654:) and placed them in the permanent collection of the Museum of Modern Art as a tribute to her late friend. Sullivan's selections of art works between 1928 and 1934 on behalf of the Indianapolis group of collectors called the Gamboliers brought some of the first modern and contemporary artworks to the collections of the John Herron Art Institute, which later became the Indianapolis Museum of Art. The private art collection that she and her husband, Cornelius J. Sullivan, amassed during the 1920s and 1930s, which included modern and contemporary works from notable American and European artists was later sold and passed into other collections.
520:. As the leader of the group, Sullivan began choosing works of art in 1928 on their behalf in New York City and during her frequent travels to Europe. Working with an annual budget of $ 2,500, she purchased 160 works of art for the Gamboliers that usually ranged in price from $ 10 to $ 25 each. By the time the group disbanded in 1934, its collection were mostly on paper and included works from new and upcoming American and European artists such as Modigliani,
499:. She also gave lectures about the history of lacework on behalf of the club. In addition, Sullivan supported causes such as the Handwork Centre at 511 Madison Avenue that sold toys made by the elderly, infirm, and unemployed. As late as 1921, Sullivan was noted to be the secretary and chairman of the New York Society of Occupation Therapy, which operated a summer program at
816:
The
Gamboliers remained a small group whose membership peaked at twenty-two in 1931. Funds to make the group's purchases came from a modest annual fee of $ 25 per member. Artworks remained the Gamboliers' property for three years and were frequently loaned to the Herron Art Institute for exhibitions
649:
Working with Lillie
Plummer Bliss, Abby Aldrich Rockefeller, and others, Sullivan established the Museum of Modern Art, which opened in New York City in November 1929, and continued to support the institution as a member of its board of trustees until 1933 and an honorary trustee until her death in
577:
Mary
Sullivan was one of the seven signers of the museum's charter and "worked tirelessly to assist in any way she could." Her husband, Cornelius Sullivan, drafted the art museum's incorporation documents and served as its legal advisor until his death in 1932. Mary Sullivan chaired several of the
438:
Mary and
Cornelius Sullivan made frequent trips to Europe and visited galleries in New York to amass their private collection of European and American art. The couple displayed their collection of modern French art in their home in Astoria, Queens. Mary Sullivan began her own art collection in the
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During summer of 1928, Sullivan also helped the Herron Art
Institute organize two exhibitions of modern paintings from French and American artists. In addition, she helped bring to Indianapolis in January 1932 a temporary exhibition of 111 works of modern art. In February 1932, the Herron Art
609:
and other financial difficulties caused by
Cornelius Sullivan's death in 1932 subsequently led to Mary Sullivan's decision to disburse their art collection. Some of the collection from her husband's estate and a portion of her own collection were sold at auction in April 1937 at
494:
After her marriage, Mary
Sullivan also became a strong supporter of philanthropic causes. She served as the president of the Needle and Bobbin Club in New York City. This women's group sold lacework for charity, most notably works by women in poorhouses at
42:
188:, art patrons who called themselves the Gamboliers and between 1928 and 1934 selected artworks of for the group that brought some of the first modern and contemporary works to the collections of the John Herron Art Institute, which later became the
429:
classmate and an art and manuscript collector. C. J. Sullivan was a collector of rare books and manuscripts, antiques, and art. John Quinn and C. J. Sullivan also shared an enthusiasm for collecting and identifying themselves as "Irish patriots."
515:
In 1927, Sullivan and
Indianapolis art patron Carl Lieber organized a small group of Indianapolis art patrons who called themselves the Gamboliers to acquire modern and contemporary art for the John Herron Institute, the predecessor to the
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618:. The auction began on December 6, 1939, and was one of the major modern art auctions since John Quinn's death in 1927. Sullivan died the night before the auction, when her collection of modern art, which included works by
317:, a fellow art student and the two became a lifelong friends through a shared interest in modern art. Quinn resided in the Brooklyn Heights home of Katherine Dreier's father, Theodor Dreier, during the early 20th century.
294:, on November 24, 1877. She was the eldest of Thomas F. and Anne E. (Gleason) Quinn's eight children (six daughters and two sons). Thomas Quinn, came to Indianapolis in 1857 and by 1877 was farming land outside the city.
383:. Upon her return to New York in 1910, Quinn accepted a faculty position at Pratt Institute as an instructor of drawing and design at its School of Household Sciences and Arts. She later became supervisor of design.
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before the works were offered as a gift to
Institute. If the Herron Art Institute did not accept a particular work, it was distributed by means of a lottery to members of the Gamboliers. See Schlagenhauff, pp. 11–12.
439:
1920s. She made her first major purchase in
February 1927 at the estate auction of John Quinn. Over the years the Sullivans' collection expanded to include American and Irish antiques, as well as modern art such as
270:, England, for a semester. Sullivan became an art teacher in the New York City public schools and a member of the faculty at Pratt Institute's School of Household Science and Arts. She also authored a textbook,
646:, on December 5, 1939, of complications from pleurisy and diabetes. Following funeral services at New York City and Indianapolis, her remains were interred at Holy Cross Cemetery in Indianapolis, Indiana.
614:. In December 1939, Sullivan, who was ill by that time, consigned 202 additional pieces from their collection for sale at a two-day auction at Parke-Bernet, which later became affiliated with
578:
museum's committees before her resignation and retirement from the board of trustees on October 17, 1933, due to financial difficulties. She as made an honorary trustee for life in 1935.
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301:. Quinn took classes from Roda Selleck, the head of the high school's art department, and served as Selleck's assistant. In 1899, Quinn received a scholarship to study art at the
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Cornelius Sullivan, who specialized in managing large trusts and divorce proceedings for the wealthy, was a member of the New York Board of Education. He was also a friend of
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After the death of her husband in 1932, Mary Sullivan opened an art gallery on East 56th Street in New York City. She later moved her gallery to a two-room space in
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for several years, becoming head of the school's art department by 1909. However, she resigned from teaching and returned to Europe to study at the
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402:, a prominent New York lawyer, on November 21, 1917. The couple had no children. The Sullivans established a home in the Hell's Gate area of
1034:
562:, who agreed to serve as chairman of the museum's organizing committee, the group began developing definite plans for what became the
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Mary and Cornelius J. Sullivan, her husband, amassed a significant private collection of art during the 1920s and 1930s that included
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1939. Rockefeller purchased two works from the auction of Mary Quinn Sullivan's collection in December 1939 (a Modgliani and an
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566:. The museum opened in November 1929 in rented space at its temporary quarters in a New York City office building at 730
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In addition, Quinn served as secretary of the New York High School Teacher's Association. She also authored a textbook,
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and financial difficulties in the 1930s subsequently led to the decision to sell her private art collection at auction.
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to observe the curriculum of art schools. Katherine Drier accompanied Quinn during the trip, which included visits to
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Institute opened an exhibition to showcase the works of art that Sullivan had helped the Gamboliers to acquire.
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Interested in art from an early age, Mary Quinn attended public schools in Indianapolis, including the
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began discussions for a new museum of modern art in New York City. During a luncheon with collector
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406:, where they entertained artists, writers, and politicians. (The neighborhood is now occupied by a
507:. The program taught the basics of art and applied arts instruction to hospital aides and nurses.
390:(1914). Quinn resigned from the Pratt Institute and left the teaching profession in October 1917.
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in 1920, a group of art patrons that promoted modern art. Its collection, which was presented to
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Schlagenhauff, Annette (Winter 2009). "Gifts of the Gamboliers: Modern Art in Indianapolis".
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Annette Schlagenhauff (Winter 2009). "Gifts of the Gamboliers: Modern Art in Indianapolis".
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Planning and Furnishing the Home: Practical and Economical Suggestions for the Homemaker
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Planning and Furnishing the Home: Practical and Economical Suggestions for the Homemaker
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274:(1914). Sullivan operated an art gallery in New York City in her later years, but the
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Jeffers, Mary (November 2004). "Abby Aldrich Rockefeller: Patron of the Modern".
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336:. Their travels exposed the two women to the modern art movements of the time (
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675:. Vol. III. Cambridge, Massachusetts: Belknap Press. p. 410.
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Edward T. James, Janet Wilson James, and Paul S. Boyer, eds. (1971).
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During the 1920s, Sullivan established friendships with art patrons
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school system. In 1902, the New York Board of Education sent her to
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to pursue a career as an artist. While living in New York, she met
333:
908:. Vol. III. Cambridge, Massachusetts 408–10: Belknap Press.
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James, Edward T., Janet Wilson James, and Paul S. Boyer (1971).
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People associated with the Museum of Modern Art (New York City)
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Every Way Possible: 125 years of the Indianapolis Museum of Art
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Every Way Possible: 125 years of the Indianapolis Museum of Art
634:, and Modigliani, among others, passed into other collections.
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The Indiana native trained for a career as an artist at the
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Notable American Women 1607–1950: A Biographical Dictionary
831:. Indianapolis, Indiana: Indianapolis of Art. p. 100.
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Notable American Women 1607–1950: A Biographical Dictionary
1000:(1). Indianapolis: Indiana Historical Society: 10–19.
570:. In 1932, the museum moved into its own facility on
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410:power plant.) The Sullivans often spent summers in
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740:(1). Indianapolis: Indiana Historical Society: 12.
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963:. Indianapolis, Indiana: Indianapolis of Art.
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172:(November 24, 1877 – December 5, 1939), born
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983:: CS1 maint: multiple names: authors list (
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598:'s work, among others, and employed a young
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594:. The gallery hosted exhibitions of
344:). Dreier went on to establish the
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286:Mary Josephine Quinn was born in
262:, and in 1909 she studied at the
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1040:American women art collectors
434:Art patron and philanthropist
18:Mary Josephine Quinn Sullivan
463:desk which once belonged to
354:Yale University Art Gallery
223:desk that once belonged to
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518:Indianapolis Museum of Art
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445:Sculptured Head of a Woman
416:Block Island, Rhode Island
361:DeWitt Clinton High School
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190:Indianapolis Museum of Art
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237:Henri de Toulouse-Lautrec
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282:Early life and education
264:Slade School of Fine Art
140:founding trustee of the
125:Slade School of Fine Art
1025:American art collectors
531:Moulin Rouge: La Goulue
163:Anne E. (Gleason) Quinn
1065:Catholics from Indiana
299:Shortridge High School
227:, as well as works by
153:(1917–1932; his death)
27:American art collector
890:Schlagenhauff, p. 19.
867:Schlagenhauff, p. 17.
771:Schlagenhauff, p. 15.
620:Pierre-Auguste Renoir
400:Cornelius J. Sullivan
229:Pierre-Auguste Renoir
186:Indianapolis, Indiana
151:Cornelius J. Sullivan
138:modern art collector,
106:Indianapolis, Indiana
67:Indianapolis, Indiana
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954:. December 18, 1939.
564:Museum of Modern Art
548:Lillie Plummer Bliss
178:Museum of Modern Art
174:Mary Josephine Quinn
142:Museum of Modern Art
103:Holy Cross Cemetery,
53:Mary Josephine Quinn
556:Arthur Bowen Davies
505:Woodstock, New York
491:to name but a few.
398:Mary Quinn married
170:Mary Quinn Sullivan
34:Mary Quinn Sullivan
701:has generic name (
612:Anderson Galleries
560:A. Conger Goodyear
497:Blackwell's Island
427:Harvard Law School
342:Post-Impressionism
307:Brooklyn, New York
260:Brooklyn, New York
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449:Leopold Zborowski
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83:(1939-12-05)
1020:1939 deaths
1015:1877 births
950:"Pioneer".
622:, CĂ©zanne,
592:Park Avenue
582:Later years
572:53rd Street
473:Crucifixion
465:Edgar Degas
461:Hepplewhite
225:Edgar Degas
221:Hepplewhite
217:Crucifixion
1009:Categories
898:References
441:Modigliani
423:John Quinn
197:Modigliani
59:1877-11-24
979:cite book
924:cite book
691:cite book
616:Sotheby's
588:Lois Shaw
381:Roger Fry
158:Parent(s)
148:Spouse(s)
116:Education
943:Antiques
394:Marriage
219:, and a
412:Ireland
377:England
292:Indiana
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912:
835:
679:
524:, and
483:, and
408:Con Ed
373:London
330:France
326:Europe
268:London
129:London
658:Notes
334:Italy
985:link
965:ISBN
952:Time
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910:ISBN
833:ISBN
710:link
703:help
677:ISBN
605:The
550:and
459:, a
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332:and
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