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| Sleep Jean Bernard Restout c. 1771 Cleveland Museum of Art http://www.clevelandart.org/art/1963.502 |
What does it mean to find the name "Cailleux" in a Nazi-era provenance, an artwork listed by a museum on NEPIP (the Nazi Era Provenance Internet Portal) or an artwork whose provenance shows a gap or uncertainty for the years 1933-1945?
In this series of posts, we will explore the name "Cailleux" where it appears in art provenances throughout the world.
To whom does "Cailleux" refer? Is it the same "Cailleux" as the individual flagged by the Office of Strategic Services Art Looting Investigation Unit in its 1946 report? Is it a relation to this Cailleux - or a completely different, unrelated person?
Can we draw a network map of "Cailleux"? Their identities? Their relations to other art dealers, art collectors, art philanthropists (donors, credit line...).
Are there patterns in the provenance? Word that are frequently used? Correlations of interest? Names? Expressions? Syntax? And - most importantly - errors?
Are there patterns in the metadata of the provenances? Information about when, where and how they were written, as well as by whom?
Our ambition is to examine a complete set of provenance texts that mention "Cailleux" as if it were a patient to be subjected to quantitative medical diagnostics that reveal the state of health by measuring certain markers.
What, if anything might they reveal?
Let's find out.
Before we can begin, however, we must collect the data. First up: The National Gallery of Art (NEPIP items only) and the Cleveland Museum of Art (website search).
1. Cailleux in art provenance (National Gallery of Art - Nazi Era Provenance Internet Portal)
| Title | Artist | Accnbr | Url | Provenance |
| A Nude Woman Reaching to the Rightc. 1769black chalk with stumping, heightened with white chalk on brown laid paper (formerly blue)overall: 27.3 x 39.4 cm (10 3/4 x 15 1/2 in.)support: 35.3 x 47.3 cm (13 7/8 x 18 5/8 in.)Ananoff 1966, no. 500Gift of Robert H. and Clarice Smith1980.64.3Not on View | Boucher, François | 1980.64.3 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.59968.html | Léon Michel-Lévy (sale, Galerie Georges Petit, Paris, 17-18 June 1925, no. 26), bought by Schoeller; Private collection ("Monsieur A.G.")(sale, Galerie Charpentier, Paris, 8-9 May 1934, no. 84), bought by Cotnareau. Galerie Cailleux, Paris; to Robert H. and Clarice Smith, Washington, DC; gift to NGA in 1980. |
| Return to the Fold1750/1765brown and black chalk heightened with white on brown laid paperOverall: 28.7 x 44.6 cm (11 5/16 x 17 9/16 in.)support: 39.6 x 55.9 cm (15 9/16 x 22 in.)Andrew W. Mellon Fund1978.4.1Not on View | Boucher, François | 1978.4.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.56568.html | Jean Cailleux |
| Arches of the Larger Baths at Hadrian's Villac. 1748black chalk and white chalk with stumping on light brown laid paper, with later framing line in brown inkoverall: 30.5 x 47.5 cm (12 x 18 11/16 in.)Ailsa Mellon Bruce Fund1999.19.2Not on View | Challe, Charles Michel-Ange | 1999.19.2 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.109727.html | Private collection, Paris; (Galerie Cailleux, Paris) (sale, Christie's, New York, 28 January 1999, no. 126); (David Tunick, Inc., New York); purchased 1999 by NGA. |
| Architectural Fantasy with a Pyramidal Mausoleumc. 1747pen and brown ink with brown wash on laid paperoverall: 20.6 x 27.7 cm (8 1/8 x 10 7/8 in.)Ailsa Mellon Bruce Fund1986.6.1Not on View | Challe, Charles Michel-Ange | 1986.6.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.66757.html | Walter C. Baker; (sale, New York, Sotheby's, 21 January, 1983); (purchased by Gallerie Cailleux, Paris); purchased by NGA, 1986. |
| The Interior of the Colosseumc. 1745black chalk heightened with white on light brown laid paperoverall: 30.4 x 46 cm (11 15/16 x 18 1/8 in.)Ailsa Mellon Bruce Fund1999.19.1Not on View | Challe, Charles Michel-Ange | 1999.19.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.108724.html | Private collection, Paris; (Galerie Cailleux, Paris) (sale, Christie's, New York, 28 January 1999, no. 126); (David Tunick, Inc., New York); purchased 1999 by NGA. |
| Gaiety and Grief1774/1775red chalk with touches of black chalk on laid paper, laid down, with border lines drawn by the artistoverall (sheet): 12.7 x 7.9 cm (5 x 3 1/8 in.)image (to border line): 10.8 x 6.3 cm (4 1/4 x 2 1/2 in.)Ailsa Mellon Bruce Fund1987.29.2Not on View | Cochin II, Charles-Nicolas | 1987.29.2 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.69977.html | (Galerie Cailleux, Paris); acquired 1987 by the NGA. |
| Friendship, Useless Friendship, and Hate1774/1775red chalk with touches of black chalk on laid paper, laid down, with border lines drawn by the artistoverall (sheet): 12.7 x 7.9 cm (5 x 3 1/8 in.)image (to border line): 10.7 x 6.4 cm (4 3/16 x 2 1/2 in.)Ailsa Mellon Bruce Fund1987.29.3Not on View | Cochin II, Charles-Nicolas | 1987.29.3 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.69978.html | (Galerie Cailleux, Paris); acquired 1987 by the NGA. |
| Madame David1813oil on canvasoverall: 72.9 x 59.4 cm (28 11/16 x 23 3/8 in.)framed: 93.6 x 79.7 x 9.5 cm (36 7/8 x 31 3/8 x 3 3/4 in.)Samuel H. Kress Collection1961.9.14On View | David, Jacques-Louis | 1961.9.14 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.46113.html | Bequeathed in 1826 by the sitter, Marguerite-Charlotte David, née Pécoul [1764-1826],[1] to her daughter, Baronne Claude-Marie Meunier, née Laure-Emilie-Félicité David [1786-1863], Calais;[2] her daughter-in-law, Baronne Jules Meunier, née Pauline Derode [1824-1903], Calais; the artist's great-granddaughter, Mme. Marius Bianchi, née Mathilde Jeanin, by 1913;[3] her daughter, Caroline-Pauline-Thérèse, Comtesse Joachim Murat [1870-1940], by 1930;[4] her sister, Renée, vicomtesse de Fleury [1869-1948]; (Pierre Cailleux, Paris), 1948-1953.[5] Jointly owned from 1953 by (Otto Wertheimer [Galerie les Tourettes], Paris) and (M. Knoedler & Co., Inc., New York);[6] sold 1954 to the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] In a chronological list of his works which David drew up in about 1815 ("Liste B"), Madame David figures in next-to-last place as "Le portrait de Me David mon épouse" (Schnapper, Antoine, et al., Jacques-Louis David 1748-1825, exh. cat. Louvre and Versailles, Paris, 1989: 20).[2] Mme David's last will, dated 6 March 1826 (Paris, Archives Nationales, Minutier Central, CVIII, 1013; Wildenstein, Daniel, and Guy Wildenstein, Documents complémentaires au catalogue de l'oeuvre de Louis David, Paris, 1973: 239, no. 2045), and the posthumous inventory of her possessions, dated 27 June 1826 (CVIII, 1014; Wildenstein and Wildenstein 1973: 247, no. 2071; Schnapper et al. 1989: 636), both mention this portrait and indicate that it had been bequeathed to Baronne Emilie Meunier, her daughter.[3] David et ses elèves, Petit Palais, Paris, 1913, no. 56.[4] Richard Cantinelli, Jacques-Louis David, Paris, 1930: 113, no. 132.[5] The painting was lent by Cailleux to the 1952-1953 exhibition Meisterwerke de französichen Malerei von Poussin bis Ingres, shown at the Kunsthalle, Hamberg, and the Alter Pinakothek, Munich.[6] Knoedler stock book no. 10, p. 115, no. A5477, and sales book no. 17, both as Portrait of Mme David, M. Knoedler and Co. Records, Getty Research Institute (copis NGA curatorial files). |
| Herdsmen Driving Cattle across a Streamc. 1760oil and brown wash over black chalk on laid paper laid down on boardoverall: 29.5 x 29.9 cm (11 5/8 x 11 3/4 in.)Ailsa Mellon Bruce Fund1999.19.4Not on View | Deshays, Jean-Baptiste | 1999.19.4 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.108723.html | Alphonse Kann (sale, Galerie George Petit, Paris, 6-8 December 1920, no. 6, as Boucher). Professor Hans Robert Hahnloser [1899-1974], Bern (sale, Christie's, London, 17 July 1972, no. 6, as Deshays); private collection (sale, Sotheby-Parke Bernet, London, 8 November 1978, no. 6, as F. Boucher); private collection, Washington (sale, Christie's, New York, 10 January 1990, no. 121); (Galerie Cailleux, Paris) (sale, Christie's, New York, 28 January 1999, no. 136); NGA purchase (via David Tunick, Inc., New York) in 1999. |
| The Holy Family in the Carpenter's Shopc. 1755pen and gray ink with gray wash, watercolor, white gouache, and touches of brown ink on laid paperoverall: 35.6 x 24.5 cm (14 x 9 5/8 in.)Ailsa Mellon Bruce Fund1994.15.1Not on View | Eisen, Charles | 1994.15.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.83794.html | Paignon Dijonval Collection, Paris; his heir, Comte Morel de Vindé. [Galerie Cailleux, Paris]; purchased 1994 by NGA. |
| The Angry Motherblack and gray wash over graphite on laid paperoverall: 35.7 x 30.5 cm (14 1/16 x 12 in.)Gift of Arthur L. Liebman1992.87.29Not on View | Greuze, Jean-Baptiste | 1992.87.29 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.75767.html | Possibly Couton, Paris (his sale, Paris, 19 April 1830, no. 239: Les Reproches maternels, a drawing in India ink); private collection (sale, Paris, Galerie Charpentier, 26 March 1958, no. 54, pl. V); Galerie Cailleux, Paris; (Rosenberg & Stiebel), New York; Arthur Liebman [d. 1991], Lake Forest, IL; gift to the NGA in 1992. |
| Market Scene with a Fantastic Sculpture1797/1798pen and black and brown ink with gray and brown wash and watercolor, heightened with white gouache, over traces of graphite and traces of black chalk on laid paper, with the remains of a framing line in brown inkoverall: 44.9 x 56.3 cm (17 11/16 x 22 3/16 in.)Ailsa Mellon Bruce Fund1983.52.1Not on View | Jean-Baptiste Hüet, I Hüet, Jean-Baptiste | 1983.52.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.62530.html | H. Farman, Paris. (Galerie Cailleux, Paris); (P.&D. Colnaghi & Co., New York); acquired 1983 by NGA. |
| Claude Dupouchc. 1739pastel on blue laid paperoverall: 59.4 x 49.4 cm (23 3/8 x 19 7/16 in.)Samuel H. Kress Collection1961.9.76Not on View | La Tour, Maurice-Quentin de | 1961.9.76 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.46175.html | Louis Duval de l'Épinoy; Marquis Joffroy de Beaumont-Beynac, Château de la Roque, Dordogne; Galerie Cailleux, Paris; purchased by Samuel H. Kress, 1956; gift to NGA, 1961 |
| Animals in a Stablered chalk on laid paperoverall: 29.3 x 42.3 cm (11 9/16 x 16 5/8 in.)Gift of the Christian Humann Foundation1996.128.26Not on View | Loutherbourg II, Philippe Jacques de | 1996.128.26 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.91241.html | Louis Giraud; Cafmeyer; (Galerie Cailleux, Paris) (Lugt undesc); purchased by Christian Humann; The Christian Humann Foundation, Paris, 1981 (estate sale, New York, Sotheby's, 30 April 1982, lot 64 (not sold)); gift to NGA, 1996. |
| Joseph Bonnier de la Mosson1745oil on canvasoverall: 137.9 x 105.4 cm (54 5/16 x 41 1/2 in.)framed: 177.8 x 144.78 x 15.24 cm (70 x 57 x 6 in.)Samuel H. Kress Collection1961.9.30On View | Nattier, Jean-Marc | 1961.9.30 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.46129.html | Duc de Mailly; Théodore Richard [1782-1859], Paris; (his sale, Hôtel Drouot, Paris, 19-20 and 22 March 1858, no. 176, with sitter misidentified as Portrait of Bouffon). (sale, Hôtel Drouot, Paris, 27 March 1877, no. 42, with sitter misidentified as Portrait of Bouffon); Gustave Rothan; (his sale, Galerie Georges Petit, Paris, 29-31 May 1890, no. 176, as Portrait of a Man); L. Cahen d'Anvers,[1] Paris, by 1900; A. de Rothschild, by 1906; (Thos. Agnew and Sons, Ltd., London), by 4 May 1936; comte X...; (his sale, Galerie Jean Charpentier, Paris, 18 March 1937, lot A); purchased by Damidot.[2] (Galerie Cailleux, Paris), by 1952;[3] purchased 1954 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] In all probability, the French banker comte Louis-Raphaël Cahen d'Anvers (1837-1922); see Colin Bailey's entry for Renoir's Portrait of Alice and Élisabeth Cahen d'Anvers (Museu de Arte de Sao Paolo Assis Chateaubriand), in Colin Bailey, Renoir's Portraits: Impressions of an Age, exh. cat.; National Gallery of Canada, Ottawa; Art Institute of Chicago; Kimbell Art Museum, Fort Worth; New Haven, 1997: 180-182, no. 38, and notes on 306-307.[2] This was reported in the Gazette de l'Hôtel Drouot, 20 March 1937: 1.[3] The painting was lent by Cailleux to the 1952 exhibition at the Galerie Charpentier in Paris. |
| Angel from the Assumption [recto]1752/1756black chalk on laid paperoverall: 12.4 x 18 cm (4 7/8 x 7 1/16 in.)Ailsa Mellon Bruce Fund1999.75.1.aNot on View | Augustin Pajou after Charles Mellin Pajou, Augustin Mellin, Charles | 1999.75.1.a | https://www.nga.gov/content/ngaweb/Collection/art-object-page.110203.html | (Galerie Cailleux, Paris); purchased 1999 by NGA. |
| Lion's Head from the Capitoline Staircase1752/1756black chalk on laid paperoverall: 18 x 12.3 cm (7 1/16 x 4 13/16 in.)Ailsa Mellon Bruce Fund1999.75.5.aNot on View | Pajou, Augustin | 1999.75.5.a | https://www.nga.gov/content/ngaweb/Collection/art-object-page.110205.html | (Galerie Cailleux, Paris); purchased 1999 by NGA. |
| One of Niobe's Daughters1752/1756black chalk on laid paperAilsa Mellon Bruce Fund1999.75.3Not on View | Pajou, Augustin | 1999.75.3 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.110201.html | (Galerie Cailleux, Paris); purchased 1999 by NGA. |
| The Borghese Cybele1752/1756pen and brown ink with brown wash over black chalk on laid paperoverall: 18.6 x 11.5 cm (7 5/16 x 4 1/2 in.)Ailsa Mellon Bruce Fund1999.75.4Not on View | Pajou, Augustin | 1999.75.4 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.110202.html | (Galerie Cailleux, Paris); purchased 1999 by NGA. |
| The Ludovisi Menander1752/1756pen and black ink with gray wash over black chalk on laid paperoverall: 26.5 x 19.4 cm (10 7/16 x 7 5/8 in.)Ailsa Mellon Bruce Fund1999.75.6Not on View | Pajou, Augustin | 1999.75.6 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.110199.html | (Galerie Cailleux, Paris); purchased 1999 by NGA. |
| The Ludovisi Water Carrier1752/1756black chalk with gray wash on laid paperoverall: 19 x 13.1 cm (7 1/2 x 5 3/16 in.)Ailsa Mellon Bruce Fund1999.75.2Not on View | Pajou, Augustin | 1999.75.2 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.110200.html | (Galerie Cailleux, Paris); purchased 1999 by NGA. |
| Fantasy on an Ancient Campidogliopen and black ink with gray wash on laid paperoverall: 11.8 x 16.7 cm (4 5/8 x 6 9/16 in.)Ailsa Mellon Bruce Fund1986.6.2Not on View | Robert, Hubert | 1986.6.2 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.66758.html | (Galerie Cailleux, Paris); purchased 1986 by NGA. |
| The Drawing Lesson1777brush and brown wash over graphite on cream laid paper, laid down, with a framing line in brown inksheet: 32.5 x 37.7 cm (12 13/16 x 14 13/16 in.)overall (framed): 57.2 x 61.6 cm (22 1/2 x 24 1/4 in.)Anonymous Partial and Promised Gift2000.99.1Not on View | Vincent, François-André | 2000.99.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.112159.html | Paul Cailleux, Paris (stamp at lower right, not in Lugt), and by descent; Hazlitt, Gooden & Fox, London, 1997; private collection; Hazlitt, Gooden & Fox, London, 2000; Private collection; partial and promised gift. |
| The Gallant Gardenerc. 1711-1712red chalk on laid paperoverall: 22.9 x 18.1 cm (9 x 7 1/8 in.)Rosenberg/Prat 1996, no. 169Ailsa Mellon Bruce Fund1992.78.1Not on View | Watteau, Antoine | 1992.78.1 | https://www.nga.gov/content/ngaweb/Collection/art-object-page.75443.html | Private collection, Germany; (sale, London, Sotheby's, 6 July 1992, no. 169, as French School, 18th Century); (Galerie Cailleux, Paris); purchased by NGA, 1992. |
2. Cailleux in art provenance (Cleveland Museum of Art)
| Title, Date | Artist / Culture | Accnbr | Credit line | Provenance |
| Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le..., 1734 | Nicolas de Largillière (French, 1656-1746) | 1970.31 | Mr. and Mrs. William H. Marlatt Fund | Provenance Anne Louis Goislard de Montsabert and the Montsabert family Possibly Comte André de Ganay [1863-1912], Paris1 1 Charles Fairfax Murray [1849 – 1919], London, sold to Thomas Agnew & Sons (Thomas Agnew & Sons, London, sold to Calouste S. Gulbenkian)1 2 Calouste S. Gulbenkian [1869 –1955], sold to Thomas Agnew & Sons (Thomas Agnew & Sons, London, sold to Charles Fairfax Murray) Charles Fairfax Murray [1849 – 1919], London (Galerie Georges Petit, Paris, Fairfax Murray sale, June 15, 1914, no. 24, sold to Bousquet) 1914- Bousquet 1 3 1959-1966 Galerie Cailleux, Paris, sold to the Detroit Institute of Arts with funds provided by Ernest Kanzler 1 4 1966-1967 Ernest Kanzler [1892-1967], Detroit, MI 1 5 1967-1970 The estate of Ernest Kanzler and Rosemarie Kanzler, sold to Eugene V. Thaw 1970 (Eugene V. Thaw, New York, sold to the Cleveland Museum of Art)1 6 1970- The Cleveland Museum of Art, Cleveland, Ohio PROVENANCE FOOTNOTES 1 1The catalogue of the 1914 Galerie Georges Petit sale of the Fairfax Murray collection says that this painting was formerly in the Comte de Ganay collection. A June 4, 1903 sale of the Ganay collection contains a painting entitled “Portrait d’homme” with this description: “Vu de trois quarts à droite, il et coiffé d’une volumineuse perruque poudrée; il est envelope dans un manteau de velours rouge. La tête seule est du maître.” The painting is 75 x 60 cm; CMA’s painting is 80.6 x 63.8 cm. Timing-wise and based on the description of the painting’s composition, this would appear to be the CMA painting: Fairfax Murray sold the painting to Thomas Agnew & Sons in 1905, and so it is certainly feasible he would have purchased it in 1903. The dimensions, while not exact, are close enough to refer to the same work. However, the notation that only the head is the work of Largillière is puzzling, as CMA has not come across any research suggesting Largillière was responsible for the head only. Jean Cailleux, who handled the painting in the 1960s, wrote that he was unable to identify a catalogue which situates the painting in the Ganay collection, and that it does not appear in the June 3, 1903 sale. It is possible that the Galerie Georges Petit incorrectly assumed that the Largillière in the 1903 sale was the painting in Fairfax Murray’s collection, and that Ganay should not be in this provenance. 2 1 After buying the painting from Charles Fairfax Murray in June 1905, Thomas Agnew & Sons sold it to Gulbenkian in June 1907, only to buy it back and sell it again to Murray. 3 1 The Frick Art Reference Library copy of the Fairfax Murray sale catalogue has a handwritten notation listing Bousquet as the buyer. 4 1 Cailleux purchased the painting on the Parisian art market and did not pay attention to its owners prior to Ganay. He also did not know when the painting left Bousquet’s collection, indicating that Cailleux did not purchase it directly from Bousquet. 5 1 In January 1966 the Detroit Institute of Arts acquired the painting from Cailleux with funds provided by Kanzler, who also served as broker in the sale. Kanzler, however, had reservations about the work entering the museum’s permanent collection, and thus reserved the right to buy the painting back from the museum. The portrait was temporarily placed in the DIA’s study collection between 1966 and 1967 and was never officially accessioned. During those two years, the painting traveled back and forth between the museum and Kanzler several times before Kanzler officially purchased the painting from the DIA in June 1967. 6 1Thaw purchased the painting from Kanzler's estate through Mrs. Kanzler's agent. PROVENANCE CITATIONS Jean Cailleux, letter to William Talbot, Oct. 6, 1970, in CMA curatorial file. Frederick J. Cummings, letter to William S. Talbot, June 8, 1970, in CMA curatorial file. William S. Talbot, letter to Monsieur Montsabert, Nov. 3, 1970, in CMA curatorial file. William S. Talbot, letter to Monsieur Montsabert, Nov. 3, 1970, in CMA curatorial file. Willis F. Woods, letter to Ernest Kanzler, March 14, 1966, in CMA curatorial file. Eugene Victor Thaw, letter to William S. Talbot, June 18, 1970, in CMA curatorial file. Virginia Reynolds, email to Victoria Sears Goldman, Nov. 22, 2013, in CMA curatorial file. Gordon H. Robertson, letter to Ernest and Rosemarie Kanzler, July 1, 1966, in CMA curatorial file. Galerie Georges Petit. Tableaux anciens. June 15, 1914. Galerie Georges Petit. Tableaux anciens. June 15, 1914 Clovis Whitfield, letter to William S. Talbot, June 1, 1970, in CMA curatorial file. |
| Landscape with Travelers, 1605 | Jan Brueghel (Flemish, 1568-1625) | 1960.27 | Delia E. Holden Fund | Provenance according to Cailleux: bought in 1953 from M. Robert, Nice; [Cailleux, Paris] |
| Ut Pictura Poesis, 1745-1746 | Charles-François Hutin (French, 1715-1776) | 1998.76 | Purchase from the J. H. Wade Fund | Provenance collection Paigon-Dijonval, cat. no. 3347 (according to Cailleux). Private Collection, Paris; [Cailleux] |
| L'Invite, 1775 | Louis Rolland Trinquesse (French, ca. 1746-ca. 1800) | 2008.364 | Bequest of Muriel Butkin | Provenance Galerie Cailleux, Paris; sold to Alexandre Ananoff, Paris, in 1969 (according to Cailleux archives; Ananoff stamp, lower right, in black ink); [Schaeffer Galleries, New York]; purchased in 1973. |
| Pair of Paintings: The Colonnade of St. Peter's, Rome, during the..., c.1769 | Hubert Robert (French, 1733-1808) | 1976.97 | Mr. and Mrs. William H. Marlatt Fund | Provenance 1961 - 1974 Mme S. A. Boudonneau (Geneva, Switzerland) (sold, Christie's, London, December 13, 1974, lot 146, to Gallerie Cailleux 1974 - 1976 Gallery Cailleux (Paris, France) sold to the Cleveland Museum of Art, 1976. 1949 - 1961 Rene Boudonneau, by inheritance to his wife, Mme S. A. Boudonneau, 1961 1923 - 1949 Henri Boudonneau (Paris, France), by inheritance to his son, Rene Boudonneau, 1949 Marius Paulme (sold, Paris, Galerie Georges Petit, November 22, 1923, lots 76 and 77, to Henri Boudonneau) Denis-Pierre Papillon de la Ferte |
| The Colonnade of St. Peter's, Rome, during the Conclave, c.1769 | Hubert Robert (French, 1733-1808) | 1976.97.1 | Mr. and Mrs. William H. Marlatt Fund | Provenance 1961 - 1974 Mme S. A. Boudonneau (Geneva, Switzerland) (sold, Christie's, London, December 13, 1974, lot 146, to Gallerie Cailleux 1974 - 1976 Gallery Cailleux (Paris, France) sold to the Cleveland Museum of Art, 1976. 1949 - 1961 Rene Boudonneau, by inheritance to his wife, Mme S. A. Boudonneau, 1961 1923 - 1949 Henri Boudonneau (Paris, France), by inheritance to his son, Rene Boudonneau, 1949 Marius Paulme (sold, Paris, Galerie Georges Petit, November 22, 1923, lots 76 and 77, to Henri Boudonneau) Denis-Pierre Papillon de la Ferte |
| The Grotto of Posillipo, c. 1769 | Hubert Robert (French, 1733-1808) | 1976.97.2 | Mr. and Mrs. William H. Marlatt Fund | Provenance Mme S. A. Boudonneau (wife of Rene), Geneva (sold, Christie's, London, December 13, 1974, no. 146 [pair], to Gallerie Cailleux) Gallerie Cailleux, Paris, sold to the Cleveland Museum of Art, 1976. Rene Boudonneau (son of Henri), until 1961 Henri Boudonneau, Paris, until 1949 Marius Paulme (sold, Paris, Galerie Georges Petit, November 22, 1923, nos. 76 and 77, to Henri Boudonneau) Denis-Pierre Papillon de la Ferte |
| Torrent and Waterfall in the Alps, 1792 | Louis Bélanger (French, 1756-1816) | 1996.251 | Mr. and Mrs. Richard W. Whitehill Art Purchase Endowment Fund | Provenance Private Collection, England (verbal comminucation from dealer); (sold to Cailleux, Paris) |
| Woman Reading, 1769 | Nicolas-Bernard Lépicié (French, 1735-1784) | 1964.288 | Severance and Greta Millikin Collection | Provenance Before 1896 Probably Louis-Charles-Léon Courajod [1841-1896], Paris 1 Probably 1938 (Probably a public auction, Paris, sold to Georges Wildenstein) 2 By 1960 (Galerie Cailleux, Paris, sold to Severance and Greta Millikin) 1938-probably 1940 (Georges Wildenstein, Paris, owned in share with Galerie Cailleux, confiscated by the Einsatzstab Reichsleiter Rosenberg) 3 Probably 1940-1945 In possession of the Nazis 4 1945-1947 In possession of the Allies, repatriated to France and restituted to Georges Wildenstein 5 1947-before 1960 (Georges Wildenstein, New York, his share probably sold to Galerie Cailleux) 6 1960-1964 Severance and Greta Millikin, Cleveland, Ohio 1964- The Cleveland Museum of Art, Cleveland, Ohio PROVENANCE FOOTNOTES 1 The remnants of an old label reading "M. Courajod" are present on the painting's stretcher, likely referring to Louis-Charles-Léon Courajod, a curator, art historian, and collector. The Courajod label strongly indicates his past ownership of the painting; however, posthumous sales of his collection from 1897 and 1911 do not contain the Cleveland picture. 2 1Wildenstein’s file on this painting indicates that it was purchased in 1938 at, according to the gallery's records, a "public auction," but contains no additional details. A search of French sales in 1937 and 1938 including paintings by Lépicié and Lagrenée did not reveal any appearance by the CMA portrait, and Wildenstein's records do not contain any more information about the auction or auction house from which the painting was purchased. The pre-1938 provenance of this painting remains unconfirmed; however, as is discussed in the CMA paintings catalogue (European Paintings of the 16th, 17th, and 18th Centuries, 1982) it may have been exhibited at the Salon of 1769, where a painting depicting a woman reading was displayed. Although its dimensions are the same as those of the Cleveland picture, it cannot be confirmed that the two paintings are one and the same because Lépicié painted a number of paintings of the same subject. The CMA Lépicié may also have appeared in an auction at Chariot, Paris, on January 25, 1779 (Lugt 2946). The painting, there titled “Une jeune fille, lisant” (lot 64), was 17 x 14 inches (the CMA picture is 18 3/16 x 14 7/8 inches), and did not sell. Again, because Lépicié painted several pictures depicting a woman reading and the Chariot catalogue, like the Salon catalogue, does not provide sufficient identifying information, this painting cannot be securely identified as the Cleveland picture. 3 This painting appears in Wildenstein’s Paris records from 1938 with stock no. 5798. The work was listed in the gallery stock book as by Lagrenée, with Lépicié written below it. 4 Georges Wildenstein fled to the south of France by the time the German army entered Paris in June 1940. The Lépicié was seized by the Einsatzstab Reichsleiter Rosenberg (ERR), likely by mid-November 1940, the date by which, according to the Allies’ interrogation of Günther Schiedlausky, an art historian employed by the ERR, most of the material from the Rothschild, Kann, Weil-Picard, and Wildenstein collections had been confiscated (Statement by Schiedlausky on ERR Organization. Restitution Research Records. Einsatzstab Reichsleiter Rosenberg (ERR):Schiedlausky, Gunther. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. National Archives Identifier 3725274. M1946, Roll 125, page 5. Fold3.com, http://www.fold3.com/image/114/283751193/, retrieved Sept. 24, 2014). The painting’s arrival at the Jeu de Paume was registered on January 15, 1943, when it was assigned ERR No. W 125; traces of the black stenciled "W" remain present on the painting's stretcher. The Munich Central Collecting Point property card reveals that the Lépicié had been given an ERR-GEM number of 105; this indicates that the painting was shipped from an ERR depot in crate 105, most likely to Alt Aussee, where most of the GEM crates were sent. 5 The Munich Collecting Central Collecting Point property card shows an Alt Aussee number of 294/11 and a Munich number of 368/11, signifying that the Lépicié was the 368th group of objects (and 11th within that group) to come from Shipment no. 294 from Alt Aussee to the Collecting Point, where the painting arrived on June 23, 1945. It was repatriated to France on June 25, 1946, and then restituted to Wildenstein on March 21, 1947. 6 The exact circumstances of Wildenstein's postwar possession and sale of the painting remain unknown. Because Cailleux, with whom Wildenstein jointly owned the painting prior to the war, ultimately sold the Lépicié to the Millikins in 1960, it would appear that Wildenstein sold his share to Cailleux, giving the latter full ownership. At this point, however, there is no confirmation of this transaction or indication as to when it took place. PROVENANCE CITATIONS Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume. www.errproject.org Datenbank zum Central Collecting Point München, Deutsches Historisches Museum. www.dhm.de Ay-whang Hsia, email to Victoria Sears Goldman, July 22, 2014, in CMA curatorial file. List of French Property from Central Collecting Point, Munich. Reports. 73.11c-Status Of Collecting Point MUNICH- Transport Lists FRANCE-Folder II. Records of the American Commission for the Protection and Salvage of Artistic and Historical Monuments in War Areas (The Roberts Commission), 1943-1946, Record Group 239. National Archives Identifier 1518796. M1944, Roll 6, page 228. Fold3.com, retrieved Sept. 23, 2014. www.fold3.com Show |
| Landscape with Fortification Between Marino and Frascati, c. 1650 | Jacob van der Ulft (Dutch, 1627-1689) | 1958.421 | Gift of Friends in memory of Mary Grafton Ballou | Provenance de Witte Bryas -1958 [Gallerie Cailleux, Paris] All according to bill of sale of 9 January 1959 from Galerie Cailleux, Paris (photocopy in departmental file): Richard Houlditch, London (Lugt 2214, not stamped). Edward King (not stamped, not in Lugt). William Esdaile, London (Lugt 2617, lower right, inscribed in brown ink). Jean-Pierre Norblin de la Gourdaine (not stamped, not in Lugt). Connantré (not stamped, not in Lugt). Ruble (not stamped, not in Lugt). de Witte (not stamped, not in Lugt). Bryas (not stamped, not in Lugt). [Galerie Cailleux, Paris] Ruble Connantré Edward King William Esdaile, London Jean-Pierre Norblin de la Gourdaine Richard Houlditch, London |
| A Hare and a Leg of Lamb, 1742 | Jean-Baptiste Oudry (French, 1686-1755) | 1969.53 | John L. Severance Fund | Provenance M. de Vaize and the de Vaize family, until at least 1956; (sale: Paris, Galerie Charpentier, December 15—16, 1958, no. 64, as Le Lievre, the meat as "un quartier de venaison," illus. pl. XI); (sale: Paris, Palais Galliera, December 4, 1963, no. 200, to Cailleux); private collection. New York; [Eugene V. Thaw, New York]. John L. Severance Fund, 1969. |
| Sleep, c. 1771 | Jean Bernard Restout (French, 1732-1797) | 1963.502 | Leonard C. Hanna, Jr. Fund | Provenance 1771 possibly exhibited at the Paris Salon of 1771, cat. 137 ("Sommeil, figure d'etude) 1783 possibly exhibited at the Salon de la Correspondance of 1783, cat. 144 (as "Morphée") 1797 possibly the work listed as "Morphée" in the inventory made at the artist's death, 1797 (Boussod, Valadon et Cie., Paris [as attributed to Fragonard]) Octave Linet [1870-1962], Paris and Tours, France (Octave Linet, sold, Palais Galliera, Paris, March 23, 1963, no. 16, as "Le genie du sommeil," as by François Boucher) (Galerie Cailleux, Paris, France), sold to the Cleveland Museum of Art, 1963. |
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