bois Sacre aux Arts et Muses to the original.