| Source Url | Title | Artist | Credit Line | Acc Num | Provenance |
| https://www.metmuseum.org/art/collection/search/483489 | Crouching Woman with Crab | Aristide Maillol | Crouching Woman with Crab | French | The Metropolitan Museum of Art | Bequest of Scofield Thayer, 1982 | 1984.433.35 | Mr. Bruno and Mrs. Sadie Adriani Bruno and Sadie Adriani, Carmel-by-the-Sea, Calif., [ Buchholz Gallery } [Buchholz Gallery, New York], E. Weyhe Gallery [E. Weyhe, New York, probably on loan to the Whitney Studio, New York, sold in March 1924 to Thayer], [probably on loan to Whitney Studio, sold in March 1924 to Thayer], Scofield Thayer (1924–d. 1982, on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1936–82, his bequest to MMA), Worcester Art Museum |
| https://harvardartmuseums.org/collections/object/296387 | Madame Fisher | Harvard Art Museums | Diego Rivera, Mexican (Guanajuato, Mexico 1886 - 1957 Mexico City) | Harvard Art Museums/Fogg Museum, Bequest of Meta and Paul J. Sachs | 1965.437 | Recorded Ownership History;[The E. Weyhe Gallery, New York, New York], sold, to Meta and Paul J. Sachs (L. 2091), Cambridge, Massachusetts, bequest, to Fogg Art Museum, 1965. |
| | | | | |
| https://harvardartmuseums.org/collections/object/225571 | Proun 12E | Harvard Art Museums | El Lissitzky, Russian (Pochinok, Russia 1890 - 1941 Moscow, Russia) | Harvard Art Museums/Busch-Reisinger Museum, Association Fund | BR49.303 | Recorded Ownership History;Kurt Feldhäusser, Berlin, bequest, to Marie Luise Feldhäusser, 1945, sold, [E. Weyhe Gallery, New York], sold, to Busch-Reisinger Museum, 1949. |
| https://www.sothebys.com/en/auctions/ecatalogue/2018/impressionist-modern-art-evening-sale-n09930/lot.22.html | Das Soldatenbad (Artillerymen) | Ernst Ludwig Kirchner | | NOTE: Claim for Nazi-looted art and Restitutionto heirs of Alfred Flechtheim | Provenance;Galerie Ludwig Schames, Frankfurt;Alfred Flechtheim, Dusseldorf (acquired from the above in 1919);Städtisches Kunstmuseum, Dusseldorf (acquired by donation in 1928-29);Alfred Flechtheim, Dusseldorf (acquired from the above by exchange in 1930 and left in the custody of his niece, Rosi Hulisch, on his departure from Germany in 1933);Kurt Feldhäusser, Berlin (acquired in 1938);Marie Luise Feldhäusser, Berlin (by inheritance from her son, above, in 1945);Erhard Weyhe Gallery, New York (acquired from the above in 1949);Mr. & Mrs. Morton D. May, St. Louis (acquired by 1952);The Museum of Modern Art, New York (a gift from the above in 1956);The Solomon R. Guggenheim Museum, New York (by exchange from the above in 1988);Acquired by restitution from the above in 2018 |
| https://allenartcollection.oberlin.edu/objects/3758/selfportrait-as-a-soldier | Self-Portrait as a Soldier | Ernst Ludwig Kirchner (German, 1880–1938) | | | |
| https://www.slam.org/collection/objects/1671/ | Standing Nude Turning - Saint Louis Art Museum | Ernst Ludwig Kirchner, German (active Switzerland), 1880–1938 | Gift of Mr. and Mrs. Morton D. May | 402:1955 | - still in 1919;Galerie Ludwig Schames, Frankfurt am Main, Germany [1];by 1923 -;Ludwig Fischer (1860-1922) and Rosy Fischer (d.1926), Frankfurt am Main, Germany [2];c.1932 -;Galerie Ferdinand Möller, Berlin, Germany [3];- 1945;Kurt Feldhäusser (1905-1945), Berlin, Germany, purchased from Ferdinand Möller [4];1945 -;Marie Luise Feldhäusser (1876-1967), Berlin, Germany, by inheritance [5];- 1954;Feigl Gallery (Hugo Feigl), New York, NY, USA;1954/01/11 - 1955;Morton D. May (1914-1983) and Margie Wolcott May (d.2001), St. Louis, MO, purchased from Feigl Gallery [6];1955 -;Saint Louis Art Museum, given by Mr. and Mrs. Morton D. May [7];Notes;[1] This sculpture was exhibited in 1919 at the Galerie Ludwig Schames in Frankfurt, ["Ausstellung von Germälden von E.L. Kirchner," Frankfurt: Ludwig Schames, 1919, cat. 54].;[2] This sculpture is visible in a 1923 photograph of the dining room of Ludwig and Rosy Fischer, taken the year after Ludwig Fischer's death [Heuberger, Georg, ed. "Expressionismus und Exil: Die Sammlung Ludwig and Rosy Fischer, Frankfurt am Main." München: Prestel, 1990, p. 18].;Ludwig and Rosy Fischer were art collectors who, by the time of Ludwig's death, had amassed a collection of about 500 works. Finding that the rate of inflation made it impossible to maintain the collection, Rosy Fischer founded an art gallery in her home in November of 1923 called the Fischer Gallery. The Gallery was not successful, however, and Rosy closed it in 1925. She died in 1926 while traveling in Egypt [Heuberger, Georg, ed. "Expressionismus und Exil: Die Sammlung Ludwig and Rosy Fischer, Frankfurt am Main." München: Prestel, 1990, p.170].;Author Georg Heuberger, in his 1990 exhibition catalogue on the Fischer collection, stated that Ludwig and Rosy Fischer’s son, Max Fischer, inherited the sculpture after Rosy’s death [Heuberger, p.170, 116, 118]. Independent evidence to confirm Max Fischer’s possession, or how the sculpture left Rosy Fischer’s collection, has not been found.;[3] Wolfgang Henze, author of the Kirchner catalogue raisonné, lists the sculpture in Ferdinand Möller's possession c.1932 [ Henze, Wolfgang. "Die Plastik Ernst Ludwig Kirchners, Monographie mit Werkverzeichnis." Wichtrach/Bern: Verlag Galerie Henze & Ketterer, 2002, p. 342]. A copy of an information card from Galerie Ferdinand Möller with images of the sculpture was provided in a letter to the Museum from Wolfgang Henze dated July 15, 2003. The original card was sent by Möller to Carl Hagemann, with whom Möller corresponded between 1929 and 1933. The address on the card is one used by the Galerie Ferdinand Möller between 1932 and 1935 [SLAM document files].;[4] See note [3]. Kurt Feldhäusser acquired a great deal of his collection from Ferdinand Möller and collected works by Kirchner quite heavily. Feldhäusser died in a bombing raid in Nürnberg in January 1945. His mother, Marie Luise Feldhäusser, inherited his collection and subsequently sold much of it through E. Weyhe Gallery in New York [Heuberger, p. 120, note 52, letter to the Museum from Wolfgang Schöddert, Ferdinand-Möller-Stiftung, dated November 20, 2002, SLAM document files].;According to Andrew Robison, Marie Luise Feldhäusser moved to Brooklyn, NY in May 1948 to join her other son Erwin and his family. She brought nearly all of Kurt's collection with her, with the exception of five paintings and three sculptures - which included two wood sculptures of female nudes by Kirchner, one of which is "Standing Nude." She left these few pieces in the care of Fritz Kolb, an artist and friend of Kurt Feldhäusser in Stuttgart, Germany [Robison, Andrew. "Kirchner Collector Kurt Feldhäusser" in "Festschrift für Eberhard W. Kornfeld zum 80. Geburtstag." Bern: Galerie Kornfeld, 2003].;[5] See note [4].;[6] The invoice dated January 11, 1954 from Feigl Gallery to Morton D. May indicates that this work is from the Feldhäusser collection [May Archives, Saint Louis Art Museum, Robison, p. 260]. A letter to Morton D. May from Hugo Feigl of Feigl Gallery refers to some artwork he purchased "from the famous Feldthaeusser [sic] collection, where I bought them directly" [letter dated October 24, 1960, SLAM document files], though he doesn’t mention this work specifically.;[7] Minutes of the Administrative Board of Control of the City Art Museum, December 8, 1955. |
| https://www.slam.org/collection/objects/13494/ | View from the Window - Saint Louis Art Museum | Ernst Ludwig Kirchner, German (active Switzerland), 1880–1938 | Bequest of Morton D. May | 902:1983 | 1920 - 1937;Kunsthalle Hamburg, Hamburg, Germany [1];1937/08/21 -;German National Socialist (Nazi) government, confiscated as "degenerate" from the Kunsthalle Hamburg, August 21, 1937 [2];- 1941;Galerie Ferdinand Möller, Cologne, Germany, Berlin, Germany [3];1941 - 1945;Kurt Feldhäusser (1905-1945), Berlin, Germany, purchased from Galerie Ferdinand Möller [4];1945 - still in 1948;Marie Luise Feldhäusser (1876-1967), Berlin, Germany, Brooklyn, NY, USA, by inheritance [5];- 1951;E. Weyhe Gallery, New York, NY, purchased from Marie Luise Feldhäusser [6];1951/10/04 - 1983;Morton D. May (1914-1983), St. Louis, MO, purchased from E. Weyhe Gallery [7];1983 -;Saint Louis Art Museum, bequest of Morton D. May [8];Notes;[1] According to the catalogue raisonné on Kirchner by Donald Gordon, cat. no. 380, the Kunsthalle Hamburg acquired the painting in 1920 [Gordon, Donald. "Ernst Ludwig Kirchner." Cambridge, Mass.: Harvard University Press, 1968]. The painting appears in a 1923 Kunsthalle Hamburg museum publication [Kunsthalle Hamburg, "Katalog der neueren Meister." Hamburg 1923, cat. no. 2337]. An inventory card (no, 4864) in the Kunsthalle Hamburg indicates the dates that the painting entered and left the collection [copy of inventory card, SLAM document files].;[2] The painting is listed as confiscated from the Kunsthalle Hamburg in the list of Nazi confiscations published in 1962 [Roh, Franz. "Entartete Kunst: Kunstbarbarei im Dritten Reich." Hannover: Fackelträger-Verlag, 1962, p. 189].;[3] Ferdinand Möller was one of four German art dealers who were appointed by Hitler in 1938 to the "Verwertungskommission" (disposal commission) to sell the confiscated "degenerate" art on the international art market. This painting was among those confiscated works, which ended up in the Möller gallery stock. In 1941 Möller sold the painting to the Kirchner collector Kurt Feldhäusser, Berlin [Roters, Eberhard. "Galerie Ferdinand Möller: Die Geschichte einer Galerie für Moderne Kunst in Deutschland 1917-1956." Berlin: Gebr. Mann Verlag, 1984, p. 292].;[4] See note [3]. Kurt Feldhäusser acquired a great deal of his collection from Ferdinand Möller and collected works by Kirchner quite heavily. Feldhäusser died in a bombing raid in Nürnberg in January 1945. His mother, Marie Luise Feldhäusser, inherited his collection and subsequently sold much of it through E. Weyhe Gallery in New York [letter from Wolfgang Schöddert, Ferdinand-Möller-Stiftung, dated November 20, 2002, SLAM document files].;According to Andrew Robison, Marie Luise Feldhäusser moved to Brooklyn, NY in May 1948 to join her other son Erwin and his family. She brought nearly all of Kurt's collection with her, hoping to keep it intact, but eventually offered it through E. Weyhe Gallery [Robison, Andrew. "Kirchner Collector Kurt Feldhäusser" in "Festschrift für Eberhard W. Kornfeld zum 80. Geburtstag." Bern: Galerie Kornfeld, 2003].;[5] See note [4]. In May 1949, Weyhe Gallery included this painting (titled "Blick aus dem Fenster") in a list of paintings and sculpture available "from a European collection" [Robison, p. 252-54]. It is unclear whether these works were owned by Mrs. Feldhäusser or Weyhe Gallery at this time.;[6] See note [5].;[7] Bill of sale dated October 4, 1951, and correspondence from E. Weyhe [May Archives, Saint Louis Art Museum]. May also bought other works by Kirchner at this time: "Russian Dancer," "Two Female Nudes," and "Circus Rider" – all from the Feldhäusser collection. "Circus Rider" (904:1983) is also now in the collection of the Saint Louis Art Museum.;[8] Last Will and Testament of M. D. May dated June 11, 1982 [copy, May Archives, Saint Louis Art Museum]. Minutes of the Acquisitions and Loans Committee of the Board of Trustees, Saint Louis Art Museum, September 20, 1983. |
| https://www.slam.org/collection/objects/13496/ | Circus Rider (recto), Dancers with Castanets (verso) - Saint Louis Art Museum | Ernst Ludwig Kirchner, German (active Switzerland), 1880–1938 | Bequest of Morton D. May | 904:1983 | - 1928;Paul Multhaupt, Düsseldorf, Germany;1928 - 1937/12/27;Walter-Kaesbach-Stiftung, Mönchengladbach, Germany, given by Paul Multhaupt [1];1937/12/27 - 1941/03/12;German National Socialist (Nazi) government, confiscated as "degenerate" from the Städtisches Kunstmuseum, Mönchengladbach [2];1941/03/12 - 1941;Galerie Ferdinand Möller, Cologne, Germany, Berlin, Germany [3];1941 - 1945;Kurt Feldhäusser (1905-1945), Berlin, Germany, purchased from Galerie Ferdinand Möller [4];1945 - 1949;Marie Luise Feldhäusser (1876-1967), Berlin, Germany, Brooklyn, NY, USA, by inheritance [5];1949 - 1951;E. Weyhe Gallery, New York, NY, USA, purchased from Marie Luise Feldhäusser [6];1951/10/04 - 1983;Morton D. May (1914-1983), St. Louis, MO, purchased from E. Weyhe Gallery [7];1983 -;Saint Louis Art Museum, bequest of Morton D. May [8];Notes;[1] A publication by Sabine Kimpel-Fehlemann describes the friendship between Paul Multhaupt and Walter Kaesbach, and Multhaupt's donation of the painting to the foundation, the Walter-Kaesbach-Stiftung, in 1928 [Kimpel, Sabine. "Walter Kaesbach Stiftung, 1922-1937: die Geschichte einer expressionistischen Sammlung in Mönchengladbach." Mönchengladbach: Stadtarchiv und the Städtisches Museum, 1978]. Walter Kaesbach, Professor at the Akademie in Düsseldorf and a Mönchengladbach native, founded the Walter-Kaesbach-Stiftung in 1922. In 1928, Kaesbach donated the foundation's collection to the city of Mönchengladbach, making it part of the Städtisches Kunstmuseum, Mönchengladbach.;[2] This painting is listed as confiscated from Walter-Kaesbach-Stiftung in the list of Nazi confiscations published in 1962 [Roh, Franz. "Entartete Kunst: Kunstbarbarei im Dritten Reich." Hannover: Fackelträger-Verlag, 1962, p. 227]. The dramatic dismantling of the Mönchengladbach collection is described in the Kimpel-Fehlemann publication (see note [1]). The painting is included in the inventory of paintings stored at the Depot Schloss Schönhausen, source: Lists, Holdings in Schönhausen, 1939, Händlerakte Gurlitt, Bundesarchiv, Berlin, R55/21015, Bl. 36, Nr. 333.;[3] Ferdinand Möller was one of four German art dealers who were appointed by Hitler in 1938 to the Verwertungskommission (disposal commission) to sell the confiscated "degenerate" art on the international art market. Möller acquired "Circus Rider" by exchange for Joseph Weidner's "Portrait of Mrs. Waldmüller" [Lists, Inventory of Exhanges, c. 1941, Händlerakte Buchholz, Bundesarchiv, Berlin, R 55/21017, p. 21]. In 1941 Möller sold the painting to the Kirchner collector Kurt Feldhäusser, Berlin [Roters, Eberhard. "Galerie Ferdinand Möller: Die Geschichte einer Galerie für Moderne Kunst in Deutschland 1917-1956." Berlin: Gebr. Mann Verlag, 1984].;[4] Various sources, including the Morton D. May Papers at the Saint Louis Art Museum, the Kirchner catalogue raisonné, and the Eberhad Roters publication (see note [3]), indicate that the painting was acquired by Feldhäusser in 1941 [May Archives, Saint Louis Art Museum, Gordon, Donald E. "Ernst Ludwig Kirchner: mit einem kritischen Katalog sämtlicher Gemälde." München: Prestel-Verlag, 1968, Haxthausen, Charles Werner. "Modern German Masterpieces from the Saint Louis Art Museum." St. Louis: Saint Louis Art Museum, 1986, Roters, p. 292].;Kurt Feldhäusser acquired a great deal of his collection from Ferdinand Möller and collected works by Kirchner quite heavily. Feldhäusser died in a bombing raid in Nürnberg in January 1945. His mother, Marie Luise Feldhäusser, inherited his collection and subsequently sold much of it through E. Weyhe Gallery in New York [letter from Wolfgang Schöddert, Ferdinand-Möller-Stiftung, dated November 20, 2002, SLAM document files].;According to Andrew Robison, Marie Luise Feldhäusser moved to Brooklyn, NY in May 1948 to join her other son Erwin and his family. She brought nearly all of Kurt's collection with her, hoping to keep it intact, but eventually offered it through E. Weyhe Gallery [Robison, Andrew. "Kirchner Collector Kurt Feldhäusser" in "Festschrift für Eberhard W. Kornfeld zum 80. Geburtstag." Bern: Galerie Kornfeld, 2003].;[5] See note [4]. According to information provided by E. Weyhe to Morton D. May in a letter dated May 3, 1968 [SLAM document files]. In May 1949, Weyhe Gallery included this painting (titled "Zirkusreiter") in a list of paintings and sculpture available "from a European collection" [Robison, p. 252-54]. It is unclear whether these works were owned by Mrs. Feldhäusser or Weyhe Gallery at this time.;[6] See note [5].;[7] Bill of sale dated October 4, 1951, and correspondence from E. Weyhe [May Archives, Saint Louis Art Museum]. May also bought other works by Kirchner at this time: "Russian Dancer," "Two Female Nudes," and "View from the Window" – all from the Feldhäusser collection. "View from the Window" (902:1983) is also now in the collection of the Saint Louis Art Museum.;[8] Last Will and Testament of M. D. May dated June 11, 1982 [copy, May Archives, Saint Louis Art Museum]. Minutes of the Acquisitions and Loans Committee of the Board of Trustees, Saint Louis Art Museum, September 20, 1983. |
| https://harvardartmuseums.org/collections/object/304414 | Self-Portrait with Cat | Harvard Art Museums | Ernst Ludwig Kirchner, German (Aschaffenburg am Main, Germany 1880 - 1938 Davos, Switzerland) | Harvard Art Museums/Busch-Reisinger Museum, Museum purchase | BR50.12 | Recorded Ownership History;Folkwang Museum, Essen, by 1929, removed from the collection by the National Socialist (Nazi) authorities, 1937 (EK 3689), sold, [Galerie Ferdinand Möller, Berlin], sold, to Kurt Feldhäusser, Berlin,by inheritance, Marie Feldhäusser, Brooklyn (1945-c. 1949) sold, [E. Weyhe Gallery, New York], sold, to Busch-Reisinger Museum, February 1950. |
| https://www.nga.gov/collection/art-object-page.153869.html | Staircase Alley in Fiesole | Eva Marie Schlenzig;(artist) | Gift of Ruth Cole Kainen | 2012.92.458 | (Weyhe Gallery, Mt. Desert, ME), Ruth Kainen, Washington, D.C., purchased October 31, 2007, Gift to NGA, 2012. |
| https://www.nga.gov/collection/art-object-page.153870.html | School Outing | Eva Marie Schlenzig;(artist) | Gift of Ruth Cole Kainen | 2012.92.459 | (Weyhe Gallery, Mt. Desert, ME), Ruth Kainen, Washington, D.C., purchased October 31, 2007, Gift to NGA, 2012. |
| https://www.nga.gov/collection/art-object-page.176549.html | Woman on Horseback (Equestrienne) | Gaston Lachaise;(sculptor) | Corcoran Collection (Gift of The Honorable Francis Biddle) | 2015.19.3778 | (Weyhe Gallery, New York), purchased 1933 by Francis Biddle [1886-1968], Washington,[1] gift 1959 to the Corcoran Gallery of Art, Washington, acquired 2015 by the National Gallery of Art.;[1] The information about Biddle's purchase was given to Jennifer Wingate of the Corcoran by Virginia Budny, consultant to the Lachaise Foundation, Boston, in e-mails of 27 and 28 March 2007, in NGA curatorial files. |
| https://harvardartmuseums.org/collections/object/223782 | Picture 21 | Harvard Art Museums | Georg Muche, German (Querfurt, Germany 1895 - 1987 Lindau, Germany) | Harvard Art Museums/Busch-Reisinger Museum, G. David Thompson Fund and unrestricted income | BR55.334 | Recorded Ownership History;Private collection, Germany, sold, [E. Weyhe Gallery, New York], sold, to Busch-Reisinger Museum, 1955. |
| https://www.metmuseum.org/art/collection/search/494930 | Young Girl | George Grosz | Young Girl | The Metropolitan Museum of Art | Purchase, Molly and Walter Bareiss Gift, 2006 | 2006.184 | the artist, Berlin (1924–25, in January 1925 to Flechtheim), [Galerie Alfred Flechtheim, Berlin, from 1925], [E. Weyhe Gallery, New York, until 1984, sold in 1984 to private collection], private collection, United States (1984–2006, sale, Sotheby's Olympia, London, March 23, 2006, no. 112, sold to MMA) |
| https://www.metmuseum.org/art/collection/search/351512 | Aus den Memoiren des Herrn von Schnabelewopsky | Heinrich Heine | Aus den Memoiren des Herrn von Schnabelewopsky | The Metropolitan Museum of Art | Harris Brisbane Dick Fund, 1929 | 29.10.1 | Vendor: E. Weyhe |
| https://www.nga.gov/collection/art-object-page.56721.html | Palm Leaf, Tangier | Henri Matisse;(artist) | Chester Dale Fund | 1978.73.1 | Sold by the artist 27 or 30 April 1912 to (Galerie Bernheim-Jeune, Paris), sold 15 June 1912 to Curt Glaser [1879-1943], Berlin.[1] by sale or exchange to Oskar [1875-1947] and Greta Moll, Berlin, by 1913/1914.[2] (Galerie Thannhauser, Berlin), by 1932.[3] (Valentine Gallery, New York).[4] (Erhard Weyhe Gallery, New York), by the early 1940s,[5] sold after 1945 to Mr. and Mrs. Alfred H. Barr, Jr., New York,[6] on consignment with (Eugene Victor Thaw and Co., New York) and (Xavier Fourcade, Inc., New York), sold 1978 to NGA.;[1] The April 27 date, from the Archives Henri Matisse in Paris, is given in Matisse in Morocco: The Paintings and Drawings, 1912-1913, exh. cat., National Gallery of Art, Washington, D.C. (plus three subsequent venues), 1990: 72 note 1. The April 30 date, from the Bernheim-Jeune records (where the painting is their number 19329 and titled Matin de mars près de Tanger), is given in Guy-Patrice and Michel Dauberville, Henri Matisse chez Bernheim-Jeune, 2 vols., Paris, 1995: 1: 508-509, no. 122.;[2] The Matisse in Morocco catalogue (see note 1) cites a letter of 20 April 1951 from Greta Moll to Alfred Barr (in the Alfred H. Barr, Jr. Papers, Archives, The Museum of Modern Art, New York) that says in part: "... Besides we owned for a long time...the Palm Leaf... The Palm Leaf we probably had from 1913 to 1930." By 1914 Oskar Moll, who with his wife was an original class member of the school Matisse set up in Paris in 1908, had the most important collection of the artist's work in Germany. The Molls were in Berlin when they acquired the NGA painting, they went to Breslau (now Wroclaw, Poland) in 1919, to Düsseldorf in 1930, and returned to Berlin in the mid-1930s. See also Siegfried and Dorothea Salzmann, Oskar Moll Leben und Werk, Munich, 1975: 62, and letter of 17 July 1997 from Peter Kropmanns, in NGA curatorial files.;[3] The painting is visible in a photograph of Thannhauser's apartment, taken c. 1932/1933 and sent to the Barrs by Thannhauser. A photocopy of the photograph is in NGA curatorial files, along with the Barr's collection record for the painting.;[4] Valentine Gallery is included in the provenance given in Henri Matisse 1904-1917, exh. cat., Centre Georges Pomidou, Paris, 1993: no. 98, but no supporting documentation is given. The Archives of American Art holds some Valentine Gallery records, but they do not include any information about this painting. See note 6.;[5] Erhard Weyhe (1882-1972) came to the United States from Germany in 1914, having apprenticed as a book dealer in his native country, Italy, and Belgium. In his New York gallery, managed for many years after World War I by Carl Zigrosser, Weyhe specialized in art books and prints, and he made annual buying trips to Europe. (See Reba White Williams, "The Weyhe Gallery Between the Wars, 1919-1940," Ph.D. diss., The City University of New York, 1996.) The extant Weyhe Gallery records at the Archives of American Art deal almost exclusively with prints, and no mention of the Matisse painting was found.;[6] Mrs. Alfred H. Barr, Jr., in a letter of 27 June 1981 (in NGA curatorial files), relates that when Justin Thannhauser left Germany for Paris prior to World War II, he did not take the painting. Mrs. Barr suggests that it may have been entrusted to the Molls, or was re-bought by them, as her husband's impression was that "Weyhe had come upon it or heard about it in Dresden and that it belonged to Greta Moll by that time impoverished," she also writes that her husband must have bought the painting "after 1945. |
| https://www.metmuseum.org/art/collection/search/365806 | Rue Transnonain, le 15 Avril, 1834, Plate 24 of l'Association mensuelle | Honoré Daumier | Rue Transnonain, le 15 Avril, 1834, Plate 24 of l'Association mensuelle | The Metropolitan Museum of Art | Rogers Fund, 1920 | 20.23 | Nicolas-Auguste Hazard (French), Vendor: E. Weyhe |
| https://harvardartmuseums.org/collections/object/349324?position=1 | Homunculus | Harvard Art Museums | Johannes Molzahn, German (Duisburg, Germany 1892 - 1965 Munich, Germany) | Harvard Art Museums/Busch-Reisinger Museum, Association Fund | BR49.304.2 | Recorded Ownership History;Kurt Feldhäusser, Berlin, bequest, to Marie Luise Feldhäusser, 1945, sold, [E. Weyhe Gallery, New York], sold, to Busch-Reisinger Museum, 1949. |
| https://www.nga.gov/collection/art-object-page.180865.html | Study for Christ Appearing to Mary | John La Farge;(artist) | Corcoran Collection (Museum Purchase, Membership Association Fund) | 2015.19.742 | (Weyhe Gallery, New York), Corcoran Gallery of Art, Washington, DC, 1951, acquired 2015 by the National Gallery of Art |
| https://www.nga.gov/collection/art-object-page.181034.html | Study for Commerce | John La Farge;(artist) | Corcoran Collection (Museum Purchase, Membership Association Fund) | 2015.19.743 | (Weyhe Gallery, New York), Corcoran Gallery of Art, Washington, DC, 1951, acquired 2015 by the National Gallery of Art |
| https://www.philamuseum.org/collection/object/59482 | Purim | Marc Chagall (French (born Vitebsk, Russian Empire), 1887–1985) | The Louis E. Stern Collection, 1963 | 1963-181-11 | Acquired from the artist by Dr. Herbert Tannenbaum (1892-1958), owner of the gallery \"Das Kunsthaus\", Mannheim, 1925-1928 [1];Museum Folkwang, Essen, Germany, 1928-1937 [2];German government, confiscated by the National Socialist authorities (Reichsministerium für Volksaufklärung und Propaganda), Berlin (Köpenicker Strasse Depot;from August 1938 at Schloss Niederschönhausen Depot), July 7, 1937-June 14, 1940 [3];exchanged, along with other modern works, with dealer Ferdinand Möller, Berlin, for a 19th century landscape painting belonging to his Galerie Möller, June 14, 1940-c. 1941 [4];sold by Möller to Dr. Kurt Feldhäusser (1905-1945), Berlin, c. 1941-1945;by inheritance to his mother Marie Luise Feldhäusser (?1876-1967), Berlin and Brooklyn, NY, 1945-1949 [5];with Erhard Weyhe Gallery, New York, 1949;sold to Louis E. Stern, New York, October 11, 1949-1963 [6];bequest to PMA, 1963.\r\n\r\n1. Tannenbaum lent the painting to the \"Ausstellung Marc Chagall\", Cologne, organized in 1925 by the Kölnischer Kunstverein. Tannenbaum was a dealer in modern German art through his Galerie \"Kunsthaus\" in Mannheim from 1921-1937. To escape Nazi persecution (he was Jewish) he fled to Amsterdam probably in early 1938 (some accounts say 1937;however, he was still selling works at \"Das Kunsthaus\" as late as December 31, 1937 -- information courtesy of Dr. David Hansen, Senior Researcher and Paintings Specialist, Sotheby’s Australia, email communication of May 1, 2012, in curatorial file), and later lived in America from 1947 until his death in 1958. The National Gallery of Art in Washington owns a Chagall painting, \"Houses at Vitebsk\", also acquired from the artist by Tannenbaum. \r\n\r\n2. According to records at the Museum Folkwang (letter of Jan. 6, 2003, in curatorial file) the painting was acquired in 1928 by Folkwang director Ernst Gosebruch.\r\n\r\n3. Communication from Museum Folkwang (see above note). Assigned the EK (Entartete Kunst) inventory no. 15949, as \"Russische Dorfszene\" (\"Entartete Kunst\" typescript inventory, c. 1941/1942, Victoria and Albert Museum National Art Library, Fischer Collection;see also Beschlagnahmeinventar \"Entartete Kunst\", \"Degenerate Art\" Research Center, FU Berlin, http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=111636&viewType=detailView)(copy of inventory entry in curatorial file). The painting was included in the exhibition \"Entartete Kunst,\" which opened in Munich July 19, 1937. See also \"Das schönste Museum der Welt\": Museum Folkwang bis 1933 (exh. cat., Museum Folkwang), Essen, 2010, p. 358, no. 8.\r\n\r\n4. As recorded in the EK inventory, the painting went to dealer Ferdinand Möller, one of four dealers appointed by the Nazi government to dispose of confiscated \"degenerate art\" on the international market, by sale or exchange. The entry is marked \"T\" for Tausch (exchange). The Reich acquired from Möller a \"Romantic Landscape\" from the circle of Caspar David Friedrich in exchange for six confiscated works: three by Heckel, one by Nolde, and two by Chagall (including \"The Watering Trough\", 1963-181-14);see Roters, Galerie Ferdinand Möller, Berlin, 1984, Documents 111 and 115, p. 287-288. \r\n\r\n5. A letter from the Weyhe Gallery to Henry Gardiner received July 8, 1964 (copy in curatorial file) states that the painting formerly belonged to Dr. Kurt Feldhäusser of Berlin, and that Marie Luisa [sic] Feldhäusser brought the painting to the U.S. (no date given). Feldhäusser, an art historian and schoolteacher, made most of his \"degenerate art\" acquisitions from Möller in 1941. Curatorial records at the Museum of Modern Art state that he died in the Christmas bombing raid on Frankfurt in 1944;however, according to Andrew Robison (\"Kirchner Collector Kurt Feldhäusser,\" in Festschrift für Eberhard W. Kornfeld zum 80 Geburtstag, 2003, p. 251-253), Feldhäusser was killed by an Allied bombardment in Nuremberg on 2 January 1945. Feldhäusser's mother Marie Luise brought most of his collection to Brooklyn NY in 1948, and subsequently placed it on consignment with Weyhe Gallery. The Social Security Death Index records a Marie L. Feldhäusser, who lived from 1876 to 1967 (no place of birth given), possibly the same person.\r\n\r\n6. The price was paid in installments;the last installment paid April 4, 1950 (see copy of receipts in curatorial file). Stern also bought Chagall's \"The Watering Trough\" (1963-181-14) from the Feldhäusser collection.\r\n","BeginISODate":"10000001916" |
| https://www.philamuseum.org/collection/object/59490 | The Watering Trough | Marc Chagall (French (born Vitebsk, Russian Empire), 1887–1985) | The Louis E. Stern Collection, 1963 | 1963-181-14 | With Galerie Siegmund Salz, Cologne, by 1925 [1];sold to the Kunstverein Barmen, 1925 [2];confiscated from the Ruhmeshalle, Wuppertal-Barmen, by the National Socialist authorities, 1938 [3];exchanged, along with other modern works, with dealer Ferdinand Möller, Berlin, for a 19th century landscape painting belonging to Galerie Möller, June 14, 1940 [4];sold by Möller to Dr. Kurt Feldhäusser (1905-1945), Berlin, c. 1941;by inheritance to his mother Marie Luise Feldhäusser (?1876-1967), Berlin and Brooklyn, 1945-1949 [5];with Erhard Weyhe Gallery, New York, 1949;sold to Louis E. Stern, New York, October 11, 1949 [6];bequest to PMA, 1963.\r\n\r\n1. An entry in an old inventory book of the Kunstverein Barmen records the purchase of the painting (dated 1923) from Siegmund Salz, Cologne, in 1925, presumably the owner of the gallery of the same name (information provided by Dr. Antje Birthälmer, Deputy Director of the Von der Heydt-Museum, Wuppertal, in a letter of August 1, 2002 in curatorial file).\r\n\r\n2. The painting was probably purchased from the 1925 \"Ausstellung Marc Chagall\" organized by the Kölnischer Kunstverein. An oil entitled \"Die Tränke\" and dated 1923, most likely this painting, appears in the exhibition checklist. \r\n\r\n3. EK (Entartete Kunst) inventory number 16542, as \"Die Tränke\" (\"Entartete Kunst\" typescript inventory, c. 1941/1942, Victoria and Albert Museum National Art Library, Fischer Collection;copy of inventory entry in curatorial file). The painting was included in the Nazi-organized exhibition \"Entartete Kunst\" (Degenerate Art), held at the Kunstpalast, Düsseldorf, June 18-August 7, 1938.\r\n\r\n4. As recorded in the EK inventory, the painting went to dealer Ferdinand Möller, one of four dealers appointed by the Nazi government to dispose of confiscated \"degenerate art\" on the international market, by sale or exchange. The entry is marked \"T\" for Tausch (exchange). The Reich acquired from Möller a \"Romantic Landscape\" from the circle of Caspar David Friedrich (probably Karl Wisse) in exchange for six confiscated works: three by Heckel, one by Nolde, and two by Chagall (including \"Purim\", 1963-181-11);see Roters, Galerie Ferdinand Möller, Berlin, 1984, Documents 111 and 115, p. 287-288.\r\n\r\n5. A letter from the Weyhe Gallery to Henry Gardiner received July 8, 1964 (copy in curatorial file) states that the painting formerly belonged to Dr. Kurt Feldhäusser of Berlin, and that Marie Luisa [sic] Feldhäusser brought the painting to the U.S. (no date given). Feldhäusser, an art historian and schoolteacher, made most of his \"degenerate art\" acquisitions from Möller in 1941. Curatorial records at the Museum of Modern Art state that he died in the Christmas bombing raid on Frankfurt in 1944;however, according to Andrew Robison (\"Kirchner Collector Kurt Feldhäusser,\" in Festschrift für Eberhard W. Kornfeld zum 80 Geburtstag, 2003, p. 251-253), Feldhäusser was killed by an Allied bombardment in Nuremberg on 2 January 1945. Feldhäusser's mother Marie Luise brought most of his collection to Brooklyn NY in 1948, and subsequently placed it on consignment with Weyhe Gallery. The Social Security Death Index records a Marie L. Feldhäusser, born in 1876 and died in New York in 1967 (no place of birth given), probably the same person.\r\n\r\n6. The price was paid in installments;the last installment paid April 4, 1950 (see copy of receipts in curatorial file). Stern also bought Chagall's \"Purim\" (1963-181-11), from the Feldhäusser collection.\r\n","BeginISODate":"10000001923" |
| https://www.slam.org/collection/objects/1068/ | Temptation - Saint Louis Art Museum | Marc Chagall, French (born Belarus), 1887–1985 | Gift of Morton D. May | 74:1954 | Theodor Däubler (1867-1934) [1];by 1917 -;Franz Kluxen (1888-1968), Münster, Germany, Boldixum, Germany [2];- 1945;Kurt Feldhäusser (1905-1945), Berlin, Germany [3];1945 - still in 1948;Marie Luise Feldhäusser (1876-1967), Berlin, Germany, Brooklyn, NY, USA, by inheritance [4];- 1951;E. Weyhe Gallery, New York, NY, purchased from Marie Luise Feldhäusser [5];1951/10/04 - 1954;Morton D. May (1914-1983), St. Louis, MO, purchased from E. Weyhe Gallery [6];1954 -;Saint Louis Art Museum, given by Morton D. May [7];Notes;[1] According to a record sheet kept by Morton D. May, the painting transferred from Theodor Däubler to Franz Kluxen, and then to Kurt Feldhäusser [May Archives, Saint Louis Art Museum].;[2] See note [1]. This painting was exhibited at Herwarth Walden's Galerie Der Sturm in Berlin in 1914 and 1917, no lender is listed in the 1914 exhibition catalogue ["Marc Chagall." Berlin, Der Sturm, June 1914, cat. 14]. In August 1917, the painting was included in an exhibition of Franz Kluxen's personal art collection ["Sammlung Kluxen: Gemälde und Aquarelle Zeichnungen." Berlin: Der Sturm, August 1917, cat. 9]. Franz Kluxen was an art collector who lived in Boldixum on the North Frisian Island Föhr and in Münster, Westphalia. His art collection included works by Picasso, Jawlensky, Marc, and Macke. The painting was also included in a 1923 publication issued by Herwarth Walden's Galerie Der Sturm, but no collector information is given, so it is not clear if it was still in Kluxen's possession at this time ["Marc Chagall: Sturm-Bilderbücher I." Berlin: Der Sturm, 1923, p. 6].;[3] Kurt Feldhäusser died in a bombing raid in Nürnberg in January 1945. His mother, Marie Luise Feldhäusser, inherited his collection and subsequently sold much of it through E. Weyhe Gallery [letter from Wolfgang Schöddert, Ferdinand-Möller-Stiftung, dated November 20, 2002, SLAM document files].;According to Andrew Robison, Marie Luise Feldhäusser moved to Brooklyn, NY in May 1948 to join her other son Erwin and his family. She brought nearly all of Kurt's collection with her, hoping to keep it intact, but eventually offered it through E. Weyhe Gallery [Robison, Andrew. "Kirchner Collector Kurt Feldhäusser" in "Festschrift für Eberhard W. Kornfeld zum 80. Geburtstag." Bern: Galerie Kornfeld, 2003].;[4] See note [3]. In May 1949, Weyhe Gallery included this painting (titled "Sündenfall") in a list of paintings and sculpture available "from a European collection" [Robison, p. 252-53]. It is unclear whether these works were owned by Mrs. Feldhäusser or Weyhe Gallery at this time.;[5] See note [4].;[6] Bill of sale dated October 4, 1951 [May Archives, Saint Louis Art Museum]. May also bought other works at this time from the Feldhäusser collection.;[7] Minutes of the Administrative Board of Control of the City Art Museum, May 13, 1954. |
| https://www.slam.org/collection/objects/1068/#expandable-0 | Temptation - Saint Louis Art Museum | Marc Chagall, French (born Belarus), 1887–1985 | Gift of Morton D. May | 74:1954 | Theodor Däubler (1867-1934) [1];by 1917 -;Franz Kluxen (1888-1968), Münster, Germany, Boldixum, Germany [2];- 1945;Kurt Feldhäusser (1905-1945), Berlin, Germany [3];1945 - still in 1948;Marie Luise Feldhäusser (1876-1967), Berlin, Germany, Brooklyn, NY, USA, by inheritance [4];- 1951;E. Weyhe Gallery, New York, NY, purchased from Marie Luise Feldhäusser [5];1951/10/04 - 1954;Morton D. May (1914-1983), St. Louis, MO, purchased from E. Weyhe Gallery [6];1954 -;Saint Louis Art Museum, given by Morton D. May [7];Notes;[1] According to a record sheet kept by Morton D. May, the painting transferred from Theodor Däubler to Franz Kluxen, and then to Kurt Feldhäusser [May Archives, Saint Louis Art Museum].;[2] See note [1]. This painting was exhibited at Herwarth Walden's Galerie Der Sturm in Berlin in 1914 and 1917, no lender is listed in the 1914 exhibition catalogue ["Marc Chagall." Berlin, Der Sturm, June 1914, cat. 14]. In August 1917, the painting was included in an exhibition of Franz Kluxen's personal art collection ["Sammlung Kluxen: Gemälde und Aquarelle Zeichnungen." Berlin: Der Sturm, August 1917, cat. 9]. Franz Kluxen was an art collector who lived in Boldixum on the North Frisian Island Föhr and in Münster, Westphalia. His art collection included works by Picasso, Jawlensky, Marc, and Macke. The painting was also included in a 1923 publication issued by Herwarth Walden's Galerie Der Sturm, but no collector information is given, so it is not clear if it was still in Kluxen's possession at this time ["Marc Chagall: Sturm-Bilderbücher I." Berlin: Der Sturm, 1923, p. 6].;[3] Kurt Feldhäusser died in a bombing raid in Nürnberg in January 1945. His mother, Marie Luise Feldhäusser, inherited his collection and subsequently sold much of it through E. Weyhe Gallery [letter from Wolfgang Schöddert, Ferdinand-Möller-Stiftung, dated November 20, 2002, SLAM document files].;According to Andrew Robison, Marie Luise Feldhäusser moved to Brooklyn, NY in May 1948 to join her other son Erwin and his family. She brought nearly all of Kurt's collection with her, hoping to keep it intact, but eventually offered it through E. Weyhe Gallery [Robison, Andrew. "Kirchner Collector Kurt Feldhäusser" in "Festschrift für Eberhard W. Kornfeld zum 80. Geburtstag." Bern: Galerie Kornfeld, 2003].;[4] See note [3]. In May 1949, Weyhe Gallery included this painting (titled "Sündenfall") in a list of paintings and sculpture available "from a European collection" [Robison, p. 252-53]. It is unclear whether these works were owned by Mrs. Feldhäusser or Weyhe Gallery at this time.;[5] See note [4].;[6] Bill of sale dated October 4, 1951 [May Archives, Saint Louis Art Museum]. May also bought other works at this time from the Feldhäusser collection.;[7] Minutes of the Administrative Board of Control of the City Art Museum, May 13, 1954. |
| https://www.nga.gov/collection/art-object-page.204386.html | Nude with Upraised Arm | Max Weber;(artist) | Gift of Jack and Margrit Vanderryn | 2015.114.25 | (Wehye Gallery, Mount Desert, Maine), Jack and Margrit Vanderryn, Bethesda, Maryland, 2003, acquired 2015 by the National Gallery of Art |
| https://www.nga.gov/collection/art-object-page.204421.html | Reclining Nude | Max Weber;(artist) | Gift of Jack and Margrit Vanderryn | 2015.114.62 | (Weyhe Gallery, Mount Desert, Maine), (Keith Sheridan, Brooklyn, New York), Jack and Margrit Vanderryn, Bethesda, Maryland, 2008, acquired 2015 by the National Gallery of Art |
| https://www.nga.gov/collection/art-object-page.204425.html | Seated Figure | Max Weber;(artist) | Gift of Jack and Margrit Vanderryn | 2015.114.64 | (Weyhe Gallery, Mount Desert, Maine), Jack and Margrit Vanderryn, Bethesda, Maryland, 2003, acquired 2015 by the National Gallery of Art |
| https://www.nga.gov/collection/art-object-page.204426.html | Figure | Max Weber;(artist) | Gift of Jack and Margrit Vanderryn | 2015.114.65 | (Weyhe Gallery, Mount Desert, Maine), Jack and Margrit Vanderryn, Bethesda, Maryland, 2003, acquired 2015 by the National Gallery of Art |
| https://www.nga.gov/collection/art-object-page.204427.html | Standing Female Figure | Max Weber;(artist) | Gift of Jack and Margrit Vanderryn | 2015.114.66 | (Weyhe Gallery, Mount Desert, Maine), Jack and Margrit Vanderryn, Bethesda, Maryland, 2003, acquired 2015 by the National Gallery of Art |
| https://www.metmuseum.org/art/collection/search/346086 | Der Bilderman, vol. 1, no. 14 October 20, 1916 | Paul Cassirer | Der Bilderman, vol. 1, no. 14 October 20, 1916 | The Metropolitan Museum of Art | Harris Brisbane Dick Fund, 1930 | 30.96.10 | Vendor: E. Weyhe |
| https://www.nga.gov/collection/art-object-page.153800.html | 12 Uhr Mittags | Reinhold Nägele;(artist) | Gift of Ruth Cole Kainen | 2012.92.405 | (Weyhe Gallery, Mt. Desert, ME), Ruth Kainen, Washington, D.C., purchased October 31, 2007, Gift to NGA, 2012. |
| https://web.archive.org/web/20180205190743/https://www.moma.org/collection/works/79370 | Marc Chagall. Over Vitebsk. 1915-20 (after a painting of 1914) | MoMA | Marc Chagall | | 277.1949 | 277.1949;Copyright;© 2018 Artists Rights Society (ARS), New York / ADAGP, Paris;Department;Painting and Sculpture;Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Marc Chagall.;Galerie Lutz, Berlin and/or Sam Salz, Cologne, acquired from the artist.;By April 1932 - May 31, 1934, Galerie Matthiesen GmbH (no. 276), Berlin.;May 31, 1934 - August 15, 1935, Dresdner Bank, Berlin, acquired in exchange for debt reduction from Galerie Matthiesen GmbH.;August 15, 1935 - September 18, 1936, Prussian State, purchased from the Dresdner Bank and transferred to the Nationalgalerie, Berlin.;September 18, 1936 - 1945, Kurt Feldhäusser (1905-1945), Berlin and Kirchberg, acquired in exchange from the Nationalgalerie.;1945 - 1949, Marie Luise Feldhaeusser (1876-1967), Kirchberg and Brooklyn, inherited from Kurt Feldhäusser.;1949, The Museum of Modern Art, New York, purchased from Marie Luise Feldhaeusser through E. Weyhe Gallery, New York.;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email provenance@moma.org or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/79360 | Marc Chagall. Birthday. 1915 | MoMA | Marc Chagall | Acquired through the Lillie P. Bliss Bequest (by exchange) | 275.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Acquired from the artist by Sam Salz (1894-1981), Cologne [1], Heinrich Kirchhoff (1874-1934), Wiesbaden [2], [Estate of Heinrich Kirchhoff (Antonie Kirchhoff), Wiesbaden, 1934]. Acquired by Kurt Feldhäusser (1905-1945), Berlin, 1935 [3], by inheritance to Marie L. Feldhäusser (1876-1967), his mother, Kirchberg and Brooklyn, 1945, sold through Weyhe Gallery, New York to The Museum of Modern Art, New York, May 26, 1949 (Acquired through the Lillie P. Bliss Bequest) [4].;[1] Collection files, Department of Painting and Sculpture, The Museum of Modern Art, New York. Included in the exhibition Gemälde und Graphik von Marc Chagall aus den Jahren 1908 bis 1924, Kölnischer Kunstverein, April 1925, no. 16 (Der Geburtstag).;[2] Collectors Records, 20 [Kurt Feldhäusser]. The Museum of Modern Art Archives. On loan from Kirchhoff to the exhibition Marc Chagall, Kunsthalle Basel, November 4-December 3, 1933, no. 16 (Der Geburtstag).;[3] Collectors Records, 20 [Kurt Feldhäusser]. The Museum of Modern Art Archives;[4] Collection files, Department of Painting and Sculpture, The Museum of Modern Art, New York.;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/79365 | Marc Chagall. Calvary. 1912 | MoMA | Marc Chagall | Acquired through the Lillie P. Bliss Bequest (by exchange) | 276.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;1913 Bernhard Koehler;1937 Kurt Feldhäusser;1945 Marie L. Feldhäusser;1949 The Museum of Modern Art, New York (Acquired through the Lillie P. Bliss Bequest);Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/79375 | André Derain. Landscape near Cassis. 1907 | MoMA | André Derain | Mrs. Wendell T. Bush Fund | 278.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;1907 -?, André Derain.;[Bernhard Koehler (1849-1927), Berlin];[1927 - 1938, Bernhard Koehler, Jr. (1882-1964), Berlin, probably inherited from his father];1938 - 1945, Kurt Feldhäusser (1905-1945), Berlin, probably acquired from Bernhard Koehler, Jr.;1945 - 1949, Marie L. Feldhäusser (1876-1967), Kirchberg and Brooklyn, inherited from her son Kurt Feldhäusser.;1949, The Museum of Modern Art, New York, purchased from Marie L. Feldhäusser through Weyhe Gallery, New York.;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/62978 | Lyonel Feininger. Railroad Viaduct (Die Eisenbahnbrücke). 1919 | MoMA | Lyonel Feininger | Purchase | 151.1945 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1945;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/65376 | Lyonel Feininger. The Gate (Das Tor). 1920 | MoMA | Lyonel Feininger | James Thrall Soby Fund | 257.1944 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;E. Weyhe, New York, to The Museum of Modern Art, New York, 1944;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/79402 | Karl Hofer. Man with a Melon. Berlin 1926 | MoMA | Karl Hofer | Purchase | 284.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;The artist;Dr. Kurt Feldhäusser (d. January 1945), Berlin/Kirchberg. Purchased from the artist;Marie Luise Feldhaeusser (mother), Kirchberg, January 1945 - May 1948, then Brooklyn, New York, 1948 – 1949;Weyhe Gallery, New York. On consignment from Marie Luise Feldhaeusser, 1949;The Museum of Modern Art, New York. Purchased from Weyhe Gallery, 1949;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/65606 | Ernst Ludwig Kirchner. The Blue House in the Potholder District (Das Blaue Haus im Topflappenviertel). (1909) | MoMA | Ernst Ludwig Kirchner | Larry Aldrich Fund | 267.1952 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1952;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/70114 | Ernst Ludwig Kirchner. Winter Moonlit Night (Wintermondnacht). (1919) | MoMA | Ernst Ludwig Kirchner | Purchase | 495.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1948;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/68476 | Paul Klee. Juggler in April (Gaukler im April). 1928 | MoMA | Paul Klee | Purchase | 402.1941 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Gift of the artist to Heinrich Stinnes (1867-1932), Cologne, December 24, 1929, Estate of Heinrich Stinnes, auctioned at Gutekunst and Klipstein, Bern, June 20-22, 1938 (lot 551).;Weyhe Gallery, New York,?, to The Museum of Modern Art, New York, 1941;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/81654 | Gaston Lachaise. Dancer. 1928 | MoMA | Gaston Lachaise | Gift of Abby Aldrich Rockefeller | 605.1939 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;E. Weyhe, New York, by 1929;Abby Aldrich Rockefeller, New York. Purchased from Weyhe, May 17, 1929;The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller, 1939;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/18465 | Ernst Barlach. Der Findling (The Foundling). 1922 (prints executed 1921) | MoMA | Ernst Barlach | Transferred from The Museum of Modern Art Library, New York | 564.1949.1-20 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, sold to the Museum of Modern Art Library, New York, 1945, transferred from the Library to the Print Department, 1949;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/81189 | Henri Laurens. Head of a Boxer. 1920 | MoMA | Henri Laurens | Gift of Mrs. Marie L. Feldhaeusser | 240.1950 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;1920/21(?), Galerie Simon (Daniel-Henry Kahnweiler, stock no. 6248?, photo no. 515), Paris, probably acquired from the artist.;“A. Fl. privat” [Alfred Flechtheim and/or Galerie Flechtheim?, Düsseldorf/ Berlin, probably acquired from Galerie Simon].;? - 1945, Kurt Feldhäusser (1905-1945), Berlin and Kirchberg.;1945 - 1950, Marie L. Feldhaeusser (1876-1967), Berlin and Brooklyn, inherited from her son Kurt Feldhäusser.;1950, The Museum of Modern Art, New York, acquired as gift from Marie L. Feldhaeusser.;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/62367 | Paula Modersohn-Becker. Portrait of a Peasant Woman (Bildnis einer Bäuerin). c. 1899–1902, printed posthumously 1922–23 | MoMA | Paula Modersohn-Becker | Larry Aldrich Fund | 128.1954 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1954;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/69639 | Max Beckmann. Night (plate 7) [Die Nacht (Blatt 7)] from Hell (Die Hölle). 1919 | MoMA | Max Beckmann | Abby Aldrich Rockefeller Fund | 467.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1949;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/69650 | Max Beckmann. The Way Home (plate 2) [Der Nachhauseweg (Blatt 2)] from Hell (Die Hölle). 1919 | MoMA | Max Beckmann | Abby Aldrich Rockefeller Fund | 468.1949 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1949;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/60945 | Max Beckmann. Morgue (Totenhaus). printed 1922, published 1924 | MoMA | Max Beckmann | Gift of Abby Aldrich Rockefeller (by exchange) | 51.1956 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, sold to The Museum of Modern Art, New York, 1956;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/65721 | Emil Nolde. General and Aide (General und Diener) from the portfolio Fairy-Tales (Märchen). 1906 | MoMA | Emil Nolde | Purchase | 271.1955 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Weyhe Gallery, New York, to The Museum of Modern Art, New York, 1955;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.moma.org/collection/works/71231 | Karl Schmidt-Rottluff. Dancer III (Tänzerin III). (1922) | MoMA | Karl Schmidt-Rottluff | Gift of Abby Aldrich Rockefeller | 567.1940 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;E. Weyhe, New York, sold to Abby Aldrich Rockefeller, New York, 1929, given to The Museum of Modern Art, New York, 1940;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019 |
| https://www.nga.gov/collection/art-object-page.71292.html | Die Grosse Angst (The Great Anxiety) | Walter Gramatté;(artist) | Ruth and Jacob Kainen Collection | 1989.80.3 | (Weyhe Gallery, New York), Jacob Kainen [1909-2001], Washington, D.C. (Lugt 4737), purchased 1972, gift to NGA, 1989. |
