102 Barnes took shelter from the rain at Guillaume’s gallery on rue Miromesnil, which would have been sometime between February 1914 and January 1916. See Colette Giraudon, op cit., p. 80. 11. Albert C. Barnes, “The Temple,” Opportunity: A Journal of Negro Life, no. 5 (May 1924), p. 139. 12. Ninety-three objects in the collection are accounted for by several receipts: A receipt dated November 9, 1922, lists forty-seven objects, numbered 1 through 39 (No. 22 lists multiple works), purchased the summer of 1922; a receipt dated December 22, 1922, lists thirty objects; a receipt dated January 15, 1923, shows fi ve works purchased from Brummer’s exhibition; a receipt of June 1923 lists three objects and “collection Lobi,” the latter probably referring to the miniature gold weights owned by Mrs. Barnes; a receipt from July 1923 lists fi ve works; and a receipt from December 1923 lists fi ve more objects. An undated handwritten list, “Purchases of Paul Guillaume,” possibly from early 1924, includes an additional four works. BFA. 13. Receipt from Paul Guillaume, Paris, summer 1922, BFA. 14. Albert Barnes to Paul Guillaume, November 27, 1922, BFA. 15. For more on this fascinating but, until recently, littleknown chapter of Man Ray’s practice, see Wendy Grossman, Man Ray, African Art, and the Modernist Lens (Washington, DC: International Arts and Artists; Minneapolis: University of Minnesota Press, 2009). 16. In a letter to Paul Guillaume in spring 1923, Barnes refers to a limited-edition portfolio, African Negro Sculpture (1918), with a preface by Marius de Zayas and photographs by Charles Sheeler, as illustrating examples of African sculpture that de Zayas “had for sale some years ago.” Barnes is certainly referring to the 1918 exhibition African Negro Sculpture at de Zayas’ Modern Gallery in New York, though it remains unclear whether Barnes actually saw this exhibition. Albert Barnes to Paul Guillaume, March 9, 1923, BFA. Sheeler also photographed African sculpture in Barnes’ collection during a January 1923 visit, accompanied by Forbes Watson, editor of The Arts. Sheeler’s images were intended as illustrations for an essay by Marius de Zayas, which was published in the March 1923 issue of The Arts. One of these photographs, of a Fang reliquary guardian fi gure (cat. no. 37d), was selected to accompany the article. See Marius de Zayas, “Negro Art,” The Arts, no. 3 (March 1923), p. 202. 17. See Yaëlle Biro, Object entries by Constantine Petridis, “A Pioneering Collection: Acquiring Congolese Art at the Penn Museum,” Tribal Art, no. 68 (summer 2013), p. 109. 18. The prodigious amount of correspondence between Guillaume and Barnes in the Barnes Foundation Archives provides a comprehensive understanding of the formation of the collection and of the relationship between dealer and collector. This archival material, particularly crucial in the absence of Guillaume’s own memoirs or collected archival materials, prompted my reevaluation of Barnes’ role in the formation of his African art collection in Christa Clarke, “Defi ning Taste: Albert Barnes and the Promotion of African Art in the United States During the 1920s,” (unpublished dissertation, University of Maryland, College Park, 1998). 19. Barnes even disputed Guillaume’s stylistic attributions NOTES 1. Albert C. Barnes to Paul Guillaume, November 5, 1923, the Barnes Foundation Archives, Merion, Pennsylvania. Reprinted with permission of the Barnes Foundation Archives (hereafter referred to as BFA). 2. Guy Pène du Bois, “A Modern Collection,” Arts and Decoration 14 (June 1914), p. 305. Ambroise Vollard memorably described Barnes’ process of selection: “Mr. Barnes comes to see you. He gets you to show him twenty or thirty pictures. Unhesitatingly, as they pass before him, he picks out this one or that one. Then he goes away.” See Ambroise Vollard, Recollections of a Picture Dealer (translated by Violet M. MacDonald, Boston: Little, Brown, and Company, 1936) p. 138. Barnes’ collecting of modernist painting is discussed in Anne Distel, “Dr. Barnes in Paris,” in Richard Wattenmaker and Anne Distel, Great French Paintings from the Barnes Foundation: Impressionist, Postimpressionist, and Early Modern (New York: Alfred A. Knopf, 1993). 3. Barnes later described this self-education in Albert C. Barnes, “How to Judge a Painting,” Arts and Decoration 5, no. 6 (April 1915). 4. For an in-depth discussion of Guillaume’s career, see Colette Giraudon, Paul Guillaume et les peintres du XXe Siècle (Paris: Bibliothèque des artes, 1993). For more recent scholarship that focuses on Guillaume’s involvement with African art, see Solveg Pigearias and Michèle Hornn, “Paul Guillaume and African Art: The History of a Collection in Light of New Research,” Tribal Art 59 (spring 2011). 5. In fact, the Barnes Foundation collection includes a work from the Marquesas Islands—a stilt step, or foot support, used by groups of men in sparring competitions. Its fi gurative elements, unusual for Polynesian works, appealed to early collectors such as Barnes, who displayed it alongside works of African art in the galleries. 6. Although Inagaki’s name has long been associated with the fi nely wrought wooden bases he crafted for African and Asian objects—and works mounted on his bases have been associated with prestigious provenances— little was known about the man himself until 2012, when Charles-Wesley Hourdé published an article that provides important biographical information. See Charles- Wesley Hourdé, “Kichizô Inagaki: In the Shadow of the Twentieth-Century Greats,” Tribal Art, no. 66 (winter 2012). 7. The exhibition integrated twenty-fi ve works of African art with thirty-fi ve works by modernist artists such as Henri Matisse, Amedeo Modigliani, and Pablo Picasso. See Lyre et Palette, 1er Exposition (Paris: Lyre et Palette, 1916), no pagination. The brief catalog includes only one reproduction, of a print by Moïse Kisling. 8. An earlier exhibition at the Galerie Levesque, organized by dealer Charles Vignier in 1913, may have actually been the fi rst to display African works as fi ne art. 9. For Gris’ comments, see Juan Gris, “Opinions sur l’Art Nègre,” Action: Cahiers Individualistes de Philosophie et d’Art, no. 1 (April 1920), 1920. This article includes the famous quote by Picasso, “L’art nègre? Connais pas!” effectively denying the infl uence of African art on his work. 10. Guillaume and Barnes could have met earlier. According to Colette Giraudon, the poet Max Jacob notes that FEATURE
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