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Heim Gallery records, 1965-1991

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Descriptive Summary
Biographical / Historical Note
Scope and Content of Collection
Restrictions
Indexing Terms
Related Material
Administrative Information
Container List
Series I. Correspondence, 1965-1991, undated
Series I.A. Museums, ca. 1965-1991
Series I.B. Clients and suppliers, 1965-1990
Series I.C. Experts, 1965-1990
Series I.D. Letters sent, 1974-1989
Series I.E. Bulletins to Paris, I-XXXIX, 1966-1987?
Series I.F. Diaries, 1966-1989
Series II. Index cards, ca. 1965-1991
Series III. Photographs, ca. 1965-1991, undated
Series III.A. Paintings sold, ca. 1965-1991
Series III.B. Paintings from the Paris gallery, ca. 1965-1991
Series III.C. Pre-restoration paintings, ca. 1965-1991
Series III.D. Sold Polish paintings, ca. 1965-1991
Series III.E. Paintings and Drawings, documentary, ca. 1965-1991
Series III.F. Drawings and engravings sold, ca. 1965-1991
Series III.G. Sculpture sold, ca. 1965-1991
Series III.H. Sculpture, documentary, ca. 1965-1991
Series III.I. Sculpture, Pre-Restoration, ca. 1965-1991
Series III.J. Sculpture, French Bronzes, ca. 1965-1991
Series III.K. Marble Sculpture, ca. 1965-1991
Series III.L. Sculpture, French portrait busts, ca. 1965-1991
Series III.M. Furniture and other Decorative arts, ca. 1965-1991
Series IV. Research files, 1966-1991 undated
Series V. Financial, 1965-1991, undated
Series V.A. Stockbooks, cash books, commission books and ledgers, 1966-1991
Series V.B. Invoices, bills paid, shipping receipts, balance sheets, 1965-1988
Series VI. Gallery publicity, undated
Series VII. Andrew S. Ciechanowiecki personal files, 1966-1990, undated
Finding aid for the Heim Gallery records, 1965-1991

Scope and Content of Collection

The Heim Gallery Records document the business of the gallery, its cultivation of clients in Europe and the United States, and the production of its scholarly exhibitions especially for the period between 1966 and 1988. Correspondence with museums, individual clients and suppliers, and experts comprise the greater part of the collection. Photographs of art works, index files, stock books and other financial papers, research files and publicity files make up the rest of the archive.

The correspondence series contains letters received and the gallery's copies (green copies and daily files) of letters sent. Letters reflect the gallery's offers to museums and individual collectors, curators' requests for works for their collections or for assistance in finding works needed for exhibitions. Many of the letters reveal Andrew S. Ciechanowiecki's wit and warmth as he offers advice to young curators and spreads art world news among his colleagues and friends. The letters also document business strategies - offers to lend works to museums and collectors sometimes result in sales - and Ciechanowiecki's collaborations with museums and his solid scholarly contributions to exhibitions. The letters reveal his close personal association with Poland and its artistic patrimony and royalty. His fascination with class and position in England, and the royal family, are displayed in the publicity clippings and photographs of openings at the gallery.

Until 1986, Ciechanowiecki sent regular bulletins to Francois Heim, reporting in narrative form the current activities of the gallery: offers made, works seen, travels, transactions. Ciechanowiecki's diaries also record in abbreviated form meetings with clients, travels, and other activities on behalf of the gallery. There are no personal papers in the archive.

Photographs of art works are organized by medium: paintings, drawings, sculpture, and furniture and decorative arts, and represent works sold, with additional images of items before restoration, and art works documented for research or commercial reasons. Research notes, drafts of didactic text, printed brochures and photographs illustrate the production of exhibitions at the Heim gallery.

Research files contain notes, photographs, and printed material, organized by artist, school or medium. Offers made to the gallery are documented with photographs and some research notes. Many of these offers represent works rejected by the gallery. Financial records include stockbooks, ledgers and cash books, as well as invoices, paid bills, and documents related to shipping and taxes. Financial records do not appear to be complete, but include records from Heim, Old Masters, and Swiftdene. Gallery publicity is documented through clippings, guest books, and photographs that show members of royalty attending exhibits at the gallery.

Arrangement

The collection is arranged in eight series:
Series I. Correspondence, 1965-1990, undated;




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