Box 233
Container
Contains 19 Results:
Estate. Incl. legal documents and comparable auction results
File — Box: 233, Folder: 11
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1972, 1981-2007, undated
Estate. Incl. revised PMA inventory and inventory of "archives", 1997
File — Box: 233, Folder: 12
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1997
Estate, 1998-1999, undated
File — Box: 233, Folder: 13
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1998-1999, undated
Estate. "Duchamp archival photographs" inventory, [1998?]
File — Box: 233, Folder: 14
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
[1998?]
"Etant donnés..."
File — Box: 233, Folder: 15
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1972, 1981-2007, undated
"Etant donnés..." Incl. draft writings, September-December 1987, undated
File — Box: 233, Folder: 16
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
September-December 1987, undated
"Etant donnés...", 1988-1989
File — Box: 233, Folder: 17
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1988-1989
"Etant donnés...", 1990-1993
File — Box: 233, Folder: 18
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1990-1993
"Etant donnés...", 1997-1998
File — Box: 233, Folder: 19
Scope and Contents
From the Sub-Series:
By the time of her appointment as director, Anne d'Harnoncourt was well-established as one of the foremost Duchampian scholars. In the dozen years since her 1969 participation in PMA's acquisition and installation of his mixed media assemblage, "Étant donnés," what becomes evident in these papers is the development of d'Harnoncourt's very close relationship with Duchamp's widow, Alexina, better known as Teeny, and with Jacqueline Matisse Monnier, Teeny's daughter from her first marriage to...
Dates:
1997-1998