His intentions of returning to Poland after the war were crushed when he received word that his entire family had perished in the Nazi gas chambers.

[8] During the first four years of their gallery, they presented new works by Jean Arp,[9] Chagall,[10] Wassily Kandinsky, Kazimir Malevich, Henri Matisse, and Picasso.

In 1956, they arranged for North African artisans to produce limited edition carpet designs by Picasso, Alexander Calder, Joan Miró, Jean Lurçat as well as several pieces by Fernand Léger.

In 1960, they mounted the group exhibit, Construction and Geometry in Painting, from Malevich to “tomorrow”, which included works by Albers, Arp, Max Bill, Sonia Delaunay, César Domela, Victor Vasarely, and others.

A second exhibition formed through the Albers connection was the Structured Sculpture show in the same year, which included works by Norman Carlberg, Kent Bloomer, Erwin Hauer, Stephanie Scuris, and Robert Engman, Deborah De Moulpied, all of whom were working at or for Yale (and Albers) at this time.

"Theirs was a story of continuous work on behalf of this style of artist, carried out with great commitment and capital investment.

[17] The gallery developed a spare yet specific and easily identifiable style for its catalogues, which ranged from relatively simple productions to elaborately printed, numbered, limited editions.

Artists represented by the Galerie Chalette included:[18] Selected: Arthur Lejwa died in New York in October 1972 and was buried in Jerusalem.

Madeleine Lejwa made donations to major museums in the United States,[5] including Arp's Oriforme to the National Gallery of Art in 1978.