Jan 26, 2021

Valentin or Buchholz in Provenance Texts of American Museums

Question for art provenance researchers. How many of these artworks display gaps in the provenance for the years 1933-1945?

Which artworks, if any, appear to have the most problematic provenances? Why? 


urlWikidata MuseumprovenanceMuseum
http://www.moma.org/collection/works/33938Q188740Acquired from the artist by the Staatliche Kunstsammlungen (Schlossmuseum), Weimar, 1923 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937; on consignment to Karl Buchholz, Berlin, February 20, 1939 [2]; to Curt Valentin, New York; purchased by Philip L. Goodwin (1885 1958), New York, May 3, 1939; The Museum of Modern Art, New York (Philip L. Goodwin Collection), 1958.[1] Andreas Hüneke, ed. Angriff auf die Kunst. Der faschistische Bildersturm vor 50 Jahren. Weimar: Kunstsammlungen, 1988, p. 15. On loan from the "Staatliche Kunstsammlungen Weimar" to the exhibition Deutsche Malerei in den letzten fünfzig Jahren: Ausstellung von Meisterwerken aus öffentlichem und privatem Besitz, Munich: Neue Staatsgalerie, 1924 (no. 94). [2] EK no. 11261: Pflanzen</blockquoteMuseum of Modern Art
http://www.moma.org/collection/works/78787Q188740The artist; acquired by Daniel-Henry Kahnweiler (1884-1979), Paris, before 1914 [1]; seized during the war by the French government as enemy property and sold through Hôtel Drouot, Paris, November 17-18, 1921 [2]; Galerie Simon (Daniel-Henry Kahnweiler), Paris [3]. Hugo Simons, (1892-1958), Düsseldorf/The Hague/Montreal, by 1933 [4]; acquired by Buchholz Gallery (Curt Valentin), New York, by 1943 [5]; sold by exchange to The Museum of Modern Art, New York, 1943.[1] Per Nicole Worms de Romilly and Jean Laude, Braque: Cubism 1907-1914, Paris: Maeght, 1982, no. 17.[2] Tableaux, aquarelles, gouaches &amp; dessins. [2nd sale of Kahnweiler collection]. Paris: Hôtel Drouot, November 17-November 18, 1921 (no. 24: La route de l"Estaque).[3] Label information in collection files, The Department of Painting and Sculpture. Possibly bought back at auction. Reproduced in Maurice Raynal, Georges BraqueMuseum of Modern Art
http://www.moma.org/collection/works/34237Q188740Galerie Nierendorf, Berlin [1]. Karl Buchholz, Berlin; on consignment to Buchholz Gallery (Curt Valentin), New York, August 18, 1937 [2]; seized by the Alien Property Custodian, New York, May , 1944; acquired by The Museum of Modern Art, New York, November 1945 [3].[1] Artist"s questionnaire, n.d., Collection files, Department of Drawings, The Museum of Modern Art, New York. [2] Inventory no. 530 (Otto Dix, Two Heads). "Objects of art owned by Karl Buchholz," Vesting order no. 3711, NARA, Washington, DC.[3] Sale of property vested by Alien Property Custodian, lot #23. Museum of Modern Art
http://www.moma.org/collection/works/34438Q188740Buchholz Gallery, New YorkThe Museum of Modern Art, New York. Purchase, 1944Museum of Modern Art
http://www.moma.org/collection/works/62347Q188740Curt Valentin, New York; sold through Parke-Bernet Galleries, Inc., (December 9, 1948, lot 28); to The Museum of Modern Art, New York, 1949Museum of Modern Art
http://www.moma.org/collection/works/34533Q188740André Masson. 1940 – at least 1944[Buchholz Gallery (Curt Valentin), New York. In or after 1944]Andrew Lyndon. [Purchased from Curt Valentin?]The Museum of Modern Art, New York. Gift of Andrew Lyndon, 1958Museum of Modern Art
http://www.moma.org/collection/works/62486Q188740Curt Valentin, New York, ?; sold through Parke-Bernet Galleries, New York, December 1948 to The Museum of Modern Art, New York, 1949Museum of Modern Art
http://www.moma.org/collection/works/81021Q188740Amedeo Modigliani, Paris.By 1939 - 1951, Pierre and Dollie Chareau, Paris and New York.1951, The Museum of Modern Art, New York, purchased from Dollie Chareau through Buchholz Gallery.Museum of Modern Art
http://www.moma.org/collection/works/34895Q188740Mr. and Mrs. Heinz Schultz, New York. Purchased from the artist, 1941Buchholz Gallery (Curt Valentin), New York. [Acquired from Schultz, 1942]The Museum of Modern Art, New York. Purchased from Buchholz Gallery with Mrs. Simon Guggenheim Fund, 1942Museum of Modern Art
http://www.moma.org/collection/works/34912Q188740Buchholz Gallery, New YorkThe Museum of Modern Art, New York. Purchased from Buchholz Gallery with Mrs. Simon Guggenheim Fund, New York, 1942Museum of Modern Art
http://www.moma.org/collection/works/79016Q188740The artist, Berlin. Stadtmuseum and Gemäldegalerie, Dresden, 1919 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; in storage at the repository for propaganda exhibitions, Velten (Mark), 1938 [3]. Sold through Stuttgarter Kunstkabinett (Roman Norbert Ketterer), May 10-12, 1950 [3]. On consignment from German private collection to Galerie Wilhelm Grosshennig, Düsseldorf [4]; sold to Curt Valentin Gallery (formerly Buchholz Gallery), New York, [1953] [5]; acquired by The Museum of Modern Art, New York, 1955 (Gertrud A. Mellon Fund).[1] Inventory no. 1919/88. Before the painting was removed from the collection in 1937, it was included as "degenerate art" in the exhibition "Entartete Kunst" at the Städtische Galerie, Nürnberg, September 7, 1935-September 21, 1935; at the Haus der Kunst, Dortmund, November 11, 1935-December 8, 1935; and at the Volksbildungsheim Frankfurt a.M., September 9, 1936-September 30, 1936 (see Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin).[2] EK no. 15938: Pharisäer. [3] Included in the exhibition "Entartete Kunst," Hofgarten-Arkaden, Munich, July 19-November 30, 1937 and other venues (Berlin, Leipzig, Düsseldorf). See Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin.[4] Auction no. 8, lot no. 1893. See Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin).[5] Collection files 160.1955, Department of Painting and Sculpture, The Museum of Modern Art, New York.Museum of Modern Art
http://www.moma.org/collection/works/59798Q188740The artist; Gift to Curt Valentin, Buchholz Gallery, New York, April 1937 [1]; Gift to The Museum of Modern Art, New York, 1947.[1] Per inscription "Herrn Curt Valentin mit allen guten Wünschen von E L Kirchner / April 37." lower middle margin, black ink, artist"s hand.Museum of Modern Art
http://www.moma.org/collection/works/33097Q188740Städtisches Kunsthaus, Bielefeld [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]. To Buchholz Gallery (Curt Valentin), New York; sold to Philip L. Goodwin, New York; given to The Museum of Modern Art, New York, 1949.[1] Collection stamp on verso.[2] Not on "Harry Fischer list." Museum of Modern Art
http://www.moma.org/collection/works/78426Q1887401908 - 1938, Ernst Ludwig Kirchner, Dresden, Berlin and Davos.1938 - 1950, Kirchner Estate, Basel (Nachlass E. L. Kirchner/DRE/B61).1950 - 1951, Buchholz Gallery (stock no. 12369, Curt Valentin), New York acquired from the estate of the artist.1951, The Museum of Modern Art, New York, purchased from/through Buchholz Gallery.Museum of Modern Art
http://www.moma.org/collection/works/81999Q188740[Ambroise Vollard, Paris (1867-1939), c.1932-33?] [Curt Valentin, Buchholz Gallery, New York. c. 1940?] James Thrall Soby (1906-1979), New Canaan, Connecticut, and New YorkThe Museum of Modern Art, New York. James Thrall Soby Bequest, 1979Museum of Modern Art
http://www.moma.org/collection/works/78434Q188740Acquired from the artist by the Nationalgalerie, Berlin, 1923 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, by 1940 [3]; sold to Stanley B. (1879-1962) and Helen L. Resor (1886-1964), New York and Greenwich, CT, 1940 [4]; to their son Stanley Resor, New York; The Museum of Modern Art, New York, 1955 (Gift of Mr. and Mrs. Stanley Resor). [1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 3 (1999), no. 2950. One of four works the Nationalgalerie acquired from the artist for 40 million M during the inflation of 1923 (see Annegret Janda and Jörn Grabowski, eds., Kunst in Deutschland 1905-1937: Die verlorene Sammlung der Nationalgalerie im ehemaligen Kronprinzen-Palais, exh. cat. Berlin: Staatliche Museen zu Berlin, 1992, no. 229). Included in the exhibition Paul Klee, Nationalgalerie, Kronprinzenpalais, Berlin, February 1923. On view at the Kronprinzen-Palais of the Nationalgalerie, Berlin until 1933 (ibid.). Included in the defamatory exhibition Der Bolschewismus - große antibolschewistische Schau, Deutsches Museum, Munich, November 7, 1936-January 31, 1937 (see Anja Tiedemann, "Auf dem Weg in ein freies Land. Paul Klees Vokaltuch der Kammersängerin Rosa Silber," Uwe Fleckner, ed., Das verfemte MeisterwerkMuseum of Modern Art
http://www.moma.org/collection/works/95077Q188740Buchholz Gallery, Paul Rosenberg &amp; Co., New York. 1944 Collection of Mr. &amp; Mrs. Louis Orswell, Narragansett. 1944 - c. 1958Saidenberg Gallery, New York. c. 1958 - 1965Richard S. Zeisler, New York. By 1965 The Museum of Modern Art, New York. Bequest of Richard S. Zeisler, 2007Museum of Modern Art
http://www.moma.org/collection/works/59968Q188740Curt Valentin, New York; sold through Parke-Bernet Galleries, New York, February 1948; to The Museum of Modern Art, New York, 1948Museum of Modern Art
http://www.moma.org/collection/works/78459Q188740Estate of the artist, 1914 [1]; to Galerie von der Heyde, Berlin, by 1934 [2]; sold to Herbert Kurz (1892-1967), Meerane, Germany, 1934 [3]. Acquired by Karl Buchholz, Berlin [4]; on consignment to Curt Valentin (Buchholz Gallery), New York, August 16, 1938 [5]; seized by the Alien Property Custodian, May, 1944; sold through Curt Valentin, New York (auction of property vested by Alien Property Custodian) [6] to Henry Pearlman (1895-1974), New York, 1944 [7]; acquired by The Museum of Modern Art, New York, 1956 (Gift of the Henry Pearlman Foundation).).[1] First shown at the exhibition August Macke Gedächtnisausstellung, Kunstverein Frankfurt, May 19-June 13, 1920, no. 68 (Frau mit Sonnenschirm).[2] Included in the exhibition August Macke: Zur 20. Wiederkehr seines Todestages, Galerie von der Heyde, Berlin, September 23 to October 18, 1934, no. 31 (Frau im Park).Museum of Modern Art
http://www.moma.org/collection/works/64399Q188740Hans Goltz, Munich; to Heinrich Stinnes (1876-1932), Cologne, October 1920; Heinrich Stinnes Estate; sold through Gutekunst &amp; Klipstein, Bern, June 20-22, 1938.Curt Valentin, New York, ?; to The Museum of Modern Art, New York, 1942Museum of Modern Art
http://www.moma.org/collection/works/32975Q188740Museum Behnhaus, Lübeck; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [1], on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York, 1939; sold to Erich Cohn, New York [2]; acquired by The Museum of Modern Art, New York, 1939 (Gift of Erich Cohn).[1] Not on "Harry Fischer list."[2] Collection files 2.1939, Department of Drawings, The Museum of Modern Art, New York.Museum of Modern Art
http://www.moma.org/collection/works/32978Q188740Maria Marc (1876-1955), Ried, Germany, until at least 1936 [1]. Curt Valentin, New York; John S. Newberry (1910-1964), New York, by 1948 [2]; acquired by The Museum of Modern Art, New York, 1964 (John S. Newberry Collection).[1] "Nachlass Franz Marc bestätigt Maria Marc/ Blaues Pferd mit Regenbogen" verso, lower center sheet, pencil, hand of Maria Marc. See Alois J. Schardt, Franz Marc, Berlin: Rembrandt-Verlag, 1936, p. 168, no. 20 ("Pferd im Regenbogen"), which lists the work as being in the collection of Maria Marc. Included in the exhibition "Franz Marc: Gedächtnisausstellung," Galerie Nierendorf, Berlin, May 1936 (no. 62: Pferd im Regenbogen, 1914). [2] Included in the exhibition "Drawings and Watercolors, XIX and XX Centuries: From the Collection of John S. Newberry, Jr.," Fogg Museum of Art, Harvard University, Cambridge, February 12-March 31, 1948. Museum of Modern Art
http://www.moma.org/collection/works/35731Q188740Graphisches Kabinett J.B. Neumann, Berlin/Munich, by 1921; Museum Folkwang, Essen, 1929 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, 1939; acquired by The Museum of Modern Art, New York, April 13, 1939.[1] See Hartwig Fischer, ed., "Das schönste Museum der Welt," Sammlung Folkwang bis 1933, Hartwig Fischer, ed., exh. cat. Essen: Folkwang Museum, 2010, p. 348. [2] EK no. 3799: Die Rückkehr des verlorenen SohnesMuseum of Modern Art
http://www.moma.org/collection/works/35742Q188740Graphisches Kabinett J.B. Neumann, Berlin/Munich, by 1921; Museum Folkwang, Essen, 1929 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, 1939; acquired by The Museum of Modern Art, New York, April 13, 1939.[1] See Hartwig Fischer, ed., "Das schönste Museum der Welt," Sammlung Folkwang bis 1933, Hartwig Fischer, ed., exh. cat. Essen: Folkwang Museum, 2010, p. 348. [2] EK no. 14421: Der verlorene SohnMuseum of Modern Art
http://www.moma.org/collection/works/35752Q188740Graphisches Kabinett J.B. Neumann, Berlin/Munich, by 1921; Museum Folkwang, Essen, 1929 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, 1939; acquired by The Museum of Modern Art, New York, April 13, 1939.[1] See Hartwig Fischer, ed., "Das schönste Museum der Welt," Sammlung Folkwang bis 1933, Hartwig Fischer, ed., exh. cat. Essen: Folkwang Museum, 2010, p. 348. [2] EK no. 3797: Erwartung des verlorenen SohnesMuseum of Modern Art
http://www.moma.org/collection/works/35765Q188740Graphisches Kabinett J.B. Neumann, Berlin/Munich, by 1921; Museum Folkwang, Essen, 1929 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, 1939; acquired by The Museum of Modern Art, New York, April 13, 1939.[1] See Hartwig Fischer, ed., "Das schönste Museum der Welt," Sammlung Folkwang bis 1933, Hartwig Fischer, ed., exh. cat. Essen: Folkwang Museum, 2010, p. 348. [2] EK no. 3798: Der verlorene Sohn unter den SchweinenMuseum of Modern Art
http://www.moma.org/collection/works/81256Q188740Acquired from the artist by Sally Falk (1888-1962), Mannheim, October 3, 1916 [1]; gift to the Kunsthalle Mannheim, August 5, 1921 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [3]; on consignment to Karl Buchholz, Berlin; to Curt Valentin (Buchholz Gallery), New York; acquired by The Museum of Modern Art, New York, 1939 (Abby Aldrich Rockefeller Fund) [4]. [1] Roland Dorn et al., Stiftung und Sammlung Sally Falk, Mannheim: Städtische Kunsthalle, 1994, p. 86. Acquired from the artist at the Kollektivausstellung Wilhelm Lehmbruck, Kunsthalle Mannheim, November 12-December 6, 1916 (no. 4: Knieende). On loan from Falk to the Kunsthalle Mannheim since March 1917.[2] Ibid. Inventory number S 518.[3] EK number 15030: KnieendeMuseum of Modern Art
http://www.moma.org/collection/works/79342Q188740Gemäldegalerie, Dresden, 1926 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, 1939; acquired by The Museum of Modern Art, New York, April 13, 1939 (Abby Aldrich Rockefeller Fund) [3].[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 4 (2000), no. 4075. Acquired from the exhibition Internationale Kunstausstellung, Städtischer Ausstellungspalast Dresden, Juni-September, 1926 (no. 528). Before the painting was removed from the collection in 1937, it was included as "degenerate art" in the exhibition Entartete Kunstat the Neues Rathaus, Dresden, September 23, 1933-October 18, 1933; at the Städtische Galerie, Nürnberg, September 7, 1935-September 21, 1935; and at the Haus der Kunst, Dortmund, November 11, 1935-December 8, 1935 (see Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin).[2] EK no. 15982: Um den Fisch. Included in the exhibition Museum of Modern Art
http://www.moma.org/collection/works/79350Q188740The artist, Paris; acquired by Karl Ernst Osthaus (1874-1921) for the Folkwang Museum, Hagen, Germany, 1913 [1]; Estate of Karl Ernst Osthaus, Hagen, 1921-1922; acquisition of Osthaus" Hagen Collection by the Folkwang Museum Association, Essen, 1922 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [3]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, April 13, 1939 (Abby Aldrich Rockefeller Fund) [4]. [1] Laurie Stein, "The History and Reception of Matisse"s Bathers with a Turtle in Germany, 1908-1939," Henri Matisse. Bathers with Turtle, The Saint Louis Art Museum Bulletin(Fall 1998), p. 54. The painting was shipped from Paris on November 27, 1913. It arrived in Hagen at the end of December (letter Karl Ernst Osthaus to Henri Matisse, December 30, 1913, KEO-Archive, NACI 184/1-2). [2] Ulrike Laufer, "Transfer der Folkwang-Sammlungen nach Essen," "Das schönste Museum der Welt," Sammlung Folkwang bis 1933, Hartwig Fischer, ed., exh. cat. Essen: Folkwang Museum, 2010, pp. 179-190. [3] EK no. 3688: Stillleben, blaues Zimmer. One of 139 paintings removed from the Folkwang Essen in July and August 1937 (exh. cat. Folkwang 2010, p. 348). [4] Included in the exhibition Museum of Modern Art
http://www.moma.org/collection/works/79354Q188740The artist; Galerie Ludwig Schames, Frankfurt [1]; sold to the Nationalgalerie, Berlin, 1920 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [3]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York, 1939; acquired by The Museum of Modern Art, New York, April 13, 1939 [4].[1] Annegret Janda and Jörn Grabowski, eds., Kunst in Deutschland 1905-1937: Die verlorene Sammlung der Nationalgalerie im ehemaligen Kronprinzen-Palais, exh. cat. Berlin: Staatliche Museen zu Berlin, 1992, no. 202.[2] Inventory no. A II 318 (Rosa Strasse mit Auto). On view at the Kronprinzen-Palais of the Nationalgalerie, Berlin until 1933 (ibid.). On loan from the Nationalgalerie, Berlin to the exhibition German Painting and Sculpture, The Museum of Modern Art, New York, March 12-April 26, 1931 (no. 38). [3] EK no. 16042: Strasse. Included in the exhibition "Degenerate Art," Hofgarten-Arkaden, Munich, July 19-November 30, 1937 and other venues (Berlin, Leipzig, Düsseldorf, Salzburg).Museum of Modern Art
http://www.moma.org/collection/works/79422Q188740Curt Valentin, Valentin Gallery, New York (Buchholz Gallery)John Hay Whitney Collection, c. 1957-1983The Museum of Modern Art, New York. Gift of the Estate John Hay Whitney, 1983Museum of Modern Art
http://www.moma.org/collection/works/80707Q188740Adolf Loos (1870-1933), Vienna. By 1915-16Otto Kallir-Nirenstein (founder of the Neue Galerie), Vienna. 1925-27 – 1939[Possibly brought by Otto Kallir to New York, where he opened Gallery St. Etienne in 1939. Or sold in Europe before Kallir left, in 1938-39? The painting was not in Kallir’s collection any more by 1940.]Blanche Bonestell / Bonestell Gallery, New YorkCurt Valentin Gallery, New York. By 1949Henry (1895-1974) and Rose Pearlman, New York. [Likely acquired from Curt Valentin], by 1949 – 1953A. &amp; E. Silberman Galleries, New York. [Purchased from Henry Pearlman in 1953]William S. Rubin, New York. Purchased from Silberman, by 1957. (In his collection in 1958)Mr. and Mrs. William Mazer, New York. By 1966 – until 1967The Museum of Modern Art, New York. Gift of Mr. and Mrs. William Mazer, 1967Museum of Modern Art
http://www.moma.org/collection/works/78508Q188740Rosy (1892-1926) and Ludwig (1860-1922) Fischer, Frankfurt am Main; sold by Rosy Fischer to the Städtisches Museum für Kunst und Gewerbe, Halle, December 1924 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [3]; on consignment to Karl Buchholz (1901-1992), Berlin, 1939; to Curt Valentin (1902-1954), New York, 1939; purchased by The Museum of Modern Art, New York, April 5, 1940.[1] One of twenty-four paintings Rosy Fischer sold to the Museum für Kunst und Kunstgewerbe in Halle (contract between Rosy Fischer and the "Stadtgemeinde Halle," December 15, 1924, Archives of the City of Halle). See Andreas Hüneke, “Die lange Geschichte der Hallenser Fischer Bilder,”Expressionismus und Exil: Die Sammlung Ludwig und Rosy Fischer, Frankfurt Am Main, ed. by Georg Heuberger et al., exh. cat. Frankfurt: Jüdisches Museum, 1990, pp. 81-94. Before the painting was removed from the collection in 1937, it was included as "degenerate art" in the exhibition "Entartete Kunst" at the Städtische Galerie Nuremberg, September 7-September 21, 1935; and on display in the "Schreckenskammer / "Degenerate Art" galleries of the Städtisches Museum für Kunst und Kunstgewerbe, Halle, November 27, 1935-July 25, 1937 (see Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin).[2] EK no. 14199: Selbstbildnis.Museum of Modern Art
http://www.moma.org/collection/works/79759Q188740The artist, Frankfurt; sold to Georg Hartmann (1870-1954), Frankfurt; returned to the artist [1]; sold to the Städelsches Kunstinstitut and Städtische Galerie, Frankfurt am Main, 1919 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, October 26, 1936 [3]; on consignment to Karl Buchholz (1901-1992), Berlin, 1938; to Curt Valentin (1902-1954), New York (sold April 21, 1941) [4]; Estate of Curt Valentin, New York, 1954; acquired by The Museum of Modern Art, New York, 1955 (Curt Valentin Bequest). [1] The painting was first acquired by Georg Hartmann, but then returned to the Beckmann"s studio, because it apparently upset Hartmann"s wife (see Göpel 192, p. 134).[2] Purchased from Beckmann under Director Georg Swarzenski in 1919 (Inv. no. SG 291).[3] See Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin). See Sara Eskilsson Werwigk, "Ein Gemälde geht ins Exil: Auf den Spuren der Kreuzabnahme von Max Beckmann," Uwe Fleckner, ed., Das verfemte Meisterwerk, Berlin: Akademieverlag, 2009, pp. 105-135). EK inventory number: 15933 (Kreuzabnahme). Included in the exhibitions Der Bolschewismus - große antibolschewistische Schau, Deutsches Museum, Munich, November 7, 1936-January 31, 1937; and Entartete Kunst, Munich (July 19-November 30, 1937) and other venues (Berlin, Leipzig, Düsseldorf, Salzburg, Stettin, Weimar, Vienna). See Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin . [4] Included in the exhibition Landmarks in Modern German Art, Buchholz Gallery, New York, April 2-27, 1940 (no. 1).</blockquoteMuseum of Modern Art
http://www.moma.org/collection/works/36343Q188740Gift from the artist to the Kunsthalle Hamburg, 1921 [1]; removed as "degenerate art" by the Ministry for Public Enlightenment and Propaganda, Berlin, August 21, 1937 [2]; [sold via exchange to Ferdinand Möller, Berlin]; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York (Gift of Curt Valentin), 1941.[1] Inscription "Schenkung an die Kunsthalle Hamburg" ["Gift to the Kunsthalle Hamburg"] verso, lower center sheet, black ink, artist"s hand. One of seven drawings the artist gave to the museum to acknowledge its acquisition of Self Portrait, 1914 (Gordon 421). See letter Ernst Ludwig Kirchner to Gustav Schiefler Schiefler, May 20, 1921 (Wolfgang Henze, ed. Ernst Ludwig Kirchner / Gustav Schiefler: Briefwechsel 1910-1935/1938, Stuttgart and Zurich: Belser, 1990, pp. 185-186). [2] EK no. 5283: Straßenszene.</blockquoteMuseum of Modern Art
http://www.moma.org/collection/works/67068Q188740Hans Goltz, Munich; Staatliche graphische Sammlungen, Munich, 1920 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] Collection stamp "K. B. GRAPHISCHE SAMMLUNG" on verso. Inventory no. 161.[2] EK no. 15654: KomikerMuseum of Modern Art
http://www.moma.org/collection/works/67083Q188740Hans Goltz, Munich; Staatliche graphische Sammlungen, Munich, 1920 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] Collection stamp "K. B. GRAPHISCHE SAMMLUNG" on verso. Inventory no. 162.[2] EK no. 15655: Drehendes HauptMuseum of Modern Art
http://www.moma.org/collection/works/67110Q188740Hans Goltz, Munich; Staatliche graphische Sammlungen, Munich, 1920 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] Collection stamp "K. B. GRAPHISCHE SAMMLUNG" on verso, center sheet, brown ink. Inventory no. 159.[2] EK no. 15652: RadierungMuseum of Modern Art
http://www.moma.org/collection/works/67142Q188740Hans Goltz, Munich; Staatliche graphische Sammlungen, Munich, 1920 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] Stamp "K. B. GRAPHISCHE SAMMLUNG" on verso, center sheet, brown ink. Inventory no. 160.[2] EK no. 15653: Jungfrau im BaumMuseum of Modern Art
http://www.moma.org/collection/works/36682Q188740Galerie Neumann-Nierendorf, Berlin [1]; acquired by the Kunsthalle Mannheim , May 4, 1927 [2]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, January 1941 (Gift of Curt Valentin).[1] See Hans-Jürgen Buderer, ed., Entartete Kunst - Beschlagnahmeaktionen in der Städtischen Kunsthalle Mannheim, 1937, exh. cat. Mannheim: Kunsthalle, 1987.[2] Ibid. Collection stamp on verso. Inventory no. 2318.[3] EK no. 6126: KompositionMuseum of Modern Art
http://www.moma.org/collection/works/67250Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1941Museum of Modern Art
http://www.moma.org/collection/works/67271Q188740Museum Folkwang Essen; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [1]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] EK no. 4554: GroteskenMuseum of Modern Art
http://www.moma.org/collection/works/67299Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1941Museum of Modern Art
http://www.moma.org/collection/works/67323Q188740Emil Richter, Dresden; acquired by the Kupferstichkabinett, Dresden, 1919 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]; on consignment to Hildebrand Gurlitt, Hamburg; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, January 1941.[1] Collection stamp "K. SÄCHSISCHES KUPFERSTICHKABINETT" on verso. Inventory number: A 1919 580.[2] EK no. 8662: Zwei FrauenMuseum of Modern Art
http://www.moma.org/collection/works/67354Q188740Sauer, Hamburg; sold to the Museum Behnhaus, Lübeck, 1925 [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, Berlin, 1937 [2]. To Buchholz Gallery (Curt Valentin), New York;; sold to The Museum of Modern Art, New York, 1941.[1] Collection stamp "Museen der Hansestadt Lübeck" on verso. Inventory no. 11.[2] Not on "Harry Fischer list."Museum of Modern Art
http://www.moma.org/collection/works/67442Q188740Curt Valentin Estate, New York; to The Museum of Modern Art, New York, 1955Museum of Modern Art
http://www.moma.org/collection/works/67462Q188740Curt Valentin Estate, New York; to The Museum of Modern Art, New York, 1955Museum of Modern Art
http://www.moma.org/collection/works/36657Q188740Estate of Alwin Woldemar von Dietel, Frankfurt; sold through Galerie F.A.C. Prestel, Frankfurt to the Städtische Kunsthalle, Mannheim, October 16/17, 1928 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] See auct. cat. Meisterwerke moderner Graphik: Sammlung des verstorbenen Herrn Landrat a.D. Dr. A.W. von Dietel und ein Beitrag aus anderem Besitz, F.A.C. Prestel, Frankfurt, lot no. 1047. Collection stamp "[MANN]HEIM KUNSTHALLE" on verso. Inv. no. 2472. See Hans-Jürgen Buderer, ed., Entartete Kunst - Beschlagnahmeaktionen in der Städtischen Kunsthalle Mannheim, 1937, exh. cat. Mannheim: Kunsthalle, 1987.[2] EK no. 6460: KompositionMuseum of Modern Art
http://www.moma.org/collection/works/66638Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1951Museum of Modern Art
http://www.moma.org/collection/works/79741Q188740Charlotte Berend-Corinth (the artist’s widow, 1881-1967), Berlin and New York. 1924 - [c. 1950]Curt Valentin, New York. Purchased from Charlotte Berend-Corinth [c. 1950]The Museum of Modern Art, New York. Gift of Curt Valentin, 1950Museum of Modern Art
http://www.moma.org/collection/works/60587Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1951Museum of Modern Art
http://www.moma.org/collection/works/69350Q188740Staatliches Museum Saarbrücken; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [1]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1949.[1] EK no. 6862: Bildnis Maria OrskaMuseum of Modern Art
http://www.moma.org/collection/works/69363Q188740Museum für Kunst und Kunstgewerbe, Stettin [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1949.[1] Collection stamp "MUSEUM STETTIN" on verso.[2] EK no. 7777: Bildnis HasenkleverMuseum of Modern Art
http://www.moma.org/collection/works/70106Q188740Buchholz Gallery, New York; to the Museum of Modern Art, New York, 1949Museum of Modern Art
http://www.moma.org/collection/works/70122Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York 1949Museum of Modern Art
http://www.moma.org/collection/works/70131Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1949Museum of Modern Art
http://www.moma.org/collection/works/78619Q188740Galerie Alfred Flechtheim (d. 1937), Berlin.1928 – [at least 1932]Charlotte Weidler (b. Berlin 1895- d. New York 1983), Vienna, Berlin, and New York. By 1952Curt Valentin Gallery, New York. 1952The Museum of Modern Art, New York. Purchased from Curt Valentin, April 1952Museum of Modern Art
http://www.moma.org/collection/works/79958Q188740Acquired by Alfred Hess (1879-1931), Erfurt, before 1930 [1]; by inheritance to Tekla Hess (1884- 1968); on loan to Carnegie Institute, Pittsburgh, 1933 [2]; on consignment from Tekla Hess to Curt Valentin Gallery, New York, 1954 [3]; on consignment to Justin Thannhauser, New York, 1955 [4]; acquired by The Museum of Modern Art, New York (Gift of Mr. and Mrs. Werner E. Josten), 1956. [1] Martin Urban, Emil Nolde: Catalogue Raisonné of the Oil-Paintings, vol. 2, London: Sotheby"s Publications, 1990, p. 117, no. 735.[2] Ibid. Included in the exhibition Thirty-First Annual International Exhibition of Paintings, Carnegie Institute, Pittsburgh, October 19-December 10, 1933, no. 336.[3] Letter Tekla Hess, York, England to Jane Wade, Curt Valentin Gallery, New York, October 27, 1954, Curt Valentin Papers, III.B."H." The Museum of Modern Art Archives, New York. [4] Letter Jane Wade, Curt Valentin Gallery, New York to Justin Thannhauser, New York, September 12, 1955, Curt Valentin Papers, III.B."H." The Museum of Modern Art Archives, New York.Museum of Modern Art
http://www.moma.org/collection/works/37347Q188740Acquired from the artist by the Nationalgalerie, Berlin, 1923 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, October 14,1939 [3]. [1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 3 (1999), no. 2975. One of four works the Nationalgalerie acquired from the artist for 40 million M during the inflation of 1923 (see Annegret Janda and Jörn Grabowski, eds., Kunst in Deutschland 1905-1937: Die verlorene Sammlung der Nationalgalerie im ehemaligen Kronprinzenpalais, exh. cat. Berlin: Staatliche Museen zu Berlin, 1992, no. 229). Included in the exhibition Paul Klee, Nationalgalerie, Kronprinzenpalais, Berlin, February 1923. On loan from the Nationalgalerie to the Museum of Modern Art, New York for the exhibition German Painting and Sculpture, March 13 - April 26, 1931 (no. 42). On view at the Kronprinzenpalais of the Nationalgalerie, Berlin until 1933 (ibid.). Included in the exhibition Der Bolschewismus - große antibolschewistische Schau, Deutsches Museum, Munich, November 7, 1936-January 31, 1937 (see Charles Werner Haxthausen, "A "Degenerate" Abroad: Klee"s Reception in America, 1937-1940," Josef Helfenstein and Elizabeth Hutton Turner, eds., Museum of Modern Art
http://www.moma.org/collection/works/71537Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1942Museum of Modern Art
http://www.moma.org/collection/works/71548Q188740Galerie Der Sturm, Berlin; to Heinrich Stinnes (1876-1932), Cologne, June 12, 1917; Heinrich Stinnes Estate; sold through Gutekunst &amp; Klipstein, June 20-22, 1938.Curt Valentin, New York,?; to The Museum of Modern Art, New York, 1942Museum of Modern Art
http://www.moma.org/collection/works/78367Q1887401932 - 1937, Max Beckmann, Frankfurt, Berlin, and Amsterdam.1937 - 1942, Buchholz Gallery (Curt Valentin), New York and Stephan Lackner, Paris, New York, and Santa Barbara, CA, probably jointly acquired from the artist.1942, The Museum of Modern Art, New York, acquired by exchange through Buchholz Gallery.Museum of Modern Art
http://www.moma.org/collection/works/72395Q188740Gift of the artist to the Kunstverein Jena, Germany, May 1918 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Bernhard Böhmer, Güstrow, 1939. To Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1956.[1] One of 251 prints given in memory of the artist"s friend and patron, Botho Graef (1857-1917). Collection stamp "Kunstverein / Jena" on verso. Inventory no. 98.[2] EK no. 13144: BadendeMuseum of Modern Art
http://www.moma.org/collection/works/72447Q188740Gift of the artist to the Kunstverein Jena, Germany, May 1918 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Bernhard Böhmer, Güstrow, 1939. To Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1956.[1] One of 251 prints given in memory of the artist"s friend and patron, Botho Graef (1857-1917). Inventory no. 78.[2] EK no. 13146: BegegnungMuseum of Modern Art
http://www.moma.org/collection/works/72463Q188740Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947.Curt Valentin Gallery, New York; sold to The Museum of Modern Art, New York, 1956 Museum of Modern Art
http://www.moma.org/collection/works/72505Q188740Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947.Curt Valentin Gallery, New York; sold to The Museum of Modern Art, New York, 1956 Museum of Modern Art
http://www.moma.org/collection/works/72529Q188740Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947.Curt Valentin Gallery, New York; sold to The Museum of Modern Art, New York, 1956 Museum of Modern Art
http://www.moma.org/collection/works/72544Q188740Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947.Curt Valentin Gallery, New York; sold to The Museum of Modern Art, New York, 1956 Museum of Modern Art
http://www.moma.org/collection/works/37718Q188740Acquired by Curt Valentin, Buchholz Gallery, New York, ?; sold to The Museum of Modern Art, New York, 1939Museum of Modern Art
http://www.moma.org/collection/works/72649Q188740Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947.Curt Valentin Gallery, New York; sold to The Museum of Modern Art, New York, 1956 Museum of Modern Art
http://www.moma.org/collection/works/72665Q188740Kirchner Estate (Erna Schilling), Davos-Frauenkirch, June 15, 1938; to Kunstsammlung Basel, 1946-1947.Curt Valentin Gallery, New York; sold to The Museum of Modern Art, New York, 1956 Museum of Modern Art
http://www.moma.org/collection/works/81748Q188740The artist (cast by Herman Noack), Berlin. 1930 - 1938Buchholz Gallery, New York. By 1939The Museum of Modern Art, New York, 1939. Purchased from Buchholz Gallery, New York, 1939Museum of Modern Art
http://www.moma.org/collection/works/33587Q188740Acquired from the artist by the Nationalgalerie, Berlin, 1923 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin, 1939; to Buchholz Gallery (Curt Valentin), New York; sold to John S. Newberry, Grosse Pointe, by 1940 [3]; acquired by The Museum of Modern Art, New York, 1961 (John S. Newberry Collection).[1] Paul-Klee-Stiftung, Kunstmuseum Bern, eds. Paul Klee: catalogue raisonné. Bern: Benteli and New York: Thames and Hudson, vol. 3 (1999), no. 2731. One of four works the Nationalgalerie acquired from the artist for 40 million M during the inflation of 1923 (see Annegret Janda and Jörn Grabowski, eds., Kunst in Deutschland 1905-1937: Die verlorene Sammlung der Nationalgalerie im ehemaligen Kronprinzenpalais, exh. cat. Berlin: Staatliche Museen zu Berlin, 1992, no. 227). Included in the exhibition Paul Klee, Nationalgalerie, Kronprinzenpalais, Berlin, February 1923. On view at the Kronprinzenpalais of the Nationalgalerie, Berlin until 1933 (ibid.). [2] EK no. 16308: Der Angler. Included in the exhibition Degenerate ArtMuseum of Modern Art
http://www.moma.org/collection/works/80328Q188740The artist. 1927 – 1943 (On consignment with Galka Scheyer in San Francisco and Los Angeles for extended time)Buchholz Gallery (Curt Valentin), New York. Received on consignment from the artist, October 1943The Museum of Modern Art, New York. Purchased from Buchholz Gallery, 1943Museum of Modern Art
http://www.moma.org/collection/works/61331Q188740Buchholz Gallery, New York; to The Museum of Modern Art, New York, 1944Museum of Modern Art
http://www.moma.org/collection/works/80410Q1887401932, Paul Klee, Düsseldorf.1932 - 1933, Galerie Alfred Flechtheim, Düsseldorf/Berlin, acquired on consignment from the artist.1933 - at least January 1937, Galerie Simon (Daniel-Henry Kahnweiler), Paris, acquired on consignment from the artist.[Buchholz Gallery (Curt Valentin), New York]By 1940 - 1977, Allan (1906-1975) and Beatrice Roos, New York and San Francisco. 1978, The Museum of Modern Art, New York, purchased from a beneficiary of the Estate of Beatrice Roos.Museum of Modern Art
http://www.moma.org/collection/works/59763Q188740Hans Goltz, Munich; Staatliche graphische Sammlungen, Munich, 1918 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz, Berlin; to Buchholz Gallery (Curt Valentin), New York; acquired by The Museum of Modern Art, New York, 1941.[1] Stamp "K. B. GRAPHISCHE SAMMLUNG" on verso, center sheet, brown ink. Inventory no. 320.[2] EK no. 15656: Zerstörung und HoffnungMuseum of Modern Art
http://www.moma.org/collection/works/81919Q188740Museum für Kunst und Heimatgeschichte, Erfurt [1]; removed as "degenerate art" by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; on consignment to Karl Buchholz (1901 1992), Berlin, 1939; to Curt Valentin (1902 1954), New York, 1939. Nelson A. Rockefeller, New York, 1939 [3]; acquired by The Museum of Modern Art, New York, 1979 (Nelson A. Rockefeller Bequest).[1] Painted on bottom of base "2 Erfurt."[2] EK no. 1942: Sitzende[3] Lender to the exhibition Art in Our Time, The Museum of Modern Art, New York, May 10 September 30, 1939 (no. 269).Museum of Modern Art
https://art.nelson-atkins.org/objects/2223/masksQ1976985Purchased from the artist by Karl Ernst Osthaus (1874-1921);for the Museum Folkwang, Hagen and Essen, Germany, 1911-August 25, 1937 [1];Confiscated from the Museum Folkwang, Essen by the German;National Socialist (Nazi) government and taken to the Schloß Niederschönhausen;Berlin, August 25, 1937-April 15, 1941 [2];Consigned by the Nazi;government to Karl Buchholz (1901-1992), Berlin and Madrid, after April 15, 1941- September;1948 [3];Consigned by;Buchholz to Buchholz Gallery, New York, stock no. 9935, September 1948-1954 [4];Purchased from Curt;Valentin Gallery by the Friends of Art, Kansas City, MO, 1954;Their gift to The;Nelson-Atkins Museum of Art, Kansas City, MO, 1954 [5].;NOTES;[1] In 1922, the;Museum Folkwang Hagen collection was purchased by the Folkwang Museumsverein;and the City of Essen. It was combined with the collection of the Essen;Municipal Art Museum and reopened October 29, 1922 as the Folkwang Museum;Essen.;[2] On June 30, 1937;Joseph Goebbels, head of the Reichsministerium für Volksaufklärung und;Propaganda (Nazi Ministry of Public Enlightenment and Propaganda), authorized;the confiscation of “degenerate” works of art from German public museums. “Degenerate”;artworks were defined by the Nazis as those works which “insult German feeling.”;The;Ministry targeted mostly avant-garde modernist works. By 1938, thousands of;works of art had been removed from German museums and were either sold, traded;or destroyed. Those works deemed to have “international value” were transferred;to the Schloß Niederschönhausen to await sale. Nolde’s Masks arrived at Schloß Niederschönhausen in August 1938 (“Bestand;in Niederschönhausen,” no. 550, Bundesarchiv, Berlin, BARch R 55/21015, Bl.;26-50). The confiscation of “degenerate” art from the German museums was;legalized retroactively by the Nazi government on May 31, 1938. For more;information on the Nazi confiscation of “degenerate” art, see especially;Stephanie Barron, ed., “Degenerate Art”;The Fate of the Avant-Garde in Nazi Germany, exh. cat. (Los Angeles: Los;Angeles County Museum of Art and New York: Harry N. Abrams, Inc., 1991).;[3] Buchholz stored the painting;in several locations between 1941 and 1948. It remained in Berlin until;November 1943, when Buchholz sent it to his longtime friend Karl-Heinz Brandt;in Gramzow, Germany. In March 1945, the painting was transferred to the;Rosgartenmuseum in Konstanz, Germany, where it remained until December 1945;when Buchholz moved it to his family’s estate at Überlingen;Germany, where his wife Marie-Louise was staying with their children. In April;1948, Buchholz brought the painting to his Madrid gallery, Galería Buchholz. He;consigned it Buchholz Gallery Curt Valentin in New York five months later.;[4] Buchholz Gallery;was renamed Curt Valentin Gallery in 1951.;[5] This painting’s provenance is listed in the Inventory;of Confiscated “Entartete Kunst,” “Degenerate Art” Research Center, Freie Universität;Berlin, EK identification number 3639, http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=ExternalInterface&lang=en. See also Mario-Andreas von Lüttichau;“Bilder-Schicksale,” in “ Das schönste Museum;der Welt” - Museum Folkwang bis 1933: Essays zur Geschichte des Museum Folkwang;exh. cat. (Göttingen, Germany: Edition;Folkwang/Steidl, 2010), 218.Nelson-Atkins Museum of Art
https://art.nelson-atkins.org/objects/4936/reclining-nudeQ1976985With Curt Valentin Gallery, New York, by June 1955;Purchased from Curt Valentin Gallery by Milton McGreevy (1903-1980), Shawnee Mission;KS, June 1955-1981;His bequest to The Nelson-Atkins Museum of Art, Kansas City, MO, 1981.Nelson-Atkins Museum of Art
http://www.artic.edu/aic/collections/artwork/30841Q239303Buchholz Gallery, New York, by 1939. Robert Allerton, Chicago, by 1939, given to Art Institute, 1939.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/47364Q239303Buchholz Gallery, New York.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/83907Q239303M. Alexandre Stoppelaire, 9ter rue d’Alesia, Paris [letter of June 19, 1967 from Albert Loeb in curatorial file]; sold to Pierre Loeb Gallery, Paris by 1954 [letter mentioned above and letter of January 21, 1964 from Sidney Geist in curatorial file]; sold to Curt Valentin Gallery, Inc., New York, summer 1954–June 1955 [letter from Sidney Geist listed above]; sold to the Art Institute, 1955.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/84241Q239303Curt Valentin, New York, 1947 /49–1955, acquired directly from the artist (letter from Mathilde Beckmann, dated September 14, 1956, in curatorial file); purchased by the Art Institute with funds from Lotta Hess Ackerman and Phillip E. Ringer, 1955.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/2893Q239303Ernest Ebenstein, Vienna [commissioned portrait from artist], 1908-September 22, 1926. Purchased by Galerie Paul Cassirer, Berlin, September 22, 1926. Purchased by Hugo Simon, Berlin (later Paris and Rio de Janeiro), February 1, 1927-c. 1954. Curt Valentin Gallery, New York, by 1954-June 1955. Galerie St. Etienne, New York, by October 1955 [Winnipeg 1955]. Purchased by Art Institute, December 1956.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/106540Q239303Mrs. Farquhar, Paris 1910/1911 [Geist 1975 and Paris 1995]. Lydia A. Farquhar (Mrs. Percival Farquhar), New York, 1946 [Paris 1995]. Buchholz Gallery/Curt Valentin Gallery, New York, by 1946–at least 1953 [Paris 1995 and Houston 1953]. Richard S. Davis, Waysata, Minn., about 1954–1985; by descent to the Estate of Richard S. Davis, 1985; sold to the Art Institute, 1985.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/118601Q239303Buchholz Gallery (Curt Valentin), New York, 1948 [Duthuit 1997]. Sidney Schoenberg, St. Louis [Duthuit 1997]. Schoenberg Foundation, St. Louis [Duthuit 1997]. Eugene V. Thaw, New York, 1979 [Duthuit 1997]. Xavier Fourcade Gallery, New York [Duthuit 1997]. Adler/Castillo, New York, by 1980 [Christie’s sale catalogue of November 12, 1992 lot 126]; sold to private collection, 1980 [Christie’s 1992]; sold to Art Institute, in the Impressionist and Modern Paintings, Drawings and Sculpture (Part II) sale, Christie’s, New York, November 12, 1992, lot 126 [letter of September 20, 1993 in curatorial file and Christie’s sale catalogue of November 12, 1992].Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/140642Q239303Anderson Gould Gallery, New York. Buchholz Gallery, New York. Curt Valentin Gallery, New York. Sid Deutsch Gallery, New York. Gerald Peter Gallery, New York. James Goodman Gallery, New York. Frances Friedman, 1995. Gift to Art Institute, 1995.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/150071Q239303Eugen Buchthal, Berlin (1878–1954) by April 1928–at least May 4, 1938 [Berlin 1928 and letters from Jörn Grabowski, Zentralarchiv Staatliche Museum zu Berlin, August 4, 2003, and Florian Karsch, Galerie Nierendorf, July 29, 2003, in curatorial file]. Buchholz Gallery, New York, by 1951 [Cleveland 1951]; sold to Clare Hoover, New York and San Francisco, June 15, 1955–1988 [photocopy of receipt in curatorial file]; bequeathed to the Art Institute, 1998.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/153702Q239303Galerie Louise Leiris, Paris, by 1952 [Bern 1952]. Buchholz gallery, New York. G. David Thompson (1899–1965), Pittsburg, c. 1953 [letter from Curt Valentin to David Thompson, Nov. 2, 1953, The Museum of Modern Art Archives, NY: CV III.B. “Thompson”]; sold, Parke-Bernet, New York, Mar. 23, 1966, lot 35, to Nathan Cummings (1896–1985), Chicago. Consolidated Foods Corporation (The Sara Lee Corporation), Chicago, 1980. Given by them to the Art Institute, 1999.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/72900Q239303Buchholz Gallery, New York, by 1946; sold to Edgar Kaufmann, Jr., New York, by 1949; given to the Art Institute, 1950.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/82589Q239303Buchholz Gallery, New York, by 1944 [New York 1944]. Curt Valentin Gallery, New York, by December 29,1954 [correspondence in curatorial file]. Sold to Mr. and Mrs. Sigmund Kunstadter, Chicago. Given by them to the Art Institute, March 18, 1955.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/9553Q239303Estate of Paul Klee [receipt from Theodore Schempp in file]. Buchholz Gallery, New York [receipt from Schempp in file]. Lee A. Ault, New Cannan, Conn. [receipt from Schempp in file]. Theodore Schempp and Co., Paris and New York, by April 20, 1951 [copy of receipt of April 20, 1951 in curatorial file]; sold to Mrs. Morton G. Schamburg, Highland Park, Ill., April 20, 1951 to 1959; given to the Art Institute, 1959.Art Institute of Chicago
http://www.artic.edu/aic/collections/artwork/109330Q239303Galerie Kahnweiler, Paris, acquired directly from the artist, 1909 to before 1914 [Kahnweiler photo no. 1002 and London 1983]. Alfred Flechtheim, Berlin, Paris and London, by 1921 to at least 1936 [according to Apollinaire 1921 and Barr 1936]. Mme. Albrecht v. Mendelssohn-Bartholdi (neé Dora Wach), London, by 1936 [London 1983]. Buchholz Gallery, New York by 1938 to 1939 [London 1983 and letter June 4, 1975 from William Mayglothling in curatorial file]; sold by the gallery to Walter P. Chrysler, New York and Warrenton, Va., 1939 to 1968 [letter mentioned above and Mullins 1968]; sold by him to Eugene V. Thaw & Co., New York 1967 to 1969 [London 1983]; sold by the gallery to the Art Institute, 1969.Art Institute of Chicago
https://www.harvardartmuseums.org/art/228822Q3783572Staatliche Gemäldegalerie, Dresden, Germany, removed from the collection by the National Socialist (Nazi) authorities, August 30, 1937, [Buchholz Gallery, Berlin], [Buchholz Gallery, New York (by 1939 - 1940)] sold, to Joseph Pulitzer, Jr., St. Louis MO (1940-1955), gift, to Fogg Art Museum, 1955.Harvard University Art Museums
https://www.harvardartmuseums.org/art/195673Q3783572Cassirer, Amsterdam(1925?-at least 1948), [Buchholz Gallery, New York], Joseph Pulitzer, Jr., St. Louis, (1951-1955), gift, to Fogg Art Museum, 1955.;Note;Records indicate it is likely this painting was stored at the Stedelijk Museum, Amsterdam, during World War II, possibly on behalf of Cassirer, who owned it both before and after the occupation of the Netherlands.Harvard University Art Museums
https://www.harvardartmuseums.org/art/222183Q3783572[Buchholz Gallery, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1945, gift, to Fogg Art Museum, 1960.;Note: Documentary evidence suggests Lipchitz sold directly to Valentin.;NOTE: Provenance information from "Lois Orswell David Smith and Modern Art", Harvard University Art Museums, 2002.Harvard University Art Museums
https://www.harvardartmuseums.org/art/297264Q3783572[Curt Valentin, Buchholz Gallery, New York, New York (by 1950-], sold, to Mr. and Mrs. Alfred Jaretzki, Jr., New York, New York, gift, to Fogg Art Museum, 1963.Harvard University Art Museums
https://www.harvardartmuseums.org/art/295220Q3783572[Curt Valentin, Buchholz, Gallery, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1945, gift, to the Fogg Art Museum, 1978.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/294681Q3783572[Buchholz Gallery, Kurt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1952, gift, to Harvard University Art Museums, 1992.;NOTE: Although the catalogue "Lois Orswell, David Smith and Modern Art" lists the Bertha Schaefer Gallery in New York as the source for this drawing however a label in the curatorial file from the Buchholz Gallery indicates otherwise.Harvard University Art Museums
https://www.harvardartmuseums.org/art/227273Q3783572[Buchholz Gallery, New York, New York], sold, to Lois Orswell, 1945(?), gift, to Harvard University Art Museums, 1992.Harvard University Art Museums
https://www.harvardartmuseums.org/art/312067Q3783572Emile Seurat. Félix Fénéon. [Buchholz Gallery, Curt Valentin, New York, NY]. [Cesar de Hauke of Jacques Seligmann & Co., New York, NY (by 1943-1948), sold], to Lois Orswell, Pomfret Center, CT (1948-1993), gift, to Harvard University Art Museum, 1993.;Notes;1. In “George Seurat” (Editions Albin Michel, Paris, 1948), John Rewald lists the drawing as belonging to the Curt Valentin Collection, New York. A label, formerly on the back of the drawing’s frame from the Buchholz Gallery seems to confirm this provenance.;2. The drawing is listed in the 1942-1943 stock catalogs of Jacques Seligmann & Co., New York, indicating that it was with this dealer by that time.;3. Lois Orswell placed the drawing on deposit at the Fogg Art Museum from 1953 to 1955 (see Orswell catalogue pp. 372, 374). Orswell placed the work on long-term loan to the museum from 1969 to 1993.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/312069Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1944, gift, to Harvard University Art Museums, 1993.Harvard University Art Museums
https://www.harvardartmuseums.org/art/312360Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1950, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/art/312274Q3783572[Buchholz Gallery, Curt Valentin, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1949, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/312270Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1947, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/312350Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold to Lois Orswell, Pomfret Center, Connecticut, 1950, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/art/311995Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1946, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/299634Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1948, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/art/226227Q3783572Collection of the artist, sold, to John Quinn (1922-1924) sold, his sale [Brummer Gallery, 1926], to Mary H. Rumsey, NY. [Buchholz Gallery, New York], sold, to Lois Orswell (1950?- 1998) bequest, to the Harvard University Art Museums.Harvard University Art Museums
https://www.harvardartmuseums.org/art/232805Q3783572[Buchholz Gallery, New York], sold, to Lois Orswell, 1949, bequest, to Harvard University Art Museums, 1998.Harvard University Art Museums
https://www.harvardartmuseums.org/art/297522Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Richard S. Davis, New York, New York, gift, to Fogg Art Museum, 1951.Harvard University Art Museums
https://www.harvardartmuseums.org/art/300054Q3783572[Buchholz Gallery, New York, New York (1946-47)], sold, to Lois Orswell, Pomfret Center, Connecticut, (1947-1955), gift, to Fogg Art Museum, 1955.Harvard University Art Museums
https://www.harvardartmuseums.org/art/228534Q3783572[Buchholz Gallery, New York, New York, 1944]. Lois Orswell, Pomfret Center, Connecticut, by 1946, gift, to Fogg Art Museum, 1955.;NOTE: Provenance taken from SF MOMA exhibition catalogue and Lois Orswell David Smith and Modern Art published by the Harvard University Art Museums, 2002.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/297165Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Paul J. Sachs, Cambridge, Massachusetts (L. 2091), 1942, gift, to Fogg Art Museum, 1956.Harvard University Art Museums
https://www.harvardartmuseums.org/art/297166Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Paul J. Sachs, Cambridge, Massachusetts (L. 2091), 1946, gift, to Fogg Art Museum, 1956.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/297130Q3783572[Curt Valentin Gallery, New York, New York], sold, to Meta and Paul J. Sachs, Cambridge, Massachusetts (L. 2091), 1953, gift, to Fogg Art Museum, 1956Harvard University Art Museums
https://www.harvardartmuseums.org/art/297173Q3783572[Curt Valentin, New York, New York], sold, to Curtis O. Baer, 1951, gift, to Fogg Art Museum, 1958.;NOTE: Provenance information from the curatorial file.Harvard University Art Museums
https://www.harvardartmuseums.org/art/297160Q3783572[Curt Valentin, New York, New York], sold, to Meta and Paul J. Sachs (L. 2091), Cambridge, Massachusetts, 1946, gift, to Fogg Art Museum, 1958.Harvard University Art Museums
https://www.harvardartmuseums.org/art/296654Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Marian H. Phinney, Cambridge, Massachusetts, bequest, to Fogg Art Museum, 1962.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/295430Q3783572[Buchholz Gallery, Curt Valentin, New York, NY], sold, to Lois Orswell, Pomfret Center, Connecticut, 1948, gift to Fogg Art Museum, 1975.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/227871Q3783572Robert Heilbronner, 1953. [Buchholz Gallery, New York, New York], sold, to Alfred Jaretzki, Jr., New York, New York, 1955, gift, to Fogg Art Museum, 1976.Harvard University Art Museums
https://www.harvardartmuseums.org/art/226306Q3783572[Buchholz Gallery, New York, New York], sold, to Lois Orswell, 1953(?), gift, to Harvard University Art Museums, 1990.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/294568Q3783572[Curt Valentin, Buchholz Gallery, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1955, gift, to Harvard University Art Museums, 1990.Harvard University Art Museums
https://www.harvardartmuseums.org/art/226296Q3783572[Buchholz Gallery, New York, New York], sold, to Lois Orswell, 1949, gift, to Harvard University Art Museums, 1991.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/226965Q3783572[Buchholz Gallery, New York, New York], sold, to Lois Orswell, 1930(?), gift, to Harvard University Art Museums, 1991.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/294837Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1949, gift, to Harvard University Art Museums, 1991.Harvard University Art Museums
https://www.harvardartmuseums.org/art/305839Q3783572[Buchholz Gallery, Curt Valentin, New York, New York], sold, to Lois Orswell, Pomfret Center, Connecticut, 1946, gift, to Harvard University Art Museums, 1996.Harvard University Art Museums
https://www.harvardartmuseums.org/art/330763Q3783572Rudolf Probst (Galerie Neue Kunst Fides), Dresden/Mannheim (until 1933);Lily Klee, Bern (1940-1946);Klee Society, Bern (1946-1947);Karl Nierendorf (from 1947);Curt Valentin;Professor and Mrs. Frederick Deknatel (by 1960)Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/353952Q3783572Alfred Flechtheim (to 1930), Daniel-Henry Kahnweiler, Paris (1930-1934), Jsrael Ber Neumann (from 1934), Curt Valentin [Buchholz Gallery, New York], sold, to Joy and Marion Levy (1950-2002), Joy Levy (2002-2015), by bequest, to the Busch-Reisinger Museum, 2015.Harvard University Art Museums
https://www.harvardartmuseums.org/art/304344Q3783572Julius Meier-Graefe, sold, to National Gallery, Berlin, 1928, removed from the collection by the National Socialist (Nazi) authorities, July, 1937, [Buchholz Gallery, Berlin], [Buchholz Gallery, New York], sold, to Busch-Reisinger Museum, 1941.Harvard University Art Museums
https://www.harvardartmuseums.org/art/180133Q3783572Dr. Walter Kaesbach, Mönchengladbach, sold?, to Museum Folkwang Essen, 1930, removed from the collection by the National Socialist (Nazi) authorities, 1937, sold, [Buchholz Gallery, New York], sold, to Busch-Reisinger Museum, 1950.Harvard University Art Museums
https://www.harvardartmuseums.org/art/225066Q3783572Rosy and Ludwig Fischer, Frankfurt am Main, by 1925, bequest, to Max and Ernst Fischer (1926-at least 1931.) [Buchholz Gallery, New York (by 1942-1951)], sold, to Busch-Reisinger Museum, 1951.;Notes;Painting may have been offered for exhibition or sale at Ferdinand Möller, Berlin in 1931.Harvard University Art Museums
https://www.harvardartmuseums.org/art/223132Q3783572[Curt Valentin Gallery, New York]. G. David Thompson, gift, to Busch-Reisinger Museum, 1956.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/256908Q3783572[Buchholz Gallery, New York, New York], sold, to Fogg Art Museum, July 15, 1944.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/264986Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, September 26, 1946.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/254936Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, October 28, 1946.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/252126Q3783572[Buchholz Gallery, New York, New York], sold, to Fogg Art Museum, November 14, 1946.Harvard University Art Museums
https://www.harvardartmuseums.org/art/259371Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/art/5547Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/art/259372Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/art/259387Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/art/259388Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/art/259474Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/collections/object/259476Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, December 4, 1947.Harvard University Art Museums
https://www.harvardartmuseums.org/art/258450Q3783572Hamburg Kunsthalle, removed from the collection by the National Socialist (Nazi) authorities, [Buchholz Gallery, Berlin], [Buchholz Gallery, New York?]. Paul J. Sachs, Cambridge, Massachusetts, gift, to Fogg Art Museum, May 10, 1949.Harvard University Art Museums
https://www.harvardartmuseums.org/art/265909Q3783572[Buchholz Gallery, New York, New York], sold, to Fogg Art Museum, October 23, 1940.Harvard University Art Museums
https://www.harvardartmuseums.org/art/250981Q3783572[Buchholz Gallery, New York, New York], sold, Fogg Art Museum, November 25, 1940.Harvard University Art Museums
https://www.harvardartmuseums.org/art/250683Q3783572[Buchholz Gallery, New York, New York], sold, Fogg Art Museum, November 25, 1940.Harvard University Art Museums
https://www.harvardartmuseums.org/art/251114Q3783572[Buchholz Gallery, New York, New York], gift, to Fogg Art Museum, 1940.Harvard University Art Museums
https://collections.mfa.org/objects/34971/double-portraitQ491331946, gift of the artist to Curt Valentin (b. 1902 - d. 1954), New York, 1954, from Valentin to Hanns Swarzenski (b. 1903 - d. 1985), Cambridge, MA, 1989, gift of Hanns Swarzenski, through his estate, to the MFA [see note 1]. (Accession Date: November 29, 1989);NOTES;[1] In 1946, Max Beckmann painted this double portrait of his friends Curt Valentin, an art dealer who directed the Buchholz Gallery in New York, and Hanns Swarzenski, an art historian who became a curator at the MFA. Upon Valentin's death in 1954 it passed to Dr. Swarzenski. For more on the execution of the work, see Erhard Göpel and Barbara Göpel, eds., "Max Beckmann: Katalog der Gemälde" (Bern, 1976), vol. 1, pp. 438-39, cat. no. 731.Museum of Fine Arts Boston
https://collections.mfa.org/objects/34010/still-life-with-three-skullsQ49133May 29, 1945, sold by the artist to Paul Cassirer and Co., Amsterdam [see note 1], September 10, 1946, sold by Cassirer to Curt Valentin, November 19, 1946, sold by Valentin to Lois (Mrs. Culver) Orswell, Pomfret Center, CT [see note 2], 1967, gift of Mrs. Culver Orswell to the MFA. (Accession Date: November 8, 1967);NOTES;[1] According to a letter from a representative of Paul Cassirer to the MFA (May 9, 1968). Jan Fontein, former MFA director, wrote to Theodore Stebbins of the MFA (October 12, 1994) that it may have been Cassirer's agent, Helmuth Luetjens, who was responsible for the purchase. Luetjens knew Beckmann during the war. [2] According to a letter from Mrs. Culver Orswell (1968).Museum of Fine Arts Boston
https://www.getty.edu/art/collection/objects/584/bartolomeo-vivarini-polyptych-with-saint-james-major-madonna-and-child-and-saints-italian-1490/Q731126Provenance 1490 - 1702;San Giacomo (Vallalta, Italy);Source: Rossi, Francesco. "Pittura a Bergamo intorno al 1500. Ricostituzione di un partimonio disperso." Atti dell'Ateneo di Scienze, Lettere ed Arte 41 (May 1979), pp. 84-85, 93, no. 44. 1702;Parish Church, Somendenna - 1784;Giacomo Caniana (possibly Alzano, Italy);Source: Rossi, Francesco. "Pittura a Bergamo intorno al 1500. Ricostituzione di un partimonio disperso." Atti dell'Ateneo di Scienze, Lettere ed Arte 41 (May 1979), pp. 84-85, 93, no. 44. by 1857 -;Possibly Don Clemente and S. Martino Maggiore (Alzano Lombardo, Italy);Source: Otto Mündler, Diaries. MS in the Library of the National Gallery (London: May 21, 22, 1857), p. 87, also reproduced in The Walpole Society 51 (1985), p. 154.;1858 -;Giuseppe Baslini (Milan, Italy);Source: Eastlake, Charles L. Unpublished notebooks. (London: Library of the National Gallery, 1858), p. 19. -;Vito Enei (Rome, Italy);Source: Borenius, Tancred, ed. A History of Painting in North Italy. 3 vols. (London: John Murray, 1912), vol. 1, pp. 47-48n1. before 1871 -;Valentinis (Rome, Italy);Source: Borenius, Tancred, ed. A History of Painting in North Italy. 3 vols. (London: John Murray, 1912), vol. 1, pp. 47-48n1. before 1871 - before 1914;Private Dealer before 1914 - 1929;Joseph Spiridon [sold, Spiridon sale, Cassirer and Helbig, Berlin, May 31, 1929, lot 67.] -;Torlonia (Rome, Italy) - 1955;Count Alessandro Contini-Bonacossi, Italian, 1878 - 1955 (Florence, Italy, Rome, Italy), by inheritance within the Contini-Bonacossi family. 1955 - 1971;Contini-Bonacossi Family (Florence, Italy, Rome, Italy), sold to Spencer A. Samuels & Company, Ltd., 1971. 1971;Spencer A. Samuels & Company, Ltd. (New York, New York), sold to the J. Paul Getty Museum, 1971.J. Paul Getty Museum
https://www.getty.edu/art/collection/objects/663/pierre-jacques-volaire-mediterranean-harbor-scene-french-about-1763/Q731126Provenance -;Duc de Valentinois (Paris, France) - 1807;Mathison [sold, Mathison sale, Christie's, London, February 20, 1807, lot 50, possibly to Peter William Baker.] possibly 1807 - 1815;Peter William Baker, died 1815 (London, England, Ranston, Dorset, England), by inheritance to his wife, Mrs. Peter William Baker, 1815. 1815 - 1816;Mrs. Peter William Baker, died 1816 (London, England, Ranston, Dorset, England), by inheritance to Edward Baker, 1816. 1816 - 1825;Sir Edward Baker, 1st Bart., died 1825 (Ranston, Dorset, England), by inheritance to Edward Baker, 1825. 1825 - 1877;Sir Edward Baker, 2nd Bart., 1806 - 1877 (Ranston, Dorset, England), by inheritance to Talbot Hastings Bendall Baker, 1877. 1877 - 1900;Sir Talbot Hastings Bendall Baker, 3rd Bart., 1820 - 1900 (Ranston, Dorset, England), by inheritance to Randolf Littlehales Baker, 1900. 1900 - 1959;Sir Randolf Littlehales Baker, 4th Bart., 1879 - 1959 (Ranston, Dorset, England), by inheritance Mrs. William Henry Gibson Fleming, 1959. 1959 - 1960;Mrs. William Henry Gibson Fleming (Ranston, Dorset, England) and Major William Henry Gibson Fleming (Ranston, Dorset, England) [sold, Gibson Fleming sale, Sotheby's, London, March 23, 1960, lot 49, through Thomas Agnew & Sons, Ltd. to J. Paul Getty.] 1960 - 1976;J. Paul Getty, American, 1892 - 1976 (Malibu, California, Sutton Place, Surrey, England), upon his death, held in trust by the estate. 1976 - 1978;Estate of J. Paul Getty, American, 1892 - 1976, distributed to the J. Paul Getty Museum, 1978.J. Paul Getty Museum
https://www.getty.edu/art/collection/objects/712/valentin-de-boulogne-christ-and-the-adulteress-french-about-1620s/Q731126Provenance by 1679 - 1689;Possibly Lorenzo Onofrio Colonna, 1637 - 1689, by inheritance to his son, Filippo II Colonna. 1689 - 1714;Possibly Filippo II Colonna, 1663 - 1714 by about 1958 -;Private Collection (Rome, Italy);Source: Longhi, Roberto. "A propos de Valentin." Revue des arts 8, no. 2 (March-April 1958) by 1964 -;Private Collection (Possibly Galleria Levi) (Milan, Italy);Source: Cinotti, Mia. Maestri della pittura dal '300 al '700, exh. cat. (Milan: Galleria Levi, 1964) late 1960s - 1983;Private Collection (Switzerland), sold to P & D Colnaghi & Co. Ltd. (New York), 1983. 1983;P & D Colnaghi & Co. Ltd. (New York), sold to the J. Paul Getty Museum, 1983.J. Paul Getty Museum
https://www.getty.edu/art/collection/objects/881/correggio-antonio-allegri-head-of-christ-italian-about-1525-1530/Q731126Provenance -;Private Collection (Rome, Italy), sold to Leonor Goyon de Matignon. - 1680;Leonor Goyon de Matignon, 1604 - 1680, possibly by inheritance to Henri Goyon de Matignon. - possibly 1682;Henri Goyon de Matignon, 1633 - 1682, by inheritance to Jacques de Goyon. - 1725;Jacques de Goyon, 1644 - 1725 (Paris, France), by inheritance to Jacques-François-Leonor de Goyon, 1725.;Source: 1725 death inventory. 1725 - 1751;Jacques-François-Leonor de Goyon, duc de Valentinois, 1689 - 1751 (Paris, France), by inheritance to Honoré-Camille-Léonor Grimaldi, 1751.;Source: 1751 death inventory. 1751 - 1795;Honoré-Camille-Léonor Grimaldi, Prince of Monaco, 1720 - 1795 (Paris, France), by inheritance to Marie-Jérôme-Joseph-Honoré Grimaldi Monaco, Camille de la Vincelle and Honoré-Anne-Charles-Maurice Grimaldi Monaco, 1795. 1795 - about 1803;Marie-Jérôme-Joseph-Honoré Grimaldi Monaco, 1763 - 1816 (Paris, France) and Camille de la Vincelle, 1784 - 1879 (Paris, France) and Honoré-Anne-Charles-Maurice Grimaldi Monaco, 1758 - 1819 (Paris, France), possibly by inheritance to Charles Jacques Chapelain de Séréville, about 1803. about 1803 - 1812;Charles Jacques Chapelain de Séréville, 1747 - 1826 [sold, Séréville sale, Olivier, Paris. January 22, 1812, lot 1, to Jean-Baptiste-Pierre Lebrun.] 1812 - 1813;Jean-Baptiste Pierre Lebrun, 1748 - 1813 (Paris, France) [unsold, Lebrun sale, Lebrun, Paris, February 2, 1813, lot 32.], upon his death, held in trust by the estate. 1813 - 1814;Estate of Jean-Baptiste Pierre Lebrun, 1748 - 1813 (Paris, France) [sold, Lebrun sale, Chariot, Paris, May 23, 1814, lot 21, to "Lerouge" for 3810 francs.];Source: annotated RKD copy of Lebrun sale catalog, May 23, 1814. 1814 -;Nicolas Lerouge, French, 1752 - 1827 (Paris, France) - 1831;Charles Maurice de Talleyrand-Périgord, Prince de Bénévent, 1754 - 1838, sold through John Smith to George Augustus Frederick Cowper, 1831. 1831 - 1856;George Augustus Frederick Cowper, 6th earl Cowper, 1806 - 1856 (Panshanger, Hertford, England), by inheritance to his son, Francis Thomas De Grey Cowper, 1856. 1856 - 1905;Francis Thomas de Grey Cowper, 7th Earl Cowper, 1834 - 1905 (Panshanger, Hertford, England, Wrest Park, Bedford, England), by inheritance to his wife, Katrine Cecilia Compton Cowper, 1905. 1905 - 1913;Katrine Cecilia Compton Cowper, countess Cowper, 1845 - 1913 (Panshanger, Hertfordshire, England), by inheritance to Ethel Anne Priscilla Fane Grenfell Desborough, 1913. 1913 - 1952;Ethel Anne Priscilla Fane Grenfell, Baroness Desborough, 1867 - 1952 (Panshanger, Hertfordshire, England), by inheritance to Henry Rainald Gage, 1952. 1952 - 1982;Henry Rainald Gage, 6th viscount Gage, 1895 - 1982, by inheritance to George John St. Clere Gage, 1982. 1982 - 1994;George John St. Clere Gage, 7th viscount Gage, 1932 - 1993, sold through Simon Dickinson, Ltd. (London) to the J. Paul Getty Museum, 1994.J. Paul Getty Museum
https://www.nga.gov/collection/art-object-page.130830.htmlQ214867Daniel-Henry Kahnweiler [1884-1979], Paris, 1939. (Galerie Karl Nierendorf, Cologne, Berlin, and New York), c. 1939. (Buchholz Gallery, Berlin, until 1952), Benjamin and Lillian Hertzberg, New York, gift to NGA, 2004.National Gallery of Art
https://www.nga.gov/collection/art-object-page.130832.htmlQ214867Lily Klee, Bern, 1940 - 1946, Klee-Gesellschaft, Bern, 1946 - 1950, (Buchholz Gallery, New York, c. 1950), Benjamin and Lillian Hertzberg, New York, gift to NGA, 2004.National Gallery of Art
https://www.nga.gov/collection/art-object-page.138183.htmlQ214867(Curt Valentin Gallery, New York), in 1954. Stephan Lackner [1910-2000], Santa Barbara, California, in 1955. (Justin K. Thannhauser, New York), sold 1957 to Morton D. May [1914-1983], St. Louis, through at least 1970. (Marlborough Fine Arts, Ltd., London). Arnold A. [1916-2014] and Joan R. [1919-2019] Saltzman, Sands Point, New York, gift (partial and promised) 2006 to NGA.National Gallery of Art
https://www.nga.gov/collection/art-object-page.30869.htmlQ214867Dr. Heinrich Stinnes [d. 1932], Cologne (Lugt Supp.1376a), Karl Buchholz, purchased by Lessing J. Rosenwald from the Office of the Alien Property Custodian, January 6, 1945, given to NGA, 1945National Gallery of Art
https://www.nga.gov/collection/art-object-page.32104.htmlQ214867Karl Buchholz, purchased by Lessing J. Rosenwald from the Office of the Alien Property Custodian, January 6, 1945, given to NGA, 1945National Gallery of Art
https://www.nga.gov/collection/art-object-page.32105.htmlQ214867Karl Buchholz, purchased by Lessing J. Rosenwald from the Office of the Alien Property Custodian, December 8, 1944, given to NGA, 1945National Gallery of Art
https://www.nga.gov/collection/art-object-page.32108.htmlQ214867Karl Buchholz, purchased by Lessing J. Rosenwald from the Office of the Alien Property Custodian, December 8, 1944, given to NGA, 1945National Gallery of Art
https://www.nga.gov/collection/art-object-page.41581.htmlQ214867Probably commissioned by a member of the Medici family, Florence, by inheritance to Lorenzo de' Medici [1449-1492], Florence.[1] probably Marchese Piero Guicciardini [1569-1626], his widow, Marchesa Simona Machiavelli [1584-1658], Florence,[2] by inheritance to her great-nephew, Count Francesco Guicciardini [1618-1677], Florence, by inheritance to his son, Count Lorenzo Guicciardini [1652-1710], Florence, by inheritance to his son, Count Francesco Gaetano Guicciardini [1699-1780], Florence, by inheritance to his son, Count Lorenzo Guicciardini [1743-1812], Florence, by inheritance to his sons, Count Francesco [1776-1838] and Colonel Ferdinando [1782-1833] Guicciardini, Florence, in 1803,[3] sold July 1810 to Chevalier François-Honoré Dubois, Florence and Paris, as by Botticelli.[4] (Samuel Woodburn, London), by 1826, as by Fra Angelico.[5] William Coningham [1815-1884], London, (his sale, Christie & Manson, London, 9 June 1849, no. 34, as by Filippo Lippi).[6] Alexander Barker [d. 1873], London, by 1851,[7] (his sale, Christie, Manson & Woods, London, 6 June 1874, no. 42, as by Filippino Lippi),[8] purchased by (Giovanni Calvetti [d. 1875], London) for Sir Francis Cook, 1st bt. [1817-1901], Doughty House, Richmond, Surrey, by inheritance to his son, Sir Frederick Lucas Cook, 2nd bt. [1844-1920], Doughty House, by inheritance to his son, Sir Herbert Frederick Cook, 3rd bt. [1868-1939], Doughty House, by inheritance to his son, Sir Francis Ferdinand Maurice Cook, 4th bt. [1907-1978], Doughty House, and Cothay Manor, Somerset, sold February 1947 through (Francis A. Drey, London) to the Samuel H. Kress Foundation, New York, as by Filippo Lippi,[9] gift 1952 to NGA.;[1] The inventory drawn up after the death of Lorenzo the Magnificent is known today from a copy made on 23 December 1512, in the Archivio di Stato in Florence, see E. Müntz, Les Collections des Médicis au XVe siècle, Paris and London, 1888: 60 (fol. 6 of the manuscript): "Nella chamera grande terrena detta chamera di Lorenzo...uno tondo grande...la nostra Donna e nostro Signore e e' Magi che vanno a offerire, di mano di fra Giovanni, f. 100" ("In the large ground-floor bedroom called Lorenzo's bedroom...a large tondo...our Lady and our Lord and the Magi who come to bring offerings, from the hand of Fra Giovanni, f. 100"). The high value assigned to the panel (considering that the three famous panels of the Battle of San Romano by Paolo Uccello as well as two other paintings by Uccello and a sixth by Pesellino, all in that same room, were estimated as worth 300 florins collectively) leads us to believe that the painting described was compositionally quite elaborate, this offers some--albeit slender--evidence for identifying the Medici tondo as NGA 1952.2.2.;[2] The Washington tondo and another tondo of the same subject (now in the National Gallery, London) are apparently recorded in an inventory verified on 20 April 1643 by Simona Machiavelli, the widow of Piero Guicciardini, and confirmed by her great-nephew Francesco Guicciardini on 31 July 1665 (Archivio Guicciardini, filza XLIV, ins. 7). In Valentina Fallani's study of Piero's important collection of paintings (Valentina Fallani, "Piero Guicciardini e la sua quadreria fidecommissaria nella Firenze medicea del Seicento" [diss., Università degli Studi di Firenze, 1992]), the inventory is transcribed (172-185) and hypothesized to be a record of the paintings Piero entailed on his heirs (99). The dimensions given for two round paintings depicting the Adoration of the Magi, 2 2/3 and 3 1/3 braccia, somewhat exceed those of the Washington and London pictures, but the discrepancy is probably due to the inclusion of the frames, which are described, in the measurements (as suggested in a letter from Burton Fredericksen to Nicholas Penny of 14 August 2000, copy in NGA curatorial files). An undated inventory made sometime after the 1658 death of Simona Machiavelli seems to record the Washington painting specifically: "Adorazione de' Magi in tondo, del beato Giovanni Angelico domenicano" ("Adoration of the Magi, a tondo, by the Blessed Giovanni Angelico, Dominican") (Archivio Guicciardinni, filza XLIV, ins. 5, transcribed in Fallani, "Piero Guicciardini," 187-189). The tondi stayed together, and the memory of their Guicciardini provenance remained alive, until the middle of the nineteenth century, when they become convincingly identifiable with the Washington and London tondi (see notes 4 and 5). If Piero did own the Washington picture, it could have passed from the Medici to the Guicciardini through Piero's father, Agnolo (1506-1581), who had close ties to the Medici (personal communication from Valentina Fallani to Elon Danziger, 13 April 2002). For a complete reconstruction of the early history of the painting see Elon Danziger, "Round Pictures of the Adoration of the Magi from Early Renaissance Florence," Association for Art History Newsletter 2, no. 2 (spring 2002): 5-7.;[3] According to Paolo Guicciardini, Cusona, 2 vols., Florence, 1939: 1:295, Francesco and Ferdinando were "emancipati" and given possession of their inheritance in 1803, while their parents were still living.;[4] An inventory of the Guicciardini gallery, dated 1 September 1807 (Archivio Guicciardini, filza XXXV seconda, n. 5, transcribed in Gino Corti, "Due quadrerie in Firenze: la collezione Lorenzi, prima metà del Settecento, e la collezione Guicciardini, 1807," Paragone 35, no. 417 [November 1984]: 94-101, and in Fallani 1992: 239-243), was transformed into a bill of sale when "M. Dubois" bought the entire contents (at about two-thirds assessed value) in July 1810. The two tondi were valued at 50 zecchini each. Certain unusual paintings from the Guicciardini gallery reappear at a 17 and 18 March 1813 Paris auction of paintings owned by "Dubois, commissaire de la police à Florence," allowing a more precise identification of the tondi's buyer. Police commissioner for Napoleonic Florence until 1811, Dubois left behind many letters valuable for the history of Florence under French dominion. His title and name are found in Duane Koenig's "The Napoleonic Regime in Tuscany, 1807-1814," Ph.D. diss., University of Wisconsin, 1942: 93.;[5] Burton Fredericksen has discovered a 25 March 1826 private-treaty sale catalogue of the stock of Messrs. Woodburn (copies in the Bodleian Library, Oxford, Royal Library, Brussels, and Bibliothèque de l'art et d'archéologie, Paris). It includes two Adoration of the Magi tondi, both with a Guicciardini provenance, attributed to Fra Angelico (no. 1) and Botticelli (no. 2), with diameters nearly identical to those of the Washington and London pictures. They probably went unsold since, as Fredericksen points out (letter to David Alan Brown, 11 July 2000, in NGA curatorial files), J.D. Passavant mentions "older pictures by Fiesole, Sandro Botticelli, and others" that he had seen in the Woodburn gallery in 1831 (Johann David Passavant, Kunstreise durch England und Belgien, Frankfurt am Main, 1833: 113, and English ed., Tour of a German Artist in England, 2 vols., London, 1836: I:250), these were probably the tondi since (Fredericksen continues) "works by either artist were very rare on the London market at this time." Fredericksen speculates that since Woodburn indicates in the introduction of the catalogue that almost all of the paintings in it had been acquired during recent trips to Italy, France, and Holland, the two tondi may well have been acquired directly from Dubois. He also suggests that "Coningham bought them directly from Samuel Woodburn sometime thereafter since Woodburn regularly advised Coningham on his purchases.;[6] "The Wise Men of the East offering their Presents to the Infant Christ in the lap of the Virgin, who is seated before a wooden building, with numerous figures around...From the Guicciardini Palace in Florence." Fra Filippo Lippi is suggested as the author. The sale also included the other Guicciardini tondo (no. 38), which was attributed to Filippino Lippi--a reference that makes it almost certain that the panel is to be identified, as Martin Davies thought, with Botticelli's tondo (no. 1033) in the London National Gallery (Martin Davies, National Gallery Catalogues. The Earlier Italian Schools, 2nd rev. ed., London, 1961: 102 note 7).;[7] In Gustav Friedrich Waagen, Treasures of Art in Great Britain, 3 vols., London, 1854: 2:125, a compilation of paintings seen on 1850 and 1851 visits to England, the author describes a painting in Barker's collection that he attributes to Benozzo Gozzoli as "a very rich circular composition, and one of the finest specimens of the early time of this great master." Several distinctive aspects point to the Washington tondo: "it breathes the purity and intensity of religious feeling which distinguished [Gozzoli's] master Fiesole [Fra Angelico]", "[Gozzoli's originality] is seen in many an animated action and also in the rich accessories", "[there are] two peacocks, somewhat too large in proportion." Although what Waagen took for a second peacock is actually two pheasants, the disproportion between the birds and their surroundings in the Washington painting and, more importantly, the picture's close affinities with Angelico's late activity (and therefore the artistic milieu of Gozzoli's beginnings), are in accord with the characteristics of the work described by Waagen. Moreover, as Waagen specifies, the Barker Adoration was "formerly in the collection of Mr. Coningham." The other Coningham tondo, seen and described by Waagen, Treasures, 1854: 3:3) in the collection of W. Fuller Maitland at Stansted Hall as a work by Filippino Lippi, is the London Botticelli, acquired from Maitland's son in 1878.;[8] Some confusion has been caused by the fact that the 1874 Barker sale catalogue includes two tondi representing the Adoration of the Magi that are described in a very similar manner: no. 44 is attributed to Filippo Lippi and no. 42 to Filippino, but both are claimed to contain "portraits of the Accajuoli [sic] family." As NGA 1952.2.2 was bought by Sir Francis Cook, through his agent, at this very sale, and Tancred Borenius, A Catalogue of the Paintings at Doughty House, Richmond & Elsewhere in the Collection of Sir Frederick Cook Bt. I. Italian Schools, London, 1913: 21, specifies that the panel was lot 42, there is no serious reason to doubt his assertion in spite of the alleged Acciaiuoli portraits. Actually, the Washington Adoration does not seem to contain any portrait, but this claim derives, very likely, from a confusion with no. 44 of the Barker sale, probably the Domenico Venziano tondo in the Berlin Gemäldegalerie (no. 95A). (That painting reappeared in the 1879 Barker sale, as noted in the London Times, 23 June 1879: 12, which gives the diameter and 1874 sale price, proving the identification of lot 44 with the Berlin tondo.) In Domenico's painting, two of the Magi as well as several members of their retinue appear to be portraits, and it is quite possible that this panel was owned sometime earlier by the Acciaiuoli family.;[9] Before World War II the most important paintings from the Cook collection were sent to the United States for safekeeping. They were exhibited at the Toledo (Ohio) Museum of Art from 1944 to 1945, and at two museums in Canada in 1945. After complicated negotiations on the eve of the paintings' return to England, the Kress Foundation purchased a number of works, including NGA 1952.2.2. See copies of correspondence in NGA curatorial files.National Gallery of Art
https://www.nga.gov/collection/art-object-page.54131.htmlQ214867(Curt Valentin Gallery, New York) from at least 1954, acquired 1955 by Mr. and Mrs. Ralph F. Colin, New York,[1] gift 1973 to NGA.;[1] This painting was exhibited at the Curt Valentin Gallery in 1954. Colin was the attorney for the Gallery and handled its liquidation following Valentin's death in 1955. This picture was included in the exhibition of remaining gallery stock in 1955, and presumably acquired by Colin at that time. There is a label from the Curt Valentin Gallery on the back of the painting, inventory number 15409.National Gallery of Art
https://www.nga.gov/collection/art-object-page.54133.htmlQ214867(Buchholz Gallery, New York), sold 1949 to Burton G. [1902-1991] and Emily Hall [1908-1987] Tremaine, Madison, Connecticut,[1] gift 1973 to NGA.;[1] See 1987 letter and collection records from Emily Hall Tremaine in NGA curatorial files.National Gallery of Art
https://www.nga.gov/collection/art-object-page.54135.htmlQ214867(Buchholz Gallery, New York), Mr. and Mrs. Burton G. Tremaine, Sr., gift to NGA, 1973.National Gallery of Art
https://www.nga.gov/collection/art-object-page.54383.htmlQ214867Acquired 1917 from the artist by Sally Falk [1888-1962], Mannheim, gift August 1921 to the Städtische Kunsthalle, Mannheim,[1] (Buchholz Gallery, Berlin and New York),[2] sold 1939 to Walter P. Chrysler, Jr. [1909-1988], New York, sold May 1971 to (Dr. Claude Virsch, Kiel), sold 1974 to NGA.;[1] The sculpture was on loan from Falk to the Kunsthalle Mannheim from 1917 until 1921, when the gift became official.;[2] The sculpture was removed from the Städtische Kunsthalle on 8 July 1937 by the German government as "degenerate art," shipped to Munich, and possibly exhibited at the Degenerate Art show at the Haus de Kunst in Munich that year. It was acquired c. 1938 by Curt Valentin, of the Buchholz Gallery in New York, probably through the Buchholz Gallery in Berlin, which was one of the agents appointed by the German government's Commission for the Exploitation of Degenerate Art to sell objects purged from German museums.National Gallery of Art
https://www.nga.gov/collection/art-object-page.66462.htmlQ214867(Adrien-Aurélien Hébrard [1865-1937], Paris). Possibly sold or consigned to (Max Kaganovitch, Paris), by 1949, sold 4 September 1951 through (Frankart S.A., Switzerland) to (Alex Reid & Lefèvre, London).[1] Possibly sold to (Curt Valentin, New York),[2] sold 1955 to (M. Knoedler && Co., New York);sold 1956 to (Paul Rosenberg & Co., New York).[3] sold, apparently after 1958,[4] to Dr. Hugo Tesoriere, (sale, Sotheby's, London, 24-25 November 1964, 1st day, no. 58), purchased by (Hector Brame, Paris) for Paul Mellon [1907-1999], Upperville, Virginia,[5] gift 1985 to NGA.;[1] Sara Campbell, "A Catalogue of Degas' Bronzes," Apollo (August 1995): 42, cat. 64, Joseph S. Czestochowski and Anne Pingeot, Degas Sculptures. Catalogue Raisonné of the Bronzes, Memphis, 2002: 21, 120, 247. Kaganovitch allegedly bought and showed a nearly full set of "O" casts in his Paris gallery's Degas exhibition of 1949 before selling the set to Reid and Lefevre and then organizing with them an exhibition at the Kunstmuseum in Bern in 1951-1952. A bronze of this subject indeed appears in general installation photographs of the 1949 Paris exhibition (Dossier Kaganovitch, Documentation du Musée d'Orsay, Paris), although Kaganovitch reportedly also owned the "F" cast as well, albeit later, in 1952. For the discussion of the sale to Reid and Lefevre Gallery before the Bern exhibition, see "Introduction to the Collection," in Czestochowski and Pingeot 2002.;[2] Campbell 1995: 42, cat. 64. Czestochowski and Pingeot 2002: 247, proposes that the D cast is involved instead.;[3] Campbell 1995: 42, Czestochowski and Pingeot 2002: 247.;[4] A cast belonging to Paul Rosenberg was exhibited at the Los Angeles County Museum of Art in 1958.;[5] Confirmation by the late Philippe Brame, personal communication to Anne Halpern, 13 January 2003, see also Mellon collection records in NGA curatorial files.National Gallery of Art
https://www.nga.gov/collection/art-object-page.71502.htmlQ214867Leo Stein, Henry Kleeman, Curt Valentin [1902-1954], New York, Curtis O. Baer [1898-1976], by descent to Dr. and Mrs. George Baer, designated purchase by NGA with funds contributed by Walter H. and Leonore Annenberg, 1990.National Gallery of Art
http://collection.cmoa.org/CollectionDetail.aspx?item=1009153Q5043873Curt Valentin, New York; Bucholtz Gallery, New York; G. David Thompson [1899-1965], Pittsburgh, PA; gift to Museum, October 1953.

Updated and Under review by CGK.		Carnegie Museums of Pittsburgh
https://www.clevelandart.org/art/1956.338Q657415Provenance (Buchholz Gallery, New York, 1951)Cleveland Museum of Art
https://www.clevelandart.org/art/1958.344Q657415Provenance 1888-1891 The artist [1859-1891], Paris 1 by 1926 (Galerie Hessel, Paris) 2 by 1937 (Van Diemen-Lilienfeld Galleries, New York) 3?-? (Buchholz Gallery, New York) by 1947-by 1958 Alexander Bing [1879-1959], New York?-1958 (César de Hauke, Paris, sold to the Cleveland Museum of Art, Cleveland, OH) 1958- The Cleveland Museum of Art, Cleveland, OH;Provenance Footnotes 1 Posthumous inv. no. 299 inscribed on verso. 2 According to Hauke 1961, in Hessel collection by 1926 according to Paris/New York 1991-92. 3 According to CMA object file.Cleveland Museum of Art
https://www.clevelandart.org/art/1972.50Q657415Provenance 1972- The Cleveland Museum of Art, Cleveland, Ohio Probably 1921-1947 Edoardo Almagià [b. 1928], Rome, sold to the Cleveland Museum of Art Probably 1921-1947 Probably Roberto Almagià [1883-1947], by descent to his son, Edoardo Almagià 1 1 c. 1899-1921 Ing. Dr. Edoardo Almagià [b. 1841], Rome, by descent to his son Roberto Almagià, or grandson, Edoardo Almagià 1 2 1899 (Galleria Sangiorgi, Rome, Sciarra sale, March 28, 1899, fifth sale, no. 363, sold to Edoardo Almagià) 1 3 1812-1899 Colonna di Sciarra family, Rome 1 4 1631-1812 Cardinals Francesco [1597 –1679] and Antonio Barberini [1607-1671], by inheritance within the Barberini family, Rome 1 5;Provenance Footnotes 1 1 There is no evidence that Roberto Almagià owned this painting, other than the likelihood that he inherited the painting from his father before it passed to his own son, Edoardo, who would later sell it to the Cleveland Museum of Art.;2 1Almagià, a prominent engineer, appears to have acquired many of the Sciarra paintings prior to the 1899 sale, most likely in lieu of payments against outstanding debts, but seven of the Almagià paintings did come from the sale, including the Cleveland picture. A manuscript catalogue of Almagià’s collection attributes to the painting (No. 15) to Caroselli. 3 1 The painting is attributed to Caroselli in the sale catalogue. 4 1 In 1728, Cornelia Barberini, the family heiress, married Giulio Cesare Colonna di Sciarra, and from that point on, the family was known as Barberini-Colonna, or Colonna di Sciarra. In 1812, after complicated litigation, the property of the Barberini family was divided between the Barberini and Sciarra branches of the family, and the Valentin entered the Colonna di Sciarra collection in Rome. Eventually, the painting ended up in the possession of Maffeo Barberini Colonna di Sciarra, who in 1891-1892 sold part of his collection illegally for export. He was heavily fined and sentenced to three months in jail. The decision was appealed, but his activities led to the financial ruin of the family. In 1897, Sciarra owed nearly two million lire to four parties, including Ing. Dr. Edoardo Almagià. 126 paintings were to be accepted as payment against Sciarra’s debts, however, for unknown reasons, the contract was never signed, and instead, 133 pictures were sold at auction at Galleria Sangiorgi in March 1899. 5 1 This painting was commissioned by Cardinal Francesco Barberini in December 1630: “A Valentino Pittore sc. 5 m.ta mettere in ord.e la Tela, e colori da far Un Sansone p S. Em.za –5 [III. MC. 26-31 136v.]. In July 1631, 25 scudi were paid to Valentin: “A Valentino Pittore per resto dell Quadro del Sansone a 25 sc.—18” [III. Gius. 1501-1750. 1508] (see Doc. 345 in Marilyn Lavin’s “Barberini Inventories,” 1975). One month later, the painting was incorrectly inventoried as by Poussin [III.inv. 26-31 and III.Barb.Lat. 5635, no. 482]. In 1633 the painting was inventoried, together with Valentin’s David with the Head of Goliath, as in the collection of Cardinal Antonio Barberini, Francesco’s younger brother, and in 1649, the painting was apparently again in the collection of Francesco [III.inv. 49, no. 676], as Valentin. The painting was incorrectly inventoried again, this time as by Andrea Camassei, in 1738 [Arch. Barb. Ind. II, cred. VI, cas. 70, Maz. LXXXIX, Lett. I, no. 32].;Provenance Citations;Cleveland Museum of Art. European Paintings of the 16th, 17th, and 18th Centuries. Cleveland: Cleveland Museum of Art, 1982.;Filippo Mariotti, “Galleria Colonna di Sciarra,” La Legislazione delle Belle Arti (1892): 135.;Spear, Richard E. Renaissance and Baroque Paintings from the Sciarra and Fiano Collections. University Park: Pennsylvania State University Press, 1972.;Rosenberg, Pierre. France in the Golden Age: Seventeenth-Century French Paintings in American Collections. New York: Metropolitan Museum of Art, 1982.;Biblioteca apostolica vaticana, and Marilyn Aronberg Lavin. Seventeenth-Century Barberini Documents and Inventories of Art. New York: New York University Press, 1975.;Keith Christiansen, email to Victoria Sears Goldman, Oct. 27, 2015, in CMA curatorial file.;Edoardo Almagià, invoice, June 15, 1972, in CMA curatorial file.;Galleria Sangiorgi. Tableaux, objets d'art. Rome: 1899.;“A Grandi Costruttori…Impresa Almagià,” accessed May 29, 2014, http://sh1.webring.com/people/va/arcigno20000/almagia.htm.Cleveland Museum of Art
https://www.clevelandart.org/art/1979.55Q657415Provenance 1979- The Cleveland Museum of Art, Cleveland, OH 1974-1979 (P. & D. Colnaghi, London, sold to the Cleveland Museum of Art) 1 1 Until 1974 Rothschild family, to P. & D. Colnaghi1 2 1940- In possession of the Nazis 1 3 1934-1940 Maurice de Rothschild [1881-1957], Paris, confiscated by the Einsatzstab Reichsleiter Rosenberg 1 4 Until 1934 Baron Edmond de Rothschild [1845-1934], Paris, by descent to his son, Maurice de Rothschild 5;Provenance Footnotes 1 1It seems from correspondence between Colnaghi and CMA that Herner first mentions the Boucher to Sherman Lee in December 1975, after having already discussed two other paintings by Boucher in which Lee was interested but that ultimately went to the Alte Pinakothek in Munich. Herner’s correspondence with Lee notes that the first two Bouchers were received by Colnaghi on commission from the Rothschilds, but does not indicate whether the CMA Boucher was acquired as part of the same transaction. The eventual purchase of the painting by Lee took place in September 1979, an invoice dated September 28, 1979 lists the Rothschild provenance and titles the painting, “Cupidon offrant une pomme à Venus.” While with Colnaghi, the painting was treated by conservator Robert Shepherd in London. As WWII-era photographs show, the canvas had a rounded top and an arch at bottom center, probably allowing the work to function as an overdoor. Eighteen centimeters of the rounded top and thirteen centimeters at the lower right and left were clearly a later addition, added at an unknown date after Boucher painted the work. Shepherd removed the rounded top and the areas at the lower right and left, then filled the extreme top corners and shallow arch remaining at the bottom. The painting thereby returned to a rectangular format and was cleaned and relined. 2 1 Because Richard Herner, director of P. & D. Colnaghi, wrote in 1979 to CMA curator William Talbot that his gallery had in 1974 purchased the painting from a member of the Rothschild family who wished to remain anonymous, the painting undoubtedly made its way back to the family, probably to Maurice, sometime after the war. After Maurice died in 1957, the Boucher may have passed to his widow, Noémie Halphen (1888-1968) or to his son, Edmond Adolphe de Rothschild (1926-1997), the latter of whom may have sold it to Colnaghi. Colnaghi’s (partially damaged) file on the painting suggests that the Boucher came to the UK from a Lichtenstein entity named the Galleria Bernini, but the museum has been unable to confirm the exact nature of its involvement, the existence of this gallery as a commercial concern, or its connection to the painting. Colnaghi’s file also notes that the painting passed through Sotheby’s, London, however, this claim appears to be erroneous, as Sotheby’s confirmed that its files contain no record of the Boucher ever having passed through the auction house in any capacity. 3 1The Boucher was confiscated from Maurice’s collection in Paris in early September 1940 by the Einsatzstab Reichsleiter Rosenberg. The painting, titled in ERR records “Brunnendekoration mit Quellnymphe” [“Fountain decoration with nymph at a spring”], was taken to the Jeu de Paume and assigned ERR no. 252. The painting appears on the List of Confiscated Works of Art, Primarily from the Rothschild Collections, Selected for Hitler, February 1941 as No. 19: “Boucher, Nymph at the Spring ” (ERR-Interrogation Reports (carbon copy). Subject Files. 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. M1944, roll 85, page 23, Fold3.com, https://www.fold3.com/image/301074995, retrieved June 15, 2016). On February 5, 1941, Hitler selected the Boucher for the Linz collection from among the works exhibited at the Jeu de Paume, the painting was designated Linz no. 1583. Hitler’s selection was then shipped on February 8, 1941 to the Führerbau in Munich on Goering’s special train, on the list documenting Der Kisten der für den Führer bestimmten Gemälde (the crates of paintings selected for the Führer), the Boucher is No. 19, “ Brunnendekoration mit Quellnymphe (aus Sammlung Rothschild R 252).” A pencil notation, “Konnten nicht verladen warden” is written in next to the Cleveland Boucher and next to Boucher’s Portrait of Madame Pompadour, also confiscated from Rothschild (R 251) (Einsatzstab Reichsleiter Rosenberg (ERR): List Of Art Treasures Taken By Hitler. Restitution Research Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 124, page 25, Fold3.com, https://www.fold3.com/image/283750835, retrieved June 15, 2016). This notation translates to “could not be loaded” and refers to the fact that the two Bouchers, as well as four tapestries, all from the Rothschild collection, were too large to be accommodated on the train and were instead sent to Füssen (Einsatzstab Rosenberg. Subject files. 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. M1946, roll 85, page 127, Fold3.com, https://www.fold3.com/image/283750835, retrieved July 11, 2013). A document listing Des caisses de tableaux pour le Führer, 8.2.1941 indicates that Caisse no. H3, containing both R 251 and R 252, was “manquante,” or “missing,” a status that likely stems from the paintings’ absence from the main shipment to the Führerbau (7d 4 1945 [2 of 2]. General Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): OMGUS Headquarters Records, 1938-1951. Record Group 260. M1941, roll 14, page 94, Fold3.com, https://www.fold3.com/image/291863414/, retrieved June 21, 2016). Another document, however, says that the statement that these six works were sent to Füssen is erroneous, claiming instead that these items (Linz nos. 1582-1587) were in fact received at the Führerbau on March 20, 1941, two weeks after the main shipment arrived on Goering’s train (Linz Museum: Consolidated Interrogation Report (CIR) No. 4. Restitution Research Records. Records Concerning the Central Collecting Points (“Ardelia Hall Collection”): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 139, page 70, Fold3.com, https://www.fold3.com/image/283755480, retrieved July 25, 2013). In 1944 most of the Führerbau shipment was transferred to Alt Aussee (Oss Report Einsatzstab Rosenberg 15 Aug 1945. Subject files. 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. M1944, roll 85, page 28, Fold3.com, (https://www.fold3.com/image/301075111, retrieved June 15, 2016). The Boucher, however, was instead shipped to Kremsmünster on October 17, 1944 (C. I. R. # 4 - Linz, Hitler's Museum And Library. Consolidated Interrogation Reports. 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. M1944, roll 94, page 70, Fold3.com, https://www.fold3.com/image/270236794, retrieved June 29, 2016). The List of the large-sized paintings transferred from Kremsmünster to the repository Thürntal (LF V I5/569) contains “K-no. 3/Linz no. 1583, Boucher, Wall-decoration with nymphs, canvas, signed, 267 x 220,” documenting the painting’s presence at Kremsmünster and subsequent transfer to Thürntal (Thürntal and Linz Items, Otto Demus. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. National Archives Identifier 3725253. M1946, roll 13, page 11, Fold3.com, https://www.fold3.com/image/270333544, retrieved June 23, 2015). The contents of the repository of Castle Thürntal included objects selected for Linz that were too large to be brought into the salt mine at Alt Aussee, large objects from the collections of Alphons and Louis von Rothschild, and large objects that had been stored at Kremsmünster and Hohenfurth (Repositories, correspondence: Austria. Records Relating To The Status Of Monuments, Museums, And Archives. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 98, page 5, Fold3.com, https://www.fold3.com/image/269978331, retrieved June 15, 2016).The Verzeichnis der 100 in Thürntal verwahrt gewesenen Bilder lists “K-nr. 3, Boucher. Brunnendekoration mit Quellnymphen, 267 x 220.” (Austria claims: memoranda. Restitution Claim Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 35, page 93, Fold3.com, https://www.fold3.com/image/269944307, retrieved Oct. 30, 2014). Additionally, the list of the contents of Wagen No. 36, 26, 27 aus Kremsmünster jetzt Thürntal shows that Wagen nr. 27 contained K nr. 3, with a notation to the left of the “3” that says “Wien" (Austria Claims: Memoranda. Restitution Claim Records. Records Concerning the Central Collecting Points (“Ardelia Hall Collection”): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 35, page 100, Fold3.com, https://www.fold3.com/image/269944340, retrieved June 27, 2013). A letter from Otto Demus, president of the Bundesdenkmalamt (Federal Monuments Office, Austria), to Lane Faison, director of the Munich Central Collecting Point, of June 2, 1951 regarding the “100 Bilder Thürntal Verbleib” notes that wagons 26 and 27 contained works stored at Thürntal, but that the meaning of the “Wien” notation was unclear (Austria Claims: Memoranda. Restitution Claim Records. Records Concerning the Central Collecting Points (“Ardelia Hall Collection”): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 35, page 101, Fold3.com, https://www.fold3.com/image/269944344, retrieved July 8, 2013). At this point, the painting’s trail goes cold. The Linz documentation indicates the painting was in France at the end of the war, having arrived there from Thürntal, however, its path from Thürntal to France is unknown at this point. One possibility is suggested by Hanns Löhr in his book, Das Braune Haus der Kunst. Hitler und der Sonderauftrag Linz: Visionen, Verbrechen, Verluste (2005, page 159): the Thürntal depot was located in the Soviet-occupied zone of the “Alpenrepublik” and was controlled by the Red Army. Some works that originated in France or the Netherlands were given directly back, from Thürntal, to their countries of origin by the Soviets. A handwritten notation on the List of the large-sized paintings transferred from Kremsmünster to the repository Thürntal (which includes the Boucher) may support this possibility: “total 81 [objects] held by the Russians]” (Thürntal and Linz Items, Otto Demus. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. National Archives Identifier 3725253. M1946, roll 13, page 11, Fold3.com, https://www.fold3.com/image/270333544, retrieved June 23, 2015).A letter of June 12, 1951 from Lane Faison to Otto Demus regarding the Thürntal paintings refers to 17 paintings of the original total of 100 stored at Thürntal that appear to have been burned at St. Agatha or otherwise lost (Correspondence, General: June 1951-August 1951. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. National Archives Identifier 3725253. M1946, roll 4, page 50, Fold3.com, https://www.fold3.com/image/270050360, retrieved June 23, 2015). He writes that these 17 paintings came from the collection of, among others, Alphons and Louis von Rothschild. The Boucher is listed in this “unaccounted-for group of 17” as coming from the Alphons von Rothschild collection (Correspondence, General: June 1951-August 1951. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. National Archives Identifier 3725253. M1946, roll 4, page 51, Fold3.com, https://www.fold3.com/image/2700503607, retrieved June 23, 2015).This is likely an error, as the ERR number – R 252 – clearly indicates that the painting was confiscated from Maurice’s collection. It is worth noting, however, that the CMA Boucher does not appear on the Liste des tableaux appartenant au Baron Maurice de Rothschild et pillés par les Allemands (it does include other Bouchers, however), which includes paintings either confiscated from his home at 41 Faubourg Saint-Honoré or at his depot at Chateau-Lafite. This may be because its current whereabouts were unknown at the time this list was compiled (F224 Rothschild, Maurice Baron De. Cultural Property Claim Applications. Records of the Monuments, Fine Arts, and Archives (MFAA) Section of the Preparations and Restitution Branch, OMGUS, 1945-1951. Record Group 260. National Archives Identifier 1571289. M1949, roll 13, page 9, Fold3.com, https://www.fold3.com/image/292890382, retrieved July 8, 2013). It is possible the confusion as to which Rothschild collection the Boucher belonged is due to the existence of a painting attributed to the School of Boucher called Nymphs at a Fountain or Scene Representing Nymphs, confiscated from the collection of Alphons von Rothschild. This painting is No. 6 on the List of unidentified paintings brought in from Castle Ennsegg to the Steinerne Saal (French Claims. Records Relating to Claims. Records of the Reparations and Restitutions Branch of the U.S. Allied Commission for Austria (USACA) Section, 1945-1950. Record Group 260. M1926, roll 48, page 59, Fold3.com, https://www.fold3.com/image/274323278, retrieved June 23, 2014). In a letter to Walter G. Loehr, Chief of the Reparations, Deliveries, and Restitutions Branch of USACA dated May 18, 1951, listed as coming from a Paris collection, Alphons’s collection would have originated in Vienna (Thürntal And Linz Items, Otto Demus. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. M1946, roll 13, page 50, Fold3.com, https://www.fold3.com/image/270333609, retrieved July 8, 2013). That these two paintings were confused is further supported by the fact that the CMA Boucher has, in the Linz database, a Munich Central Collecting Point number of “1646(?),” when it does not seem that the CMA Boucher ever passed through the Collecting Point. In fact, the School of Boucher painting has a K-nr. of 1646 according to the Liste der aus dem Depot Schloss Ennsegg (Miscellaneous Austrian Art. Records Relating to Claims. Records of the Reparations and Restitutions Branch of the U.S. Allied Commission for Austria (USACA) Section, 1945-1950. Record Group 260. M1926, roll 5, page 200, Fold3.com, https://www.fold3.com/image/274298133, retrieved June 27, 2016). The painting also appears on the Verzeichnis der am 13.3.1947 aus dem Depot St. Agatha bei Goisern nach Ennsegg verbrachten Kunstgeggenstände (French Claims. Records Relating to Claims. Records of the Reparations and Restitutions Branch of the U.S. Allied Commission for Austria (USACA) Section, 1945-1950. Record Group 260. M1926, roll 48, page 56, Fold3.com, https://www.fold3.com/image/274323265, retrieved June 23, 2014). This document (which titles the painting Scene mit Nymphen, Silenen, und Putten) has a notation reading, “R to France USACA" (Thürntal And Linz Items, Otto Demus. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260, M1946, roll 13, page 5, Fold3.com, https://www.fold3.com/image/115/270333529, retrieved June 29, 2016). Indeed, a letter from the Office of the United States High Commissioner for Austria of May 15, 1951 states: “The records of the former RD&R Division of USACA show that the following objects have been restituted,” and this list includes the School of Boucher painting, which was restituted to the French government (Thürntal And Linz Items, Otto Demus. Administrative Records. Records Concerning the Central Collecting Points ("Ardelia Hall Collection"): Munich Central Collecting Point, 1945-1951. Record Group 260. National Archives Identifier 3725253. M1946, roll 13, page 48, Fold3.com, https://www.fold3.com/image/270333607, retrieved June 23, 2014). 4 1 Maurice’s collection, housed in his Paris mansion, was seized by the Einsatzstab Reichsleiter Rosenberg on September 6, 1940. 5 The provenance of the Boucher painting prior to Baron Edmond de Rothschild, who likely acquired it in the late nineteenth century, is unknown. The painting does not appear in Ananoff’s catalogue raisonné, L’opera completa di Boucher (1980), nor was it published in any monographs, exhibition catalogues, or other art historical literature prior to CMA’s acquisition in 1979. The reason for this absence of a publication history is unclear, as the Ananoff/Wildenstein François Boucher catalogue of 1976 does include a number of other Boucher paintings in Edmond’s collection – so his possession of several works by Boucher was certainly known.;Provenance Citations;Feliciano, Hector. The Lost Museum: The Nazi Conspiracy to Steal the World's Greatest Works of Art. New York: BasicBooks, 1997.;Deutsches Historisches Museum, Datenbank "Sammlung des Sonderauftrages Linz,” http://www.dhm.de/datenbank/linzdb/indexe.html.;Valentin Abdy, letter to William Talbot, March 17, 1980, in CMA curatorial file.;Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume, http://www.errproject.org/jeudepaume/card_view.php?CardId=16018.;William S. Talbot, letter to T.W.I. Hodgkinson, Dec. 28, 1979, in CMA curatorial file.;Schwarz, Birgit. Hitlers Museum: die Fotoalben Gemäldegalerie Linz: Dokumente zum "Führermuseum". Wien: Böhlau, 2004.;Marcia Steele, email to Victoria Sears Goldman, Jan. 14, 2014, in CMA curatorial file.;Sherman Lee, letter to Richard Herner, Dec. 12, 1975, in CMA curatorial file.;William S. Talbot, letter to David M. Robb, Jr., Feb. 8, 1980, in CMA curatorial file.;Richard Herner, letter to William Talbot, Dec. 5, 1979, in CMA curatorial file.;Richard Herner, letter to Sherman Lee, Dec. 1, 1975, in CMA curatorial file.Cleveland Museum of Art
https://www.metmuseum.org/art/collection/search/480725Q160236the artist (1928–44, on loan to the Museum Folkwang, Essen until confiscated on August 25, 1937 as "degenerate art" by the Reich Ministry of Public Enlightenment and Propaganda, Berlin, EK inv. no. 3670, consigned on June 3, 1939 to Karl Buchholz, Berlin, returned in 1939 to the artist, sold by the artist in July 1944 to Sprengel), Bernhard Sprengel, Hannover (1944–49, sold in 1949 to Vömel), [Galerie Vömel, Düsseldorf, from 1949], private collection, Germany, [Kleemann Galleries, New York and Curt Valentin Gallery, New York, owned jointly until 1955, stock no. K5106, sold by Kleeman in 1955 to Roman Norbert Ketterer, of Stuttgarter Kunstkabinett], (sale, Stuttgarter Kunstkabinett, Stuttgart, May 24–27, 1955, no. 1778, as "Grosse Sonnenblumen I," sold to Reinemann), Walter J. Reinemann, New York (1955–d. 1970, his bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/481134Q160236the artist (1933–38, on consignment to Alex Vömel, Düsseldorf, 1934, on consignment to Daniel Henry Kahnweiler, Paris, sold in April 1938, for SFr 250, to Buchholz Gallery), [Buchholz Gallery (Curt Valentin), New York, 1938–43, stock no. 453, sold on June 1, 1943, for $353.50, to McKim], Mr. and Mrs. William McKim, Palm Beach, Fla. (1943–73, their gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/481147Q160236Mrs. B. Nothmann (until 1944, sold in December 1944 to Buchholz Gallery), [Buchholz Gallery (Curt Valentin), New York, 1944–46, sold on August 6, 1946 to Loew], Mrs. Arthur M. Loew, later Mrs. Maurice E. Blin, New York (1946–73, her gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/466295Q160236Possibly from the Church of Saint-Gilles-du-Gard, [ Buchholz Gallery, New York(sold 1944)], [ Brummer Gallery, Paris and New York (from 1944)], Meyer Schapiro (American, born Lithuania), New YorkMetropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483125Q160236the artist's cousin, Nelly Riedtmann (until 1953, sold in November 1953, through Rolf Bürgi, Bern, to Buchholz), [Buchholz Gallery (Curt Valentin), New York, from 1953], G. David Thompson, Pittsburgh, Heinz Berggruen, Paris and Berlin (1977–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483127Q160236the artist, Munich (1917–21, sold in February 1921 to Goltz), [Galerie Neue Kunst Hans Goltz, Munich, from 1921], Heinrich Stinnes, Cologne (until d. 1932, his estate, Cologne, 1932–38, his estate sale, Gutekunst & Klipstein, Bern, June 20–22, 1938, no. 519, sold to Valentin), [Buchholz Gallery (Curt Valentin), New York, 1938–at least 1942, stock no. 1188, probably sold to von Schlieder], Karl L. von Schlieder, Denver (in 1950, on extended loan in 1950 to Denver Art Museum), [Curt Valentin Gallery, New York, until 1954, sold on March 20, 1954 to Schang], Frederick C. Schang, South Norwalk and New York (1954–at least 1959), Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483138Q160236the artist (1920–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–probably until 1953, on consignment 1950–probably until 1953, as "Ohne Titel", to Buchholz Gallery [Curt Valentin], New York), Benjamin Baldwin, New York, Chicago, and East Hampton (from 1953), [Donald Young Gallery, Chicago], [Xavier Fourcade, New York, from 1982], Heinz Berggruen, Paris and Berlin (1983–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483142Q160236the artist (1920–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment 1948–50 to Buchholz Gallery [Curt Valentin], New York, 1950, consignment no. 10870, sold by Buchholz in February 1950, for $1,200, to Rockefeller], Nelson A. Rockefeller, New York (1950–78, sold on May 16, 1978 to Diamond), [Harold Diamond, New York, 1978], Heinz Berggruen, Paris and Berlin (1978–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483143Q160236[Galerie Neue Kunst Hans Goltz, Munich, in 1922],?[Buchholz Gallery (Curt Valentin), New York, sold to Barr], Mr. and Mrs. Alfred H. Barr, Jr., New York (by 1968–79, sold in 1979, through E. V. Thaw & Co., New York, to Berggruen), Heinz Berggruen, Paris and Berlin (1979–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483144Q160236the artist, Munich and Weimar (sold after 1924 through Galka Scheyer, Los Angeles), Annemarie Weinschenk, Wiesbaden (until 1950, sale, Stuttgarter Kunstkabinett, May 10–12, 1950, no. 1488, as "Fallende Früchte," ca. 1922), [Buchholz Gallery, Curt Valentin, New York, until 1951, sold on February 10, 1951, for $500, to Odets], Clifford Odets, New York and Los Angeles (1951–63), Heinz Berggruen, Paris and Berlin (1965–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483146Q160236Paul Klee Society, Bern (from 1946), Rolf and Catherine E. Bürgi, Bern (by 1950–54, on consignment to Buchholz Gallery [Curt Valentin], New York, 1950–54, no. 12579, sold by Buchholz in November 1954, for $1,800, to Perls), [Frank Perls Gallery, Beverly Hills, Calif., from 1954], Mr. and Mrs. Donald McNeil, Los Angeles (sold to Feldman), [Ronald Feldman, New York], Heinz Berggruen, Paris and Berlin (1973–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483148Q160236the artist (1922–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment 1949–50 to Rosengart), [Galerie Rosengart, Lucerne, 1950, stock no. 5222], [J. B. Neumann, New York, 1950], [Buchholz Gallery (Curt Valentin), New York, 1950, sold in 1950 to Schang], Frederick C. Schang, South Norwalk, Conn. and New York (1950–at least 1959), Heinz Berggruen, Paris and Berlin (1963–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483152Q160236the artist (1922–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment from July 1950 to Buchholz Gallery [Curt Valentin], New York), Victor Babin, Cleveland and Santa Fe (until d. 1972, his estate, 1972–79, sold in 1979 to Sabarsky), [Serge Sabarsky, New York, 1979], Saul P. Steinberg, New York (from 1979), [Serge Sabarsky, New York, until 1981), Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483159Q160236Otto Ralfs, Brunswick (by 1930–at least 1931), [Buchholz Gallery (Curt Valentin), New York, 1946, sold in 1946 to Odets], Clifford Odets, New York and Los Angeles (from 1946), [J. B. Neumann, New York, from 1953], G. David Thompson, Pittsburgh, [E. & A. Silberman Galleries, Inc. and Saidenberg Gallery, New York, 1955–57, owned jointly from May 1955, sold in November 1957 to Woolworth], Robert F. Woolworth, San Francisco (1957), his former wife, Elizabeth Ann Coleman Woolworth, San Francisco (until 1966, sale, Parke Bernet Galleries, New York, May 19, 1966, no. 2), James Shapiro, New York, Heinz Berggruen, Paris and Berlin (1979–84, gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483163Q160236[Galerie Vavin-Raspail, Paris, 1928–33], Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–50, on consignment from July 1950 to Buchholz Gallery [Curt Valentin], New York), Edgar Kaufmann, Jr., New York (until 1975, sold in November 1975 to Saidenberg and Sabarsky), [Saidenberg Gallery and Serge Sabarsky, New York, 1975–76, sold in January 1976 to Berggruen], Heinz Berggruen, Paris and Berlin (1976–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483165Q160236the artist, Dessau (1925–30, on consignment with Galerie Alfred Flechtheim, 1930–probably until 1933, on consignment with Galerie Simon [Daniel Henry Kahnweiler], Paris, probably 1933–34, no. 11408, sent by Kahnweiler on October 4, 1934 to J. B. Neumann, New York, sold by Neumann to Wiener), Paul Wiener, New York (in 1940), [Buchholz Gallery (Curt Valentin), New York, sold after 1945 to Katzenellenbogen], Estella Katzenellenbogen, Los Angeles (after 1945–76, sold in 1976 to Feilchenfeldt), [Galerie Feilchenfeldt, Zürich, 1976], Heinz Berggruen, Paris and Berlin (1976–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483169Q160236[Galerie der Sturm, Berlin, until 1920, sold in September 1920 to Dreier], Katherine S. Dreier, New York and Connecticut (1920–49, sold in 1949, through Rose Fried Gallery, New York, for $250), [Buchholz Gallery (Curt Valentin), New York, until 1955, stock no. 18155, sold in 1955 to Harrison], Wallace K. Harrison, New York (from 1955), [Harold Diamond, New York], Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483170Q160236Lily Klee, Bern (in 1940),?[Buchholz Gallery (Curt Valentin), New York, possibly on consignment from Lily Klee in 1944], Werner Allenbach, Bern (until 1964, sold in 1964 to Beyeler), [Galerie Beyeler, Basel, 1964–65, sold in 1965 to Stangl], [Moderne Galerie Otto Stangl, Munich, 1965, sold in 1965 to Fischer], Ernst O. Fischer, Krefeld (1965–81, sale, Galerie Kornfeld, Bern, June 26, 1981, no. 109, sold to Berggruen), Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483176Q160236the artist, Bern (1937–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–at least 1950, on consignment 1948–at least 1950 to Buchholz Gallery [Curt Valentin], New York, no. 10331], [J. B. Neumann, New York], Frederick C. Schang, South Norwalk and New York (by 1951–at least 1952), [Berggruen et Cie, Paris, in 1956], G. David Thompson, Pittsburgh, Rolf E. Stenersen, Oslo and Bergen (by 1958–at least 1964), sale, Galerie Wolfgang Ketterer, Munich, May 17–18, 1968, no. 583, sale, Sotheby's, London, April 30, 1969, no. 96, sold to Beyeler, [Galerie Beyeler, Basel, 1969–70, sold in 1970 to Modorati), Dr. Modorati, Monza, Italy (from 1970), (sale, Sotheby's, London, December 5, 1979, no. 61, sold to Berggruen), Heinz Berggruen, Paris and Berlin (1979–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483184Q160236the artist, Munich (1915–19, sold in November 1919 to Walden), [Galerie der Sturm (Herwarth Walden), from 1919], Ludwig and Rosy Fischer, Frankfurt (until his d. 1922), Rosy Fischer, Frankfurt (1922–d. 1925), their son, Max Fischer, Berlin and New York (1925–probably until 1938, on consignment in September 1931 to Ferdinand Möller, Berlin, probably sold in 1938, through Buchholz Gallery, New York, to private collector), private collection, New York (probably 1938–until 1953, by descent to private collector's niece, her gift in 1953 to Connelly), Robert Connelly, New York (1953–81, sale, Sotheby's, New York, May 22, 1981, no. 845, sold to Berggruen), Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/483489Q160236Bruno and Sadie Adriani, Carmel-by-the-Sea, Calif., [Buchholz Gallery, New York], [E. Weyhe, New York, probably on loan to the Whitney Studio, New York, sold in March 1924 to Thayer], Scofield Thayer, New York (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)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/484863Q160236[Galerie Neue Kunst Hans Goltz, Munich], Lily Klee, Bern (1940–d. 1946), Paul Klee Society, later Paul Klee Foundation, Bern (from 1946), Hans and Erika Meyer- Benteli, Bern (until 1950), Rolf and Catherine E. Bürgi, Bern (1950, on consignment in December 1950 to Buchholz Gallery [Curt Valentin], New York, sold in 1950 by Buchholz to Schang), Frederick C. Schang, South Norwalk, Conn. and New York (1950–at least 1957), [Berggruen et Cie, Paris], [Galerie Jacques Benador, Geneva, in 1959], Iginio Sambucci, Rome (in 1960), Heinz Berggruen, Paris and Berlin (1978–87, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/484866Q160236Museum Folkwang Essen (by 1928–37, confiscated on July 6, 1937 as "degenerate art" by the Reich Ministry of Public Enlightenment and Propaganda, Berlin, EK inv. no. 17384 E, brought in August 1938 to Depot Schloss Schönhausen, Berlin, sold on December 18, 1939, for $60, to Karl Buchholz), [Curt Valentin (Buchholz Gallery), New York, 1939–40, sold to Taylor], Davidson Taylor, New York (1940–72, sale, Sotheby, Parke Bernet, New York, April 26–27, 1972, no. 101, to Berggruen), Heinz Berggruen, Paris and New York (1972–87, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/484868Q160236the artist (1930–at least 1936, on consignment 1932–33 to the Galerie Neue Kunst Fides [Rudolf Probst], Dresden), Hans and Erika Meyer-Benteli, Bern (until 1938, sold in July 1938, through the artist, for $100, to Buchholz), [Buchholz Gallery (Curt Valentin), New York, 1938–ca. 1940, sold by 1940 to Speyer], A. James and Dorothea Speyer, Pittsburgh and Chicago, (by 1940–at least 1973), [Harold Diamond, Inc., New York], Heinz Berggruen, Paris and Berlin (1977–87, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/484877Q160236[Galerie Neue Kunst Hans Goltz, Munich, until 1925, sold in January 1925, for RM 350, to Mannheim], Städtische Kunsthalle Mannheim (1925–37, inv. no. 2194, confiscated on August 28, 1937 as "degenerate art" by the Reich Ministry of Public Enlightenment and Propaganda and brought to Depot Schloss Schönhausen, Berlin, EK inv. no. 6191, sold on February 20, 1939, for $50, to Karl Buchholz), [Curt Valentin (Buchholz Gallery), New York, 1939–40, sold in 1940 to Osborn], Robert C. and Elodie Osborn, New York and Salisbury, Conn. (1940–74, sold in 1974 to Thaw), [E. V. Thaw & Co., New York, 1974, sold in 1974 to Berggruen], Heinz Berggruen, Paris and Berlin (1974–87, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/485815Q160236the artist (1921–d. 1940), his widow, Lily Klee, Bern (1940–46), Paul Klee Society, later Paul Klee Foundation, Bern (1946–at least 1952, on consignment 1949–at least 1952 to Buchholz Gallery [Curt Valentin], New York), William Benenson, New York (until 1991, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/486756Q160236[Buchholz Gallery (Curt Valentin), New York, by 1949–51, possibly purchased on July 12, 1949 from Henri Kaeser, Lausanne, sold on May 7, 1951, for $2,200 to Marx], Samuel and Florene Marx, Chicago (1951–his d. 1964), Florene May Marx, later Mrs. Wolfgang Schoenborn, New York (1964–d. 1995, on extended loan to MMA, from 1985, her bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489973Q160236A. A. Hébrard, Paris, [Buchholz Gallery (Curt Valentin), New York, until 1945, sold on March 1, 1945 to M. Munkacsi, probably as agent for Gelman], Jacques and Natasha Gelman, Mexico City and New York (1945–his d. 1986), Natasha Gelman, Mexico City and New York (1986–d. 1998, her bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489984Q160236Frank Burty Haviland, Céret and Paris (from ca. 1913, sold to Buchholz), [Buchholz Gallery (Curt Valentin), New York, in 1950], G. David Thompson, Pittsburgh (in 1958), [E. V. Thaw & Co., Inc. and Pierre Matisse Gallery, New York, by 1960–1966, sold by Thaw in 1966 to Echeverría], Pedro Vallenilla Echeverría, Caracas (1966–75, sold in 1975 to Thaw), [E. V. Thaw & Co., Inc., New York, from 1975, sold to Weinberg], Rolf and Margrit Weinberg, Zürich (by 1980–88, sold in 1988 to Ammann), [Thomas Ammann Fine Art, Zürich, 1988, sold in 1988 to Gelman], Natasha Gelman, Mexico City and New York (1988–d. 1998, her bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489999Q160236[Curt Valentin Gallery, New York, until 1955, Valentin's gift in April 1955 to the Art Institute of Chicago], Art Institute of Chicago (1955–74, sold on October 29, 1974 to Feigen), [Richard L. Feigen & Co., New York, 1974, sold in December 1974 to Hahn], [Stephen Hahn, New York, from 1974, sold to Berggruen], [Galerie Berggruen et Cie, Paris, until 1980, sold in 1980 to Beyeler], [Galerie Beyeler, Basel, 1980, sold in 1980 to Issert], [Galerie Issert, Saint Paul de Vence, from 1980], [Galerie Berggruen et Cie, Paris, sold to Gaines], John R. Gaines, Lexington, Ky. (until 1981), Fondation Capa, Geneva (1981),[Galerie Herbage, Cannes, in 1981, on consignment July–October 1981 to Waddington Galleries, London, returned by Waddington to Herbage], [E. V. Thaw & Co., Inc., New York, 1983, sold in 1983 to Gelman], Jacques and Natasha Gelman, Mexico City and New York (1983–his d. 1986), Natasha Gelman, Mexico City and New York (1986–d. 1998, her bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/490026Q160236[Buchholz Gallery (Curt Valentin), New York, by 1943–45, sold on March 1, 1945 to M. Munkacsi, probably as agent for Gelman], Jacques and Natasha Gelman, Mexico City and New York (1945–his d. 1986), Natasha Gelman, Mexico City and New York (1986–d. 1998, her bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/439933Q160236Cardinal Jules Mazarin, Palais Mazarin, Paris (by 1653–d. 1661, inv., 1653, no. 280, inv., 1661, no. 1109), Palais Mazarin, Paris (until at least 1714, inv., 1699–1714),?Nicolas Beaujon, Paris (until d. 1786, his estate sale, Remy and Julliot, Paris, April 25, 1787, no. 89, as "Un Joueur de guitare assis," by Valentin, 4 pieds x 3 pieds 9 pouces [51 x 48 in.], for 300 livres to Boileau or Remy),?sale, Paris, May 2, 1791, no. 115, as "Un homme assis, jouant de la guitare," by Valentin, 4 pieds x 3 pieds 3 pouces [51 x 41 in.], for 116 livres to Sollier for Remy,?Pierre Rémy, Paris (from 1791),?César-Louis-Marie Villeminot, Paris (until d. 1807, his estate sale, Paillet, Paris, May 25–29, 1807, no. 77, as "... le Portrait d'un Personnage dans le Costume Espagnol, et en pied, proportion de nature. Il est représenté assis, les Jambes croisées, coiffé d'une Toque relevée d'une Plume, et pinçant de la Guitare," by Valentin, 125 x 95 cm [49 x 37 in.], for Fr 381 to Paule or Paillet),?[Alexandre-Joseph Paillet, Paris, from 1807],?Ennio Quirino Visconti, Paris (until d. 1818),?his son, Louis-Tullius-Joachim Visconti, Paris (1818–d. 1853), his daughter, Victorine Mathilde Visconti and her husband, Eugène marquis Dodun de Keroman (by 1864–her d. 1884), their daughter, Marie Sophie Dodun de Keroman and her husband, Ernest Frédéric van den Broek d'Obrenan (1884–her d. 1909), their son, Frantz John Eugène Ernest van den Broek d'Obrenan (1909–d. 1944), his son, Charles Ernest William Frantz van den Broek d'Obrenan (1944–d. 1956), private collection (1956–2008, sold to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/639621Q160236[Galerie Daniel Buchholz, Cologne, 2013–15, sold to MMA]Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/490203Q160236[Buchholz Gallery (Curt Valentin), New York, until 1952, sold on February 11, 1952 to Steinberg], Muriel Kallis Steinberg, Chicago (1952–2006, her gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/639618Q160236[Galerie Daniel Buchholz, Cologne, until 2014, sold to MMA]Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/19763Q160236By tradition, this table and its mate in a private collection, were owned by Jacques-Donatien “James” Leray de Chaumont (1760—1840), and had been used in his mansion in Jefferson County, near Watertown, New York. It is believed Leray transported the table to France when he returned there in the 1830s. The Lannuier pier table was rediscovered in France the 1990s, and purchased at Christie’s-New York, sale 7214 (January 26, 1991), lot 310, by the current owner, Juliana Terian, and her late husband, Peter Terian.;The table was made for Lannuier’s most important client, Jacques-Donatien “James” Leray de Chaumont (1760—1840). Leray was the scion of a wealthy, titled family of French merchants operating in the West Indies. James’s father, Jacques, was Benjamin Franklin’s landlord at the magnificent Hotel Valentinois in Passy during his eight-year term as America’s first minister to France. Franklin and the Chaumont family were very close. James’s father commissioned Joseph-Siffred Duplessis to paint a portrait of Franklin, now known as the “fur collar” portrait (32.100.132) in the Met’s collection. During the American Revolution, the elder Chaumont was the leading supplier of goods and munitions to the Colonists. James learned to speak English from Franklin, John Adams, and others in the circle of American diplomats that resided at the family’s Passy estate from 1785 to 1790. In 1788, Leray became an American citizen and married Grace Coxe, sister of Tench Coxe, of New Jersey. He later purchased real estate in America, including nearly six hundred thousand acres in New York. In 1793, Leray invested in the purchase of land in the Adirondacks bordered by Lake Ontario with the intention to establish a colony for French citizens escaping the Reign of Terror. In 1806, he built a house near present-day Watertown, New York, north of the Black River, and attempted to build a small village, roads, and waterways to accompany the home. James retired to “Leraysville” in 1816. At this time, his son, Vincent, is believed to have purchased furniture from Lannuier in the Late Empire style, including two pairs of figural pier tables and a columnar pier table with term figures.;The inventory of James Leray’s estate, dated January 19, 1841 (Archives Nationales de Paris, ET/XXVI/1091), reveals that, at the time of his death, he was living with his son Vincent in Paris in an apartment in the rue de Varenne, and that his sole possessions were a wardrobe and its contents. According to a 1992 letter from a past owner (now deceased) that was received by Leslie Keno, formerly of Sotheby’s, Leray left the Lannuier furniture to his French mistress, the young actress Eugenie de Bouchart, after which the furniture descended in her family until 1991, when it was brought to auction at Christie’s-New York.Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/209221Q160236the artist's son Lucien Maillol, Banyuls, France, [ Buchholz Gallery, New York ], Maurice Wertheim (until 1950, to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489393Q160236the artist, Berlin (until 1938, probably sent on consignment in January 1938, through Karl Buchholz, Berlin, to Valentin), [probably Buchholz Gallery (Curt Valentin), New York, 1938–44, sequestered and title vested by the U.S. Government's Office of Alien Property in May 1944, inv. no. 949, sold by the Alien Property Custodian by January 1945 to Dretzin], Samuel C. Dretzin, New York (probably 1945–65, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489394Q160236the artist, Berlin (until 1938, probably sent on consignment in January 1938, through Karl Buchholz, Berlin, to Valentin), [probably Buchholz Gallery (Curt Valentin), New York, 1938–44, sequestered and title vested by the U.S. Government's Office of Alien Property in May 1944, one of inv. nos. 951, 953, 955 or 958, sold by the Alien Property Custodian by January 1945 to Dretzin], Samuel C. Dretzin, New York (probably 1945–65, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489396Q160236the artist (until 1937, probably sent on consignment in January 1937, through Karl Buchholz, Berlin, to Valentin), [probably Buchholz Gallery (Curt Valentin), New York, 1937–44, sequestered and title vested by the U.S. Government's Office of Alien Property in May 1944, inv. no. 268, sold by the Alien Property Custodian by January;1945 to Dretzin], Samuel C. Dretzin, New York (probably 1945–65, his gift to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489624Q160236the artist (until at least 1946, on consignment 1937–at least 1946 to the Buchholz Gallery, New York), Adelaide Milton de Groot, New York (by 1949–d. 1967, on extended loan to the Wadsworth Atheneum, Hartford, Conn., 1950–56, her bequest to MMA)Metropolitan Museum of Art
https://www.metmuseum.org/art/collection/search/489625Q160236[Buchholz Gallery, New York, 1949, purchased from the artist on September 15, 1949, stock no. 11304, sold on October 15, 1949 to de Groot], Adelaide Milton de Groot, New York (1949–d. 1967, on extended loan to the Wadsworth Atheneum, Hartford, Conn., 1949–56, her bequest to MMA)Metropolitan Museum of Art
https://www.philamuseum.org/collections/permanent/180163.htmlQ510324Possibly with Galerie Alfred Flechtheim, Berlin and Düsseldorf [1]. Possibly with Curt Valentin, Buchholz Gallery, New York [2]. Frank E. Freeman, Villanova, PA (1908-2001), bequest to PMA, 2002.;1. The sculpture bears a partially obscured Flechtheim label that probably would have read in its entirety "Galerien Flechtheim / Berlin W10 Lützowufer 13 / Düsseldorf Königsallee 34”, indicating that the sculpture was at least exhibited there if not part of the gallery's stock. It may have been included in the exhibition at the Berlin branch, "Weihnachten 1931: Wilhelm Lehmbruck zu seinem 50. Geburtstag, 4. Januar 1881," December 13, 1931-mid-January 1932, no. 7 ("Kopf der Sinnenden," Stein, 1913/14) (see installation photo in catalogue). Flechtheim closed his galleries in Berlin and Düsseldorf in 1933 and moved first to Paris and then London.;2. A partial label on the sculpture that reads "NY 53[8 or 5?]. / Wilhelm Leh[mbruck] / Kopf der Sinnend[en]. I / Thinki[ng] girl / Stone....” may come from the Curt Valentin's Buchholz Gallery. Valentin worked for Flechtheim in Berlin after 1927, organizing exhibitions and co-editing the gallery’s magazine Omnibus. He opened the Buchholz Gallery in New York in 1937, and frequently exhibited sculptures by Lehmbruck with such general titles as "Head of a Girl, 1913-14" or "Head of Thinking Girl," described as "stone" or "cast stone" (for example, in 1937 and 1939), however these are not illustrated and often the dimensions are not supplied.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/51028.htmlQ510324With Curt Valentin, Buchholz Gallery, New York, 1937-1938 [1], sold to Louise and Walter C. Arensberg, Los Angeles, May 25, 1938 [2], gift to PMA, 1950.;1. According to Dr. Christian Rümelin of the Paul-Klee-Stiftung, Kunstmuseum Bern (letter in curatorial file), the painting was shown with the exhibition of the Hugo Borst collection in Stuttgart in 1931, however, it is uncertain whether Borst owned it or if it was lent by Klee or a dealer. It does not appear in the 1931 Haus "Sonnenhalde" (Stuttgart) exhibition of the Borst collection, nor is it recorded in the 1970 publication on the collection entitled Die Sammlung Hugo Borst in Stuttgart. It was apparently in Klee's possession in 1937 when it was mentioned in a letter or list to Curt Valentin, again, it is unclear if Klee recalled it from a loan, bought it back, or received it in exchange at this time.;2. Receipt from the Buchholz Gallery dated May 25, 1938 in PMA Arensberg Archives. Valentin wrote to the Arensbergs on March 30, 1938, sending them the catalog of his current Klee exhibition with photographs. From these the Arensbergs chose "Animal Terror.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/51037.htmlQ510324With Daniel-Henry Kahnweiler, Paris, 1935-1937, with Karl Nierendorf, Nierendorf Gallery, New York, 1937-1943 [1], on consignment to Galka E. Scheyer (1889-1945), San Francisco and Los Angeles [2], sold to Louis Blembel, [Los Angeles?], 1943 [3]. With Stendahl Art Galleries, Los Angeles, as of August 1948 (from Blembel?) [4], sold to Louise and Walter C. Arensberg, Los Angeles, September 28, 1948 [5], gift to PMA, 1950.;1. Kahnweiler shipped the painting to Karl Nierendorf in New York on November 19, 1937 (information provided by Dr. Christian Rümelin, director, Catalogue raisonné Paul Klee, letter in curatorial file). As is evident from Nierendorf's correspondence with Earl Stendahl of the Stendahl Art Galleries (Archives of American Art), at the time of the 1941 Klee exhibition organized by the Museum of Modern Art in New York, which traveled to San Francisco and Los Angeles, Nierendorf sent the painting, along with thirteen others, on consignment to Galka Scheyer in California. Probably shortly after the exhibition, she or Nierendorf lent the painting to John Huston on approval as a prospective buyer, when Huston left for military service around 1942 he returned the painting to Scheyer without buying it. In the meantime, after major disagreements Nierendorf had cancelled his business agreement with Scheyer. He attempted to retrieve this and other paintings he had with her, without success. Nierendorf was still trying to get the paintings back, or at least prevent her from selling them, when he wrote to Stendahl on February 9, 1943, that he had received an offer for the painting from Scheyer, who had found a buyer for it. Later, on February 23, he wrote Stendahl that "in spite of my protests she has sold Klee's 'Red Roof'," to a buyer she apparently did not disclose to him (see copies of correspondence in curatorial file).;2. A photo of ca. 1943 shows the painting hanging in Scheyer's house, see Sandback, "Blue Heights Drive," Artforum, v. 28, no. 7, p. 124.;3. According to the curatorial records, "Property of Louis Blembel" was written in pencil on the back of the frame, however, because the painting has been reframed the name cannot be verified. The same person (apparently a young man, Scheyer refers to him as a 'boy') bought two works by Lyonel Feininger from Scheyer in 1944, an oil entitled 'Fishing Cutter' of 1940 and a watercolor called 'Shelter Cove' of 1939. Scheyer mentions in a letter to Feininger of August 5, 1944, that Blembel "fell in love before" with a beautiful Klee which he paid for in installments -- undoubtedly "But the Red Roof!". The architect Rudolph M. Schindler built a house in Hollywood for a L. Blembel in 1949, possibly the same person.;4. Stendahl offered the painting to Curt Valentin of the Buchholz Gallery in a letter of August 25, 1948 (Stendahl Art Galleries records, Archives of American Art).;5. Receipt of this date from Stendahl Galleries in curatorial file (original in Arensberg Archives). A note in the curatorial file records a conversation with Stendahl, April 8, 1954, in which Stendahl said that he sold the painting to Walter Arensberg five or six years previously and that it came from Galka Scheyer's collection, who originally offered it to Arensberg.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/52283.htmlQ510324On extended loan from the artist to the Kunstsammlungen zu Weimar (Germany), Schlossmuseum, 1923-1930 [1], collection of the artist, Germany and New York, 1930, until at least 1944 [2], with Curt Valentin, Buchholz Gallery, New York, by 1951, sold to PMA, March 1, 1951 [3].;1. See Rolf Bothe, "Paul Klee und Lyonel Feininger in den Ausstellungen der Weimarer Kunstsammlungen von 1920 bis 1930," in Aufstieg und Fall der Moderne (exh. cat.), Kunstsammlungen zu Weimar, 1999, p. 278-28, and no. 198, p. 305. The painting was one of 70 works by modern artists ordered to be removed from display at the museum in 1930 by the National Socialist Minister of the Interior for Thuringia, Wilhelm Frick (the earliest campaign against "degenerate art" in Germany). See also a letter from Julia Feininger to Dr. Wilhelm Mayer of 19 February 1930 (typed all in lowercase), in which she discusses the various numbered versions of the "Bridge" subject, and notes that "brücke v gehört mir und hängt als leihgabe im museum auch in weimar" (Bridge V belongs to me and hangs as a loan in the museum also in Weimar), quoted in Florens Deuchler, Lyonel Feininger: sein Weg zum Bauhaus-Meister (Leipzig: E. A. Seemann, 1996), p. 222, note 152.;2. Lent by Feininger to the exhibition "Lyonel Feininger/Marsden Hartley", Museum of Modern Art, New York, 1944 (illus. p. 24). Feininger resettled permanently from Germany to the U.S. in 1937.;3. See copy of telegram dated 1 March 1951 from Henry Clifford (curator) to Curt Valentin (Fiske Kimball Records, PMA Archives, Box 7, f. 7, copy in curatorial file).Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/53939.htmlQ510324Städtisches Museum Halle, Germany, purchased 1929 [1], Hanover Provinzialmuseum/Landesmuseum, Germany, on loan from Städtisches Museum Halle, 1929(?)-1937 [2], German government, confiscated by the National Socialist authorities (Reichsministerium für Volksaufklärung und Propaganda), Berlin, July 8, 1937-January 27, 1939 [3], sold on commission to Karl Buchholz, Buchholz Gallery, Berlin, 1939, transferred to Curt Valentin, Buchholz Gallery, New York, 1939 [4], sold to A. E. Gallatin, New York, 1939 [5], bequest to PMA, 1952.;1. See Andreas Hüneke, Die faschistische Aktion "Entartete Kunst" 1937 in Halle (Staatliche Galerie Moritzburg Halle, 1987), p. 38, no. 42, and Peter Nisbet, ed., El Lissitzky 1890-1941, exh. cat., 1987, Proun inventory no. 14, p. 160. The acquisition is also noted and illustrated in Museum der Gegenwart 1 (1930/1931), p. 13. The painting was one in a total of 46 oil paintings, drawings, and watercolors by Lissitzky purchased by the Halle museum in that year (see Im Kampf um die moderne Kunst: Das Schicksal einer Sammlung in der 1.Hälfte des 20. Jahrhunderts, exh. cat., Staatliche Galerie Moritzburg, [1985], p. 48 and p. 52).;2. Alexander Dorner, the director of the Hanover Provinzialmuseum until his forced resignation by the Nazis in 1936, recollected that Mondrian's "Composition in Blue" (1952-61-87) and Lissitzky's "Proun 2C," both later purchased by Gallatin, hung in the famous Abstract Gallery (Abstraktes Kabinett) of the Hanover museum designed 1927-28 by Lissitzky (Cauman, The Living Museum, 1958, p. 55, repr. p. 62 and p. 63, respectively, both horizontally). The information that the painting was on loan to, rather than owned by, the Hanover museum is supplied by a 1958 Art News article in which the author, Ella Winter, quotes a letter from Dorner's widow stating that 'the Lissitzkys you refer to hung in the Abstract Gallery, it [the gallery] was destroyed by the Nazis while my husband was opening the first Munich exhibition in London. When he returned he found that unique and beautiful room dismantled and himself accused of promoting "degenerate" art. The Lissitzky on loan was sold... and is now in the Philadelphia Museum' [ellipsis is the author's] (see "Lissitzky: A Revolutionary Out of Favor," April 1958, p. 63). In addition, this painting is not listed in the 1930 catalog of works owned by the Hanover Provinzialmuseum (Katalog der Kunstsammlungen im Provinzialmuseum zu Hannover, Bd. 1, 1930).;3. Assigned the EK (Entartete Kunst) inventory no. 14283 ("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=118954&viewType=detailView) (copy of inventory entry in curatorial file). This number is stamped on a sticker on the back of the painting. It is clear from the letter quoted in the Art News article cited above that the Nazis confiscated the painting from the Hanover museum. It is not certain where the painting was stored after confiscation, Mondrian's "Composition with Blue" (PMA 1952-61-87), also confiscated from Hanover, was stored at the Schloss Niederschönhausen, the Nazi sales repository for "Entartete Kunst" confiscated from museums.;4. Four prominent German dealers were appointed to market the inventory of confiscated works, including Karl Buchholz. According to the EK register, this painting was assigned to Buchholz, owner of the Buchholz Gallery in Berlin. Buchholz was the mentor and pre-war partner of Curt Valentin (1902-1954) who named the New York gallery he opened in 1937 in Buchholz' honor. Between 1934 and 1937 Valentin ran his own gallery in Buchholz' dealership in Berlin (Nicholas, Rape of Europa, p. 3, 24, Yeide, AAM Guide to Provenance Research, p. 239, 290). Valentin, a German citizen, left Germany in 1937 to go into exile. However, he maintained contact with Buchholz, frequently travelling to Germany, where he acquired works from the Schloss Niederschönhausen and the Lucerne 1939 auction. According to Nicholas he "was able to obtain from this source [Germany] much of the inventory which established him as a major New York dealer" (Nicholas, p. 24). Hüneke, underscoring the connection between Buchholz and Valentin, refers to the latter's New York gallery as "a ready-made platform from which Buchholz could sell to America" (see "Missing Masterpieces," in Degenerate Art, p. 129).;5. Receipt from the Buchholz Gallery/Curt Valentin to Gallatin dated August 24, 1939, for purchase of both the Lissitzky and Mondrian's "Composition with Blue" (stamped "Paid" August 31, 1939).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/53954.htmlQ510324Consigned by the artist to Sophie Küppers (1891-1978), Hanover, Germany, 1926(?) [1], Hanover Provinzialmuseum/Landesmuseum, Hanover, Germany, 1926(?)-1937 [2], confiscated in 1937 by the National Socialist authorities and stored in Schloss Niederschönhausen, EK inventory number 7035 [3], with Karl Buchholz, Berlin, with Curt Valentin, Buchholz Gallery, New York, 1939 [4], sold to A. E. Gallatin (1881-1952), New York, August 24, 1939 [5], bequest to PMA, 1952.;1. Sophie Küppers (later Küppers-Lissitzky, after she married the artist El Lissitzky in 1927) was a German citizen resident in Hanover and widow of Paul Küppers (d. 1922), artistic director of the Kestner Society. She became interested in promoting Mondrian's work in 1924 and asked him to send work on consignment for her to sell in Germany. He sent four canvases, which she showed to Alexander Dorner, the director of the Hanover Provinzialmuseum, Dorner purchased one of them for the museum (see S. Küppers-Lissitzky, El Lissitzky, 1968, p. 52). According to Joop Joosten (letter of November 15, 2001 in curatorial file, and Mondrian: Catalogue Raisonné, 1998, vol. 2, p. 133, 324, see also "Piet Mondrian", exh. cat., 1994, p. 52), "Composition with Blue" must have likewise been consigned to Küppers in Hanover after it was shown in the "Onafhankelijken" exhibition in Amsterdam in 1926, she and Lissitzky had visited Holland in the summer of 1926 and would have seen the exhibition.;2. Alexander Dorner (1893-1957) recalled that Mondrian's "Composition in Blue" along with Lissitzky's "Proun 2C", both later purchased by Gallatin, were both displayed in the famous Abstract Gallery (Abstraktes Kabinett) of the Hanover museum designed 1927-28 by Lissitzky (Samuel Cauman, The Living Museum, 1958, p. 55, repr. p. 62 and p. 63, respectively, no known installation photo of the Abstraktes Kabinett shows these paintings actually hanging on the wall). However, there is no evidence that the museum owned "Composition in Blue." In a letter of May 14, 1983 in the curatorial file, Joosten notes that the painting is not in the records of the Hanover museum. The painting is not listed in the 1930 catalog of the museum's holdings, nor does it appear on the official list of works owned by museum at the time of the Nazi seizures. Only one Mondrian is listed, this is almost certainly the painting purchased from Küppers in 1924, Joosten's no. B149, which was sent to the Nazi-organized "Entartete Kunst" exhibition in Munich in 1937 and is now lost (see Landesmuseum Hanover, Beschlagnahme-Aktion im Landesmuseum Hannover, 1937, Hanover, 1983, "Gemälde aus dem Besitz der Landesgalerie Hannover").;Oddly, "Composition with Blue" also does not appear on the list of confiscated works on loan to the museum at the time. Again, only one Mondrian is listed as a loan, this is most likely Joosten's no. B174 (now lost), a 1926 painting entitled "Schilderij No. 2" that also appeared in the "Onafhenkelijken" exhibition, and is listed in the museum's 1930 catalog as a "Leihgabe" (loan) from the Sophie Küppers collection (Dorner, Katalog der Kunstsammlungen im Provinzialmuseum zu Hannover, Bd. 1, 1930, p. 274, no. 433). Together with "Composition with Blue," this work was confiscated from the museum in 1937 and stored at Schloss Niederschönhausen (see below, note 3), where it was registered under #7034, the number preceding "Composition with Blue." Since there is no doubt that "Composition with Blue" was at the Hanover museum in 1937, it must have been present as an unofficial loan of some sort. Joosten suggests that before leaving Germany for Russia in 1927 Küppers asked Dorner to keep "Composition with Blue" in storage, hoping for a chance to sell it to the museum in the future (Joosten letter of November 15, 2001).;If the work was in fact on consignment to Küppers, as seems most likely, then Mondrian himself remained the owner, with Küppers simply acting as intermediary. This was her typical practice: a 1925 letter from El Lissitzky to Küppers, for example, reports that Mondrian needs cash and is anxiously awaiting the fruits of her success in selling his paintings in Dresden (see Küppers-Lissitzky, El Lissitzky, 68, Joosten believes that she never asked for, or received, a commission on these sales).;The Hanover Provinzialmuseum is now known as the Niedersächsisches Landesmuseum, the modern art collections are housed at the Sprengel Museum. Sophie Küppers-Lissitzky lent 13 works by various artists to the Hanover Provinzialmuseum in 1926 before she moved to Russia, all of which were confiscated by the Nazis in 1937 as part of the "degenerate art" campaign (see Art News, Summer 1992, Apr. 2001, and Sept. 2001). The Lissitzkys' son and heir, Jen Lissitzky, has recently sought the return of three confiscated works from his mother's collection now belonging to other museums (one of which has been returned). The 13 paintings in question are listed in a document written by Sophie Küppers entitled "Sammlung Dr. P. E. Küppers als Leihgabe übergeben zu Händen von Dr. Alexander Dorner an das Provinzial-Museum der Stadt Hannover, 1926." Only one Mondrian appears on the list, this is almost certainly the painting "Schilderij No. 2" that appears in the museum's 1930 catalog as her loan, the whereabouts of which are now unknown.;3. The painting's verso bears a paper label stamped "7035". As a major proponent of modern abstract and Expressionist art in Germany, Dorner was forced by the Nazi government to resign his position as director of the Hanover Provinzialmuseum (also known as the Landesmuseum) in 1936. He became director of the RISD art museum in 1938. In 1937, as part of its campaign against "Degenerate Art" the Nazi government dismantled the Abstraktes Kabinett and confiscated some 270 works from the museum (Cauman, The Living Museum, p. 119). This "purification" of German museums continued until March 1938.;The Entartete Kunst (EK) inventory gives the title of "Composition with Blue" as "Abstrakte Komposition", records that it was assigned to dealer Karl Buchholz, and under "Location" gives the abbreviation "K", denoting "ehemaliger Kommissionsbestand in Verwahrung des Reichsministeriums für Volksaufklärung und Propaganda" (former commission inventory in custody of the Reich Ministry of Public Enlightenment and Propaganda).;Joosten has determined that "Composition in Blue" was sent to Schloss Niederschönhausen outside of Berlin, where a salesroom was set up to dispose of the most "exploitable" works of art (i.e., those with the highest potential resale value on the international art market), totalling 780 paintings and 3,500 works of art on paper (Joosten, Catalogue Raisonné, vol. 2, p. 323-324, see also Lynn Nicholas, Rape of Europa, 1995, p. 24-25, and Stephanie Barron, ed., Degenerate Art, exh. cat., 1991, p. 125, 128-129). It's unclear why the final version of the EK inventory (c. 1942) wasn't updated to reflect the sale by Buchholz.;4. Four prominent German dealers, including Karl Buchholz, were appointed to market the inventory of confiscated works. According to the EK register, this painting was assigned to Buchholz, owner of the Buchholz Gallery in Berlin (the original register is housed at the Zentrales Staatsarchiv Potsdam, see Barron, ed., "Degenerate Art", exh. cat., 1991, p. 132, n. 15). He was the mentor and pre-war partner of Curt Valentin (1902-1954) who named the New York gallery he opened in 1937 in Buchholz' honor. Between 1934 and 1937 Valentin ran his own gallery in Buchholz' dealership in Berlin (Rape of Europa, p. 3, 24, Yeide, AAM Guide to Provenance Research, p. 239, 290). Valentin, a German citizen, left Germany in 1937 to go into exile in the U.S. However, he maintained contact with Buchholz, frequently travelling to Germany, where he acquired works from the Schloss Niederschönhausen and the Lucerne auction. According to Nicholas he "was able to obtain from this source much of the inventory which established him as a major New York dealer" (Rape of Europa, p. 24). Andreas Hüneke, underscoring the connection between Buchholz and Valentin, refers to the latter's New York gallery as "a ready-made platform from which Buchholz could sell to America" ("Missing Masterpieces," in Barron, ed., Degenerate Art, p. 129).;Correspondence between Alexander Dorner and Curt Valentin in March 1939 (copy in the curatorial files) refers to a Mondrian offered for sale to RISD by Valentin that, Dorner writes, "is not the picture that belonged to our Museum [the Hanover Provinzialmuseum]" but rather "a private one [that] belonged to a private person. So it really is a stolen picture" (March 14, 1939). Joosten believes it likely that this privately-owned Mondrian was "Composition with Blue," although alternatively Dorner may have been recalling "Schilderij No. 2" (Joosten B174) the painting lent to Hanover from Sophie Küppers' collection.;5. Receipt in PMA Archives, Gallatin files, from Buchholz Gallery/Curt Valentin dated August 24, 1939 recording the purchase of the Mondrian and the Lissitzky by Gallatin (stamped "Paid" August 31, 1939). Mondrian wrote to Ben Nicholson on December 6, 1939, regarding the acquisition: "[Gallatin] has bought also one of my two Hannover museums pictures, rejected by Hitler" (see Joosten, Catalogue Raisonné, vol. 2, p. 323).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/54778.htmlQ510324Adrien-Aurélien Hébrard (1865-1937), Paris, possibly sold or consigned to Galerie Kaganovitch, Paris, by 1949-1951, sold through Frankart SA as agent to Alex Reid & Lefèvre (dealer), London, September 4, 1951 [1]. With Curt Valentin Gallery, New York, bequest to PMA, 1954.;1. See Joseph S. Czestochowski and Anne Pingeot, Degas Sculptures: Catalogue Raisonné of the Bronzes, New York and Memphis, 2002, pp. 119, 274.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/56817.htmlQ510324With Curt Valentin, New York, sold to R. Sturgis Ingersoll (1891-1973), Philadelphia, June 16, 1942 [1], gift of R. Sturgis and Marion B. F. Ingersoll to PMA, 1957.;1. See letter from Ingersoll to Anne d'Harnoncourt, September 3, 1968 (PMA Archives, copy in curatorial file).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/57148.htmlQ510324With Daniel-Henry Kahnweiler, Paris, with Curt Valentin, New York, sold to R. Sturgis Ingersoll (1891-1973), Philadelphia, September 1, 1952 [1], gift of R. Sturgis and Marion B. F. Ingersoll to PMA, 1958.;1. See letter from Ingersoll to Anne d'Harnoncourt, September 3, 1968 (PMA archives, copy in curatorial file). Ingersoll states that he purchased the sculpture "through Curt Valentin and Kahnweiler".;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/57887.htmlQ510324Acquired from the artist by Curt Valentin, New York, 1948, sold to R. Sturgis Ingersoll (1891-1973), Philadelphia, August 13, 1948 [1], gift of R. Sturgis and Marion B. F. Ingersoll to PMA, 1960.;1. See letter from Ingersoll to Anne d'Harnoncourt, September 3, 1968 (PMA archives, copy in curatorial file), stating that this cast was in Henri Matisse's drawing room, from whom Valentin purchased it for Ingersoll when it became available.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.Philadelphia Museum of Art
https://www.philamuseum.org/collections/permanent/59554.htmlQ510324Probably in the collection of the artist until his death in 1949, Mariette Alexandrine Jeanne (Alexandra) Daveluy (1893-1966) (the artist's niece), Ostend, Belgium, 1949(?)-1950 [1], sold to Curt Valentin, Buchholz Gallery, New York, September 1950, sold to Mrs. Benjamin P. Watson, New York, with Curt Valentin Gallery, New York, by 1953 [2], sold to Louis E. Stern, New York, April 24, 1953 [3], bequest to PMA, 1963.;1. Presumably by inheritance (compare J. Paul Getty Museum, "Christ's Entry into Brussels in 1889," in Getty Provenance Index). A September 1948 photo by Fernand Naeyaert shows Ensor in his home (a year before his death) with this version of "Self-Portrait with Masks" hanging over the fireplace, see Tricot, Ensor catalogue raisonné, 1992, v. 1, p. 6.;2. A letter from Jane Wade (formerly of the Buchholz Gallery) to Henry G. Gardiner dated June 6, 1964 (copy in curatorial file), states that Curt Valentin bought the painting from Mrs. Daveluy, Ostend, Ensor's relative. Valentin's 1953 receipt to Stern lists two prior owners: "Formerly Mme. Daveluy, Ostende (bought September 1950 [presumably by Valentin])," and "Mrs. Benjamin Watson, New York". Mrs. Benjamin P. Watson, of 50 E. 77th St., New York, also bought three works by Braque from Valentin (Otto Gerson Gallery records, Archives of American Art, microfilm reel #4051). Presumably Valentin re-acquired the painting from Mrs. Watson before selling it to Stern.;3. Copy of dated receipt from Curt Valentin to Stern in curatorial file.Philadelphia Museum of Art
https://artmuseum.indiana.edu/provenance/view.php?id=130Q6023573ca. 1915-1919, Collection of Sally (1888-1962) and Adèle Falk, Mannheim, Germany;1919, Sally Falk sold sculpture to Rudolf Pfrunder, who in turn, sold it to the J.B. Neumann Gallery, Berlin;1919-?, J.B. Neumann Gallery, Berlin;ca. 1940, Buchholz Gallery (Curt Valentin), New York;ca. 1947, possibly at Karl Nierendorf Gallery, New York;by 1947–1961, Collection of Dr. and Mrs. Henry Radford Hope, Bloomington, Indiana;1961, Gift to IU Art Museum from Dr. and Mrs. Henry Radford HopeIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=140Q6023573ca. 1912–ca. 1951, Collection of Maillol family, Paris and Banyuls-sur-Mer, France;ca. 1951, Curt Valentin acquired from Lucien Maillol (son of the artist), Paris;ca. 1951–1955, Curt Valentin Gallery, New York.;January 31, 1955, James S. Adams purchased from Curt Valentin Gallery, New York;1955–1976, Collection of James S. Adams, Greenwich, Connecticut;1976, Gift to IU Art Museum from Mrs. James AdamsIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=134Q60235731926–1953, Collection of the artist;1953–1954, Curt Valentin Gallery, New York. Acquired directly from Lipchitz.;1954, Henry R. Hope purchased from Curt Valentin Gallery, New York (actually, an exchange for a different Lipchitz sculpture he had purchased in 1953);1954–1984, Collection of Dr. and Mrs. Henry Radford Hope, Bloomington, Indiana;1984, Gift to IU Art Museum from Dr. and Mrs. Henry Radford HopeIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=149Q60235731943-ca. 1953 (?), Collection of the artist (?);ca. 1953 (?)–1955, Curt Valentin Gallery, New York. Acquired directly from artist (?).;February 26, 1955, James S. Adams purchased from Curt Valentin Gallery, New York;1955–1981, Collection of James S. and Elizabeth G. Adams;1981, Bequest of Elizabeth G. Adams to IU Art MuseumIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=129Q6023573ca. 1927-1937, Collection of Provinzialmuseum (now Niedersächsisches Landesmuseum), Hannover, Germany;1937, Confiscated through "degenerate" art purges of German museums;1937-1939, Probably stored at Schloss Niederschönhausen, Berlin (NS-depot no. 7228);1939, Purchased by art dealer Karl Buchholz;1939, Acquired by Curt Valentin, New York, from Karl Buchholz;?–ca. 1951/1954, (possibly) Galerie Alex Vömel, Düsseldorf, Germany;January 28, 1955, James S. Adams purchased from the Curt Valentin Gallery, New York;1955–1981, Collection of James S. Adams, Greenwich, Connecticut;1981, Bequest of Elizabeth G. Adams to IU Art MuseumIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=139Q6023573?–1948, Collection of Mme. Jonas, Paris;1948, Curt Valentin Gallery, New York (Valentin purchased it from Mme. Jonas, Paris);1948–1989, Collection of Dr. and Mrs. Henry Radford Hope, Bloomington, Indiana (purchased from Curt Valentin Gallery, New York);1989, Gift to IU Art Museum from Dr. and Mrs. Henry Radford HopeIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=150Q6023573before 1938–ca. 1951, Collection of Ernest T. DeWald, Princeton, New Jersey. From whom Curt Valentin acquired ca. 1951.;ca. 1951–1955, Curt Valentin Gallery, New York;January 31, 1955, James S. Adams purchased from Curt Valentin Gallery, New York;1955–1981, Collection of James S. Adams, Greenwich, Connecticut;1981, Bequest of Elizabeth G. Adams to IU Art MuseumIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=153Q6023573ca. 1951–1955, Curt Valentin Gallery, New York. Possibly acquired from Mme. Gertrude Lenart, Paris.;February 26, 1955, James S. Adams purchased from Curt Valentin Gallery, New York;1955–1981, Collection of James S. Adams, Greenwich, Connecticut;1981, Bequest of Elizabeth G. Adams to the IU Art MuseumIndiana University Art Museum
https://artmuseum.indiana.edu/provenance/view.php?id=143Q6023573ca. 1930–Summer 1954, Collection of Lucien Maillol, Paris;Summer 1954, Curt Valentin purchased from Lucien Maillol;Summer 1954–January 1955, Curt Valentin Gallery, New York;January 1955, James S. Adams purchased from Curt Valentin Gallery, New York, as a gift to Indiana University;1955, Gift to Indiana University from James and Marvelle AdamsIndiana University Art Museum





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