Rogues' Gallery, by Michael Gross - Excerpt

Gros_9780767924887_2p_01_r1.
qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page ii
broadway books I New York
PDF
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page iii
The Secret Histor y of
ROGUES’
t h e Mog u l s a nd t h e Mo n e y
G A L L E RY
That Made t he Metropolit a n Muse um
Michael Gross
PDF
Gros_9780767924887_4p_01_r1.qxp:Gros_9780767924887_1p_all_r1 3/18/09 7:00 AM Page iv
Copyright © 2009 by Idee Fixe Ltd.
All Rights Reserved
Published in the United States by Broadway Books,

an imprint of the Crown Publishing Group,
a division of Random House, Inc., New York.
www.broadwaybooks.com
broadway books and its logo, a letter B bisected on the diagonal,

are trademarks of Random House, Inc.
Book design by Maria Carella

Photo on section openings courtesy Andrew Prokos Photography
Library of Congress Cataloging-in-Publication Data

Gross, Michael, 1952–
Rogues’ gallery : the secret history of the moguls and the money that
made the Metropolitan Museum / Michael Gross. — 1st ed.
p. cm.
1. Metropolitan Museum of Art (New York, N.Y.)—History.
2. Art—Collectors and collecting—United States—Biography. I. Title.
N610.G76 2009
708.147109—dc22 2008041480
ISBN 978-0-7679-2488-7
printed in the united states of america
1 3 5 7 9 10 8 6 4 2
First Edition
www.BroadwayBooks.com
PDF
To purchase a copy of
Rogues’ Gallery
visit one of these online retailers:

Amazon
Barnes & Noble
Borders
IndieBound
Powell’s Books
Random House
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page vii
Private Vices by the dextrous Management

of a skillful Politician may be turned into Publick Benefits.
Bernard Mandeville, The Fable of the Bees
PDF
Gros_9780767924887_3p_01_r1.qxp:Gros_9780767924887_1p_all_r1 3/2/09 10:33 AM Page ix
Conte nts
Leaders of the Metropolitan Museum

xi
Introduction
1
Archaeologist: Luigi Palma di Cesnola, 1870–1904

21
Capitalist: J. Pierpont Morgan, 1904–1912

65
Philanthropist: John D. Rockefeller Jr., 1912–1938

113
Catalyst: Robert Moses, 1938–1960

171
Exhibitionist: Thomas P. F. Hoving, 1959–1977

237
PDF
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page x
x I Contents
Arrivistes: Jane and Annette Engelhard, 1974–2009

373
Acknowledgments
487
Notes
491
Bibliography
523
Index
529
PDF
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page xi
Le ade rs of t he
Me t r o p o l i t a n Mu s e u m
Directors
Luigi Palma di Cesnola, 1879–1904
Caspar Purdon Clarke, 1905–1910
Edward Robinson, 1910–1931
Herbert Winlock, 1932–1939
Francis Henry Taylor, 1940–1955
James Rorimer, 1955–1966
Thomas Hoving, 1967–1977
Philippe de Montebello, 1977–2008
Thomas P. Campbell, 2009–
Presidents
John Taylor Johnston, 1870–1889
Henry Marquand, 1889–1902
Frederick Rhinelander, 1902–1904
John Pierpont Morgan, 1904–1913
Robert de Forest, 1913–1931
William Sloane Coffin, 1931–1933
George Blumenthal, 1934–1941
William Church Osborn, 1941–1946
Roland Redmond, 1947–1964
Arthur Houghton, 1964–1969
PDF
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page xii
xii I Leaders of the Metropolitan Museum
C. Douglas Dillon, 1969–1978

William Butts Macomber Jr., 1978–1986
William Henry Luers, 1986–1998
David E. McKinney, 1998–2005
Emily Rafferty, 2005–
Chairmen
Robert Lehman, 1967–1969
Arthur Houghton, 1969–1972
C. Douglas Dillon, 1972–1983
J. Richardson Dilworth, 1983–1987
Arthur Ochs Sulzberger, 1987–1998
James Houghton, 1998–
PDF
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page xiii
(
Rogues’ Gallery
PDF
Gros_9780767924887_2p_01_r1.qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page 1
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 wasn’t 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, I’d see there was
no point in my writing another. “If we tell you we won’t 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
PDF
2 I Ro g ue s’ Gallery
Thomas Hoving’s 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: Bloomingdale’s, Diana Vreeland, and the New Aristocracy of Taste in
Reagan’s 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, the
museum’s 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 museum’s 1970 centennial, one a
coffee-table book called The Museum by the late Condé 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 museum’s 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
then Museum didn’t appear as scheduled. What did was a brief New York mag-
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
Met’s 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 aren’t the only ones that the mu-
PDF
Gros_9780767924887_4p_01_r1.qxp:Gros_9780767924887_1p_all_r1 3/18/09 12:39 PM Page 3
3 I In troduction
seum has tried to erase. Simultaneously, The Clarks of Cooperstown by Nicholas

Fox Weber, a book about the family that produced two of America’s great-
est modern art collectors, Stephen and Sterling Clark, the former another
Met trustee, was banned from the museum’s bookshop, even though it had
been rushed into print to coincide with a Met exhibition of the Clark
brothers’ collections and the museum promised to “aggressively sell the
book in its stores.” Publishers Weekly noted that the book portrayed Alfred
Clark (Stephen and Sterling’s father) as leading a double homosexual life,
and mentioned Sterling Clark’s involvement in a plot to overthrow FDR.
Ever since its founding, the Metropolitan has bred arrogance, hauteur,
hubris, vanity, and even madness in those who live in proximity to its mul-
titude of treasures and who have come to feel not just protective but pos-
sessive of them. “Being involved with it made you special to the outside
world,” says Stuart Silver, for years the museum’s chief exhibition designer.
“It was a narcotic. You were high all the time.”
The Metropolitan is more than a mere drug, though. It is a huge al-
chemical experiment, turning the worst of man’s attributes—extravagance,
lust, gluttony, acquisitiveness, envy, avarice, greed, egotism, and pride—into
the very best, transmuting deadly sins into priceless treasure. So the mu-
seum must be seen as something separate from the often-imperfect indi-
viduals who created it, who sustained it, and who run it today, something
greater than the sum of their myriad flaws.
Without taking anything away from the Louvre or the Orsay in Paris,
Madrid’s Prado, St. Petersburg’s Hermitage, the British Museum (which
has no pictures), Britain’s National Gallery (which has only pictures and
sculpture), the Vatican in Rome, the Uffizi in Florence, Vienna’s Kunsthis-
torisches Museum, the Art Institute of Chicago, Berlin’s Pergamon, Am-
sterdam’s Rijksmuseum, the Smithsonian Institution, the National Gallery
of Art, the Museum of Fine Arts in Boston, the Getty in Malibu, or other
vital New York museums like the Whitney, the Guggenheim, and the Mu-
seum of Modern Art, the Metropolitan is simply (and at the same time not
at all simply) the most encyclopedic, universal art museum in the world.
In Montebello’s office that day, he’d been slumped sullenly in his chair
as I made my pitch, but straightened up defensively as I finished. “You are
laboring under a misimpression,” he told me. “The museum has no secrets.”
PDF
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 York’s 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 park’s
structural architect, and was leased, rent- and real-estate-tax-free, in per-
petuity to the museum’s 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.
Today’s 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 museum’s familiar face; he
PDF
5 I In troduction
also created its first comprehensive master plan, but wouldn’t 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 Hunt’s 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 museum’s president from 1904 until his death in
1913. The Morgan Wing, which now contains the popular arms and armor
collection, opened in 1910 as a home to the museum’s decorative arts col-
lection.
The American Wing, built onto the museum’s northwest corner in
1924, was inspired and paid for by its then president Robert de Forest, the
museum’s 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 museum’s history as Morgan.
During World War II, the Metropolitan’s 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 who’d befriended Rockefeller, shouldered the burden of
PDF
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
museum’s eighteen-month centennial celebration, it proved to be as con-
troversial as it was ambitious. Roche’s 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 on
the south), all wrapped in glass and limestone, weren’t 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 museum’s
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 the
Twenty-first Century Met. Hemmed in by the promise the museum was
forced to make to the city to win approval for the Roche expansion—which
forever set the building’s outer limits—it 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 Metropolitan’s 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 Café, the Trustees Dining Room for
PDF
7 I In troduction
members only, the Iris and B. Gerald Cantor Roof Garden Café, the Great
Hall Balcony Bar, and an under-construction café 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 museum—whether 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 trustees—is
a version of ennoblement, the ultimate affirmation of success, material and
d’estime 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.”
PDF
“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, she’s grown promiscuous, creating
councils 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 President’s 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 President’s Cir-
cle or the Patron Circle; make your company a corporate patron; sponsor an
exhibition like Balenciaga, Condé 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 Chairman’s 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-
PDF
9 I In troduction
effective as a business while serving as an educational resource, a civic

institution and a community partner—usually on the same day,” the museo-
grapher Marjorie Schwarzer wrote. Like Feigen’s 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 standard—over the years the Met’s board has consid-
ered itself beholden to no one. It has functioned as a private society.
In the Metropolitan’s 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 Montebello’s building-from-
within policy also violates the museum’s 1971 agreement by altering the
PDF
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 museum’s 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 museum’s 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 doesn’t 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 manage
the institution that contains them. The people are the beneficiaries of that
trust.
The museum’s board must raise funds for acquisitions, exhibitions,
conservation, education, and other costs not covered by the public’s contri-
butions, which have, over the years, ebbed and flowed with the currents of
economic and political change. Though much is opaque about the Met’s 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-
PDF
11 I In troduction
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 museum’s
charitable function” as an educational organization.
That’s just the beginning. As of June 30, 2007, the museum’s 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 (which
includes stocks, bonds, investment and hedge funds, and private equity and
real estate investments). Of that, $69 million was transferred from the mu-
seum’s endowment to its operating budget. The endowment contributed
30 percent of the museum’s 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 museum’s seventeen curatorial departments
and eighteen hundred employees (whose efforts are augmented by about
nine hundred volunteers) as well as its ancillary activities. Its payroll—or at
least the paychecks of its top officers—reflects its status as a huge and
hugely successful business. Montebello’s 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
PDF
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 in
contracts 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 America’s
largest nonprofit organizations (the Red Cross was No. 1, the New York
Public Library, No. 42).
And that doesn’t 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 . . . it’s 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 Gogh’s
Portrait of Dr. Gachet sold for $82.5 million and a Renoir, Bal au Moulin de la
PDF
13 I In troduction
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 York’s top
dealers says. Exact numbers are hard to come by. The Met’s 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 museum’s own
Thomas J. Watson Library, as I learned when I called to confirm the num-
bers I could find.
Michael Botwinick, director of New York’s Hudson River Museum,
formerly the assistant curator in chief of the Met, points out that it owns
more—lots more—than paintings. What’s it all worth? It’s priceless, of
course, since the Met will never sell its collection. But here’s a ballpark es-
timate. “Consider today’s art market,” Botwinick says. “Twenty-five million
dollars 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] let’s say $250 million. Let’s 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 Francisco’s Fine Arts Museums, goes even higher. “I’d take a
guess at $300 to $400 billion.”
PDF
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 museum’s creation. In recent
times, its board heads have been some of America’s most powerful busi-
nessmen: in the 1930s, George Blumenthal, who headed Lazard Frères; in
the 1960s, Robert Lehman, the head of Lehman Brothers; in the 1970s,
C. Douglas Dillon, John F. Kennedy’s 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 museum’s 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 museum’s 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 professional
operation.
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.
Kennedy’s 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 museum’s 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
PDF
15 I In troduction
collection of medieval art and the Cloisters to house it); the banker George
Baker, who started what’s 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 1925—then the largest cash gift ever given to a museum—making
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 Met’s brand-
name trustee dynasties have been Morgans, Astors, Whitneys, Rockefellers,
Annenbergs, Houghtons, and various representatives of the Lazard Frères
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 you’re 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-
seum’s 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 trustees—but he was also a
PDF
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 adventurous—nor 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 museum—behind a curtain of secrecy—
could do what it wanted.
Back in Philippe de Montebello’s office, I wound up my

pitch for the museum’s cooperation by gently telling him and Emily Kernan
Rafferty, the museum’s 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 wouldn’t 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 Montebello’s 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 wasn’t my last encounter with the top of the museum’s orga-
nizational chart.
Dietrich von Bothmer, the museum’s then eighty-nine-year-old cura-
tor emeritus of Greek and Roman art, was, I was told, close to death. “Get
PDF
17 I In troduction
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. Bothmer’s 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, Zeus’s son, by the Greek master Euphronios in
about 515 b.c. At the time, Montebello was digging in his heels; he didn’t
want to give it back.
When he’d bought the krater from True’s co-defendant in Rome, a
dealer named Robert Hecht Jr., Bothmer was hailed a hero—it was the
finest of twenty-seven surviving vases by the painter—but 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 hadn’t gotten Rafferty’s memo. Maybe he was
too 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 nurse’s 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 museum’s 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, he’d once been quite handsome. He was
still imposing. I spent a pleasant hour chatting about everything from his
family’s 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 museum’s Department of Asian Art, and his
PDF
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 I’d
been “sent” by the museum’s 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 Bothmer’s recollections sometimes got what I’d call “stuck”—
he would elaborate on stories we’d already covered as I tried to move the
conversation forward—those 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 Bothmer’s
desk.
The “book” turned out to be one of a series of oral history interviews
with the museum’s top trustees and staff, this one conducted in 1994 for the
Archives of American Art at the Smithsonian Institution. I had asked to
read them, but I’d 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 museum’s 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 Hawkins’s suc-
cessor, the museum’s senior vice president, secretary, and general counsel.
“Is Miles there?”
PDF
19 I In troduction
I explained that he had not arrived and Elizabeth had stepped out.
With a sinking feeling—I’d been busted!—I asked to take a message.
“Who is this?” she asked.
“Just a visitor.” Why in God’s 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
Cott’s call, instantly turning guarded. Elizabeth referred her to Miles. The
phone rang again. Elizabeth listened and turned. “They”—Miles and Both-
mer? Cott?—didn’t 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.
Elizabeth’s 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 Bothmer’s 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 he’d just re-
membered and that could not be switched.
“You’ve 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. He’d 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” didn’t 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 Bothmer’s coat when Sharon Cott appeared, grinning stiffly,
PDF
saying nothing, arms tightly wound. Miles pushed Bothmer into the hall,
where an awkward pas de quatre took place—no one acknowledging what
was going on. Cott finally said she wanted to talk to Bothmer. He asked, “Is
this a conspiracy?” I’d decided I liked him. “Several,” I said.
“I don’t 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 that’s
not what the Italian government believed; he says the Euphronios krater
was 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-
seum’s estimation, doddering and senile, perhaps the museum’s 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 grave—at least until his full
oral 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.
PDF
Archaeologist
Luigi Palma di Cesnola,
1870–1904
PDF
Capitalist
J. Pierpont Morgan,
1904–1912
PDF
Philanthropist
John D. Rockefeller Jr.,
1912–1938
PDF
Catalyst
Robert Moses,
1938–1960
PDF
Exhibitionist
Thomas P. F. Hoving,
1959–1977
PDF
Arrivistes
Jane and Annette Engelhard,
1974–2009
PDF
Acknowledgme nts
In my past books, out of both gratitude and diligence, I

have listed and thanked the hundreds of people who typically help me with
interviews, information, and pointers to others. With this book, however, I
felt the need to balance my desire to do the same against the clear percep-
tion that identifying those who helped me might put them at risk of retali-
ation from a very powerful institution and the individuals who run it.
The Metropolitan Museum of Art has been overtly hostile to this
project since its inception. Members of its board, administration, and staff
have made its opposition widely known. To protect their livelihoods or
their social positions, many of my sources insisted on remaining anony-
mous. Others said they didn’t care or were willing or proud to defy the mu-
seum, and some of those are quoted by name in the text or acknowledged
in the notes. But rather than try to decide which of the hundreds of people
who helped me might be at risk, I concluded it would be best to thank them
all here collectively for their commitment to the idea that independent in-
quiry into powerful institutions and individuals has value.
That said, some have been so very generous of their time and re-
sources that I must single them out. Thanks to Tom and Nancy Hoving,
for their memories and for the unlimited access they gave me to their
papers; to the various members of the Johnston, de Forest, Marquand, Tay-
lor, Rorimer, Redmond, Lehman, Wrightsman, and Houghton families
who were willing to speak to me; to Jerri Sherman, Ellie Dwight, William
Cohan, Murielle Vautrin, Stephen Yautz of SMY Historical Services, and
PDF
4 88 I Acknowled gments
Stephanie Lake for their generosity with their own research; to Melik Kay-
lan and Engin Ozgen for their help on the Lydian Horde story; to Marian
L. Smith, immigration historian of the Department of Homeland Security;
to the Rockefeller family, and their creation the Rockefeller Archive Cen-
ter, and Darwin Stapleton and Ken Rose, who run it; to Leonora A. Gid-
lund and the New York City Municipal Archives; to Calvin Tomkins and
the Museum of Modern Art Archives; to the library of the Rijksmuseum
Amsterdam; to the Center for American History at the University of Texas;
to Christine Nelson and the Morgan Library; to the New York Public Li-
brary; to the Beinecke Rare Book and Manuscript Library at Yale Univer-
sity; to the Columbia University Rare Book and Manuscript Library; to the
Hagley Museum and Library; to Jane C. Waldbaum, president of the Ar-
chaeological Institute of America; to Norm Turnross of the Baillieu Library
at the University of Melbourne; to the Leo Baeck Institute; to ArtWatch; to
Barbara Niss and the Mount Sinai Archives; to Pat Nicholson, Samuel
Peabody, and the Metropolitan Museum Historic District Coalition; to the
Smithsonian Institution and its Archives of American Art; to the Altman
Foundation; to the New-York Historical Society; to Ian Locke, Gary
Combs, Nilüfer Konuk, Dan Weinfeld, Anja Heuss, Anna Marangou, and
Arthur Oppenheimer; to Harold James of Princeton University, Johannes
Houwink ten Cate of the University of Amsterdam, and Jonathan
Petropoulos of Claremont McKenna College; and to my journalist com-
rades-in-arms Charles Finch, Walter Robinson, Jean Strouse, Marianne
Macy, Russell Berman of the New York Sun, Autumn Bagley of the Flint Jour-
nal, Laura Harris of the New York Post, and Tom Mooney at the Wilkes-Barre
Times Leader.
The researchers who helped me are beyond compare. Thank you to
Ryan Hagen, Kerrie Lee Barker, Asli Pelit, Amanda Rivkin, Alexandra
Schulhoff, Cynthia Kane, Eric Kohn, Laila Pedro, Lisette Johnson, Ray-
mond Leneweaver, Zachary Warmbrodt, and Sarah Shoenfeld, and to
Bouke de Vries, Gerard Forde, Benedetta Pignatelli, Oliver Hubacsek,
Radhika Mitra, Laila Pedro, and Ewa Kujawiak for their skilled trans-
lations.
Finally, personal thanks to my wife, Barbara, my sister, Jane, Peter
PDF
4 89 I Acknowled gments
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
PDF
Bibliography
Abbott, James Archer. Jansen. New York: Acanthus, 2006.
Alexander, Jonathan, and Paul Binski (eds.). Age of Chivalry: Art in Plantagenet England 1200–1400.
London: Weidenfeld and Nicholson, 1986.
Argyll, Margaret Campbell, Duchess of. Forget Not. London: W. H. Allen, 1975.
Astor, Brooke. Footprints: An Autobiography. Garden City, N.Y.: Doubleday, 1980.
Bartlett, Apple Parish, and Susan Bartlett Crater. Sister: The Life of Legendary American Interior
Decorator Mrs. Henry Parish II. New York: St. Martin’s, 2000.
Beaton, Cecil. Beaton in the Sixties. New York: Knopf, 2004.
———. The Unexpurgated Beaton. New York: Carroll & Graf, 2002.
Berman, Avis. Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art. New
York: Atheneum, 1990.
Biddle, Flora Miller. The Whitney Women. New York: Arcade, 1999.
Birmingham, Stephen. Our Crowd: The Great Jewish Families of New York. New York: Harper &
Row, 1967.
Booker, Christopher, and Richard North. The Great Deception. New York: Continuum, 2005.
Burnham, Sophy. The Art Crowd. New York: David Mackay, 1973.
Burt, Nathaniel. Palaces for the People. Boston: Little, Brown, 1977.
Callow, Alexander B. The Tweed Ring. New York: Oxford University Press, 1966.
Chernow, Ron. The House of Morgan. New York: Grove, 1990.
Cohan, William D. The Last Tycoons: The Secret History of Lazard Frères. New York: Doubleday,
2007.
PDF
5 24 I Biblio graphy
Coleman, Laurence Vail. The Museum in America: A Critical Study. Washington, D.C.: Ameri-
can Association of Museums, 1939.
Constable, W. G. Art Collecting in the United States of America. London: Thomas Nelson and
Sons, 1964.
Craven, Thomas. Modern Art: The Men, the Movements, the Meaning. New York: Simon & Schus-
ter, 1934.
D’Alton, Martina. The New York Obelisk; or, How Cleopatra’s Needle Came to New York and What
Happened When It Got Here. New York: Metropolitan Museum of Art/Abrams, 1993.
Dalzell, Robert F., Jr., and Lee Baldwin Dalzell. The House the Rockefellers Built. New York:
Henry Holt, 2007.
de Forest, Emily Johnston. John Johnston of New York, Merchant. New York: privately printed,
1909.
———. John Taylor: A Scottish Merchant of Glasgow and New York, 1752–1833. New York: privately
printed, 1917.
di Cesnola, Louis Palma. Cyprus: Its Ancient Cities, Tombs, and Temples: A Narrative of Researches and
Excavations During Ten Years’ Residence in That Island. New York: Harper & Brothers, 1878.
Doheny, David A. David Finley: Quiet Force for America’s Arts. Charlottesville: University of Vir-
ginia Press, 2006.
Douglas, Kirk. The Ragman’s Son. New York: Simon & Schuster, 1988.
Dwight, Eleanor. Diana Vreeland. New York: William Morrow, 2002.
Feigen, Richard. Tales from the Art Crypt. New York: Knopf, 2000.
Feldman, Gerald. The Great Disorder: Politics, Economics, and Society in the German Inflation, 1914–
1924. New York: Oxford University Press, 1993.
Fosdick, Raymond B. John D. Rockefeller Jr., a Portrait. New York: Harper, 1956.
Fry, Roger Eliot. Letters of Roger Fry. London: Chatto & Windus, 1972.
Gelb, Arthur. City Room. New York: Putnam, 2003.
Gordon, Meryl. Mrs. Astor Regrets. Boston: Houghton Mifflin Harcourt, 2008.
Haden- Guest, Anthony. True Colors: The Real Life of the Art World. New York: Atlantic
Monthly Press, 1996.
Harclerode, Peter, and Brendan Pittaway. The Lost Masters. New York: Welcome Rain,
2000.
Hays, Charlotte. The Fortune Hunters. New York: St. Martin’s, 2007.
Heckscher, August. Alive in the City: Memoir of an Ex-commissioner. New York: Scribner, 1974.
PDF
525 I Biblio graphy
Hersh, Seymour M. The Dark Side of Camelot. Boston: Little, Brown, 1997.
Hess, John L. The Grand Acquisitors. Boston: Houghton Mifflin, 1974.
———. My Times: A Memoir of Dissent. New York: Seven Stories Press, 2003.
Hibbard, Howard. The Metropolitan Museum of Art. New York: Harrison House, 1980.
Hoving, Thomas. King of the Confessors. New York: Ballantine, 1981.
———. Making the Mummies Dance: Inside the Metropolitan Museum of Art. New York: Simon &
Schuster, 1993.
Howe, Winifred. A History of the Metropolitan Museum of Art. New York: Metropolitan Mu-
seum of Art, 1913.
———. A History of the Metropolitan Museum of Art, Volume II, 1905–1941. New York: Columbia
University Press, 1946.
James, Harold. The Deutsche Bank and the Nazi Economic War Against the Jews: The Expropriation of
Jewish- Owned Property. New York: Cambridge University Press, 2001.
———. The End of Globalization: Lessons from the Great Depression. Cambridge, Mass.: Harvard
Jones, Arthur. Malcolm Forbes: Peripatetic Millionaire. New York: Harper & Row, 1977.
Josephson, Matthew. The Robber Barons. New York: Harcourt, Brace, 1934.
Kelley, Kitty. Jackie Oh! Secaucus, N.J.: Lyle Stuart, 1978.
Kiernan, Frances. The Last Mrs. Astor. New York: Norton, 2007.
Klein, Edward. All Too Human: The Love Story of Jack and Jackie Kennedy. New York: Pocket
Books, 1996.
Lerman, Leo. The Museum: One Hundred Years and the Metropolitan Museum of Art. New York:
Viking, 1969.
Lisagor, Nancy, and Frank Lipsius. A Law unto Itself: The Untold Story of the Law Firm Sullivan and
Cromwell. New York: Morrow, 1988.
Loebl, Suzanne. America’s Art Museums. New York: Norton, 2002.
Loeffler, Jane C. The Architecture of Diplomacy. New York: Princeton Architectural Press,
1998.
Lossing, Benson John. History of New York City: Embracing an Outline of Events from 1609 to 1830, and
a Full Account of Its Development from 1830 to 1884. New York: Perine, 1884.
Mahoney, Tom, and Leonard Sloane. The Great Merchants. New York: Harper & Row, 1974.
Marangou, Anna G. Life and Deeds: The Consul Luigi Palma di Cesnola. Nicosia: Cultural Center
of the Popular Bank Group, 2000.
PDF
McFadden, Elizabeth. The Glitter and the Gold. New York: Dial, 1971.
McNall, Bruce. Fun While It Lasted. New York: Hyperion, 2003.
Meier, Barry. Pain Killer: A “Wonder” Drug’s Trail of Addiction and Death. New York: Rodale, 2003.
Meyer, Karl. The Art Museum: Power, Money, Ethics: A Twentieth Century Fund Report. New York:
Morrow, 1979.
———. The Plundered Past: The Traffic in Art Treasures. New York: Atheneum, 1973.
Miller, Sara Cedar. Central Park: An American Masterpiece. New York: Harry N. Abrams, 2003.
Moses, Robert. Public Works: A Dangerous Trade. New York: McGraw-Hill, 1970.
Nasaw, David. The Chief: The Life of William Randolph Hearst. Boston: Houghton Mifflin, 2000.
Nicholas, Lynn H. The Rape of Europa. New York: Vintage, 1995.
Osborn, Henry Fairfield. The American Museum of Natural History: Its Origin, Its History, the
Growth of Its Departments. New York: Irving Press, 1911.
Ozgen, Ilknur, and Jean Ozturk. Heritage Recovered: The Lydian Treasure. Istanbul: Ugur Ok-
man for the Republic of Turkey, 1996.
Pertinax. The Gravediggers of France. Garden City, N.Y.: Doubleday, Doran, 1944.
Petropoulos, Jonathan. The Faustian Bargain: The Art World in Nazi Germany. New York: Oxford
Picon, Carlos, et al. Art of the Classical World in the Metropolitan Museum of Art. New Haven,
Conn.: Yale University Press, 2007.
Pope-Hennessy, John. Learning to Look. New York: Doubleday, 1991.
Reich, Cary. Financier. New York: Morrow, 1983.
Renfrew, Colin. Loot, Legitimacy, and Ownership: The Ethical Crisis in Archaeology. London: Gerald
Duckworth, 2000.
Rorimer, James J. Survival: The Salvage and Protection of Art in War. New York: Abelard, 1950.
Rosenzweig, Roy, and Elizabeth Blackmar. The Park and the People: A History of Central Park.
Ithaca, N.Y.: Cornell University Press, 1992.
Russell, John Malcolm. From Nineveh to New York. New Haven, Conn.: Yale University Press,
1997.
Saarinen, Aline Bernstein. The Proud Possessors: The Lives, Times, and Tastes of Some Adventurous
American Art Collectors. New York: Random House, 1958.
Samuels, Ernest. Bernard Berenson: The Making of a Connoisseur. Cambridge, Mass.: Belknap
Press, 1979.
PDF
527 I Biblio graphy
Schuker, Stephen. The End of French Predominance in Europe: The Financial Crisis of 1924 and the Adop-
tion of the Dawes Plan. Chapel Hill: University of North Carolina Press, 1976.
Secrest, Meryle. Duveen. New York: Knopf, 2004.
Seligman, Germain. Merchants of Art: 1880–1960. New York: Appleton-Century-Crofts, 1961.
Sherman, Jerri. “The Classes vs. the Masses: The Struggle to Open the Metropolitan Mu-
seum of Art on Sunday (1870–1891).” Master’s thesis, New York University, 2005.
Shriner, Charles A. Random Recollections. Paterson, N.J.: privately printed, 1941.
Silverman, Debora. Selling Culture: Bloomingdale’s, Diana Vreeland, and the New Aristocracy of Taste in
Reagan’s America. New York: Pantheon, 1986.
Simpson, Colin. Artful Partners: Bernard Berenson and Joseph Duveen. New York: Macmillan, 1986.
Sire, H. J. A. Father Martin D’Arcy: Philosopher of Christian Love. Herefordshire: Gracewing, 1997.
Smith, Sally Bedell. Grace and Power. New York: Random House, 2004.
Strouse, Jean. Morgan: American Financier. New York: Random House, 1999.
Tauranac, John. Essential New York. New York: Holt, Rinehart & Winston, 1979.
Taylor, Francis Henry. Babel’s Tower: The Dilemma of the Modern Museum. New York: Columbia
———. Pierpont Morgan as Collector and Patron, 1837–1913. New York: Pierpont Morgan Library,
1957.
———. The Taste of Angels. Boston: Little, Brown, 1948.
Tomkins, Calvin. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. New
York: Henry Holt, 1970. Revised and updated, 1989.
Towner, Wesley. The Elegant Auctioneers. New York: Hill & Wang, 1970.
Turpin, John K., and W. Barry Thompson. The Somerset Hills. Far Hills, N.J.: Mountain
Colony Press, 2004.
Unger, Irwin, and Deb Unger. The Guggenheims: A Family History. New York: HarperCollins,
2005.
Venema, Adriaan. Kunsthandel in Nederland, 1940–1945. Amsterdam: Uitgeverij De Arbeider-

spers, 1986.
Visson, Vladimir. Fair Warning: Memoirs of a New York Art Dealer. Tenafly, N.J.: Hermitage,
1986.
Vreeland, Diana. D.V. New York: Knopf, 1984.
Walker, John. Self-Portrait with Donors: Confessions of an Art Collector. Boston: Little, Brown,
1974.
PDF
Warhol, Andy. POPism: The Warhol ’60s. With Pat Hackett. New York: Harcourt Brace Jo-
vanovich, 1980.
Watson, Peter, and Cecilia Todeschini. The Medici Conspiracy. New York: Public Affairs,
2006.
Weitzenhoffer, Frances. The Havemeyers: Impressionism Comes to America. New York: Harry N.
Abrams, 1986.
Wharton, Edith. The Age of Innocence. New York: Appleton, 1920.
———. A Backward Glance. New York: D. Appleton- Century, 1934.
Whittredge, Worthington. The Autobiography of Worthington Whittredge, 1820–1910. New York:

Ayer, 1969.
Woolf, Virginia. Roger Fry: A Biography. New York: Harcourt, Brace, 1940.
PDF
Ind e x
Abbey of Saint-Michel-de-Cuxa cloister, anti-Semitism, 51, 104, 124, 162, 260–61,

13, 119–20 291, 317–19, 345–46, 381–83
Abstract Expressionism, 185, 216, 220, Archaeological Institute of America, 84,
226–27, 235, 263, 264, 321 359
Adam and Eve (Barnard), 120, 123, 131–33, Aristotle with a Bust of Homer (Rembrandt),
135–36 141, 243–47, 428
Adams, Cindy, 469 Armory Show (1913), 148, 223
Adams, Frederick, Jr., 290, 294 Arms and Armor Department, 5, 84–85,
African Americans, 100, 224–25, 317–19, 90–91, 163, 174, 189, 235, 326
321, 324, 331, 342 Arsenal, 26, 41, 289, 293
Age of Innocence, The (Wharton), 29, 54 Art Institute of Chicago, 3, 75, 118
Agee, William, 409 Astor, Brooke, 261, 295–96, 301, 314, 319,
Agnelli, Gianni, 376, 456, 458 325, 326, 327, 330, 332, 333, 335, 339,
Aldrich, Nelson, 93, 116 343, 350, 352, 357, 368, 414, 421, 422,
Alexander, Christine, 249, 255 423–24, 452, 456, 461, 467–70, 476
Altman, Benjamin, 61, 70, 71, 99–102, Astor, Minnie Cushing, 228, 295
103, 108, 130, 232, 287–88 Astor, Vincent, 228, 295–96
American Association of Museums, 179, Astor Chinese Garden Court, 421, 424
182 Autumn Rhythm (Number 30, 1950) (Pollock),
American Federation of Arts, 93, 156 227, 303
American Museum of Natural History, 34, Avery, Samuel P., 27, 39
35–36, 40, 41, 61, 68–69, 90, 124, Azcárraga, Emilio, 439
177, 187, 260, 285, 336, 338, 340,
478
American Wing, 5, 7, 12, 95, 137–41, 145,
160, 177, 204, 209, 304, 312, 345, Babel’s Tower: The Dilemma of the Modern
347–48, 404, 416, 417, 420–21, 471 Museum (Taylor), 182, 185, 189
Annenberg, Leonore, 376, 456 Bache, Jules S., 205–6, 232, 276, 287–88
Annenberg, Walter H., 368–72, 410, Bacon, Francis, 337, 349, 365, 439
418 Baker, George F., 15, 93, 105, 107, 136
Annenberg Center, 369–72 Baker, Walter, 224, 248, 350
Antioch Chalice, 219, 228 Baldwin, Sherman, 157n, 284
PDF
53 0 I Inde x
Balenciaga, Cristobal, 376, 379, 459 Brancusi, Constantin, 148, 225, 349
Balthus, 405, 439, 440 Braque, Georges, 221, 244, 419, 438, 439
Balzac, Honoré de, 277, 382 Breck, Joseph, 110–11, 119, 132, 144, 156,
Barbizon school, 70, 72, 101, 224 157–58, 160
Barnard, George Grey, 117–24, 131–33, Brian, Guy Louis Albert, 380, 384, 391
134, 135, 143–47, 153, 154, 155, 165, British Museum, 3, 25, 47, 54, 78, 106, 366,
167–68, 169 482, 483
Barr, Alfred, 184, 194, 419, 437 Brock, Horace “Woody,” 397, 466
Bass, Mercedes Kellogg, 423, 435, 457–58, Bronzino, 73, 149
477 Brummer, Joseph, 162, 166, 196–98, 215–
Bass, Sid, 423, 435, 456, 457–58, 477 16, 228
Beame, Abe, 343, 344, 345 Bryant, William Cullen, 14, 24, 27–28,
Beaton, Cecil, 308, 309 34
Beck, John C., 430, 431 Buckley, Pat, 376, 377, 455, 456, 457, 462
Bell, Malcolm, 443, 446, 449 Burden, Amanda Jay Mortimer, 337, 355
Belmont, August, 27, 61 Burden, S. Carter, Jr., 334, 336–38, 340,
Bemberg, Patricia “Bébé,” 380, 388 341, 343, 345, 350, 355
Berenson, Bernard, 96, 101, 119, 134, 206, Burroughs, Bryson, 146, 148, 174, 184, 185,
230, 273–74 349
Berggruen, Heinz, 419 Burt, Nathaniel, 25, 28, 60, 111, 179
Berman, Avis, 150, 191, 216 Bury St. Edmunds Cross, 242, 289, 291–
Biddle, Flora, 151, 204, 216 92, 411
Biddle, George, 188, 222, 223 Butler, Howard Crosby, 96, 99
Biddle, James, 297, 304
Billings, C. K. G., 121, 123, 131, 136, 144, 146
Bishop, Heber R., 57, 79
Blass, Bill, 375, 378, 463 Cadwalader, John, 93, 140
Bliss, Lillie, 149, 151, 184 Campbell, Thomas P., 479–83, 485, 486
Blodgett, William Tilden, 27, 34, 35, 37– Canaday, John, 317, 321, 350, 352, 353, 354,
40, 42, 44, 45, 48, 59 359, 360
Blum, Stella, 454, 455 Canaletto, 279, 329, 382, 391
Blumenthal, Florence, 156, 461 Caravaggio, 441, 484
Blumenthal, George, 14, 93, 97, 123–25, Card Players (Cézanne), 184, 243
134, 147, 156, 160, 161–64, 165, 168, Carmel, Ann, 275, 276, 277, 278
174–75, 178, 183, 187, 189–90, 191, Carnavon, George Edward Stanhope
192, 202, 233, 252, 261, 332 Molyneux Herbert, Earl of, 139, 140
Bonnard, Pierre, 148, 221, 244, 419 Carnegie, Andrew, 61, 78, 142
Bosworth, William Welles, 116–17, 119, Carroll and Milton Petrie European
121–24, 125, 131, 146, 164, 165 Sculpture Court, 9, 436–37
Bothmer, Bernard von, 248, 249, 356 Cassatt, Mary, 71, 72, 73, 149, 225
Bothmer, Dietrich Felix von, 16–20, 248– Cassini, Igor “Ghighi,” 273, 281
51, 253–58, 290, 291, 294, 297, 323, Cellini, Benvenuto, 80, 95
338, 356–62, 432, 443, 446 Central Intelligence Agency (CIA), 253,
Bothmer, Joyce Blaffer von, 294, 357 269, 285, 299, 413
Botwinick, Michael, 13, 298, 322–23, 327, Century Association, 29, 33–34, 37, 38,
332, 348, 356, 371, 415 224, 233
Bourhis, Katell le, 454, 455, 462 Cesnola, Luigi Palma di, 23–64
Branch Bank of the United States (Assay as archaeologist, 14, 23, 29, 31–33, 43–
Office), 138–39, 158, 420 48, 51–54, 64, 88, 119, 134
PDF
53 1 I Inde x
collection of, 14, 32–33, 43–48, 49, Cohn, Roy, 460

51–54, 62, 64, 68, 81, 134, 137, 218, Collens, Charles, 158, 160, 195
258 Colonna Madonna (Raphael), 74, 81
Cyprus excavations of, 14, 28, 31–33, Comfort, George Fisk, 28, 34, 40
43–48, 51–54, 64 Committee of Fifty, 28–29, 33–34
death of, 64, 85, 112, 473 Condé Nast, 8, 377, 378, 465
as diplomat, 14, 23–24, 31–33, 43, 44 Constable, John, 38, 59
as director, 14, 24, 44–45, 48, 49, 50, Contemporary Arts Department, 303–4
51–54, 55, 56, 57–58, 62–64, 73, 75– Cooke, Terence Cardinal, 319, 320
78, 80, 81, 82, 83, 85, 94, 112, 156, Cormier, Francis, 214, 222
299, 323, 473, 484 Corot, Jean-Baptiste-Camille, 37, 70, 149,
Feuardent lawsuit of, 51–54, 55, 56 275, 349, 416
Morgan’s relationship with, 68–69, 75, Corporate Patron Program, 451–52
80, 83, 112 Cosgrove, Frank, Sr., 476
press coverage of, 24, 51–54, 63, 64 Costume Institute, 10, 206–9, 228, 239–
reputation of, 23–24, 28, 31–33, 43–48, 40, 375–79, 404, 439–40, 453–56,
51–54, 55, 62–64, 73, 94 457, 462–65, 479, 484
wealth of, 31–32, 33, 44, 47, 49 Cott, Sharon, 18–20, 84
Cesnola, Mary Jennings Reid di, 30, 31, 33, Courbet, Gustave, 70, 72, 148, 349
64 Cousin, Jean, the Elder, 406, 407
Cézanne, Paul, 59, 148, 149, 184, 214, 243, Cranach the Elder, 78, 244
244, 311, 349, 365, 418, 419 Crivelli, Carlo, 391, 428
Chardin, Jean-Siméon, 151, 382, 391–92 Crosby Brown Collection of Musical In-
Charles Engelhard Court, 6, 9, 420–21, struments, 183–84
432, 437, 457–58 Crucifixion (Piero della Francesca), 151–52,
Château Haut-Brion, 332, 365 201
Choate, Joseph Hodges, 28, 29, 34, 35, 36, Cubism, 148, 225, 239, 438
40–41, 48, 49–50, 52, 53, 56, 61, 63, Curium treasure, 46–47, 62
75, 78, 102, 103, 105, 107, 110, 136 Cussi, Paula, 439–40
Christiansen, Keith, 441–42 Cyprus: Its Ancient Cities, Tombs, and Temples
Christie’s, 389–90, 428, 461–62, 467 (Cesnola), 46, 48
Church, Frederic E., 27, 28, 32, 34, 37, 38,
42
Clark, Stephen, 3, 184, 185, 226, 243, 471
Clark, Sterling, 3, 471 Dalí, Salvador, 249, 405
Clarke, Caspar Purdon, 86–88, 89, 91– Daumier, Honoré, 59, 149, 419
92, 93, 119, 162, 473 David, Jacques-Louis, 96, 146, 279, 304
Cleveland Museum of Art, 245, 293, 294 David-Weill, Berthe, 252, 315, 316, 317, 365,
Cloisters, 5, 14–15, 115, 120–25, 131, 136, 378
143–47, 152–55, 158–69, 175, 183, David-Weill, David, 124, 382, 403, 417
195–98, 201, 214–19, 228, 229–36, David-Weill, Pierre, 252, 394–95
240, 242, 246, 255, 256–57, 288, 289, Davis, Gordon, 425, 426
293–94, 301–2, 340 Davis, Theodore, 125, 126
Coffey, Diane, 433 Davison, Daniel Pomeroy, 284–85, 290,
Coffin, William Sloane, 140–41, 156, 157, 293, 297, 370
160–61 Davison, Henry Pomeroy, 89, 103, 284
Cohan, William, 161–62, 417 Decorative Arts Department, 89–90, 110,
Cohen, Steven A., 364, 471–73, 475, 481, 119, 158–59, 336, 432
484, 485 de Bodisco, Aino, 459–60
PDF
53 2 I Inde x
de Forest, Emily Johnston, 60, 78, 138, Draper, Dorothy, 187, 228, 233
139–40, 157, 209 Duccio di Buoninsegna, 79, 201, 370, 470,
de Forest, Robert, 5, 40, 60–61, 62, 73, 481, 484
86, 94, 97, 104, 105, 107, 109, 110, Durand, Asher, 27, 37, 38
111–12, 124, 125, 126–27, 129, 130, Durand-Ruel, Paul, 71, 75
131, 134–35, 137–47, 148, 149, 150, 153, Dürer, Albrecht, 81, 125
154, 156–57, 179, 209, 284 Duveen, Henry, 70, 71, 100, 101, 102
Degas, Edgar, 71, 72, 149, 151, 243, 416, Duveen, Joseph, 74, 118–19, 133–35, 151–
418, 419, 439, 458 52, 205–6, 244
de Groot, Adelaide Milton, 187–88, 353 Duveen Brothers, 101, 108, 117, 129–30,
de Kooning, Willem, 12, 226, 227, 361n, 141, 274
364, 440 Dwight, Eleanor, 207, 454
Delacroix, Eugène, 59, 70, 72, 406, 418
de la Renta, Annette (Anne France
Mannheimer Engelhard Reed), 2,
380–81, 385, 386, 387–88, 392, 394, Eakins, Thomas, 128, 225, 416
396, 399–402, 406, 421, 422, 423, Easby, Dudley, 212, 215, 229, 330
424, 436–37, 444, 457, 458–62, 463, Egyptian Art Department, 88–89, 96–97,
465, 466–70, 473, 474, 475–77, 478, 125, 126, 129, 157, 247, 310–13, 326,
485 344–47
de la Renta, Françoise de Langlade, 375, Eisenhower, Dwight D., 213, 224, 254, 285,
376, 423, 460–61 332
de la Renta, Oscar, 375, 376, 378, 381, 402, El Greco, 72–73, 75, 149, 192, 243, 279
404, 457, 458–62, 463, 465 Elizabeth Clarke Freake and Baby Mary, 181–82
Democratic Party, 29, 35–36, 103, 397–98, Elliott, Duane Garrison, 301, 324, 325,
403 326, 327
Demotte, George Joseph, 133–35, 145, 147 Engelhard, Charles William, Jr., 392, 394–
Dendur, Temple of, 6, 13, 310–13, 331, 336, 404, 420, 423, 434, 466
341, 344–47, 424, 455, 457–58 Engelhard, Charles William, Sr., 395–97
Dennis, Jessie McNab, 292, 338, 339 Engelhard, Jane (Marie Annette Jane
Devree, Charlotte, 370 Reiss-Brian Mannheimer), 368, 376,
Devree, Howard, 185–86, 225, 370 377, 379–80, 384, 385–404, 420–22,
de Wolfe, Elsie, 384, 387, 404 423, 436–37, 454, 458, 461–62, 466
d’Harnoncourt, Rene, 329, 330 Erickson, Alfred, 141, 243, 244, 245
DiCicco, Pat, 270, 271 Ertegun, Mica, 444, 454
Dienststelle Mühlmann, 253, 390 Etruscan biga (chariot), 81–82, 84
Dillon, C. Douglas, 14, 228, 285, 290, 293, Etruscan warriors, 256–58, 294, 444
301, 306, 314, 319, 320, 326, 332–33, Euphronios (Sarpedon) krater, 17, 20, 348,
336, 341–50, 354–60, 365, 368, 370, 358–62, 369, 443, 445, 446, 448, 449
371, 372, 377, 378, 380, 400, 401, European Paintings Department, 243, 251,
410–17, 422–26, 429, 430, 431, 435 261, 315, 364–67, 406–7, 417–19,
Dillon, Phyllis, 378, 422, 423 440–42, 464, 471
Dilworth, J. Richardson, 284, 290, 291, European Sculpture and Decorative Arts
293, 306, 319, 339, 430, 432, 433, 444, (ESDA), 432–35, 479
450, 457
Dinkins, David, 451, 452
Dior, Christian, 378, 463
Dorotheum, 228, 326, 339, 447–48 F-111 (Rosenquist), 304–5, 484
Douglas, Kirk, 272–73, 282 Fahy, Everett, 423
PDF
53 3 I Inde x
Feigen, Richard, 8, 9, 12, 434 Gelman, Natasha, 438–39, 440

Feuardent, Gaston, 51–54, 55, 56 Genauer, Emily, 286, 321
Field, Marshall, 175, 176, 215, 226 George Washington Crossing the Delaware
Fine French Furniture (FFF), 36, 244, (Leutze), 27, 304
274, 309–10, 325, 331–32, 428 German Expressionism, 151, 434
Fischer, Henry, 310–11, 313 Germany, Nazi, 162, 174, 199–201, 203,
Fisher, Donald, 472 243, 248, 250, 252, 253, 254, 276, 378,
Flandes, Juan de, 428, 429 381–87, 390–91, 393, 394, 395–96,
Fleming, Ian, 397 417, 465
Fletcher, Isaac Dudley, 126–27, 245 Gerschel, Laurent, 418
Fogg Art Museum, 174, 252, 346 Getty Museum, 3, 17, 20, 447
Forbes, Malcolm S., 397–98, 461 Gilbert, S. Parker, 381n, 431, 473, 474, 476
Force, Juliana, 150–51, 185, 191, 193–94, Gilbert, S. Parker, Jr., 431–32
216–17 Gilpatric, Roswell, 285, 290, 293, 301, 303,
Ford, Gerald R., 322n, 367, 413 305, 319, 320, 341, 355, 370, 412
Fort Tryon Park, 5, 147, 154, 159, 168 Glueck, Grace, 352, 416
Fortune Teller, The (La Tour), 258–60 Göring, Hermann, 200–201, 253, 390
Fosburgh, Minnie Astor, 296, 314, 332, Gorky, Arshile, 227, 260, 349
350, 380 Gothic Fund, 145, 166
Foxcroft School, 399–400, 422 Goya, 38, 59, 72, 73, 126, 149, 151, 192, 309
Fra Carnevale, 441–42 Graham, Katharine, 308, 379
Fragonard, Jean-Honoré, 74, 81, 107, 244, Great Britain, 68, 80, 82, 86, 87, 98–99,
391, 393, 403 383, 389–90
France, 117, 118–20, 121, 132, 133–35, 148, Greek and Roman Art Department, 6, 12,
164–66, 194, 199–200, 229, 233, 252, 16–20, 81–84, 96, 111, 228, 233, 235,
256–58, 287, 307, 332, 333, 383–87, 248–51, 255, 256–58, 323, 348, 356–
391–92, 417, 466 62, 432, 443–47, 470, 476
Frelinghuysen, Peter H. B., 319–20, 350 Greene, Belle, 95, 96, 103, 108
French, Daniel Chester, 93, 106 Guardi, Francesco, 38, 317, 391
Frick, Henry, 69, 93, 101, 107, 108 Guest, C. Z., 377
Frick Museum, 241–42, 304, 486 Guggenheim Museum, 3, 256, 439
Fulton, Robert, 94, 167
Hackenbroch, Yvonne, 277–79

Gage, Nicholas, 359–60, 361, 362 Hale, Niké, 220, 226, 263, 264, 265
Gainsborough, Thomas, 38, 59, 81, 126, Hale, Robert Beverly, 219–26, 227, 236,
244, 275 260, 261, 263–64, 265, 266, 303–4
Gardner, Albert Ten Eyck, 69, 262–63, Hals, Frans, 38, 59, 74, 95, 101, 141, 149,
304 244
Gauchez, Léon, 38, 39 Halsey, Richard Townley Haines, 137–38,
Gauguin, Paul, 149, 184, 244, 352 140, 141, 183, 187
Gelb, Arthur, 359 Hannon, Patrick, 380, 385, 386
Geldzahler, Henry, 227, 260–66, 267, 290, Harkness, Edward S., 93, 97, 107, 125, 129,
303, 304–5, 312, 320–22, 349, 352, 189
353, 412, 425, 426, 432, 437, 450, Harlem on My Mind exhibition (1969),
484 314, 315, 317–19, 324, 327, 331
Gellatly, John, 144–45, 153–54 Harvard University, 174, 251, 262, 284,
Gelman, Jacques, 18, 438, 439 363, 406, 435, 450
PDF
53 4 I Inde x
Hassam, Childe, 225, 468 318, 319, 323, 324, 330, 332, 333, 350,
Havemeyer, Henry Osborne, 59, 61, 71– 357, 362–64, 401, 422, 450
75, 101, 148, 149–50, 152, 232 Houghton, James “Jamie,” 422, 450, 451,
Havemeyer, Horace, 149, 150 452, 473, 474, 476
Havemeyer, Louisine Waldron Elder, 71– Houghton, Maisie, 401, 422
73, 148–50, 232 Houston Museum of Fine Arts, 408–9, 415
Havemeyer Collection, 148–50, 184, 232 Hoving, Nancy Bell, 240, 241, 242, 283,
Hawkins, Ashton, 18, 306, 332, 337, 346, 295, 298, 308–9, 370, 371
360, 377, 378, 401, 423–24, 425, 429, Hoving, Thomas Pearsall Field, 239–372
435, 444, 446, 449, 450 as author, 1–2, 242, 283, 290–91, 329,
Hays, Charlotte, 402, 436 346, 356n, 361, 411, 442–43, 444, 445,
Hearn, George A., 128, 150 448, 482
Hearn Fund, 150, 184, 185–86, 191–92, background of, 240–42
194, 216, 220, 223–24, 260, 264 as Cloisters assistant curator, 240, 242,
Hearst, William Randolph, 255, 258, 255, 288, 289, 301–2
269 controversies of, 299, 317–19, 320,
Hearst Foundation, 255, 258 348–62, 445, 448
Hecht, Robert, Jr., 17, 358–59, 361–62, as director, 1–2, 6, 9, 14, 15, 179, 190,
443, 446 268, 276, 278, 279, 282, 295, 296–
Heckscher, August, 299, 314, 335, 336, 341, 352, 378, 404, 410, 415, 416, 418, 423,
342 425, 480
Heinz, Drue, 456, 461 donors cultivated by, 306–13, 323–32,
Henry Luce Foundation, 315, 318 344–47, 418, 423
Hermitage, 3, 33, 382 exhibitions mounted by, 299–301, 304–
Herrick, Dan, 305–6, 322n, 332, 333, 340, 5, 314, 317–22, 324, 327, 331, 340,
371, 406, 415, 416 365–66, 367, 416, 455
Hess, John L., 2, 350, 353–56 as medievalist, 240, 241–42, 322
Hess, Thomas B., 437 Montebello’s relationship with, 346,
Hewitt, Abram, 58, 59 348, 361n, 407, 408–11, 413, 415, 416,
Hirst, Damien, 471–73, 474 432–33, 442–43, 445, 448, 454, 469–
Hitchcock, Hiram, 31, 33, 43, 44, 46, 47, 54, 70, 480
57, 61, 62, 63, 64, 79 as parks commissioner, 289–92, 293,
Hitler, Adolf, 252, 253, 276, 382, 387, 390– 295, 296, 297–99, 302, 334
91 populism of, 15, 179, 239–40, 299, 314–
Hoare, Oliver, 364 15, 334, 352
Hobby, Theodore, 130, 162 press coverage of, 239, 299, 305, 306,
Hoentschel, Georges, 89–90, 110, 111 315, 317–19, 350–56, 359–62, 370,
Hofmann, Hans, 226, 262 371, 376, 432–33
Holbein, Hans, 25, 96, 244 reputation of, 239–40, 242, 295, 296,
Holden, Don, 225–26, 236, 257, 258, 259– 367–72, 411
60 resignation of, 346, 367–72, 410–11, 473
Holzer, Harold, 1, 2, 11, 443 Rorimer’s relationship with, 239–40,
Homer, Winslow, 37, 225, 416 242, 243, 255, 287–89, 291–92, 293,
Hoppin, William J., 34, 35 311–12
Hoppner, John, 101, 192 trustees as viewed by, 258, 268, 282,
Houdon, 279, 462 297–99, 305–10, 319, 331–32, 333,
Houghton, Arthur Amory, Jr., 228, 283– 341–42, 350, 367–72
86, 287, 290, 292–93, 294, 296, Hoving, Walter, 240–41, 301, 342
297–98, 299, 302, 303, 305, 306, 314, Howe, Winifred E., 2, 48, 158
PDF
53 5 I Inde x
Hudson-Fulton exhibition (1909), 94–95, Kaylan, Melik, 444, 445

102, 128, 137, 138, 222 Kelekian, Dikran, 123, 152
Hudson River school, 28, 34, 125 Kelleher, Bradford, 225, 342
Hunt, Richard Morris, 4–5, 26, 34, 37, 60, Kelly, Ellsworth, 261, 263
70, 75, 163 Kennedy, John F., 14, 239, 280–81, 282,
Huntington, Arabella, 141, 243 285, 307, 310, 313, 316, 320, 332, 333,
Huntington, Archer, 141, 211 398, 413
Huntington, Collis P., 101, 141 Kennedy, Joseph P., 280, 307, 436
Husband, Tim, 450 Kennedy, Robert F., 281, 334, 337
Huxtable, Ada Louise, 334, 351, 420 Kensett, John Frederick, 27, 28, 34, 35, 37,
38, 44, 45
Kent, Henry W., 86, 110, 130, 131, 137–38,
163, 175, 184, 186
Ingres, Jean-Auguste-Dominique, 149, Kertess, Klaus, 316, 475
353, 354, 382, 391, 418 Kiernan, Frances, 423, 424
Institute of Fine Arts (IFA), 257, 286, 291, Kimmelman, Michael, 464–65
294, 301, 367, 406, 407, 441–42 King of the Confessors (Hoving), 242, 411
Istanbul Archaeological Museum, 43, 54, 99 Kinnicutt, Dorothy May (Sister Parish),
Italy, 17, 20, 25, 29–30, 68, 72, 73, 81–84, 396–97, 398, 399, 401, 404, 422
182, 211, 241, 257–58, 259, 324, 358– Kissinger, Henry, 367, 423, 426, 466,
62, 445–48, 449 467
Ittleson, Henry, 302, 340 Klimt, Gustav, 12, 438
Ivins, William Mills, Jr., 125, 148, 163, 174, Knoedler & Co., 70, 109, 259
175, 176–77, 181 Koch, Ed, 412, 425–27, 433, 451
Koda, Harold, 463
Koons, Jeff, 485
Kramer, Hilton, 305, 321, 351, 366
James, Harold, 382 Kravis, Henry, 2, 435–36, 458
Jay, John, 14, 24, 25, 37, 61, 240, 337, 401 Kress, Samuel, 166–67, 193
Jayne, Horace H. F., 183, 231 Ku Klux Klan, 100, 149, 267
Johns, Jasper, 263, 349, 440
Johnson, Lyndon B., 285, 311, 332, 333, 398,
403, 413
Johnston, John Taylor, 26–27, 33, 34, 35, Lagerfeld, Karl, 464
36–39, 42, 44, 45, 46, 47–48, 49, 52, La Guardia, Fiorello, 168, 174, 187, 210
55, 56, 59, 60, 62, 68, 150 Lake, Stephanie, 275, 276, 277, 278
Josephs, Devereux, 192, 197, 213, 214, 284, Lambert, Eleanor, 207, 208, 454
319 Lamont, Thomas, 103, 166, 195, 197, 217,
J. P. Morgan & Co., 105, 108, 192, 224, 223
395, 431 Landmarks Preservation Committee, 340,
JP Morgan Chase, 12, 467, 468–69, 481 341
J. S. Morgan & Co., 47, 67, 105, 381 Lane, Kenneth J., 375
Juan de Pareja (Velázquez), 348–49, 470 Lansdowne Room, 234, 325
Larkin, Aileen “Chuggy,” 268–69, 272
Last Judgment and the Crucifixion, The (Van
Eyck), 181–82
Kann, Rodolphe, 118, 141 Latin America, 186, 191, 228–29, 329
Karp, Ivan, 262, 263 La Tour, Georges de, 258–60, 279
Kaye, Lawrence, 444–45 Lauder, Estée, 325, 435
PDF
53 6 I Inde x
Lauder, Ronald, 227n, 472 Lydian Hoard, 348, 356–58, 360, 443–45
Laura Spelman Rockefeller Memorial Lythgoe, Albert, 88, 89, 93, 96, 97, 103,
Fund, 136, 211 139, 310
Lazard Frères, 93, 124, 156, 252, 320, 347,
382, 386, 388–89, 394–95, 398, 417
Ledyard, Lewis Cass, 105, 167
Lee, Sherman, 293, 294 McFadden, Elizabeth, 46, 47
Lehman, Philip, 192, 193 MacGregor, Neil, 482, 483
Lehman, Robert “Bobbie,” 14, 192–93, McHenry, Barnabas, 311, 312–13, 412, 425–
195, 218, 223, 232, 245, 246, 261, 271, 26, 457
285–87, 290, 301–3, 327–29, 331, 332, McKim, Charles, 91, 93, 104
340, 347, 350, 417 McKim, Mead & White, 5, 84, 91, 104,
Lehman, Robin, 192, 286, 287, 302, 328– 139, 152, 217
29 McKinney, David E., 450–51, 452, 465
Lehman Brothers, 192, 193, 329, 481 Macomber, William Butts, Jr., 412–15,
Lehman Wing, 286–87, 301–3, 327–29, 424, 425, 426, 430, 431, 433, 437, 444,
331, 334, 335, 336, 338, 341, 342, 343, 449
351, 365 Macy, Valentine Everit, 152, 227
Leigh, Dorian, 402 Madonna and Child (Duccio), 79, 470, 481,
Leonardo da Vinci, 59, 287–88, 314 484
Lerman, Leo, 2, 50, 290 Making the Mummies Dance (Hoving), 1–2,
Leutze, Emanuel, 27, 304 442–43
Levai, Rosie, 318, 349, 354, 365, 377, 416 Malraux, André, 233, 260, 367
Levy, Leon, 446, 447–48 Man and the Horse exhibition (1984),
Lewisohn, Irene, 206, 207, 352 455–56, 463
Lewisohn, Sam A., 195, 206, 223, 224, Manet, Édouard, 75, 126, 149, 244, 350,
226 416, 418
Lieberman, William S., 437–40 Mannheimer, Fritz, 380–92, 399, 403
Lila Acheson Wallace Wing, 348, 419, Mansfield, Howard, 93, 157n, 189
425–26, 432, 438 Mapplethorpe, Robert, 379
Lincoln, Abraham, 24, 30, 31, 64, 118 Marlborough Gallery, 349, 353, 354
Lindsay, John V., 288–89, 296, 298–99, Marquand, Henry Gurdon, 28, 37, 52, 56,
302, 317, 318, 325, 334, 335, 343 58, 59–60, 61, 62–63, 64, 71, 74, 78,
Linsky, Belle, 427–30 79, 96, 219
Linsky, Jack, 427–28, 429 Marshall, Anthony, 467–70
Locke, Ian, 385, 393 Martin, Richard, 463, 464
Loughry, J. Kenneth, 293, 305 Masterpieces of Fifty Centuries exhibition
Louis XIV, King of France, 25, 85, 117, 399, (1970–1971), 315, 320, 322, 327
415 Matisse, 148, 184, 214, 220, 221, 244, 262,
Louis XV, King of France, 81, 111, 279, 349, 438, 439, 440
428, 475 Mayor, A. Hyatt, 174, 181–82, 234
Louis XVI, King of France, 111, 279, 331– Mazzetta, Tito, 82–83, 84
32, 428 Medici, Giacomo, 445–46, 447
Louvre, 3, 25, 36, 54, 99, 149, 259, 262, Medici Conspiracy, The (Watson and Todes-
286, 365 chini), 445–46
Love, Iris Cornelia, 256, 257, 258, 444 Medieval Department, 242, 290–91, 322
Luce, Henry L., 15, 224 Medieval Sculpture Hall, 287, 432, 457
Luers, William Henry, 430–31, 432, 434, Meissonier, Jean-Louis-Ernest, 37, 38
435, 443, 446, 449, 450, 451, 452, 453 Mellon, Andrew, 246, 252
PDF
53 7 I Inde x
Mendelssohn & Co., 381–82, 385–86 177, 186, 213, 222, 234, 246, 247, 287–
Menschel, Ronay, 433 88, 314, 318, 322, 327, 339, 340, 366
Messer, Thomas, 439 author’s research on, 1–3, 16–20
Metropolitan Fair Picture Gallery (1864), books written about, 1–3, 38–39, 290,
27, 31, 38 326
Metropolitan Museum of Art: branch museums of, 161, 190, 203, 314–
acquisitions committee of, 15, 133–35, 15, 334, 338
147, 184, 202, 222, 224, 229, 230, 245, “building-from-within” program of, 6,
246, 331–32, 348–56, 424, 445, 481– 9–10, 482–83
82 capital improvements of, 9–10, 12, 50
administration of, 1–2, 11, 15–16, 28, centennial of (1970), 6, 290, 300, 303,
33–40, 85–88, 89, 94, 111–12, 137– 312–13, 314, 315, 320, 322, 323–27,
38, 157–58, 174–77, 179, 183, 213, 328, 330, 334, 341, 352, 367
217–18, 231, 233, 247–48, 255–56, Central Park location of, 4, 9, 26, 34–35,
282–83, 293–94, 299, 305–6, 323, 40, 42, 44, 45, 48–50, 55, 56, 63–64,
347, 367, 411–12, 430–31 194, 205, 209, 232, 288, 328, 334–38,
admission fee for, 9, 10, 45, 48, 55, 186, 341, 342, 433
213, 339, 340 chairman of the board of, 302–3, 367,
annual meetings of, 35, 61, 62, 220, 424, 430, 431, 432–33, 473
221–22, 303, 452 commercialization of, 7, 11, 128, 137,
annual reports of, 10, 47, 87, 94, 128, 137, 140–41, 208, 225, 247, 300–301, 306,
164, 203, 452, 482 321, 342, 348n, 366, 411, 453–58,
architecture of, 4–5, 202–3 462–65, 484
art bequeathed to, 76–79, 125–28, 141– constitution of, 33–36, 136, 220–21,
43, 148–50, 219, 278–79, 353, 416– 303, 333, 349, 411–12
17, 469 controversies of, 14, 16–20, 51–54, 55,
art deaccessioned by, 11, 39–40, 54, 152, 56, 73, 78–79, 81–84, 133–35, 153–54,
218, 235, 247, 349–56, 359, 410, 429 256–60, 299, 317–19, 320, 338–40,
art donations to, 34, 42, 47, 49–50, 55, 342, 346, 348–62, 416, 442–61
59, 73–76, 78, 87, 89–90, 97, 99– corporate sponsorship of, 8, 212, 315,
102, 103, 125–28, 130, 141–43, 148– 323–24, 345, 451–53, 481–82
50, 177, 184, 189, 205–6, 213, 219, curatorial departments of, 4, 13, 16–20,
232, 276–79, 285–87, 301–3, 345–56, 41, 44, 76, 87, 89–90, 137–39, 146,
353, 416–19, 438–39, 469 153, 176–77, 182–83, 185, 188, 195,
art loaned to, 34, 59, 72, 73–74, 89–90, 199, 216, 218, 247, 250, 297, 299–301,
95, 106–12, 126, 129–30, 146, 148, 303, 304, 305, 323, 331–32, 338, 342,
175, 181–82, 186, 191–92, 193, 216– 343, 347, 349–50, 354, 364–65, 406–
17, 218, 219–27, 232, 267, 285–87, 322, 7, 410, 416, 437–38, 442, 480, 481
327, 406–7 debts and deficits of, 39, 42, 57, 94, 107,
art purchased by, 11–12, 34, 37–40, 41, 128, 129, 130, 136–37, 142–43, 176,
42, 43–49, 78, 81–85, 86, 91, 127–28, 177–78, 186–87, 212–13, 247, 320,
133–35, 136, 143–47, 148, 213, 243–47, 327, 339, 340, 342, 348–49, 414, 431,
258–60, 290–92, 314, 322, 331–32, 451–53, 482
348–49, 470, 471 directors of, 1–11, 14, 15, 73, 86–99,
art restrictions set for, 55, 59, 78, 102, 102–4, 110–12, 150–51, 156, 157–58,
112, 127, 177, 189, 206, 213, 232, 285– 162, 174–77, 179–84, 185, 221–22,
87, 302–3, 345–47, 419 230–36, 243–51, 290–95, 306–13,
attendance figures for, 6, 7, 9, 10, 45, 48, 323–32, 474–76, 478–83, 484, 485–
55, 56, 61–62, 109, 128, 129, 137, 149, 86; see also specific directors
PDF
53 8 I Inde x
discrimination lawsuit against, 297, grand staircase of, 110, 129, 321, 336,
338–40 338, 475, 476
educational mission of, 12, 128, 161, 190, Great Hall of, 5, 7, 14–15, 52, 73, 75, 88,
203–4, 220–21, 334, 338, 471, 483– 110, 111, 129, 235, 240, 246, 247, 312,
84 313, 321, 326, 328, 336, 338, 342, 352,
endowment of, 11, 59, 78, 86, 87, 92, 475, 476
129, 136–37, 147, 161–62, 164, 175, guards in, 62, 146, 178, 184, 212, 231,
186, 188, 203, 204–5, 206, 209, 232, 232, 234, 246, 287–88, 318, 332, 338,
245, 246, 247, 312–13, 323–25, 430, 339–40, 465
451–53, 470, 481–82, 486 investment portfolio of, 11, 136, 141, 143,
excavations funded by, 87, 88–89, 92– 144, 145, 161–62, 192, 215, 229, 313,
93, 96–97, 163, 247, 250 431, 452
executive committee of, 33–40, 44, 60– legal battles of, 11, 16–20, 51–54, 55, 56,
63, 75, 112, 177, 206, 213, 218, 287, 73, 133–35, 153–54, 338–40, 342, 346,
290, 319, 342, 369–70, 410, 411–12, 353, 359–62
424, 432, 468 libraries of, 5, 7, 8, 12, 13, 198, 204, 218,
exhibitions of, 59, 90, 94–95, 102, 128, 232, 235, 243
195, 218, 222, 287–88, 299–301, master plan for, 4–5, 6, 9, 202–4, 217–
304–5, 314, 317–22, 324, 327, 331, 18, 311–12, 327, 328, 333, 334–38,
340, 365–66, 367, 410, 416, 454, 455, 347–48, 349, 415, 432, 448, 470
457, 458, 464, 483–84; see also specific modern art collection of, 160, 175–76,
exhibitions 184, 185–86, 188, 191–94, 214, 219–
expansion of, 4–5, 6, 9–10, 34–35, 40, 27, 231, 243–44, 260–66, 303–4,
51, 58–59, 61, 62, 63–64, 91, 103–4, 320–22, 348, 349, 361n, 432, 437–40,
110–11, 128, 152, 163, 201–3, 209–10, 471–73, 484–85
217–18, 311–12, 333, 334–38, 340, modernization of, 5–6, 85–86, 94, 163,
342, 343–48, 349, 352, 452, 482– 203–4, 217–18, 232, 247–48
83 New York City subsidies for, 4, 6, 9, 10,
fiftieth anniversary of (1920), 14–15, 11, 35–36, 45, 47, 56–57, 58, 59, 75, 84,
129, 130, 136–37 91, 103–4, 105, 107, 128–29, 130, 136,
financial donations to, 7, 8–9, 10, 14–15, 163, 177–78, 185, 187, 188, 201–2,
34, 37, 49–50, 57, 59, 61, 68–69, 73– 205, 209–10, 231–32, 298, 311, 314,
79, 97, 107, 136, 141–43, 161, 186–87, 340, 343–44, 370–71, 412, 425–27,
209, 212, 243, 246, 267, 312–13, 314, 433, 451, 482
323–27, 343, 411, 433–37, 451–53, 469, one hundred twenty-fifth anniversary of
474–78, 480–82 (1995), 157n
financial statements of, 10–12, 35, 75– operating budget of, 10–12, 35, 47, 49,
76, 129, 130, 136–37, 175, 177–78, 55, 57, 63, 75–76, 93–94, 107, 128–29,
192, 212–13, 214, 287, 333 130, 142–43, 161–62, 163, 164, 175,
founding of (1870), 4, 14, 24–29, 33– 177–78, 186–87, 188, 204–5, 212–13,
42, 48–51, 129, 208, 240, 337, 456 247, 339, 340, 343–44, 414, 415, 433,
fundraising efforts of, 7, 8–12, 14–15, 451–53
26, 27–29, 35, 37, 39, 47, 48, 68, 78, paintings in, 4, 12–13, 26, 37–40, 42, 45,
129, 201, 210–13, 323–25, 343, 430, 54, 59, 62, 148, 195, 258–60, 348–56,
431, 451–54, 472 417–19
gallery space in, 25–27, 43–48, 59–60, physical plant of, 4–6, 10, 34–35, 44,
101–2, 176–77, 204–5, 228, 231, 232, 48–50, 75, 91, 94, 130, 137, 163, 174,
335–36, 344, 347, 356, 418, 451, 482, 178, 185, 187, 188, 190–91, 202, 204,
485 217, 243, 293, 297
PDF
53 9 I Inde x
populist agenda for, 5, 9, 15, 27, 36, 55– social events hosted by, 7–8, 14–15, 28–
58, 161, 176–79, 182–83, 185, 186, 29, 208–9, 239–40, 324–27, 346,
203–4, 222–23, 239–40, 290, 299, 353–58, 375–76, 404, 439–40, 453–
314–15, 334, 352 58, 463–65
presidents of, 34–37, 52, 58–64, 79, 107, staff of, 11, 56, 76, 86, 94, 128, 137, 174,
111–12, 137–47, 148, 156–62, 174–75, 176–78, 179, 182–83, 184, 186, 195,
189–90, 209–10, 213, 218, 225, 230– 198–99, 204, 210, 212, 213, 222, 231,
31, 290–91, 302, 319, 332–33, 410, 232, 261, 295, 297, 319, 323, 325, 338–
411, 412–15, 425, 426, 430–31, 452– 40, 347, 353–54, 410, 424, 451, 452–
53 53, 479
press coverage of, 2, 7, 41, 42, 49, 52–64, trustees of, 2–10, 14, 15, 29, 33–55, 59–
73, 78–79, 87–88, 92, 134, 152, 175, 69, 78, 79, 85–94, 107, 110, 111, 124,
180, 184, 204, 212, 216–17, 222, 223, 127, 128–30, 136–37, 142, 144, 148,
225, 234, 239, 243, 246–47, 257, 258, 150, 155–67, 174–78, 182–83, 186–
259, 260, 265, 299, 305, 306, 315–27, 98, 201–28, 233, 234, 236, 245, 246,
336, 339, 341, 350–56, 359–62, 370, 247, 258–68, 282–99, 302–10, 318,
371, 376, 408, 409, 411, 412, 426, 319, 323–24, 331–35, 341–56, 365,
432–33, 437, 451, 456–65, 471, 472– 367–72, 411–15, 424–37, 442, 450–
73, 475 52, 470, 474–76, 480–86
as private vs. public institution, 5, 8–9, twenty-fifth anniversary of (1895), 62
11, 14, 15, 27, 35–36, 40, 41, 42, 45, 48, Web site of, 13, 453, 484
49–50, 55–58, 59, 61–62, 109, 173– women employees of, 86, 94, 198–99,
79, 290, 314–15, 485–86 231, 297, 338–40, 347, 452–53
renovations of, 63, 187, 188, 201–3, 206, women trustees of, 187–88, 192, 211,
209–10, 212, 217–18, 223, 228, 232, 223, 227–28
234, 235, 243, 312–13, 418 Meyer, André, 252, 320, 332, 347, 350, 386,
reorganization of, 85–86, 94, 112, 186, 388–89, 394–95, 403, 417–19, 461
213, 305–6 Meyer, Karl, 175, 342, 480
reputation of, 1–3, 7–9, 14–15, 38–40, Meyer Galleries, 417–19
51–54, 55, 64, 81–84, 85, 111, 137, Michelangelo, 118, 210–11
150–51, 161, 173–75, 204, 216–17, Miereveld, Michiel Jansz. van, 391, 393
243–47, 256–60, 303, 317–19, 327, Miles (von Bothmer’s aide), 17, 18, 19, 20
348–62, 366, 456–58, 472–76, 484– Miller, Flora Whitney, 193, 205, 216
86 Millet, Jean-François, 70, 126, 149
restaurants of, 6, 7–8, 11, 204, 228, Mills, Ogden, 125, 186
232–33, 366, 463 Modigliani, Amedeo, 184, 221, 244, 438,
salaries of, 11, 56, 92, 130, 136, 137, 180, 439, 440
210, 231, 233–34, 297, 338–40, 377, Mona Lisa (Leonardo), 287–88, 314
451 Monet, Claude, 71, 126, 148, 149, 260, 275,
sculpture in, 4, 42, 43–48, 54, 152–53, 311, 314, 325, 349, 352, 461–62
176, 236, 256–58, 294, 444 Montebello, Edith Myles de, 406, 453, 456
security arrangements of, 62, 80, 146, Montebello, Jean Lannes, duc de, 404
178, 212, 231, 232, 234, 242, 246, Montebello, Philippe de, 405–80
287–88, 317, 318, 331, 332, 338, 339– as acting director, 410–11, 416, 437
40, 465 as administrator, 15–16, 407, 409–10,
seventy-fifth anniversary of (1945), 201, 411, 415, 430, 431, 437–38, 442, 451,
203, 210, 212–13, 217 470, 486
shops operated by, 7, 11, 128, 137, 140– background of, 380, 396, 404–8, 413,
41, 208, 225, 247, 342, 348n, 366, 455 415, 450
PDF
54 0 I Inde x
controversies of, 16–20, 416, 442–51 Morgan, Junius Spencer, 44, 47, 67–68, 73,
as director, 1–2, 3, 6–10, 11, 15–16, 404, 74, 81, 105, 125, 413
413–16, 424, 425, 426, 427, 429, 430, Morgan Library, 290, 294, 355, 462
431, 432–33, 437, 438–39, 440, 442– Morgantina silver, 443, 445–47, 449
50, 451, 454, 455, 456, 464, 465, 469– Morgan Wing, 5, 97, 103–4, 107, 110–11,
70, 478, 479, 480, 482, 484, 486 139, 152, 208
donors cultivated by, 346, 347, 419, 424, Morton, Pamela Taylor, 180, 203
427, 429, 431, 438–39, 440, 454 Moses, Robert, 161, 173–74, 175, 177,
exhibitions of, 410, 416, 454, 455, 457, 178–79, 185, 186–94, 201–3, 207,
458, 464, 484 209–12, 217, 218, 222–23, 226,
Hoving’s relationship with, 346, 348, 228, 231–32, 233, 236, 246, 258,
361n, 407, 408–11, 413, 415, 416, 432– 289
33, 442–43, 445, 448, 454, 469–70, Motherwell, Robert, 226, 262
480 Mühlmann, Kajetan, 253, 390, 391
press coverage of, 1–2, 3, 408, 409, 426, Munsey, Frank A., 15, 141–43, 164
432–33, 437, 464, 471 Murnane, George, 389, 394, 395, 396
reputation of, 1–2, 3, 408–9, 413–14, Muscarella, Oscar White, 357, 360
415, 437, 470–76, 478, 486 Museum: Behind the Scenes at the Metropolitan
retirement of, 405–6, 471, 473–76, 478, Museum of Art (Danzinger), 2–3
479, 480 Museum of Costume Art, 206–9
trustees as viewed by, 15, 342n, 413–14, Museum of Fine Arts (Boston), 3, 34, 88,
415, 442, 470 89, 174, 233, 441
Montebello, Roger André de, 396, 404, Museum of Modern Art (MoMA), 3,
405, 406 151, 175–76, 178, 182, 184, 191–92,
Morgan, Henry Sturgis, 112, 175, 285, 206, 214, 216, 217, 219, 221, 228, 249,
306 304, 329, 330, 437–38, 439, 471–72,
Morgan, John Pierpont, Jr. “Jack,” 91, 93, 485
103, 105–12, 157, 159–60 Museum of Primitive Art (MPA),
Morgan, John Pierpont, Sr., 67–112 329–31
art collection of, 68–70, 74, 79–81,
89–99, 101, 103–12, 117, 118–19,
129–30, 276, 287
congressional testimony of, 103, 104 National Academy of Design, 37, 48
death of, 104–5, 148, 275 National Endowment for the Arts, 266,
in Egypt, 88, 92–93, 96–97, 102, 103, 451
104 National Gallery of Art (London), 3, 419,
estate of, 103, 105–12 428
as financier, 67–68, 74–75, 89, 103, 116, National Gallery of Art (Washington,
166, 167 D.C.), 3, 153, 206, 211, 213, 228, 252,
as patron, 57, 68–69, 73, 79–80, 81–82, 254, 273–74, 287, 367, 439
89–90, 92, 95–99, 103–12, 122 Near Eastern Art Department, 153,
as president of Metropolitan, 14, 37, 64, 236
85–105, 107, 112, 118–19, 124, 175, Netherlands, 381–83, 385, 390–93
178, 179, 213 Netto, David, 476–78, 485
press coverage of, 85, 105, 107, 109 Newman, Muriel Kallis Steinberg, 360–
as trustee, 61, 62–63, 68–69, 75, 85, 61, 438, 471
129 Newsom, Barbara, 324, 372, 413
wealth of, 68–70, 79–81, 85, 103, 105– New York City Art Commission, 138–39,
12, 160 217, 335
PDF
54 1 I Inde x
New York City Board of Estimate, 56–57, Paley, Babe, 376, 378, 380, 460
59, 103–4, 105, 107, 163, 228, 335, Paley, William S., 335, 337, 435, 458,
344–45 460
New York City Parks Department, 44, 47, Panic of 1873, 47, 50, 76
49, 56, 57–58, 63, 163, 167, 178, 187, Panic of 1907, 68, 89, 167
246, 288–90, 311, 314, 335, 337–38, Panic of 2008, 481–82
412, 425–27 Parish, Sister (Dorothy May Kinnicutt),
New Yorker, The, 150, 175, 183–84, 186, 253, 396–97, 398, 399, 401, 404, 422
254, 321, 390 Parke-Bernet, 243–46
New-York Historical Society, 26, 27, 34, Parker, Harry S., III, 13, 290, 291–92,
187 293, 294, 305, 315, 318, 332, 363, 365,
New York Painting and Sculpture: 1940– 371, 410
1970 exhibition (1969), 320–22, 331 Party of the Year, 208–9, 239–40, 375–
New York Public Library, 12, 42, 202, 331, 76, 404, 439–40, 455, 456, 463–65
424, 469 Patterson, Joseph Medill, 188, 211, 212
New York Times, 2, 7, 27, 35, 41, 42, 45, 49, Payson, Joan Whitney, 246, 314, 315, 325,
52, 53, 54, 55, 56, 58–59, 63–64, 73, 345, 350, 357, 400, 416–17
77, 79, 82, 83, 101, 107, 127, 134, 152, Petrie, Carroll McDaniel de Portago,
156–57, 180, 185–86, 211, 212, 222, 436
225, 226, 239, 246, 257, 265, 282, 283, Petrie, Milton, 436–37
299, 305, 317, 318, 320, 325, 334, 336, Philadelphia Museum of Art, 146, 180,
339, 341, 347, 350–51, 353–56, 359– 182, 231, 294
62, 364, 365, 366, 370, 371, 400, 401– Physical Impossibility of Death in the Mind of
2, 411, 426, 432–33, 437, 451, 457, 463, Someone Living (Hirst), 471–73, 474
464, 467, 471, 472–73 Picasso, Pablo, 184, 214, 216, 220, 221, 225,
Nimrud bas reliefs, 152–53, 236 226, 244, 350, 405, 416, 418, 419, 438,
Nixon, Richard M., 352, 355, 367, 369 439, 440, 462
Noble, Joseph Veach, 247–48, 255–56, Piero della Francesca, 151–52, 201
257, 258, 291, 292, 293, 294, 299, 311, Pietà Rondanini, The (Michelangelo), 211
313, 323, 326 Pissarro, Camille, 149, 244, 349
Norwich, William, 453, 467 Pollock, Jackson, 12, 226–27, 265, 303, 337,
Number 17, 1951 (Pollock), 226–27 361n, 440
Polonaise carpets, 117, 146, 195–96
Pompadour, Madame de, 279, 428
Pop Art, 263, 264, 265, 321
Oceanic Art and Native North American Pope, John Russell, 147, 152, 163
Wing, 470–71 Pope-Hennessy, John, 230, 234, 293–95,
Odalisque in Grisaille (Ingres), 353, 354 366–67, 440–42
Office of Strategic Services (OSS), 213, Postimpressionism, 148, 149, 151, 244,
253, 269, 387, 413 419
Olmsted, Frederick Law, 28, 34, 147, 167– Poussin, Nicolas, 38, 149, 279, 304
68, 288 Prado, 3, 25, 230
Onassis, Jacqueline Kennedy, 218, 280– Prime, William C., 52, 56, 61
82, 285, 287, 307, 309, 313, 376, 377, Primitive Woman (Barnard), 120, 122, 123,
378, 398, 422, 455, 457 131
Osborn, William Church, 93, 124, 156, Princeton University, 180, 198–99, 241,
178, 181, 182, 186, 189, 191, 195, 196, 255
197, 201, 203, 207, 209–10, 212, 213, Prodigal Son, The (Barnard), 120, 135
215 Putnam, George Palmer, 24–25, 27, 34
PDF
54 2 I Inde x
Radziwill, Lee, 282, 376 Rockefeller, John D., Jr., 115–69

Rafferty, Emily Kernan, 16, 17, 452–53, art collection of, 117, 122–25, 129–33,
456, 463, 465, 478, 481–82 134, 143–47, 151–53, 155, 159, 162–66,
Raphael, 74, 81, 109, 110 214–16, 218–19, 228, 229–30
Rashap, Arthur, 414 assassination attempts against, 122,
Rauschenberg, Robert, 321, 349 132–33
Reagan, Nancy, 421, 435 as benefactor, 14–15, 115–16, 120,
Reagan, Ronald, 423, 431, 433, 435, 456 136–47, 152–53, 162–63, 168–69,
Redmond, Lydia Bodrero Macy di San 195–98, 199, 201, 214–16, 218–19,
Faustino, 227, 280 228, 229–30
Redmond, Roland Livingston, 167, 174, Cloisters funded by, 5, 14–15, 115, 121–
175, 187, 189, 192, 205, 213–21, 225– 23, 131, 136, 144–45, 147, 152–55,
36, 242–47, 257, 259, 280–91, 295– 158–69, 195–98, 201, 214–19, 228,
96, 297, 303, 305–6, 319, 326, 333, 229–36
342, 344, 349, 368, 411 death of, 116, 236
Reed, Samuel Pryor, 377, 400–401, 444, Metropolitan’s relationship with, 115–
458, 461, 466–67 16, 129–30, 131, 136–47, 152–53, 154,
Reid, Mrs. Ogden, 15, 227 156, 162–64, 168–69, 179, 189, 195–
Reinhardt, Ad, 226, 263 98, 199, 201, 214–16, 218–19, 234,
Reiss, Hugo, 379–80, 381, 386, 396 235–36
Reiss-Brian, Ignatia Mary Valerie press coverage of, 123, 132, 144, 145, 147,
Murphy, 379, 380, 384, 396, 401, 153–54, 155
405 trusteeship declined by, 129–30, 131
Rembrandt van Rijn, 59, 69, 72, 95, 101, wealth of, 108, 116, 117, 120–21, 131–33,
102, 126, 141, 149, 177, 192, 195, 220, 144–47, 153–54, 159, 160, 162, 164,
243–47, 317, 418, 428 229, 235–36
Renoir, Auguste, 12–13, 148, 149, 243, 244, Rockefeller, John D., Sr., 115–16, 117, 120,
279, 311, 328, 350, 418, 419 123, 136, 155, 162
Rewald, Sabine, 17–18, 19 Rockefeller, John D., III, 296, 333
Reynaud, Paul, 383, 384, 386–87 Rockefeller, Mary, 329–30, 414
Reynolds, Joshua, 38, 141 Rockefeller, Michael, 6, 329–30, 341
Rheims Cathedral, 117, 164 Rockefeller, Nelson Aldrich, 158, 159,
Rhinelander, Frederick William, 37, 64, 160, 175–78, 183–87, 191, 195,
79, 85 197, 198, 203, 212, 214–15, 218,
Richardson, Nancy, 485 222, 228–29, 230, 288, 296, 314,
Richter, Gisela, 249, 256, 257, 258 329–31, 333, 341, 343, 367–68, 411,
Riggs, William Henry, 90–91, 108 414, 419
Rijksmuseum, 3, 25, 383, 391, 392–93 Rockefeller Brothers Fund, 214–15, 228,
Robinson, Edward, 89, 91, 92, 93, 95, 97, 287, 315, 318, 343
99, 102, 103, 104, 108–9, 111–12, 127, Rockefeller Center, 115, 206, 207
130, 132, 134–35, 138, 143, 144, 146, Rockefeller Wing, 329–31, 334, 335, 336,
148, 149, 150–51, 152, 156, 157–58, 341, 343, 345, 347–48, 372, 414, 418,
473 425, 432
Roche, Kevin, 312, 327, 328, 334–35, 369, Rodin, Auguste, 176, 418
415, 432 Rogers, Jacob S., 76–79, 82, 92, 99
Rockefeller, Abigail Aldrich “Abby,” Rogers Fund, 78–79, 85
93, 116, 151, 159–60, 162, 191, 197, Roosevelt, Franklin D., 3, 162, 167, 186,
219 188, 395
Rockefeller, David, 467 Roosevelt, Theodore, 61, 142
PDF
54 3 I Inde x
Root, Elihu, 14, 28, 61, 73, 78, 79, 93, 105, Sargent, John Singer, 123, 125, 128, 146, 150
111, 112, 224 Sarpedon (Euphronios) krater, 17, 20, 348,
Root, Elihu, Jr., 215, 224 358–62, 369, 443, 445, 446, 448, 449
Rorimer, Anne, 158, 245, 289 Schiff, Jacob, 61, 342
Rorimer, James J., 5–6, 14, 158–59, 160, Schliemann, Heinrich, 45, 46
164, 165–66, 169, 183, 195–201, 203, Scythian gold exhibition, 365, 366, 410
213, 214–19, 229–36, 239–48, 249, Seligman, Germain, 69, 70, 98, 175
253–66, 277–79, 282, 283, 287–97, Seligmann, Jacques, 69, 98, 99, 165, 206
300–312, 344, 428, 429, 473 Sensation exhibition (1999–2000), 464,
Rorimer, Katherine Serrell “Kay,” 198–99, 465
245, 282, 287, 291, 292, 298, 326 Seurat, Georges, 149, 184, 214, 221, 243,
Rosenberg, James Naumburg, 220–22, 350, 419
223, 226 Seyss-Inquart, Arthur, 390, 391
Rosenberg & Stiebel, 245, 363 Shahnameh, 362–64
Rosenblatt, Arthur, 296, 311, 312, 313, 318, Shaver, Dorothy, 207, 208, 227
328, 334, 335, 336, 340, 345, 346, 348n, Sischy, Ingrid, 464
354, 415, 425, 431, 438, 442–43 Signac, Paul, 148, 184, 214, 244, 350
Rosenquist, James, 263, 304–5, 484 Silver, Stuart, 3, 300, 365, 414, 416, 454
Rothko, Mark, 226, 353, 361n Silverman, Debora, 456
Rothschild family, 27, 80, 200, 253, 269, Simpson, Colin, 119, 133, 134, 135
274, 363, 375, 382, 435, 458, 460, 477 Sixteenth Amendment, 41, 117
Rotten, Johnny, 465 Smithsonian Institution, 3, 43, 255, 302,
Rouault, Georges, 221, 244, 416 311, 346
Rousseau, Henri (Le Douanier), 349, 352 Soap Bubbles (Chardin), 391–92
Rousseau, Théodore, 38, 70, 184, 213, 214, Sorbonne, 180, 198, 251, 262
377 Sotheby Parke Bernet, 418–19
Rousseau, Theodore, Jr. “Ted,” 219, 230, South Kensington Museum, 80, 82, 86, 87,
249, 250–54, 258–60, 261, 290–97, 106
301, 305–9, 314–18, 322, 329, 332, Spain, 72–73, 166, 229–30, 234, 235–36,
349–54, 359, 360, 364–65, 367, 375– 258, 287, 293, 383
79, 390, 393, 404, 406, 407, 409, 415, Standard Oil Co., 115, 116, 120, 144, 150,
441, 450 152, 164, 168, 215, 229, 268
Rousseau, Theodore, Sr., 251, 252, 254 Stein, Gertrude, 216, 437
Rubens, Peter Paul, 38, 59, 81, 95, 96, 126, Steinberg, Saul Phillip, 433–34, 435, 457
149, 200, 244, 407 Stella, Frank, 263, 321, 326
Ruisdael, Jacob van, 95, 382, 391 Stern, Henry, 297, 427
Ruml, Beardsley, 136–37, 144, 211 Steuben Glass, 283–84, 467
Strauss, Monica, 441–42
Strouse, Jean, 80, 104
Stuart, Gilbert, 37, 72
Saarinen, Aline, 72, 235 Stuyvesant, Rutherford, 61, 84–85
Saatchi, Charles, 464 Sugar Trust, 71, 74–75
Sachs, Paul, 158, 174–75, 342, 437, 486 Sullivan, Louis, 420, 421, 437
Sackler, Arthur M., 344–47 Sulzberger, Arthur Hays, 211, 212, 246,
Sackler Wing, 311, 344–47 320, 351, 352
Saint-Gaudens, Augustus, 52, 61, 420 Sulzberger, Arthur Ochs “Punch,” 14, 320,
St. Hubert, Chapel of, 164–66 350–52, 359, 360, 361–62, 365, 423,
Saint Laurent, Yves, 378, 455 432–33, 445, 450
Sainty, Guy Stair, 480–81, 483–84 Sweeney, Peter, 35–36, 40
PDF
54 4 I Inde x
Taubman, A. Alfred, 435 Untermyer, Samuel, 103, 104, 275, 276,

Taylor, Francis Henry, 5, 6, 15, 68, 81, 112, 277
179–233, 235, 239, 246, 247, 249, Utrillo, Maurice, 221, 244
250–51, 253–54, 259, 260, 293, 294,
296, 301, 306
Taylor, John, 456–57, 458
Taylor, Mary, 180, 232, 250 Valland, Rose, 199–201
Terrasse à Sainte-Adresse, La (Monet), 314, 325 Valley of the Kings, 126, 139–40,
Thomas, Michael M., 243, 328, 472, 474 146
Three Museums Agreement, 214, 216–17, Vanderbilt, Cornelius H., 50, 62, 79, 395
220–21, 228, 231 Vanderbilt, William Henry “Billy,” 50, 57,
Thyssen-Bornemisza, Hans Heinrich von, 69
245, 423, 435 Vanderbilt, William K., 61, 252
Tiepolo, Giovanni Battista, 38, 279 van der Weyden, Rogier, 95, 201
Tiffany, Louis Comfort, 60, 61, 72, 140, Van Dyck, Anthony, 38, 59, 244
420, 421 Van Eyck, Jan, 181–82
Tiffany & Co., 48, 240, 324, 342 van Gogh, Vincent, 12, 214, 219, 221, 222,
Tilden, Samuel J., 35, 275 244, 350, 352, 417, 418, 419, 457, 472
Time, 254, 259, 265, 321–22, 333, 381–82 van Rijn, Michel, 448
Tinterow, Gary, 418, 440, 441, 472, 474, 475 Vatican, 3, 25, 83, 211, 421
Tisch, Bob, 434–35, 457 Vaux, Calvert, 4, 28, 44, 163, 328
Tisch, Larry, 434–35 Velázquez, Diego Rodriguez de Silva, 38,
Tisch Galleries, 434–35, 458 59, 73, 348–49, 470, 484
Titian, 81, 143 Vélez Blanco patio, 190, 299, 326
Tomkins, Calvin, 2, 38, 51, 161, 174–75, Venema, Adriaan, 384, 390
290, 321, 326, 409 Venice Biennale (1966), 266–67
Toulouse-Lautrec, Henri de, 184, 416 Vermeer, Jan, 59, 95, 102, 141, 220, 267,
Trescher, George, 300–301, 315, 321, 324– 279
25, 326, 334, 341, 342, 372, 423, 450 Versailles, 117, 164, 218
True, Marion, 17, 20, 447 Victoria and Albert Museum (V&A), 80,
Tufo, Peter, 377, 378, 379 82, 86, 87, 106, 230, 440–41
Tuminaro, Dominick, 338–39, 340, 347 View of the Domaine Saint-Joseph (Cézanne),
Turkey, 356–58, 443–47 59, 148, 349
Tutankhamen, 139–40, 367, 425 Vigoroux, Jean, 133–35
Tweed, William Megear “Boss,” 35–36, 40, Viking Press, 2–3, 455
53 Vlaminck, Maurice de, 221, 244
Twentieth-Century Art Department, 304, Vogue, 304, 308, 375, 377, 379, 384, 401,
369–70 453, 454, 460, 463, 467
Tyson, Mike, 422 Vreeland, Diana, 375–79, 401, 404, 453–
56, 462–63
Unicorn tapestries, 132, 159, 164, 166, 196,

199 Wadsworth Atheneum, 26, 105, 106, 109,
Union League Club, 24–25, 27–28, 29, 38, 288
77, 89, 230 Wallace, Lila Acheson, 311, 312–13, 326,
Untermyer, Frank, 277, 278, 279 344, 412
Untermyer, Irwin, 274–79, 284 Walters, Henry, 107, 110, 134, 135
Untermyer, Nina, 275, 277, 279 Walton, Alice, 472
PDF
54 5 I Inde x
Warhol, Andy, 263, 264, 265, 266, 321, 174, 175, 176, 179, 183, 184, 191, 310,
376, 440 473
Warren, David, 408–9 Wintour, Anna, 463–64, 465, 477
Washington, George, 24, 72, 138 Wolfe Fund, 148, 150
Washington Post, 49, 64, 76, 77, 87–88, 308, Worcester Art Museum, 180–82, 207, 231,
347, 355, 379, 384–85, 401, 417 233, 438
Watson, Francis J. B., 309–10, 350 Works Progress Administration (WPA),
Watson, Thomas J., Sr., 167, 212, 243, 250, 163, 191
284, 320, 323, 450 World of Balenciaga exhibition (1973),
Watteau, Antoine, 382, 391 376, 379
Webb, Vanderbilt, 167, 175, 176, 178, 202– Worthies tapestries, 196–98, 215–16,
3, 211–12, 221 218–19
Wehle, Harry B., 174–75, 184, 253–54 Wrightsman, Charlene, 270, 272–73, 281
Weitzmann, Kurt, 241, 242 Wrightsman, Charles Bierer, 245, 246,
Wentworth, Catherine Denkman, 217, 256, 258, 267–74, 279–82, 289, 290,
232 292, 294, 297, 306, 307–10, 315, 317,
Western European Arts Department, 293, 319, 332, 341–42, 350, 367, 368, 423
369–70 Wrightsman, Irene, 270, 272–73, 282
Wharton, Edith, 29, 54, 111, 247, 484 Wrightsman, Irene Stafford, 267, 270,
Whistler, James Abbot McNeill, 125, 275 280
White, Shelby, 446, 447–48 Wrightsman, Jayne Larkin, 2, 245, 258,
Whitney, Betsey, 376, 380 267–74, 279–82, 289, 290, 292, 294,
Whitney, Cornelius Vanderbilt “Sonny,” 307–10, 315, 317, 325, 341–42, 368,
194, 205, 246 387, 422, 423, 429–30, 463, 476–77,
Whitney, Gertrude Vanderbilt, 149, 150– 478, 480, 485
51, 185, 191–92, 193 Wrightsman, Stephanie, 268, 272, 273
Whitney Museum of American Art, 3, 5, Wrightsman Galleries, 12, 13, 331–32,
150–51, 182, 191–94, 204, 205, 206, 429–30
208, 209, 210, 212, 214, 216–17, 260,
262, 483, 485
Whittredge, Thomas Worthington, 27, 28,
38 Yale University, 260–61, 262
Wildenstein, George, 241, 258–60, 353, Year 1200 exhibition (1970), 320, 321,
382, 391 322, 334
Windsor, Duke and Duchess of, 271, 378,
460, 467
Winlock, Herbert, 88, 89, 96–97, 146, 157,
160, 161, 162, 163, 165, 166, 167–68, Zabel, William, 429
PDF
About t he Aut hor
Michael Gross is the bestselling author of 740 Park: The Story of

the World’s Richest Apartment Building, Model: The Ugly Business of Beautiful
Women, and other books. A contributing editor of Travel + Leisure,
he has also written for major publications, including the New
York Times, Vanity Fair, New York, Esquire, and GQ. He lives in
New York City.
PDF
To purchase a copy of
Rogues’ Gallery
visit one of these online retailers:

Amazon
Barnes & Noble
Borders
IndieBound
Powell’s Books
Random House

Rogues&#39; Gallery, by Michael Gross - Excerpt

Escrito por

Dados do documento

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Rogues&#39; Gallery, by Michael Gross - Excerpt

Escrito por

Direitos autorais:

Formatos disponíveis

Gros_9780767924887_2p_01_r1.

qxp:Gros_9780767924887_1p_all_r1 2/4/09 11:03 AM Page ii

broadway books I New York

The Secret Histor y of

Copyright © 2009 by Idee Fixe Ltd.

All Rights Reserved

Published in the United States by Broadway Books,

broadway books and its logo, a letter B bisected on the diagonal,

Book design by Maria Carella

Library of Congress Cataloging-in-Publication Data

printed in the united states of america

Private Vices by the dextrous Management

Bernard Mandeville, The Fable of the Bees

Leaders of the Metropolitan Museum

Archaeologist: Luigi Palma di Cesnola, 1870–1904

Capitalist: J. Pierpont Morgan, 1904–1912

Philanthropist: John D. Rockefeller Jr., 1912–1938

Catalyst: Robert Moses, 1938–1960

Exhibitionist: Thomas P. F. Hoving, 1959–1977

Arrivistes: Jane and Annette Engelhard, 1974–2009

xii I Leaders of the Metropolitan Museum

C. Douglas Dillon, 1969–1978

On a chilly winter day, early in 2006, I sat in the office

Thomas Hoving’s memoir, Making the Mummies Dance, was a score-settling

seum has tried to erase. Simultaneously, The Clarks of Cooperstown by Nicholas

Its scope is mind- boggling. The Metropolitan Museum of

modernization but got little credit, as upgrading electricity, lighting, and

Visited by about 4.6 million people a year, more than a

“No club, church, philanthropy, or fraternal order in New York enjoys

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

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

The Metropolitan Museum is a not-for-profit partner-

From its inception, oversized personalities have domi-

In 1920, at the museum’s fiftieth birthday celebration,

Back in Philippe de Montebello’s office, I wound up my

In my past books, out of both gratitude and diligence, I

Gethers, Kathy Trager, Claudia Herr, Bette Alexander, Ingrid Sterner,

Abbott, James Archer. Jansen. New York: Acanthus, 2006.

Astor, Brooke. Footprints: An Autobiography. Garden City, N.Y.: Doubleday, 1980.

Beaton, Cecil. Beaton in the Sixties. New York: Knopf, 2004.

Chernow, Ron. The House of Morgan. New York: Grove, 1990.

Dwight, Eleanor. Diana Vreeland. New York: William Morrow, 2002.

Gelb, Arthur. City Room. New York: Putnam, 2003.

525 I Biblio graphy

Hess, John L. The Grand Acquisitors. Boston: Houghton Mifﬂin, 1974.

Hoving, Thomas. King of the Confessors. New York: Ballantine, 1981.

Kelley, Kitty. Jackie Oh! Secaucus, N.J.: Lyle Stuart, 1978.

Loebl, Suzanne. America’s Art Museums. New York: Norton, 2002.

McNall, Bruce. Fun While It Lasted. New York: Hyperion, 2003.

Nicholas, Lynn H. The Rape of Europa. New York: Vintage, 1995.

Pope-Hennessy, John. Learning to Look. New York: Doubleday, 1991.

Reich, Cary. Financier. New York: Morrow, 1983.

527 I Biblio graphy

Secrest, Meryle. Duveen. New York: Knopf, 2004.

Seligman, Germain. Merchants of Art: 1880–1960. New York: Appleton-Century-Crofts, 1961.

Shriner, Charles A. Random Recollections. Paterson, N.J.: privately printed, 1941.

———. The Taste of Angels. Boston: Little, Brown, 1948.

Venema, Adriaan. Kunsthandel in Nederland, 1940–1945. Amsterdam: Uitgeverij De Arbeider-

Vreeland, Diana. D.V. New York: Knopf, 1984.

Wharton, Edith. The Age of Innocence. New York: Appleton, 1920.

———. A Backward Glance. New York: D. Appleton- Century, 1934.

Whittredge, Worthington. The Autobiography of Worthington Whittredge, 1820–1910. New York:

Abbey of Saint-Michel-de-Cuxa cloister, anti-Semitism, 51, 104, 124, 162, 260–61,

collection of, 14, 32–33, 43–48, 49, Cohn, Roy, 460

Rogues' Gallery, by Michael Gross - Excerpt

Rogues' Gallery, by Michael Gross - Excerpt