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Giuseppe Panza papers, 1956-1990

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Panza (Giuseppe) Papers
Series V. Museums, 1959-1990, 1970s-1980s 10 lin. ft. 26 boxes
Series consists primarily of correspondence documenting Panza's relationship with museums throughout the United States and Europe. Many of the letters refer to Panza's search for permanent installations of his collection, long-term and temporary exhibition loans and visits by others to his villa in Varese. Included is extensive and comprehensive material (1980-1987) from Museum of Contemporary Art, Los Angeles (MOCA) about board of trustee and curatorial functions, and regarding the sale of his collection to the institution.
198 USA, Museum of Contemporary Art, Los Angeles (MOCA) 1980-1982
198 1-3 Board of Trustees
meeting minutes and some correspondence outlining important board functions, including architect selection and construction of the Bunker Hill site, building renovation for the Temporary Contemporary, operating budgets, fund-raising, acquisitions policy, nomination of new trustees, etc..
199 USA, Museum of Contemporary Art, Los Angeles (MOCA)
199 1-3 Board of Trustees, 1983-1985
meeting minutes and some correspondence documenting similar topics as above, and also includes "Strategic Development Plan," community relations, exhibitions program, acquisition of and financial arrangements for the Panza Collection.
200 USA, Museum of Contemporary Art, Los Angeles (MOCA)
200 1-3 Board of Trustees, 1986-1987
meeting minutes and some correspondence about the chief curator search, education programs, bookstore start-up financing and construction, volunteers.
201 USA, Museum of Contemporary Art, Los Angeles (MOCA)
201 1 Philosophy
includes "Museum of Contemporary Art, Los Angeles (MOCA): An Introduction to its Goals and Policies," with report, "The Collections Information Book" and "The Collections of Museum of Contemporary Art, Los Angeles (MOCA)" (1981).
201 2 Acquisition Committee, 1982-1984
meeting minutes, policy drafts and reports about acquisitions (see also Board of Trustees).
201 3 Bylaws , see box 203, folder 9 for amended bylaws). undated
201 4 Financial, 1980-1987
includes reports from Touche Ross & Co. (1980-1981) and Financial Planning and Budget Committee meeting minutes (1984, 1987; see also Board of Trustees).
201 5 Recognition Opportunities, , 1985 1987
summary and report regarding donor recognition).
202 USA, Museum of Contemporary Art, Los Angeles (MOCA)
202 1-16 Correspondence, 1980-1988
consists of letters and telegrams with Richard Koshalek, Eli Broad, William Kieschnick, other board members and Museum of Contemporary Art, Los Angeles (MOCA) staff regarding various topics, such as: Panza's election to the board (1980); Panza's delight over museum's progress, his concern about the relatively small quantity of exhibition space, which makes the installation of environmental art difficult, and Panza's museum plans in Italy (1981); negotiations for the purchase of 80 works from the collection (1983-84); many telegrams with Julia Brown and other Museum of Contemporary Art, Los Angeles (MOCA) staff regarding exhibition of works in Panza's collection for "The First Show" (1982-83), "The Panza Collection" (1984-85) and the Turrell exhibition (1985); Panza's concerns about Museum of Contemporary Art, Los Angeles (MOCA) skylights (see boxes 205-206 for schematics and Panza drawings), ideas for a sculpture garden (see box 24 for Panza installation designs), importance of keeping the Temporary Contemporary facility and finding a permanent home for his Minimal and Conceptual works (1984); 3 slides of Oldenburg reinstallation at Museum of Contemporary Art, Los Angeles (MOCA) and Panza's concerns for changes in the Barry entrance room (1985); Panza ideas for installation of Minimal and Conceptual works in the BH courtyard (similar to sculpture garden idea) and confusion over board potentially selling works (1986, see especially letter from Kathy Bonner 11/4). Also many short telegrams coordinating Panza's schedules while in L.A. and visitors to Varese.
203 USA, Museum of Contemporary Art, Los Angeles (MOCA)
203 1 Regione Piemonte acquisition correspondence, 1983
copies of Panza letters regarding placement of the works now at Museum of Contemporary Art, Los Angeles (MOCA).
203 2 Proposed collection acquisition, 1983-1984
correspondence and copies of Museum of Contemporary Art, Los Angeles (MOCA) agreement and appraisals by Sotheby's and Christie's.
203 3 Original sales contract, undated
written by Panza.
203 4 Contract copy, 15 Dec 1983
203 5 Contract changes, 24 Jan 1984
203 6 Banca Popolare correspondence, 1984
regarding payment schedule.
203 7 Bill of Sale, 1985
8-9 Sergio Erede correspondence, 1985-1986
copy of 11 page letter to Erede, Panza's lawyer, from Panza about misunderstanding with Museum of Contemporary Art, Los Angeles (MOCA) over financial arrangements of sale with copies of documentation (1985). Separate folder contains letters regarding withholding tax and documents additional problems with Museum of Contemporary Art, Los Angeles (MOCA) about payment schedule and deaccessioning works from the collection. Also contains bill of sale for 1986 and Museum of Contemporary Art, Los Angeles (MOCA)'s amended bylaws (see also Series I, Box 6 for more with Erede).
box folder
203 10 Bill of Sale, 1987
203 11 Mutual General Release agreement, 1988
203 12-13 Potential acquisition of Minimal and Conceptual works, 1985
list of artists selected by Koshalek of the second portion of Panza's collection (now at Guggenheim) with drawings and blueprints of Museum of Contemporary Art, Los Angeles (MOCA) schematics and potential installation schemes (1984). Also "Proposed Selections from the Remainder of the Panza Collection (Version Two)," 2 copies (April 5, 1985).
203 14 Photocopies of 38 works
203 15-16 Loan Forms
loan forms and some correspondence for "The First Show" and "Individuals" (see box 205 for checklists).
204 USA, Museum of Contemporary Art, Los Angeles (MOCA) 1984-1985
204 1-4 Installation designs for the TC (Temporary Contemporary)
original Panza drawings and copies of potential exhibitions of his collection at MOCA's TC building, n.d. (earlier), 6 Dec 1984, 9 Feb 1985, 15 Apr 1985.
204 5-6 Installation designs for Bunker Hill (i.e. MOCA building), 1984-1985
drawings and copies, 15 Apr 1984 and various 1984 and 1985.
204 7 Installation designs for California Plaza (i.e., MOCA building) undated
drawings and copies.
box folder
205 8-10 Installation designs for sculpture garden, 1984
drawings and copies of work photographs for proposed sculpture garden installation at California Plaza.
205 USA, Museum of Contemporary Art, Los Angeles (MOCA)
205 1-2 "Individuals" checklists, 1986
copies of typescript artists checklist and handwritten works checklist by Julia Brown with three letters from. Separate folder contains typescript checklist (28 Jan 1986) and short bios of artists.
205 3 Exhibitions 1986
consists mostly of press releases.
205 4-7 Press Releases, 1980-1987
A very incomplete set, from scattered years.
205 8-10 Press Clips, , 1981 1983-1987
contains copies of newspaper and journal articles regarding new building, exhibitions, and various other Museum of Contemporary Art, Los Angeles (MOCA) related topics, (bulk 1987).
205 11 Skylight Studies
drawings by Panza (1984) for Museum of Contemporary Art, Los Angeles (MOCA) skylights at Bunker Hill site.
206 USA, Museum of Contemporary Art, Los Angeles (MOCA)
206 1 Skylight Blueprints
for the Bunker Hill MOCA site.
206 2 Interviews
copies of "The First Show" catalog and annotated typescript of "The Panza Collection."
206 3 Cards and Invitations
includes invitations to Museum of Contemporary Art, Los Angeles (MOCA) openings and parties given by trustees, ca.43 items.
206 4 miscellaneous Cards
includes thank you notes and invitations, ca.23 items.
206 5 Schedules
notes, letters and invitations written primarily by Museum of Contemporary Art, Los Angeles (MOCA) staff to coordinate Panza's schedule while visiting L.A.
206 6 Addresses and phone numbers
206 7 Receipts, 1988
some express mail receipts for documents sent to Museum of Contemporary Art, Los Angeles (MOCA), withholding tax forms for sale of collection and insurance and shipping receipts.
206 8 photographs
mostly of Panza Collection installation, 10 items.
206 9 miscellaneous
reports, memos, notes, announcements, etc.
207 USA, Los Angeles County Museum of Art (LACMA)
207 1-2 Contract correspondence and agreement, 1984-1986
much correspondence with Earl A. Powell regarding possible acquisition of the collection and copies of contract draft.
207 3 List of works
copies of lists made by Panza.
207 4 Acquisition recommendation, 1985
list of works recommended for acquisition, generated by Los Angeles County Museum of Art (LACMA).
207 5-6 Third and Fourth floor plans
blueprints of Los Angeles County Museum of Art (LACMA)'s Anderson building's fourth floor and Panza drawings for installations.
207 7 Correspondence
includes letters about visits to the collection from Maurice Tuchman and loan requests.
207 8 Press releases
announcements, press releases, collection lists, etc.
208 USA, Museum of Modern Art, New York (MOMA)
208 1 1960-1969
membership cards.
208 2-6 1972-1984
consists of material from the International Council of MOMA, such as correspondence, meeting minutes and itineraries, exhibition lists, financial statements, reports, etc.
209 USA, Museum of Modern Art, New York (MOMA)
209 1-5 1985-1990
mostly general membership materials, including newsletters, calendars, correspondence, announcements, invitations and some items from the International Council,.
210 USA, Whitney Museum of Art
210 1 Correspondence
letters from Richard Armstrong and other personnel about visits to Varese and loans.
210 2-3 Membership letters and info., 1988-1990
much material requesting donations and listing events.
210 4 Announcements and invitations
ca.35 items.
211 USA, A-F; includes:
1 Arizona
primarily contains material from Phoenix Art Museum in the form of correspondence and schedules regarding the Panza's visit there (1987).
box folder
211 2-4 California, La Jolla Museum of Art, 1985-1987
includes extensive correspondence with Hugh Davies and others about possible loan and installation of the collection at the B Street Pier Warehouse (1985-1986), with copy of a letter from Panza outlining 10 different exhibition programs. Also includes announcements and Biennial Report 1986 and 1987.
211 5-6 California, Long Beach Museum of Art
substantial correspondence with Jan Ernst Adlmann regarding 15 year loan of the collection (1974-75) with agreement, contract, blueprints of I.M. Pei's design for new museum and 6 slides of model.
211 7 California, miscellaneous
includes correspondence and announcements from various art institutions in Calif.
211 9 Florida, Center for the Fine Arts, Miami, 1979-1980
polite correspondence re Jan van der Marck's appointment as director.
212 USA, I-N; includes:
212 1 Illinois, ca. 1974-1985
correspondence from James Speyer of the Art Institute of Chicago about visiting Varese and from various staff from Museum of Contemporary Art, Chicago.
212 2-4 Iowa, Des Moines Art Center, 1987-1990
includes some correspondence with Julia Brown Turrell about personal matters and long-term loans from the collection (1987), and "New Museum Architecture and Contemporary Art" symposium and copy of text written by Brown Turrell for Journal of Art about Panza's contractual arrangements with artists concerning fabrication (1990). Also includes press releases and telegrams, ca.27 items.
212 5-7 Massachusetts, Museum of Contemporary Art
substantial correspondence with Thomas Krens and others about acquisition and long-term loans of works in the collection and government approval problems associated with the overall MASS Museum of Contemporary Art, Los Angeles (MOCA) project (1986-87). Also "MASS Museum of Contemporary Art, Los Angeles (MOCA) Project Realization Political Milestones," "Executive Summary" of project and blueprint (3 copies) of Williams College Contemporary Museum of Art renovation.
212 9 Michigan, Detroit Institute of Arts
includes letters regarding Panza's 1985 lecture there.
212 10 Minnesota, Walker Art Center
includes much polite correspondence with Martin Friedman.
212 12-13 New York, Dia Art Foundation
includes correspondence with Philippa Pellizzi, Heiner Friedrich and Helen Winkler about De Maria's "Lightning Field" (see Series IIA Box 106.5 for some of the original letters) and Panza's museum programs, and announcements, ca.60 items.
213 USA, N-Z; includes:
213 1 New York, Guggenheim Museum of Art, 1969-1989
correspondence with Tom Messer and other personnel regarding financial contributions, loans for Rothko, Ryman and Lichtenstein exhibitions and visits to Varese (1969-1987), and includes copy of contract draft for purchase of works now at Guggenheim (1989).
213 2 New York, miscellaneous
correspondence, announcements, membership cards, etc., from various museums.
213 8 Texas
includes letter from and response to Stephen Nash, Dallas Museum of Art, about collection placement and loan request from Robert Murdock, Dallas Museum of Fine Art.
213 10 Washington, D.C.
includes some letters from personnel of the Hirshhorn Museum and the National Gallery of Art.
213 11 Correspondence with directors
thank you notes from, and letters arranging visits and discussing Panza's museum plans with Jan van der Marck, I. Michael Danoff, Richard Koshalek, J. Carter Brown, Marcia Tucker and many others.
214 France
214 1-2 Bordeaux, Musée d'Art Contemporain, 1980s
correspondence with Jean-Louis Froment and other staff members about loans, visits and other matters. A separate folder contains newsletters, announcements, invitations, etc.
214 3-4 Lyon, Musée St. Pierre
correspondence with Thierry Raspail about the exhibition of the collection (1989) and "La Couleur Seule (1988), announcements, invitations and newsletters. Also substantial quantity of plans drawn by Panza for Flavin exhibition with many photographs and slides of the museum.
215 France
215 1-2 Paris, Pompidou Center, 1970s-1980s
correspondence with Dominique Bozo, Pontus Hulten and staff re exhibition and long-term loans, visits and other matters, and a substantial quantity of announcements and invitations.
215 3 Paris, Musée d'Art Moderne de la Ville de Paris
mostly correspondence about "Electra" exhibition (1983) and also a letter from Pierre Gaudibert about the date change of the Rauschenberg show (1968).
215 4-5 St. Etienne
primarily correspondence with Bernard Ceysson regarding the exhibition of Nauman and Long works (1988-1990) and 5 different plans drawn by Panza for various installations.
215 6 France, miscellaneous
216 Germany, Japanese
216 1 Berlin
includes correspondence with Lucius Grisebach about loans and a text for the "New York in Europa" exhibition (1976) and with Werner Haftmann, both of the Nationalgalerie, regarding loans for the Rothko show (1970-1971).
216 2 Köln
includes much correspondence with Kasper Koenig regarding "Westkunst" loans (1980-1981), and with Evelyn Weiss and others about Rothko loans (1971-1972).
216 3 Stuttgart
correspondence with Gudrun Inboden, Peter Beye and others about loans and placement of the collection at Staatsgalerie (1976-85).
216 4 Germany, miscellaneous
216 5 Germany, miscellaneous
216 6 Germany, correspondence with directors
some miscellaneous correspondence
216 7 Austria
1 item.
216 8 Japan
correspondence with Fumio Nanjo of the Japan Foundation (1983).
217 Belgium, Iran, Mexico, Holland
217 1 Belgium, 1971-1972
some correspondence about loans for "Metamorphoses de l'Objet" and announcements.
217 2 Iran
1 item.
217 3 Mexico
4 items.
217 4-5 Holland
includes correspondence with Rudi Fuchs of Van Abbemuseum Eindhoven, Edy de Wilde of Stedelijk Museum, R.W.D. Oxenaar of Rijksmuseum Kröller-Müller and their staffs regarding loans and other matters. Also many blueprints of Van Abbemuseum Eindhoven.
218 Spain, Reina Sofia
218 1 Correspondence, 1985-1988
with Carmen Giménez and others regarding the loans, 1988 exhibition of the collection and other matters.
218 2 Announcements and invitations
ca.40 items.
218 3-6 Plans for 1988 Exhibition
includes blueprints, schematics, installation plans, and checklist.
218 7 Articles
clippings and journals, some about the 1988 exhibition.
218 8 miscellaneous
includes correspondence, insurance information and visitors record for 1988 show, 7 photographs of the building before it was renovated and 4 photographs of the interior after renovation.
219 Scandinavia, Spain (miscellaneous), Switzerland, United Kingdom
219 1 Scandinavia
letters from Knud Jensen of Louisiana Museum of Modern Art about possible loans and acquisition of the collection (1971, 1978), Björn Springfeldt and others.
219 2-3 Spain
some correspondence about collection placement, 10 items, and 1 architectural drawing and installation designs for El Borne project.
219 4 Bern, Kunsthalle
includes letters from Franz Meyer regarding 1959 Tàpies exhibition and much material for 1979 exhibition of the collection, such as correspondence with Johannes Gachnang, checklist, installation plans, blueprints, typescript "Un conciliante dialogo d'arte" and 20 photographs of the exhibition.
219 5 Geneva, Musée Barbier-Mueller
letters from Martine Renaud and others from l'Association des Amis du Musée Barbier-Mueller concerning shows, bulletins and other matters, and also includes announcements and invitations, 1981-87.
219 6 Zürich, Kunsthalle
includes correspondence with Erika Billeter and R. Wehrli about loans, and collection lists.
219 7 Switzerland, miscellaneous
includes correspondence with Martin Schwander regarding loans for Internationale Skulpturen-Ausstellung, Wenkenpark Riehen (1980) and many press releases and announcements from Kunstmuseum Luzern and other various institutions (see Series I, Box 11-13, for more regarding Basel, especially the long-term loan negotiations).
219 8 United Kingdom
miscellaneous correspondence from Alan Bowness of the Tate Gallery and the staff of various museums about loans, collection placement and visits to Varese.
220 Canada, Australia, Italy
220 1 Vancouver Art Gallery, 1977-1984
mostly correspondence with Luke Rombout about long-term loans of the collection and booklet "Vancouver Sculpture Project 86."
220 2 Canada, miscellaneous
contains mostly correspondence with the staff of the National Gallery of Canada about Panza writing a text on his collection, various loans and visits.
220 3 Australia
2 items.
220 4-5 miscellaneous Italy
letters, brochures, announcements, invitations, etc.
220 6 miscellaneous Italy, correspondence with directors
includes 2 letters from Palma Bucarelli (1974, 1980) and 2 letters to (1979, 1982).
220 7-8 Biennale di Venezia, 1986
includes much correspondence regarding loans for "Arte e scienza" (1986) and loans for other exhibitions, and announcements and invitations.
box folder
221 1-6 Italy, Triennale di Milano
Primarily extensive material for "Light, Space, Perception, Energy" (1990), such as correspondence, background materials, checklists, cost sheet, blueprints, installation plans.
222 Italy, Brera
222 1-2 Project Palazzo Citterio
blueprints, Panza notes, "Relazione Architettonica" by Stirling, Wilford & Associates, 2 photographs of model.
222 3-4 miscellaneous
includes much information from L'Associazione Amici di Brera, such as correspondence, schedules, invitations, invitation lists, financial report, etc. (see also Amici di Brera in Series I); and also letters from Sovrintendenza per i beni artistici e storici, newsletters, announcements and blueprints from Gregotti Associati, 1976-86, n.d.
223 Italy
223 1 Milan, Museo Poldi-Pezzoli, 1979-1990
mostly announcements and invitations, but also some letters from Alessandra Mottola Molfino (see also Series I, Box 3 for Associazione Amici del Museo Poldi Pezzoli).
223 2-3 Prato, Museo d'Arte Contemporanea Luigi Pecci, 1986-1990
includes many letters from Massimo Bellandi, programs of activities, Panza typescript "L'arte europea ed il mondo oggi," announcements and invitations.
223 4 Turin, Lingotto, 1987-1988
some correspondence and installation drawings by Panza for Luce-Torino exhibition.
223 5 Varese, Lodovico Pogliaghi, 1987
correspondence with Vera Rosnati Pogliaghi and lists of Panza donations.
223 6-7 Venice, Palazzo Grassi, 1984-1987
includes correspondence with Pontus Hulten and others regarding exhibitions (Arcimboldi and Tinguely), letters from Furio Colombo with materials regarding Amici di Palazzo Grassi, announcements and invitations.

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