DATASET: provenances of AIC NEPIP artworks for two dates at a ten year interval

 above: Gustave Courbet - Les Roches de Hautepierre, settlement with heirs of Max Silberberg 

In the last ten years, what progress in provenance research at the Art Institute of Chicago for artworks it listed on the Nazi Era Provenance Internet Portal (NEPIP)?

This dataset preserves the provenances of AIC NEPIP artworks for two dates at a ten year interval: 2017 and 2026.

View AIC provenances for NEPIP items

https://docs.google.com/spreadsheets/d/e/2PACX-1vRzFF4heWyxG9JhoSC0qyC74hbrQYAC4bp-rFdExuOqBltQ5LTwjx6nrjyPBOzInNjWLRLO1xDs89cF/pubhtml?gid=554033573&single=true

Download CSV of AIC provenance for NEPIP items

https://docs.google.com/spreadsheets/d/e/2PACX-1vRzFF4heWyxG9JhoSC0qyC74hbrQYAC4bp-rFdExuOqBltQ5LTwjx6nrjyPBOzInNjWLRLO1xDs89cF/pub?gid=554033573&single=true&output=csv

DATASET: Artworks linked to Alsdorf at the Chicago Art Institute

Art Institute of Chicago / Alsdorf Provenance Dataset (Updated May 2026)

This dataset preserves provenance information published by the Art Institute of Chicago for artworks associated with the James and Marilynn Alsdorf collection and related objects.

The dataset was assembled from publicly accessible museum webpages in June 2024 and May 2026.

Its purpose is to facilitate:

• progress tracking of research into provenance gaps
• provenance comparisons over time
• restitution and repatriation analysis

Note: Museum provenance information is dynamic. Object pages, provenance texts, donor attributions, and acquisition histories may change or disappear.

This dataset preserves snapshots of provenance information as published at specific dates.

Contents

The dataset includes, where available:

•  accession numbers,
• object URLs,
• artist/culture attributions
•  titles,
• provenance texts,
• donor and credit line information,
•  exhibition histories,
• publication references,
• status notes, including approximate provenance gaps and deaccessions

.

This dataset reproduces provenance information as published by the museum at the time of capture. It is intended to support provenance researchers and others studying the evolution of institutional provenance narratives.

When citing the dataset, please include dataset version, retrieval date, and source URLs whenever possible.

VIEW DATASET LINK

DOWNLOAD CSV

Why does the Carnegie Museum of Art (CMOA) not publish the provenance it has?

Crucifixion, Miguel Alcanyís c. 1425 Accession Number 64.11.14 (provenance gap of 539 years?)

***

Back when the Nazi Era Provenance Internet Portal still existed, The CMOA published a list of artworks that it considered had Nazi-era provenance gaps.

Then, in 2015, the CMOA received a $350,000 grant for digital provenance research, in which it made great and innovative progress, sharing methods and results, in a project called ArtTracks.

(see: NEH awards grant to Carnegie Museum of Art for digital provenance project)

But if you look at the CMOA's public website today, you will find no provenance - not even for the NEPIP items that had provenance back in 2015. 

In the intervening years the format of the CMOA urls have changed twice, making it difficult to connect the original 2015 provenance file to the current online records. 

To facilitate this connection, below is the DATASET of selected CMOA artworks with provenance from 2015, but with the urls updated to link to the current website.

DATASET CMOA with NEW URLS

View dataset on Public Google Sheets

https://docs.google.com/spreadsheets/d/e/2PACX-1vRpLav1UHYn23pbJ9zJ3olU-M8tOfvbvk-l0TQ3PC9hBz9ByoqeiAkh5myRBAoDtshy9VUft3oR7RvK/pubhtml?gid=1448755274&single=true

Download CSV file

https://docs.google.com/spreadsheets/d/e/2PACX-1vRpLav1UHYn23pbJ9zJ3olU-M8tOfvbvk-l0TQ3PC9hBz9ByoqeiAkh5myRBAoDtshy9VUft3oR7RvK/pub?gid=1448755274&single=true&output=csv

What other artworks passed through Silberman Galleries?

The Times' David Sanderson just published "Painting from Hitler’s love nest hangs in the National Gallery" reminding us that Silberman Galleries provided false information to the UK National Gallery of Art about the 16th-century painting Cupid Complaining to Venus.  

Its provenance has long been known to have a big Nazi era gap, and was even published in the National Gallery's Whereabouts of paintings 1933-1945 and in the Collection Trust's Spoliation Reports. 

The Times article includes a photo of the Cranach "hanging in the living room of Hitler’s private Munich apartment, where he often entertained his mistress, Eva Braun".

All this poses two obvious questions. 

1) How is the UK National Gallery of Art advancing in its research into the many many artworks with Nazi-era gaps?

and

2) What other artworks passed through E. & A. Silberman Galleries?

(see also: "BOSTON MFA SETTLES VAN DER NEER CASE" http://web.archive.org/web/20151016233930/http://www.artnet.com/magazineus/news/artnetnews/boston-mfa-settles-van-der-neer-case.asp 

and Double Comma Names )

Below are a few examples of :

Selected Christie's catalogue provenance references mentioning E. & A. Silberman Galleries

Open Access! PROVENANCE RESEARCH AND RESTITUTION IN THE AUSTRIAN FEDERAL COLLECTIONS

Bravo to Austria's Commission for Provenance Research for Open Access Digital Publications

Austria's Commission for Provenance Research makes its publications available as open access digital publications

For each publication chapters are published in separate PDFs and available for download with an "Open Access-Publikation im Sinne der CC-BY-NC-ND 4.0." licence.

see: https://provenienzforschung.gv.at/en/commission-for-provenance-research/commission-publication-series/

Since 09/2021, all volumes of the series are also available as open access publications.
Links to individual contributions can be found below.