This subseries section consists of letters, with occasional attachments and cablegrams. There is correspondence between César M. de Hauke and Germain Seligman and between the staffs of de Hauke & Co., Inc., and Jacques Seligmann & Co., Inc., about ongoing business, art sales and purchases, clients, and travel plans and arrangements. References are found in the 1940s correspondence to the seizure of Jacques Seligmann & Co., Inc., property during the German occupation of Paris. There are occasional "veiled" references to works by Pablo Picasso, Vincent van Gogh, and others. The material is arranged chronologically.
The following letters are of special note:
Memorandum dated June 9, 1941, C. M. de Hauke to Jacques Seligmann & Co., Inc. Asks staff at Jacques Seligmann & Co. to create codes for certain words and amounts of money and suggests writing in English to make it harder for others to decipher intercepted mail.
Letter dated September 5, 1941, G. Seligman to C. M. de Hauke. Suggests some of the company's continuing activities concerning art sales during the German occupation of Paris. Reply dated September 7, 1941.
Letter dated March 16, 1945, G. Seligman to C. M. de Hauke. Briefly discusses questions Seligman has about de Hauke's role in selling property of the Paris office of Seligmann & Co., which was seized by Nazis in the summer of 1940, during the occupation of Paris. This letter is in reply to one by de Hauke, dated November 20, 1944, requesting Seligman's assistance as a sponsor for de Hauke's visa application to return to the United States.
Arrangement note:
This series is scanned in entirety.
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Use of original papers requires an appointment.
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Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
