Two art dealers, two very different methods

Given these circumstances, it is easy to understand why Kahnweiler was irked by the intrusive Kootz, who often pursued Picasso and tried to purchase works from both of them. On several occasions, Kootz wrote to Picasso complaining about the German dealer's uncooperative attitude, [i] and it would appear as though the comments ended up taking effect, because in July 1955 Sam and Jane Kootz visited the artist in southern France and left with a gift for their collection (probably one of the two paintings dedicated to Jane and Sam Kootz that have been identified: a portrait of Dora Maar wearing a hat, from 1941, [Z. XI, 221] and a small head from 1943, [Z. XIII, 39]). In a note dated in January 1956,[ii] Picasso asked Jaume Sabartés to draw up a list of ten paintings at Kahnweiler's for Kootz," confirming that the painter continued to openly sell pieces to the American dealer. This list matches the body of work shown at the "Picasso" exhibition held from March 12 to April 7, 1956, at the Kootz Gallery in New York. Contrary to the widespread belief that Picasso only handed over minor pieces to Kootz, this exhibition comprised a range of works from 1932 to 1951 that included several masterpieces: Woman with Flower, 1932 [Z. VII, 38], a veiled portrait of Marie-Thérèse, the iconic Woman with Artichoke, 1941, [Z. XII, 1] purchased by Walter P. Chrysler, Jr., and the portrait of Françoise as a sphinx [Z. XV, 13] purchased by Victor Ganz. There is also an element of novelty: two bronze sculptures, Cock, 1932 [Sp.134] and Baboon and Young, 1951 [Sp. 463] (the dealer was also later to purchase the large sculpture Bather Playing, 1958 [Sp. 537], included in the "Artists of the Kootz Gallery" exhibition in 1962 at the John and Mable Ringling Museum of Art in Sarasota). The 1956 show was an utter success, as Kootz wrote to Picasso on March 19 of that same year: he had already sold two pieces to Walter P. Chrysler, Jr., as well as Reclining Nude, 1932 [Z.VII, 407], one Head from 1941 and another one from 1943 [Z.XI, 189 and Z. XIII, 144], and Nude and Woman Washing Her Feet [Z.XIII, 273] to other collectors before the show had even closed. Hence the dealer was able to keep two of the pieces for his personal collection, one of which was Woman Sitting on a Chair, 1937[iii] [Z. IX, 117]. At the time, Sam's correspondence with Picasso–as well as Jane's, written in fluent French–was very frequent, banking on his success to ask the artist to sell him more works. Kootz began a full-fledged campaign to convince Picasso to sell him seven major paintings for one of his most important clients, Nelson Rockefeller; the pieces were Crucifixion [Musée Picasso, Paris, MP 122] and The Three Dancers [Tate Modern, London][iv], among others. Kootz even suggested a financial deal that would allow Picasso to avoid having to declare the tax![v] Later on, in August 1957, he tried to cajole the artist by sending him a new car–a Lincoln convertible–after Picasso's chauffeur Marcel had wrecked the Oldsmobile in an automobile accident. Picasso accepted the car, but the Rockefeller deal never went through. In March 1961, when Roland Penrose was negotiating the purchase of the 1925 painting The Three Dancers for the Tate Gallery with Picasso, Kahnweiler contacted Kootz to make him an offer for the canvas. Picasso, who had always refused to sell to Rockefeller, finally decided to let go of the work if it found a taker for the astronomical price of 3,000,000 francs through Kahnweiler, who gave Kootz first choice out of loyalty. Rockefeller, although still interested in the work, was unwilling to pay such a large sum, and the piece was finally sold to the Tate.

[i] Letters from Sam Kootz to Picasso, December 18, 1951, and July 20, 1955, Archives Musée Picasso, Paris.

[ii] Handwritten note by Picasso, January 11, 1956, Succession Picasso archives, Paris.

[iii] Letters from Sam Kootz to Picasso, March 19, 1956 and May 15, 1956, Archives Musée Picasso, Paris.

[iv] Letter from Sam Kootz to Picasso, June 14, 1957, Archives Musée Picasso, Paris.

[v] Letter from Sam Kootz to Picasso, December 3, 1956, Archives Musée Picasso, Paris.

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Summary