Jun 19, 2021

The Munich Connection


 Research Question: How did Nazi plunder get from a cabal of looted art dealers in Munich to the art museums of the United States of America?

Which names have replaced theirs in the provenance texts?

Method

1. Gather the provenance texts for artworks listed on the Nazi-era Provenance Internet Portal that mention Munich

https://www.harvardartmuseums.org/collections/object/229043Unidentified owner, Paris, sold, [through Hôtel Drouot, Paris, June 16, 1906, no 30.]. Dr. Alfred Wolff, Munich, (1912). Sir Michael Sadler, England, (1912). [De Hauke & Co., New York], sold, to A. Conger Goodyear, New York, (1929-1937) sold, [through Wildenstein && Co., New York];to Maurice Wertheim, New York (1937-1951) bequest, to Fogg Art Museum, 1951.
https://www.harvardartmuseums.org/collections/object/299841[Ambroise Vollard, Paris]. [Thannhauser, Munich]. [Paul Cassirer Gallery, Berlin].;S. Fischer, Berlin, (by 1918)."R.P.A." (private collector), Paris, (1939).;[Paul Rosenberg, Paris, (by 1939),sold], to Maurice Wertheim, (1939 - 1951) bequest, to Fogg Art Museum, 1951.;Notes;Meier-Graefe lists Fischer as owner in 1918.
https://www.harvardartmuseums.org/collections/object/299843Vincent van Gogh, Arles, (1888,) gift, to Paul Gauguin, (1888-1897) sold. [Ambroise Vollard, Paris.] [Paul Cassirer Gallery, Berlin.] Dr. Hugo von Tschudi, Berlin, (1906-1911), by descent, to his widow, Angela von Tschudi, Munich (1911-1919), to Neue Staatsgalerie, Munich (1919-1938), removed from the collection by the National Socialist (Nazi) authorities in 1938, consigned, to [Theodor Fischer Gallery, Lucerne, Switzerland, for sale June 30, 1939, lot 45], to Maurice Wertheim (1939-1951) bequest, to Fogg Art Museum, 1951.;Notes;Gauguin sold the painting for Fr 300;Hugo von Tschudi bought the painting for the Nationalgalerie, Berlin, with funds from sponsors, but did not submit it to the Kaiser for pre-approval. He took the painting to Munich when he assumed a post there.;According to Stephanie Barron, the van Gogh was removed from the Neue Staatsgalerie on March 27, 1938 and stored at Schloss Niederschönhausen in August of that year. (Barron, 1991, pp. 135-146)
https://www.harvardartmuseums.org/art/299841[Ambroise Vollard, Paris]. [Thannhauser, Munich]. [Paul Cassirer Gallery, Berlin].;S. Fischer, Berlin, (by 1918)."R.P.A." (private collector), Paris, (1939).;[Paul Rosenberg, Paris, (by 1939),sold], to Maurice Wertheim, (1939 - 1951) bequest, to Fogg Art Museum, 1951.;Notes;Meier-Graefe lists Fischer as owner in 1918.
https://www.harvardartmuseums.org/art/299959Jean-Baptiste-Pierre Le Brun, Paris, 1809. Possibly de Beuronville, Paris. Charles Fairfax Murray, London, by 1909. [1] Marczell von Nemes, Budapest and Munich, sold [through his sale, Mensing & Sons, Paul Cassirer, and Hugo Helbing, June 16, 1931, lot no. 40]. [Jacques Goudstikker, Amsterdam]. [2] Baron Mór Lipót Herzog (Moritz L. Herzog), Budapest, by descent, to his wife, Johanna Herzog de Csete, Budapest, 1934, by descent, to their children (probably his son, István Herzog, Budapest), 1940, confiscated and transferred, to Germany, circa 1944-1945, [3] returned, to Hungary, 1946, returned, to Mme István Herzog (née Ilona Kiss) via Dr. Emil Oppler, a family friend and lawyer. [4] [Julius Weitzner, New York], sold, to Fogg Art Museum, 1949;Notes;[1] Photographed by Braun & Co., 1909;[2] Red wax seal on verso identified as that of Goudstikker. See “Giambattista Tiepolo: Master of the Oil Sketch” (1993).;[3] The Baron Herzog collection was confiscated before 1944.;[4] See “The ‘Sacco di Budapest:’ Depredation of Hungary, 1938-1949” (1998).
https://www.harvardartmuseums.org/art/298132Theodore Fontane, Berlin, 1906, Leo Lewin, Breslau, his sale, Paul Cassirer, Berlin, April 12, 1928, no. 123, Galerie Caspari, Munich, acquired from them through Martin Birnbaum by Grenville L. Winthrop, November 1927, his bequest to the Fogg Art Museum, 1943.
https://www.harvardartmuseums.org/art/299843Vincent van Gogh, Arles, (1888,) gift, to Paul Gauguin, (1888-1897) sold. [Ambroise Vollard, Paris.] [Paul Cassirer Gallery, Berlin.] Dr. Hugo von Tschudi, Berlin, (1906-1911), by descent, to his widow, Angela von Tschudi, Munich (1911-1919), to Neue Staatsgalerie, Munich (1919-1938), removed from the collection by the National Socialist (Nazi) authorities in 1938, consigned, to [Theodor Fischer Gallery, Lucerne, Switzerland, for sale June 30, 1939, lot 45], to Maurice Wertheim (1939-1951) bequest, to Fogg Art Museum, 1951.;Notes;Gauguin sold the painting for Fr 300;Hugo von Tschudi bought the painting for the Nationalgalerie, Berlin, with funds from sponsors, but did not submit it to the Kaiser for pre-approval. He took the painting to Munich when he assumed a post there.;According to Stephanie Barron, the van Gogh was removed from the Neue Staatsgalerie on March 27, 1938 and stored at Schloss Niederschönhausen in August of that year. (Barron, 1991, pp. 135-146)

https://www.harvardartmuseums.org/art/222988R. von Passavant-Gontard, Frankfurt am Main, Germany (1921-?). Walter von Pannwitz collection [1], Munich and Berlin, Germany, sold, [to Rosenberg & Stiebel, New York, NY (?-1963), sold], to Busch-Reisinger Museum, 1963.;Notes;[1] The sculpture was almost certainly in the collection of R. von Passavant-Gontard in Frankfurt as early as 1921. It is included in the 1921 “Meisterwerke der Bildhauerkunst in Frankfurter Privatbesitz,” featuring works from Frankfurt’s private collections. Although the publication does not identify the private collection by name, it is almost certainly the Passavant-Gontard collection. In 1929 the sculpture was included in the Passavant-Gontard collection catalogue.
https://www.harvardartmuseums.org/art/299820[A.S. Drey, Munich, Germany (by 1914-?) ]. Walter von Pannwitz collection, Munich and Berlin, Germany (by 1925-?), sold, [to Rosenberg & Stiebel, New York, NY (?-1963), sold], to Busch-Reisinger Museum, 1963.;Notes;In the 1914 “Festschrift des Münchner Altertums-Vereins zur Erinnerung an das 50 Jähr. Jubiläum” the work is listed as being in the collection of A.S. Drey (fig. 22, p. 41). Later the work is included in the 1925-1926 von Pannwitz collection catalogue (vol. II, no. 115, M.J. Friedländer and Otto von Falke, “Die Kunstsammlung von Pannwitz,” 1925-1926).
https://www.harvardartmuseums.org/art/332230Sale, Christie’s, London, 20 March 1973, lot 137, Julius Böhler, Munich, private collection, Austria, sale, Kunsthaus Lempertz, Cologne, 22 November 2008, lot 1430, Didier Aaron et Cie, Paris, sold, to Harvard Art Museums/Fogg Museum, Marian H. Phinney Fund, Paul J. Sachs Memorial Fund, through the generosity of Virgilia Klein, Bunge North America Corporation, and David M. Leventhal, and the Drawing Department Acquisition Fund, inv. no. 2009.74
https://www.harvardartmuseums.org/art/228228[Julius Böhler, Munich, 1901]. [1] Graf Preti, Vienna. W. B. Patterson, London, 1904. Dr. Paul Mersch, Paris, sold [through Keller & Reiner's, Berlin, March 1-2, 1905, lot 66 as Cavazolla]. [Christie's, London, March 14, 1924, lot 80], sold, to Layton. Conte Avogli-Trotti, Paris. Contini Bonacossi, Rome and Florence, sold, to Samuel H. Kress, New York, 1930, gift, to Fogg Art Museum, 1962;Notes;[1] Böhler is listed as the owner in 1901. See "Offizieller Katalog der Ausstellung von Mesiterwerken der Renaissance...
https://www.harvardartmuseums.org/art/228161Willem Lormier, 1754, The Hague, sold [through his sale, The Hague, July 4, 1763, lot 137], to Balden. Collection Etienne François Choiseul-Stainville, Duc de Choiseul et Ambroise (1719-1785), Paris, sold [through J.F. Boileau, Paris, April 6-10, 1772, lot 74 as “Van der Heiden”], to [J.F. Bolieau], sold (?), to Dubois de Courval, sold [through Folliot, Delalande, Fournier, May 11, 1789, lot. No. 10 as Jean Vander Heyden]. Aleksander Andreyevich, Prince Bezborodko (1747 – 1799), Saint Petersburg 1783 (?), by descent, to his brother, 1800, by descent, to Countess Liubov Il'inichna Kusheleva (née Bezborodko) (1783-1809), the daughter of Prince Bezborodko, by descent, to Grigorii (1801-1855), her son as part of Collection Georg, Count Kushelev-Bezborodko, sold [through Durand-Ruel, Paris, June 5, 1869 lot 4, as by Gérard Berkeyden]. Collection Edwards, sold [through Hôtel Drouot, Paris, May 25, 1905, lot 2, as “Un Quai à Amsterdam” by Gérard Berkheyden (Lugt 63248)], to Féral. [Julius Böehler, Munich, through James Loeb] [1], sold, to Paul Moritz Warburg (1868-1932), New York, NY, October 1909, by descent, to his son, James P. Warburg (1896-1969), to Mr. and Mrs. Samuel B. Grimson (née Bettina Warburg, sister of James P. Warburg), gift, to Fogg Art Musum, 1968.;Notes;[1] James Loeb is a relative of Paul M. Warburg’s wife, Nina J. Loeb.
https://www.harvardartmuseums.org/art/228593[J. & A. Le Roy, Brussels, April 27-28, 1903, no. 90). [Julius Böhler, Munich, by 1912]. James P. Warburg (by 1960), gift, to Fogg Art Museum, 1962.;Notes;Warburg lent painting to Fogg Museum in 1960.
https://www.harvardartmuseums.org/art/223405Ise Bienert and son, Berlin(?), Paris(?), Munich(?). [Galerie Ferdinand Möller, Berlin]. Heinz Berggruen, Paris. [Saidenberg Gallery, New York]. Sold to Busch-Reisinger Museum, 1956.;Footnotes: Source: H. K. Rothel, Kandinsky: Catalogue Raisonné of the Oil Paintings (1982-1984).
https://www.harvardartmuseums.org/art/227854[Scheidwimmer, Munich]. [Julius H. Weitzner, New York, NY, sold,] to David E. Rust, Washington, DC, gift, to Fogg Art Museum, 1977.
https://www.harvardartmuseums.org/art/222991[A. S. Drey Gallery, New York, NY (?-1964), sold], to Busch-Reisinger Museum, 1964.;Notes;The painting was purchased along with a certificate of authenticity by Dr. Hermann Voss, Munich, Germany dated July 8, 1963.
https://www.harvardartmuseums.org/art/230293[Julius Böhler, Munich]. [Wildenstein & Co., Inc., New York], sold, to Grenville L. Winthrop, New York, 1929, bequest, to Fogg Art Museum, 1943.
https://www.harvardartmuseums.org/art/222866[Adolphe Stein, Paris], sold, to [Julius Böhler Kunsthandlung, Munich, July 1961], sold, to Busch-Reisinger Museum, 1962.
https://www.harvardartmuseums.org/art/222889[Adolphe Stein, Paris], sold, to [Julius Böhler Kunsthandlung, Munich, July 1961], sold, to Busch-Reisinger Museum, 1962.
https://www.harvardartmuseums.org/art/223306A von Hildebrand, Munich and Florence. [J. B. Neumann, New York]. Kurt H. and Erich O. Grunebaum, gift, to Busch-Reisinger Museum, 1960.
https://www.harvardartmuseums.org/art/225860Dr. Wurz Collection, Stuttgart. [Graphisches Kabinett, Munich]. [Galerie Alfred Flechtheim, Berlin], sold, to Busch-Reisinger Museum, 1934.
https://www.harvardartmuseums.org/art/297008Jonathan Richardson Sr., London (L. 2184), 1745. Jan Pietersz Zoomer, Amsterdam (L. 1511). A. S. Drey, Munich, Germany, sold, to Paul J. Sachs, Cambridge, MA 1928, gift, to Fogg Art Museum, 1959.
https://www.harvardartmuseums.org/art/231998A.S. Drey, Munich, 1908
http://collection.cmoa.org/CollectionDetail.aspx?item=12339Ferdinand Georg Waldmüller [1793-1865]. Herr von Hüfler, by 1865. Dr. August Heymann, Vienna, Austria. (Sold at Glückselig & Wärndorfer, Vienna, Austria, May 17, 1921, lot 679) [1]. Private collection, Paris, France. (Sold at Neumeister, Munich, Germany, December 1965, lot 1597). Private collection, Vienna, Austria. (Sold at Sotheby's, London, England, March 29, 2001). (Sold at French & Company, New York, NY, 2004); purchased by Carnegie Museum of Art, December 2004. 
NOTES: [1] This work is listed as "Der Mohrenfürst".


http://collection.cmoa.org/CollectionDetail.aspx?item=1006885J. D. Böhm (1794-1865), Vienna (Lugt 1442 and Lugt 271); A. Artaria (1807-1893), Vienna (Lugt 33); Paul Sachs (b. 1873), Munich (Lugt 2925a); Gift of Kenneth Seaver
http://collection.cmoa.org/CollectionDetail.aspx?item=1009067Fritz Winter [1905-1976], Diessen am Ammersee, Germany, until November 1952 [1]; Galerie Günther Franke, Munich, Germany [2]; purchased by Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, December 1952 [3].

Notes:
[1]. The painting was no. 299 in "The 1952 Pittsburgh International Exhibition of Contemporary Paintings" held at Carnegie Institute, October-December 1952. 
[2]. Carnegie Institute purchased the painting from the 1952 International, through the artist's gallery. Payment was acknowledged by the gallery on November 21, 1952 (see curatorial file for relevant correspondence.) 
[3]. The painting was accessioned on December 11, 1952.
http://collection.cmoa.org/CollectionDetail.aspx?item=1010379Private collector, Munich; Mr. Hugo Moser, NYC, purchased from private collector in Munich in 1956; Feigle Gallery, NYC;
Museum purchased from Feigle Gallery, March 1957
http://collection.cmoa.org/CollectionDetail.aspx?item=1010880Hans Platschek [1923-2000], Munich, Germany; Galerie van de Loo, Munich, Germany [1]; purchased by Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, December 1958.

Notes:
[1]. The painting was exhibited (no. 354, illustrated in the catalogue, plate 52) in "The 1958 Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture" held at Carnegie Institute, December 1958 - February 1959. 
[2]. The painting was purchased by Carnegie Institute from the International. It was accessioned on December 17, 1958. Payment was sent to Galerie van de Loo on January 12, 1959.
http://collection.cmoa.org/CollectionDetail.aspx?item=1010989Julius Bohler, Munich, Germany
http://collection.cmoa.org/CollectionDetail.aspx?item=1010990Daniel Lang [-1635]. Duke of Cumberland [1]. Private collection, Basel, Switzerland. (Julius Böhler, Munich, Germany, by 1959); purchased by Museum, May 1959. 
NOTES:1. Exactly which creation of the Duke of Cumberland this refers to is unclear.

http://collection.cmoa.org/CollectionDetail.aspx?item=1011657Maurice Wyckaert [1923-1996], Alsemberg, Belgium, until November 1961 [1]; Mr. and Mrs. George Magee Wyckoff, Sewickley, PA, November 1961 until December 17, 1963 [2]; their gift to Department of Fine Arts, Carnegie Institute, Pittsburgh, PA, December 1963.

Notes:
[1]. The painting was included (no. 432) in "The 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture" held at Carnegie Institute, Pittsburgh, PA, October 1961 - January 1962. 
[2]. The painting was purchased from the International by Mr. and Mrs. George Magee Wyckoff for $505. Payment to the artist was sent on November 20, 1961. See curatorial file for copy of correspondence with the artist and his agent, Galerie van de Loo, Munich, Germany.
http://collection.cmoa.org/CollectionDetail.aspx?item=1011666Julius Bohler, Munich, Germany
http://collection.cmoa.org/CollectionDetail.aspx?item=1011667Julius Bohler, Munich, Germany
http://collection.cmoa.org/CollectionDetail.aspx?item=1011685Paul Gauguin [1848-1903]. Julius Stern [1859-1914], until 1914; estate of Julius Stern, 1914 until 1916; sold at Galerie Paul Cassirer, Berlin, Germany, May 22, 1916, no. 22, illustrated [1]; Siemens, Berlin, Germany [2]. Georg Hofmann, Munich, Germany [3]; Private Collection, France [4]; Jacques Dubourg [1897-1981], Paris, France; with Jacques Lindon, New York, NY [5]; Sylvester W. Labrot, Jr. [1901-1958], Hobe Sound, FL until October 21, 1958; estate of Sylvester W. Labrot, Jr., 1958-1963; on deposit with M. Knoedler & Company, New York, NY, June 7, 1962 until June 20, 1963 [6]; purchased by Museum of Art, Carnegie Institute, Pittsburgh, PA, June 1963. 

Notes:
[1]. This was the sale of Julius Stern's estate, entitled "Sammlung Julius Stern."
[2]. Perhaps C. H. von Siemens or Siemmens?; see curatorial file. 
[3]. The last name could possibly be "Hoffmann" as it appears in George Wildenstein's "Paul Gauguin," Paris, 1964, no. 601, p. 255-56; see also curatorial file. 
[4]. The dealer Jacques Dubourg was asked repeatedly but did not identify the private collector; see curatorial file.
[5]. In half share with Jacques Dubourg.
[6]. Knoedler No. CA6405, dated June 7, 1962; see Knoedler commission book 5b, Knoedler Archives, The Getty Research Institute.
http://collection.cmoa.org/CollectionDetail.aspx?item=1011710Adrien Ysenbrandt [1500?-1551?]. M. Nieuwenhuys, in 1856 [1]; purchased by Thomas Baring, M.P. [1799-1873], in 1856 [2]; bequest to his nephew, Thomas George Baring, Lord Northbrook, subsequently 1st Earl of Northbrook [1826-1904], in 1873 [3]; by descent to Francis George Baring, 2nd Earl of Northbrook [1850-1929], until at least 1927 [4]. Julius Böhler, Munich, Germany, August 30, 1929 until at least January 16, 1935, stock no. 217-29 [5]; Howard A. Noble [1874-1964], Pittsburgh, PA by April 1944 until April 30, 1964 [6]; his bequest to Museum of Art, Carnegie Institute, Pittsburgh, PA, May 1964. 

NOTES:
[1]. The information is from entry no. 5 in the 1889 catalogue of the Earl of Northbrook collection. It refers, most likely, to noted collector and dealer C. J. Nieuwenhuys [1799-1883], Brussels and London. 
[2]. As by Bernard Van Orley. 
[3]. In the 1889 catalogue of the Earl of Northbrook collection, this work, no. 5, is simply listed under the "Early Netherlandish School" section, with the following footnote: "A similar picture was, in 1860, in the collection of the Rev. Mr. Heath, Vicar of Enfield." 
[4]. The Earl lent it to the Royal Academy Exhibition of Flemish and Dutch art in 1927. 
[5]. Photo, no. R 770. Information from a copy of the firm's inventory records at the Getty Research Institute. The record for this painting lists the source as "Sarasota N 248", which may suggest a connection with John Ringling with whom the Böhler firm had a long and close relationship.
[6]. Notes: In 1944, the painting hung in the living room of the Noble residence at 1245 Shady Avenue, Pittsburgh, PA.
http://collection.cmoa.org/CollectionDetail.aspx?item=1011727Marczell von Nemes [1866-1930] Munich, Germany and Budapest, Hungary until May 20, 1927 [1]; sold to M. Knoedler & Co., London, England, Paris, France, and New York, NY [2]; M. Knoedler & Co., London, England, Paris, France, and New York, NY, May 20, 1927 until September 9, 1932 [3]; sold to Howard A. Noble [1874-1964], Pittsburgh, PA on September 9, 1932 [4]; Howard A. Noble, Pittsburgh, PA, September 9, 1932 until April 30, 1964 [5]; his bequest to Museum of Art, Carnegie Institute, Pittsburgh, PA, May 1964.

Notes: 
[1]. Provenance information before acquisition by Mr. Noble is from the Knoedler Gallery Archive (The Getty Research Institute). The Hungarian art collector and dealer Marczell von Nemes was also known as Marczell or Marcel de Nemes. 
[2]. Sold for £800, as "Woman with a Pink" by Master of the Half Lengths. 
[3]. Knoedler London stock no. 8178; Knoedler New York stock no. 16912. During this period, Knoedler changed the attribution of the work, first to Master of the Parrot and then to Flemish School. 
[4]. Mr. Noble purchased the painting in London. The Knoedler New York invoice, dated September 30, 1932, lists a price of $3500 for two paintings purchased in London, this work and 64.11.2.
[5]. In 1944, the painting hung in the parlor of the Noble residence at 1245 Shady Avenue, Pittsburgh, PA.

https://collections.mfa.org/objects/33560/christ-as-the-man-of-sorrows1946, in Amsterdam [see note 1]. By 1953, Alfred Weinberger (dealer), Paris [see note 2], 1956, sold by Weinberger, through Kleinberger and Co., New York, to the MFA. (Accession Date: April 12, 1956);NOTES;[1] This picture was examined by Max Friedländer in Amsterdam on May 17, 1946, according to photo-documentation from the Kleinberger files at the Metropolitan Museum of Art. In whose possession it was at this time is not known. On the reverse of the panel is an export stamp from Amsterdam, as well as similar stamps from Munich and Paris. [2] This is according to a statement of January 14, 1955 by Hanns Swarzenski of the MFA that he first saw the panel in Weinberger's possession in Paris in October 1953. Swarzenski notes that Weinberger was a dealer in Paris who was a relative of Harry G. Sperling of Kleinberger and Co., New York.
https://collections.mfa.org/objects/33921/nobleman-with-two-children-in-a-landscapePrivate collection, Bavaria [see note 1], sold from the private collection to an unidentified dealer, Munich, sold by the dealer to Kurt Rossacher (b. 1918 - d. 1988), Salzburg, 1965, sold by Rossacher to the MFA. (Accession Date: November 10, 1965);NOTES;[1] In a letter to the MFA (March 23, 1966) Dr. Rossacher wrote of the painting, "I have bought it from a dealer in Munich, who had it -- as he says -- from the private collection of a Bavarian noble family. But he does not say the name of the collection...." At the time of its acquisition, the painting was attributed to Justus Sustermans.
https://collections.mfa.org/objects/33498/woman-dressed-with-jewels-the-personification-of-fireSir Robert Gresley (b. 1866 - d. 1936), 11th Bart., Drakelowe Hall, Derbyshire, England. 1925, Basil Dighton, London, 1925, sold by Basil Dighton to Siegfried Aufhäuser (b. 1877 - d. 1949), London, Munich, and New York [see note 1], February 19, 1948, Aufhäuser sale, Parke-Bernet, New York, lot 45, sold for $1300. 1953, Charles Armour, New York, March 14, 1953, Armour sale, Parke-Bernet, New York, lot 305, to Victor D. Spark (dealer) for Catherine Spencer Eddy (Mrs. Albert J.) Beveridge (b. 1881 - d. 1970), Beverly Farms, MA, 1953, gift of Mrs. Albert J. Beveridge to the MFA. (Accession Date: May 14, 1953);NOTES;[1] As suggested by information in the 1948 Parke-Bernet catalogue. Siegfried Aufhäuser, of the Munich Bankhaus Aufhäuser, had spent the early years of the twentieth century working in London, where he obtained English citizenship. He returned to Munich after World War I and, in addition to working as banker, became the general consul to Sweden. The Bankhaus Aufhäuser was Aryanized in 1938, and Siegfried Aufhäuser emigrated through England to the United States. Parke-Bernet galleries held a number of sales of objects from his collection in the 1940s.
https://collections.mfa.org/objects/33499/woman-wearing-a-laurel-wreath-the-personification-of-poetrySir Robert Gresley (b. 1866 - d. 1936), 11th Bart., Drakelowe Hall, Derbyshire, England. 1925, Basil Dighton, London, 1925, sold by Basil Dighton to Siegfried Aufhäuser (b. 1877 - d. 1949), London, Munich, and New York [see note 1], February 19, 1948, Aufhäuser sale, Parke-Bernet, New York, lot 45, sold for $1300. 1953, Charles Armour, New York, March 14, 1953, Armour sale, Parke-Bernet, New York, lot 305, to Victor D. Spark (dealer) for for Catherine Spencer Eddy (Mrs. Albert J.) Beveridge (b. 1881 - d. 1970), Beverly Farms, MA, 1953, gift of Mrs. Albert J. Beveridge to the MFA. (Accession Date: May 14, 1953);NOTES;[1] As suggested by information in the 1948 Parke-Bernet catalogue. Siegfried Aufhäuser, of the Munich Bankhaus Aufhäuser, had spent the early years of the twentieth century working in London, where he obtained English citizenship. He returned to Munich after World War I and, in addition to working as banker, became the general consul to Sweden. The Bankhaus Aufhäuser was Aryanized in 1938, and Siegfried Aufhäuser emigrated through England to the United States. Parke-Bernet galleries held a number of sales of objects from his collection in the 1940s.
https://collections.mfa.org/objects/398280/old-woman-cutting-breadProbably between 1684 and 1716, acquired by Johann Wilhelm, Elector Pfalz von Neuburg (b. 1658 - d. 1716), Düsseldorf [see note 1], by descent to his brother, Karl III Philip, Elector von der Pfalz (b. 1661- d. 1742), Mannheim [see note 2], by descent within the family to Karl IV Theodor, Elector von der Pfalz (b. 1724- d. 1799), Mannheim [see note 3], by descent to Maximilian IV Joseph (b. 1756 - d. 1825), Mannheim and Munich [see note 4], by descent to his son, Ludwig I, King of Bavaria (b. 1786 - d. 1868), Munich, 1836, transferred to the Alte Pinakothek, Munich (inv. no. 580) [see note 5], March, 1937, exchanged by the Alte Pinakothek with Eduard Plietzsch, Berlin, April, 1937, with Heinz Steinmeyer, Berlin [see note 6], 1937, sold by Steinmeyer to a private collector, until 2003, by descent within the family, 2003, sold by the family to the MFA. (Accession Date: March 26, 2003);NOTES;[1] The early provenance of this painting was established by Carla Kunkel, who kindly shared the results of her research (see correspondence in MFA curatorial file). By 1684, Elector Johann Wilhelm of the Palatine (r. 1690-1716) had already begun to assemble his collection of about 350 paintings through a network of dealers throughout Europe. An inventory of his collection, made at the time of his death and published in 1751, records the MFA painting as one of seven works by Dou: "An old woman cuts bread, near her is a young boy with a spoon in his hand, and a small child sits at the table, on which is a ham. By Gerard Dou." See Johan von Gool, "Catalogus en uitvoerige Beschriyvinge der voortrefflyke onschatbaere Schilderkunst," in De nieuwe Schouburg der nederlantsche kunstschilders en Schilderessen, vol. 2 (s'Gravenhage, 1751).;[2] Karl Philipp inherited his brother's painting collection and transferred it from Düsseldorf to Mannheim in 1730. The painting is recorded in the inventory drawn up at Mannheim in 1730 (no. 132: "An old woman cutting bread, with a boy holding a candle in his hand") and is visible in the drawings made of the cabinet walls there in 1731. For these documents, see Everhard Korthals Altes, "The collections of the Palatine Electors: new information, documents and drawings" Burlington Magazine 145, no. 1200 (March, 2003): 209 (fig. 98), 212, and Appendix, no. 132. The painting is also included in the 1756 "inventory of the princely art collection at Mannheim" (Verzeichnis der in den Churfürstlichen Cabinetten zu Mannheim befindlichen Mahlereyen, no. 109: "An old woman sits at a table, cutting a loaf of bread, in front of the table stands a boy with a light, behind is a smaller boy, who eats something with a spoon"). See "Geschichte der kurfürstlichen Gemäldegalerie in Mannheim," in Mannheimer Geschichtsblätter 27 (1926): 38.;[3] In 1777, Karl Theodor, already Elector of the Palatine, inherited the Electorate of Bavaria and the estates of the House of Wittelsbach. Thereafter, the Mannheim Galerie was legally merged with the Wittelsbach family collections.;[4] With Karl Theodor's death in 1799, the Sulzbach line of succession became extinct. The Electorates of both the Palatine and Bavaria passed to Maximilian Joseph, who, as Duke of Zweibrücken (since 1795) was the most senior prince. He became Maximilian I, King of Bavaria, in 1806, at which point the Mannheim Galerie was transferred to the Wittelsbach estate in Munich.;[5] In 1836 King Ludwig I (r. 1825 - 1848) opened the Pinakothek in Munich to exhibit the royal painting collection. It was renamed the Alte Pinakothek with the opening of the Neue Pinakothek across the street in 1853.;[6] In the 1930s, the director of the Bavarian State Paintings Collection, Ernst Buchner, deaccessioned many paintings at the Alte Pinakothek to trade for German works of art. At least seventy-four Dutch paintings, including the Dou, were deaccessioned at this time. In a letter to Dr. Buchner of February 22, 1937, Eduard Plietzsch confirmed the conditions of the trade: in exchange for three German altarpiece panels, he would receive the Dou and a small landscape by Jan Brueghel the Elder, this is confirmed in the registers of the Alte Pinakothek. According to David Alan Brown and Jane Van Niemen (Raphael and the Beautiful Banker [London and New Haven, 2005], p. 218, n. 17), the official date of the trade was March 3, 1937. While Plietzsch received the painting, by April the dealer Heinz Steinmeyer was offering it for sale. In a letter of April 21, 1937 Steinmeyer attested that the Alte Pinakothek had asked to trade the Dou for a German painting. In order to compensate the seller of the German painting, Steinmeyer needed first to sell the Dou. For further information on the deaccessions, see Jonathan Petropoulos, The Faustian Bargain: The Art World in Nazi Germany (Oxford, 2000), 31-32.
https://collections.mfa.org/objects/33415/still-life-in-an-architectural-settingFrançois Emmanuel van Ertborn (b. 1716 - d. 1791), Antwerp, August 18, 1807, posthumous Ertborn sale, Beeckmans, Antwerp, lot 42, to Henri-Joseph Stier d'Aertselaer, Antwerp, July 29, 1822, Aertselaer sale, G. J. Bincken, Antwerp, lot 25, to Paramosky (or Baranowsky), Vienna. Jean Baptiste Puthon (b. 1773 - d. 1839), Vienna, 1840, sold from the Puthon collection, probably through Artaria and Co., Vienna, to Philipp Dräxler von Carin, Vienna, probably sold by Dräxler von Carin to Baron Samuel von Festetits (b. 1806 - d. 1862), Vienna [see note 1], March 7 and April 11, 1859, Festetits sale, Vienna, lot 101, to Friedrich Jakob Gsell (d. 1872), Vienna, March 14, 1872, Gsell sale, Plach, Vienna, lot 30, sold to Plach, possibly for Anselm Solomon von Rothschild (b. 1803 - d. 1874), Vienna, by descent to Nathaniel von Rothschild (b. 1836 - d. 1905), Vienna, by descent to his nephew, Alphonse Rothschild (b. 1878 - d. 1942) and Clarice de Rothschild (b. 1894 - d. 1967), Vienna, 1938, confiscated from Alphonse and Clarice de Rothschild by Nazi forces (no. AR884), taken to the Kunsthistorisches Museum, stored at the Central Depot, Neue Burg, Vienna, and selected for the Führermuseum, Linz [see note 2], removed to the monastery of Kremsmünster (K 995), December 16, 1943, taken from Kremsmünster to the Führerbau, Munich (no. 3225) [see note 3] and later moved to Alt Aussee [see note 4], July 19, 1945, shipped by Allied forces to the Munich Central Collecting Point (MCCP no. 4928) [see note 5], May 11, 1948, released from the MCCP to United States Forces in Austria, April 12, 1949, returned to Clarice de Rothschild, New York [see note 6], sold by Clarice de Rothschild to Rosenberg and Stiebel, New York, 1950, sold by Rosenberg and Stiebel to the MFA for $3,000. (Accession Date: September 14, 1950);NOTES;[1] On the provenance of this painting from Puthon to Gsell, see Theodor von Frimmel, "Lexikon der Wiener Gemäldesammlungen" (Munich, 1913), pp. 290, 375-376. Festetits acquired many works of art from Dräxler von Carin, and it is likely that he acquired this painting from him as well.;[2] With the Anschluss, or annexation of Austria to Nazi Germany in March, 1938, the possessions of Alphonse and Clarice de Rothschild were seized and expropriated almost immediately by Nazi forces. This painting appears in a Nazi-generated inventory of 1939 as no. AR (Alphonse Rothschild) 884: "Jan Fyt, Architektur mit Stilleben. Leinwand, 112 x 83." Katalog beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien, Verlags-Nr. 4938, Staatsdruckerei Wien, 1939, Privatarchiv, reproduced in Sophie Lillie, "Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens" (Vienna, 2003), p. 1032. The Führermuseum, the art museum Adolf Hitler planned to build in Linz, Austria, was given right of first refusal over the confiscated Rothschild collection. This painting was included in an inventory of the museum drawn up on July 31, 1940. CIR no. 4, attachment 73.;[3] The Führerbau in Munich was used as a repository for works of art. An inventory of the paintings was drawn up in 1943, the Führerbau inventory number, 3225, is recorded on the reverse of this painting's stretcher in chalk and on a label.;[4] Many works of art stored elsewhere by the Nazis were moved to the abandoned salt mines of Alt Aussee in Austria, to be kept safe from wartime bombing.;[5] Allied troops recovered the artwork at the end of World War II and established collecting points where the art could be identified for restitution to its rightful owners. This painting came to the Munich Central Collecting Point in 1945 from Alt Aussee (number 3577), and was numbered 4928, which is recorded on the reverse of the painting stretcher. The Munich Central Collecting Point inventory card is held by the National Archives and Records Administration, College Park, Maryland (Property Card 4928, National Archives Record Group 260, Box 501, and National Archives Record Group 260, Entry USACA-USFA, File Rep & Rest. Box 158).;[6] See Birgit Schwarz, "Hitlers Museum. Die Fotoalben Gemäldegalerie Linz: Dokumente zum 'Führermuseum'" (Cologne and Weimar, 2004), p. 101, no. II/26.
https://collections.mfa.org/objects/33278/houses-at-auversBy 1905, Johanna van Gogh-Bonger (b. 1862 - d. 1925), Amsterdam;1908, sold by Van Gogh-Bonger to the Moderne Kunsthandlung Franz Joseph Brakl, Munich. Probably Galerie Thannhauser, Munich. Voss collection, Berlin. 1926, Wildenstein and Co., New York;October 18, 1926, sold by Wildenstein to John Taylor Spaulding (b. 1870 - d. 1948), Boston;1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948)
https://collections.mfa.org/objects/557659/saint-anthonys-vision-of-the-christ-childBy 1966, private collection, Munich [see note 1]. 1968, with Kurt Rossacher (b. 1918 – d. 1988), Pro Arte, Salzburg, 1968, sold by Rossacher to Jeptha H. Wade (b. 1924 – d. 2008), Belmont, MA, 2011, bequest of Jeptha H. Wade to the MFA. (Accession Date: January 25, 2012);NOTES;[1] First published and illustrated by Gerhard Woeckel, “Unbekannte religiöse Bildwerke und Handzeichnungen Ignaz Günthers,” Alte und Moderne Kunst 86 (1966): 20-26.
https://collections.mfa.org/objects/33242/portrait-of-a-womanPossibly Dowdeswell and Dowdeswell, Ltd., London [see note 1]. 1910, A. S. Drey, Munich, September, 1910, sold by Drey to Delia Spencer (Mrs. Marshall) Field (b. 1854 - d. 1937), Paris and Washington, D.C., by inheritance to her niece, Catherine Spencer Eddy (Mrs. Albert J.) Beveridge (b. 1881 - d. 1970), Beverly Farms, MA, 1948, gift of Mrs. Albert J. Beveridge to the MFA. (Accession Date: June 3, 1948);NOTES;[1] The Dowdeswell archives were said to have recorded a 1631 portrait of a woman on panel, signed and dated by Cornelis Jonson, measuring 16 x 13 inches. See A. J. Finberg, "A Chronological List of Portraits by Cornelis Jonson," Walpole Society 10 (1922), p. 21.
https://collections.mfa.org/objects/33392/biccherna-cover-the-tribute-offeringAbout 1364 until at least 1724, the Commune of Siena [see note 1]. By 1862, Johann Anton Ramboux (b. 1790 - d. 1866), Cologne [see note 2], May 23, 1867, Ramboux sale, Heberle, Cologne, lot 354. 1931, Carl Anton Reichel (b. 1874 - d. 1944), Munich [see note 3], between 1931 and 1934, sold by Reichel to Max Neunzert (b. 1892 - d. 1982), Munich and Flims Waldhaus, Switzerland [see note 4], May 25-29, 1943, sale, Galerie Fischer, Lucerne, lot 1692, not sold [see note 5], consigned by Neunzert to Walter Schatzki (b. 1899 - d. 1983), New York, 1950, sold by Schatzki to the MFA for $1750. (Accession Date: January 2, 1950);NOTES;[1] This biccherna, or account book cover, was recorded by Galgano Bichi in Siena in 1724, see L. Borgia et al., Le Biccherne: Tavole Dipinte delle Magistrature Senesi (Secoli XIII-XVIII) (Rome, 1984), p. 112, cat. no. 36. It was probably dispersed in the late eighteenth or early nineteenth century.;[2] Published in Ramboux's collection catalogue of 1862, no. 21. See A. Geffroy, "Tablettes Inédites de la Biccherna et de la Gabella de Sienne," Mélanges d'Archéologie et d'Histoire 2 (1882), p. 419.;[3] In 1949, when the MFA first considered acquiring the panel, its owner wrote to Walter Schatzki, the dealer through whom it was offered (November 14, 1949). According to a transcript of this letter (which is unsigned, but must have been written by Max Neunzert, as discussed below), "this painting formerly belonged to my good friend Karl Anton Reichel. I obtained the painting from him in Munich in 1931 upon my return from China, since he then found himself in financial difficulties." An authentication of the painting by Georg Swarzenski of February 28, 1933 is, however, addressed to Reichel, which suggests that it was still in his possession at that time. The painting was probably in Reichel's possession in February 1931, as well, when it was authenticated in Munich by Wilhelm Suida.;[4] As discussed above (n. 3), despite the letter attesting that the sale took place in 1931, the authentication of the painting by Swarzenski in 1933 suggests that it was in Reichel's possession at that time. It was certainly in Max Neunzert's possession by July 24, 1934, when it was authenticated by Hanna Gräff on behalf of her husband, Dr. Walter Gräff, and Neunzert was named as the owner. Neunzert later attested that he took the panel to Switzerland in 1934 (see below, Additional Information).;[5] According to his letter to Walter Schatzki (as above, n. 3), Neunzert "deposited the painting -- when I was forced to flee Munich on account of my anti-Nazi activities -- in Switzerland, and in 1943 put it up for sale at the Galerie Fischer in Lucerne. It is listed in the Fischer catalogue for that year. I did not sell it because of the low price it made." Correspondence from Kuno Fischer, Galerie Fischer, to the MFA (February 18, 2004) indicates that the consignor of the painting was Mrs. Dr. Zellweger of Zurich. Whether Neunzert consigned it to Fischer under a pseudonym, or whether he had entrusted the panel to a Mrs. Zellweger, is not known.;ADDITIONAL INFORMATION;Max Neunzert was a member of the Nazi party in the 1920s. The statements that he made to Walter Schatzki in 1949 (see above, n. 3) can be corroborated with what is known of his life. In 1929 Neunzert traveled to China to help spread National Socialism, he returned to Munich in 1931. Like Carl Anton Reichel, he fought for the restoration of the monarchy in Germany. Upon his return from China in 1931, he realized this would not be possible under Hitler, and he left the party. Thereafter he fought actively against the Nazis. He assumed names including "Max Keck" and "Mr. Donau" and was exiled in Switzerland during the 1940s. For more on Neunzert, see Carlos Collado Seidel, "In geheimer Mission für Hitler und die bayerische Staatsregierung. Der politische Abenteurer Max Neunzert zwischen Fememorden, Hitler-Pusch und Berlin-Krise," Vierteljarshefte für Zeitgeschichte 50, no. 2 (April, 2002): 201-236.;In a signed statement of January 20, 1948, written from Flims-Waldhaus, Max Neunzert attested that the painting was not Nazi loot: "I herewith declare on oath that the Biccherna panel was legally acquired by me at that time and, therefore, is not Nazi looted property. In order to deny the Nazis access to it, as early as 1934 I was able to bring the panel into Switzerland.;The MFA has no indication that the panel was improperly transferred or stolen during the Nazi era.
https://collections.mfa.org/objects/33532/moses-and-the-israelites-after-the-miracle-of-water-from-theBy 1657, Borghese family, Rome [see note 1], by descent within the family to Agnese Borghese (b. 1836 - d. 1920), Principessa di Piombino, Rome [see note 2]. 1900, with Julius Böhler, Munich. 1900, acquired on the Munich art market by the Germanisches Nationalmuseum, Nuremberg [see note 3], 1954, sold by the Germanisches Nationalmuseum, through the Schaeffer Galleries, New York (stock no. 1563), to the MFA for $135,000 [see note 4]. (Accession Date: December 9, 1954);NOTES;[1] This is probably the painting by Lucas van Leyden recorded in the Borghese collection as early as 1657. See the summary of the early provenance by Elise Lawton Smith, "The Paintings of Lucas van Leyden: A New Appraisal, with Catalogue Raisonné" (University of Missouri Press, 1992), pp. 101, 302-302, cat. no. 7.;[2] On its acquisition by the Principessa di Piombino in or about 1888, see Giovanni Piancastelli, in "L'Arte" 1 (1898): 219. The Principessa must have been Agnese Borghese, wife of Rodolfo, 7th Prince of Piombino (b. 1832 - d. 1911). The painting is said to have remained in the Villa Borghese until 1891 in the "Katalog der Gemälde-Sammlung des Germanischen Nationalmuseums in Nürnberg" (Nürnberg, 1909), p. 28, cat. no. 80, though when it left the possession of the family is not clear.;[3] It is unclear whether it was purchased directly from Böhler. See the "Katalog der Gemälde-Sammlung" (as above, n. 2).;[4] On its sale, see "Entering the Public's Domain," Art News, December 1955, p. 16.
https://collections.mfa.org/objects/33160/virgin-and-child-enthroned-with-saints-sebastian-andrew-beBefore 1868, a church in Pisa (?) [see note 1]. 1868, Gabrielli, Florence, 1868, sold by Gabrielli to Joseph Spiridon, Paris, May 31, 1929, Spiridon sale, Paul Cassirer and Hugo Helbing, Berlin, lot 46, sold for M 50,000 to Marczell von Nemes (b. 1866 - d. 1930), Budapest and Munich, June 16, 1931, Nemes sale, Frederik Muller, Paul Cassirer and Hugo Helbing, Munich, lot 15, sold for M 9,500, to A. S. Drey, Munich [see note 2]. By 1934, Eugene L. Garbáty (b. 1880 - d. 1966), Schloss Alt-Döbern, Niederlausitz (Germany), New York, and East Norwalk, CT [see note 3], 1948, sold by Garbáty to the MFA for $11,000. (Accession Date: April 8, 1948);NOTES;[1] According to information taken from the Frick Art Reference Library photo study collection, this comes "from a church in Pisa, as [by] Fra Filippo Lippi and Machiavelli" (citing the "ms. catalogue of the J. Spiridon collection, 1928," a copy of which has not been located).;[2] In the German periodical "Die Weltkunst," June 21, 1931, p. 2, the Amsterdam dealer Hoogendijk is said to have purchased the painting at the Nemes sale. However, according to correspondence from Monika Tatzkow (November 17, 2000, in the MFA curatorial file) A. S. Drey was the buyer, as documented in Cassirer's records as well as in those kept by the dealer Karl Haberstock, Berlin, who visited the sale that day.;[3] At the time of the painting's acquisition, Eugene Garbáty provided the MFA with a memo dated June, 1934, bearing his signature, regarding comparative works by Zanobi Machiavelli. As he was compiling information on the artist as early as 1934, the painting was probably already in his possession at that time. Mr. Garbáty emigrated to the U.S. in 1939 and lent the painting to the MFA in that year.
https://collections.mfa.org/objects/32850/shipwreckUntil 1933, Ludwig Behr (d. 1945), Tutzing, Germany;June 27-28, 1933, Behr sale, Helbing, Munich, lot 176. 1940, private collection, New York;February 15, 1940, sale of private collector, Sotheby Parke-Bernet, New York, lot 42. By 1941, Julius Weitzner, New York;1942, exchanged with and sold by Weitzner to the MFA. (Accession Date: June 9, 1942)
https://collections.mfa.org/objects/34371/pilate-washing-his-hands-and-saint-martin-of-tours-with-a-beBefore 1930, G. Stein, Paris (?) [see note 1]. June 1, 1932, anonymous sale, Dorotheum, Vienna, lot 1. By 1934, David Goldmann (b. 1887 - d. 1967), Vienna [see note 2], 1938, seized by Nazi forces and taken to the Kunsthistorisches Museum and stored at the Central Depot, Neue Burg, Vienna, where it was reserved for the Führermuseum [see note 3], transferred to Alt Aussee [see note 4], October 12, 1945, recovered by Allied forces and taken to the Munich Central Collecting Point (no. 8875) [see note 5], January 1, 1947, given to the custody of the Stichting Nederlandsch Kunstbezit (inv. no. 1557) [see note 6], 1948 until 1952, on loan from the Stichting Nederlandsch Kunstbezit to the Archbishop Museum, Utrecht (inv. no. ABM s212) [see note 7], March 10, 1952, removed from the Archbishop Museum and sent to Germany for restitution to David Goldmann, New York [see note 8], until 1979, by descent within Mr. Goldmann's family [see note 9], May 30, 1979, consigned anonymously by the family of David Goldmann to Sotheby Parke-Bernet, New York, lot 174, not sold, 1979, sold by the family to a private collector, New York [see note 10], 1980, sold by the private collector, through Richard J. Collins, Inc., New York, to the MFA. (Accession Date: October 15, 1980);NOTES;[1] According to notes in the MFA curatorial file.;[2] Published by L. Frölich-Bum, "Einige Werke des Meisters von Alkmaar in Wiener Privatbesitz" Oud-Holland 51 (1934), pp. 182-187, as belonging to David Goldmann. When they were in Mr. Goldmann's possession, the two panels formed a triptych, with a 17th-century Spanish relief sculpture of St. Anthony between them. On the collection of David and Lily Goldmann, see Sophie Lillie, Was einmal war, Handbuch der enteigneten Kunstammlungen Wiens (Vienna, 2003), pp. 409-415.;[3] With the Anschluss, or annexation of Austria to Nazi Germany in March, 1938, the possessions of David Goldmann were seized almost immediately by Nazi forces. Goldmann's panels appear in a Nazi-generated inventory of 1939 as no. DG (David Goldmann) 107: "Hausaltar mit zwei Altarflügeln. Werke eines Malers aus der Antwerpener Schule, auf dem einen Flügel Christus vor Kaiaphas, auf dem anderen Christus vor Pilatus, auf der einen Seite ein heiliger Bischof, auf der anderen der gegeisselte Christus. In dem Schrank ein Heiliger." Inventar der Sammlung D.G., in Katalog beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien, Verlags-Nr. 4938, Staatsdruckerei Wien, 1939, Privatarchiv, reproduced in Lillie, Was einmal war (as above, n. 1), p. 412, no. 107. The panels also appear in a Nazi inventory of July 31, 1940 of works reserved for the decoration of the Führermuseum, the art museum Adolf Hitler planned to build in Linz, Austria: Verzeichnis der für Linz in Aussicht genommenen Gemälde, p. 8: "Ferner als Reserve für dekorative Zwecke... Niederländisch, um 1500, Hausaltar.;[4] Many works of art stored elsewhere by the Nazis were moved to the abandoned salt mines of Alt Aussee in Austria, where they would be safe from wartime bombing.;[5] Allied troops established collecting points where looted works of art could be identified for eventual restitution to their rightful owners. These paintings came to the Munich Central Collecting Point from Alt Aussee (no. 4095), and were numbered 8875. This information is taken from inventory card 1557 A-B, Stichting Nederlandsch Kunstbezit Archive, no. 846, and Munich Central Collecting Point inventory card, National Archives and Records Administration, College Park, MD (Proprty Card 8875, Microfilm M1946, Reel 50).;[6] After World War II, the Stichting Nederlandsch Kunstbezit (SNK, Foundation for Netherlandish Art Property) was assigned the task of recuperating looted artworks from abroad and returning them to their rightful owners in the Netherlands.;[7] The panels were mistakenly believed to have come from the collection of O. Lanz of Amsterdam. For this reason, they were not returned to David Goldmann immediately following the war, but were taken to the Netherlands along with other works of art destined for restitution by the SNK (letter from Rudolf E. O. Ekkart, Head of the Origins Unknown Project (Bureau Herkomst Gezocht), The Hague, August 17, 2004).;[8] This information was made available through the generous assistance of Arno van Os, registrar at the Museum Catharijneconvent, Utrecht (letter of May 13, 2004). On February 21, 1952 the Archbishop Museum received a letter from the Bureau Herstelbetalings- en Recuperatiegoederen requesting the return of the panels to David Goldmann and on March 10 they left the museum for restitution to him. The panels were listed among the works still missing from Mr. Goldmann's collection in the Verzeichnisse gesuchter Kunstwerke aus österreichischem Besitz (n.d., [1950?]). Their restitution in 1952 to David Goldmann's family has been confirmed in a signed statement by his daughter (May 10, 2004), as well as in a letter from her to the MFA (June 26, 2004).;[9] According to the letter from Mr. Goldmann's daughter (as above, n. 8).;[10] According to an interoffice memorandum (September 20, 1981, in the MFA curatorial file).
https://collections.mfa.org/objects/469980/the-calenberg-altarpieceBy 1524, Duke Erich I von Braunschweig-Calenberg (b. 1470 - d. 1540) and his wife, Katharina von Saxonia (b. 1468 - d. 1524), chapel of Calenberg Castle, Pattensen, Germany (original commission) [see note 1], until about 1636, probably by descent within the family, Calenberg Castle, about 1636, probably transferred to Leine Castle, Hanover [see note 2], between 1803 and 1811, dismantled and removed from Leine Castle [see note 3]. 1811, acquired by Bernhard Hausmann (b. 1784 - d. 1873), Hanover [see note 4], 1857, sold by Hausmann to Georg V (b. 1819 - d. 1878), King of Hanover [see note 5], until 2005, by descent within the royal family of Hanover [see note 6], 2005, sold by the royal house of Hanover, through Sotheby's, New York, to the MFA. (Accession Date: April 27, 2005);NOTES;[1] The earliest recorded account of the altarpiece at Calenberg Castle is that of M. Heinrich Bünting (Braunschweigische Chronik, 1584). He specifies that the donors represented in the main panel are Princess Katharina and Duke Erich, the coats-of-arms confirm this. For Bunting's account, see endnote below, this is taken from the German transcription by Bernhard Hausmann, Verzeichniss der Hausmann'schen Gemählde-Sammlung in Hannover (Hanover, 1831), pp. 123-24, footnote. Katharina died in 1524, suggesting the altarpiece had been commissioned by that date.;[2] In 1636 Georg von Braunschweig-Calenberg moved the seat of power to the city of Hanover (subsequently, Calenberg Castle was abandoned and, in 1690, torn down). Presumably the altarpiece was moved to the new princely residence at this time.;[3] Hausmann 1831 (see above and below, nn. 1 and 4) states that he found the altarpiece in pieces in Hanover in 1811, that is, during the French occupation of the city (1803-1813). During this time, Leine Castle was occupied by French troops and plundered. The altarpiece must have been dismantled and discarded or sold as a consequence.;[4] Hausmann described the altarpiece in his collection catalogue of 1831, see Hausmann 1831 (as above, n. 1), pp. 123-125, cat. no. 215a-c. He states that in 1811 he discovered the altarpiece in pieces in two junk shops in Hannover, saved them, and made them part of his collection.;[5] In 1857, Hausmann closed his gallery and sold the collection to Georg V. See Klaus Mlynek, "Von Privaten zum Öffentlichen - Erste Museumsgründungen in der Residenzstadt Hannover," in 100 Jahre Kestner-Museum Hannover, 1889-1989, ed. Ulrich Gehrig (Hanover: Das Museum, 1989), 170.;[6] In 1861, Georg V used the works of art he purchased from Hausmann -- as well as other objects in the family's possession -- as the basis for the Welfenmuseum, the contents of which were entailed, or owned by and inherited within the family. In 1901 these objects formed the basis for the Fideikommissgalerie ("entailed gallery") at the Provinzialmuseum, Hanover. There the Calenberg Altarpiece was inventory no. 423. In 1924, it was removed by the family to their residence at the Schloss Blankenburg, Harz. This move coincided with the reorganization of the Provinzialmuseum, when parts of the Fideikommissgalerie were removed (and some were sold). In 1945, the family left Blankenburg and took its contents to the Schloss Marienburg, Hanover. See Hans Georg Gmelin, Spätgotische Tafelmalerei in Niedersachsen und Bremen (Munich and Berlin, 1974), p. 447, Mlynek 1989 (as above, n. 5), pp. 172-174, and Ines Katenhusen, "150 Jahre Niedersächsisches Landesmuseum Hannover," in Das Niedersächsische Landesmuseum Hannover, ed. Heide Grape-Albers (Hanover, 2002), pp. 29, 34-35.;ADDITIONAL INFORMATION;Translation of Heinrich Bünting, Braunschweigische Chronik, 1584, taken from Bernhard Hausmann, Verzeichniss der Hausmann'schen Gemählde-Sammlung in Hannover (Hanover, 1831), pp. 123-124, footnote;It was the Princess Catherine, wife of Duke Eric the Elder, born to a very high princely house, for she was the daughter of the warlike Duke Albrecht of Saxony, a very devout princess, for her Princely Grace had commissioned the chapel in the House Calenberg, and also had the panel made, which was placed upon the altar.;On that same panel appear also the arms of her Princely Grace, the little Saxon crown made up of lozenge shapes, and across from these the arms of Braunschweig, and so they are also both, the Duke and the Princess, painted on [the panel], and an image of Mary sits in the center, and holds the small child Jesus in her lap. The Princess is painted in her raiment, as it was customary at that time, with bare neck and chest, adorned with precious jewels, gemstones and golden chains, and so her Princely Grace's ladies-in-waiting are sitting beside her, also dressed in the same manner.;Duke Eric the Elder sits facing her on the other side, painted in his entire cuirass, with a long brown velvet mantle, in a red velvet cap, adorned with a handsome long white feather. And even though the painting is rather old, still one sees indeed even so still unto this very day, that it must have been a very beautiful panel, upon which the Princess is in particular very painstakingly painted, with her lovely countenance and beautiful red cheeks.
https://collections.mfa.org/objects/35483/saint-james-the-great-of-compostellaRichard von Kaufmann (b. 1849 - d. 1908), Berlin, December 4, 1917, Kaufmann sale, Cassirer and Helbing, Berlin, lot 133, to Walter von Pannwitz (d. 1920), Heemstede, The Netherlands [see note 1], transferred to The Aurora Trust [see note 2], July 6, 1966, Aurora Trust sale, Sotheby's, London, lot 72, to Thomas Agnew and Sons, Ltd., London, June 21, 1967, sold by Agnew to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA, 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993);NOTES;[1] Der Cicerone, January, 1918, pp. 26-27, also see letter from Gerald G. Stiebel to the MFA (April 28, 2002, in MFA curatorial files) and Otto von Falke and Max J. Friedländer, "Die Kunstsammlung von Pannwitz" (Munich, 1925), cat. no. 8. [2] The Aurora Trust was set up in the late 1940s by Walter von Pannwitz's widow, Catalina, as a respository for the their art collection.
https://collections.mfa.org/objects/279049/assumption-of-the-virgin1948, E. J. Gooderham collection, December 10, 1948, posthumous Gooderham sale, Christie, Manson and Woods, London, lot 105, to Wiggins (probably Arnold Wiggins and Sons, Ltd.) [see note 1]. 1985, John Morton Morris and Co., London, April, 1985, sold by Morris and Co. to Azita Bina and Elmar W. Seibel, Boston, 2004, gift of Azita Bina and Elmar W. Seibel to the MFA. (Accession Date: December 15, 2004);NOTES;[1] The name of the buyer is inscribed in a copy of the auction catalogue (reproduction in MFA file). On the reverse of the frame is a label of Arnold Wiggins and Sons, Ltd., London, frame makers. While the earlier history of the painting has not been securely established, it is notable that an Assumption is recorded in the 1728 posthumous inventory of the artist: "Un quadro dell'assunta con cornice negra. palmi 4 e 6 mano della Buona Anima." Inventory of July 27, 1728, Naples, published by Gérard Labrot, "Collections of Paintings in Naples, 1600-1780" (Munich: Saur, 1992), p. 353 (f. 2v, no. 60). The dimensions given (about 135.8 x 90.5 cm) are larger than those of the MFA painting (102.2 x 76.8 cm), though it is not known if the frame was included. A painting of the Assumption by Matteis also appeared in the posthumous sale of Joseph Shapland, Tewkesbury Lodge, near Gloucestershire: September 12, 1837, Christie's, London (sale held at Tewkesbury Lodge), lot 142, "Assumption of the Virgin, with a choir of angels, a beautiful composition, full of sweet character," bought in.
https://collections.mfa.org/objects/33309/rue-de-la-bavole-honfleur1867, possibly Frédéric Bazille (b. 1841 - d. 1870), Paris [see note 1]. Until 1897, possibly Aimé Diot, Paris, March 8-9, 1897, possibly posthumous Diot sale, Hôtel Drouot, Paris, lot 102 [see note 2]. About 1901, with Arthur Tooth and Sons [see note 3], November 21, 1902, sold by Tooth to Durand-Ruel, Paris, August 12, 1912, sold by Durand-Ruel to Galerie Thannhauser, Munich [see note 4], 1915, probably sold by Thannhauser to Oscar Schmitz (b. 1861 - d. 1933), Dresden and Zürich [see note 5], 1936, sold by the estate of Oscar Schmitz to Wildenstein and Co., Paris and New York [see note 6], 1940, sold by Wildenstein to John Taylor Spaulding (b. 1870 - d. 1948), Boston, 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948);NOTES;[1] This painting, or a closely-related variant (Mannheim, Städtische Kunsthalle), is depicted in Bazille's "The Artist's Studio, Rue Visconti, Paris" of 1867 (Richmond, Virginia Museum of Fine Arts).;[2] See Daniel Wildenstein, "Monet: catalogue raisonné" (1996), vol. 2, p. 21, cat. no. 33.;[3] The painting was probably with the Paris branch of this London-based gallery. The dates of the Durand-Ruel transactions are taken from Henri Loyrette and Gary Tinterow, "Origins of Impressionism, 1859-1869" (exh cat. Réunion des Musées Nationaux, Paris and Metropolitan Museum of Art, New York, 1994-1995), p. 425. cat. no. 124.;[4] While with the Galerie Thannhauser, the painting was published by Georg Biermann, "Die Kunst auf dem internationalen Markt. Gemälde aus dem Besitz der modernen Galerie Thannhauser, München," Der Cicerone, no. 21 (May 1913), p. 325 and in the Katalog der Modernen Galerie Heinrich Thannhauser München (Munich, 1916), cat. no. 26, see below, n. 5.;[5] According to "La Collection Oscar Schmitz" (exh. cat., Wildenstein and Co., Paris, 1936), p. 90, cat. no. 40, Schmitz acquired the painting in 1915. Though it was illustrated in the Katalog der Modernen Galerie Heinrich Thannhauser München, published in 1916 (see above, n. 4), it is still quite possible that Schmitz purchased the painting from Thannhauser in 1915, after the gallery catalogue went to press but before its publication in 1916. In 1931, Schmitz left Germany and moved his collection to Switzerland. It was exhibited at the Kunsthaus, Zürich, "Sammlung Oscar Schmitz," January 14-February 14, 1932, cat. no. 45, as "Rue dans une ville de Normandie.;[6] A large portion of the Schmitz collection was for sale as early as 1934. In 1936, Wildenstein acquired it and held the exhibition "La Collection Oscar Schmitz" (as above, n. 5). See Heike Biedermann, "Die Sammlungen Adolf Rothermundt und Oscar Schmitz in Dresden," in "Die Modernen und ihre Sammler: Französische Kunst im deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik," ed. Andrea Pophanken and Felix Billeter (Berlin, 2001), 213-222.
https://collections.mfa.org/objects/33599/ingeborg-kaurin-later-ingeborg-onsager1913, sold in Stockholm [see note 1]. 1913 until 1916, Carl Steinbart, Berlin. 1916, Galerie Thannhauser, Munich (stock no. 4268) [see note 2]. By 1927 until 1932, Gerd and Otto Nyquist, Oslo. 1932, Wangs Kunsthandel, Oslo. 1932, Thomas Olsen, Oslo [see note 3], 1957, sold by Olsen to Galleri Kaare Berntsen, Oslo, 1957, sold by Berntsen to the MFA. (Accession Date: December 12, 1957);NOTES;[1] Many thanks are due to Gerd Woll for helping to establish the provenance of this painting (e-mail correspondence in MFA curatorial file: January 12, 2005 and December 6, 2007). The picture was included in the exhibition "Edvard Munch," Konstnärshuset, Stockholm, September, 1913. A photograph of the exhibition shows a label marked "sold" hanging on the painting.;[2] See "Katalog der modernen Galerie Heinrich Thannhauser, München" (Munich, 1916), 154. The stock number is taken from a label on the reverse of the stretcher. [3] Olsen lent the painting to the exhibition "Edvard Munch. Utstilling malerier, akvareller, tegninger, grafik" (Kunstnernes Hus, Oslo, November 10 - December 16, 1951), cat. no. 89 (as "Ingeborg").
https://collections.mfa.org/objects/32816/portrait-of-a-man-and-woman-in-an-interiorFebruary 17, 1802, anonymous ("M. W...") sale, Rue de Bouloy, Paris, lot 27 [see note 1]. May 17, 1824, anonymous sale, Hôtel de Bullion, Paris, lot 48 [see note 2]. 1841, Charles-August-Louis Joseph (b. 1811 - d. 1865), Duc de Morny, April 27, 1841, Morny sale, G. Benou, Paris, lot 17, unsold, November 25, 1842, Morny sale, Paillet, Paris, lot 14, unsold, February 25-26, 1845, Morny sale, Hôtel des Ventes, Paris, lot 63 [see note 3], sold for 1,505 francs to Cousin. Désiré van den Schrieck (b. 1786 - d. 1857), Louvain, April 8-10, 1861, posthumous Schrieck sale, at his gallery, Louvain, lot 68, sold to Ferdinand Laneuville (d. 1866) for 3,500 francs, possibly for the Comte Duchâtel, Paris [see note 4]. By 1934, Robert Lebel (b. 1901 - d. 1986), Paris [see note 5], between 1934 and 1936, sold by Lebel to Walter Westfeld (b. 1889 - d. after 1942), Elberfeld (Wuppertal) and Düsseldorf, Germany [see note 6]. 1941, E. and A. Silberman Galleries, New York [see note 7], 1941, sold by Silberman to the MFA for $7500. (Accession Date: December 11, 1941);NOTES;[1] Described as a work on panel by Eglon van der Neer, 27 by 25 inches, depicting a Dutch couple whose black dress indicates they are a burgomaster and his wife, sitting in an interior with a fireplace and a table with fruit on it.;[2] Eddy Schavemaker kindly provided this information.;[3] The paintings included in the February 1845 sale were sold on Morny's behalf under the name of Jean-Jacques Meffre, who served as his art advisor and painting conservator. See Robin Emlein, "La Collection du duc de Morny, Étude du goût pour les écoles du Nord en France au XIXe siècle," Master's thesis, École du Louvre, 2007, vol. 1, pp. 41-44 and vol. 2, pp. 121-122 (cat. B100).;[4] Émile Leclercq, "Correspondance Particulière," Gazette des Beaux-Arts 1861, pp. 180-181. Laneuville, an expert at the sale, was also buying for the Comte Duchâtel. This painting, however, does not appear in subsequent sales of paintings from the Comte Duchâtel collection.;[5] The painting was included in the exhibition held at Robert Lebel's gallery at 13, rue de Seine, Paris, "Une Collection de Tableaux de Petits Maitres Hollandais & Flamands," December 11-28, 1934, cat. no. 25. An old photograph of the painting exists in Lebel's photographic archive, it is annotated on the back: "Eglon van der Neer.;[6] Robert Lebel visited the MFA on October 8, 1943 and told curator W. G. Constable that he had sold this painting to Walter Westfeld around 1937. According to a letter from Walter Westfeld's brother to the MFA (February 6, 1944), Lebel had written to him in the fall of 1943 as well, stating that around 1935/1936 he had sold the painting to Westfeld, who had it at the Galerie Kleucker and "at a time, in Amsterdam." A painting described as a Company Scene by Eglon van der Neer, which is probably the present painting, was exhibited at the Galerie August Kleucker, Düsseldorf, in mid-May, 1936.;[7] A photograph of the painting, supplied to the MFA by Silberman, bears W. R. Valentiner's authentication on the reverse, dated May 15, 1941. The painting was first offered to the MFA on June 3, 1941. A subsequent letter from dealer Abris Silberman to W. G. Constable of the MFA (June 3, 1942) states that "the painting was brought to this country by a refugee some time ago" but had never been in a U.S. collection. Attempts to determine when and how Silberman acquired the work have not been successful.;ADDITIONAL INFORMATION;In 1920 Walter Westfeld opened a gallery that bore his name in Elberfeld (present-day Wuppertal). However, under the Nazi regime he was forced to discontinue his business because he was Jewish, the Galerie Walter Westfeld officially closed on May 27, 1936. Several months later, his associate August Kleucker was put in charge of liquidating the gallery stock through the Galerie Kleucker in Düsseldorf. It is not known whether this painting had formed part of Westfeld's gallery stock or whether he owned it privately, thus it is not known if it was part of the 1936 liquidation through Kleucker. In the fall of 1937, Westfeld was forced to turn over to the Gestapo a list of all the works of art still in his possession, the Van der Neer does not appear on this list. Whether it was no longer in Westfeld's possession at this time, or had been deliberately left off the list, is uncertain.;In November 1938 Westfeld was arrested for foreign exchange violations. He was subsequently found guilty of having -- after the closure of his gallery -- illegally shipped works of art and other assets abroad, to Paris and Amsterdam, and of continuing to sell his own works of art through Kleucker. Whether the Van der Neer left his possession in one of these ways is not known. According to correspondence from a family member to the MFA (November 11, 2004), Westfeld had paintings and other valuables at the Rotterdamse Wisselbank in Amsterdam as late as 1939, again, it is not known if the Van der Neer could have been among these. The valuables were apparently taken unlawfully and sold during World War II, and remain untraced.;In 1939 Nazi authorities seized Westfeld's remaining art assets in Germany and auctioned them through Lempertz, Cologne, on December 12-13, 1939. The Van der Neer painting was not included in this sale.;After Westfeld's trial in Nazi Germany, he served a prison sentence at Lüttringhausen. In 1942 he was sent to the Theresienstadt concentration camp and, in 1943, to Auschwitz. He was declared deceased at the end of World War II.;In June, 2011 the MFA reached a financial settlement with the heirs and the estate of Walter Westfeld for the Portrait of a Man and Woman in an Interior, allowing the work to remain at the museum. This was based on a review of the above research, which outlines a limited number of ways the painting could have left his possession. It seems unlikely that Westfeld gave or sold the painting voluntarily after the closure of his gallery in May, 1936. Rather, as a Jewish art dealer living in Nazi Germany, he probably disposed of it due to persecution.;Bibliography: Herbert Schmidt, Der Elendsweg der Düsseldorfer Juden: Chronologie des Schreckens, 1933-1945 (Düsseldorf: Droste, 2005), pp. 273-278, Victoria S. Reed, "Walter Westfeld (1889-1943?), Art Dealer in Nazi Germany," in Vitalizing Memory: International Perspectives in Provenance Research (Washington, DC: American Association of Museums, 2005), Monika Tatzkow, in Verlorene Bilder, Verlorene Leben: Jüdische Sammler und was aus ihren Kunstwerken wurde (Munich, 2009), pp. 87-97, and Victoria Reed, "Walter Westfeld and the van der Neer Portrait in Boston: The Case Study of a Jewish Art Dealer in Düsseldorf," in Alfred Flechtheim: Raubkunst und Restitution, ed. Andrea Bambi and Axel Drecoll, Schriftenreihe der Vierteljahrshefte für Zeitgeschichte, vol. 110 (Berlin: Walther de Gruyter, 2015), pp. 179-188.
https://collections.mfa.org/objects/33580/fountain-of-trevi-rome1926, A.S. Drey, Munich;1926, sold by Drey to M. Knoedler & Co., London (Knoedler stock no. 16461);1927, sold by Knoedler to Jay Cooke;1938, sold by Cooke back to Knoedler;1940, sold by Knoedler to Miss Lucy Turman Aldrich (d. 1955), Boston;1955, by inheritance to her brother, William Truman Aldrich, Brookline, MA;1957, gift of Aldrich to the MFA. (Accession date: January 10, 1957)
https://collections.mfa.org/objects/33319/portrait-of-a-man-seated-in-an-armchair-said-to-be-williamBy descent within the family of the sitter to Mrs. J. Cunningham, December 1, 1910, sold by Mrs. Cunningham to Thomas Agnew and Sons, London (stock no. 3523) [see note 1], August 11, 1911, sold by Agnew to Marczell von Nemes (b. 1866 - d. 1930), Budapest and Munich. 1913, acquired by a Mr. Brunner [see note 2]. 1915, Ehrich Galleries, New York [see note 3]. 1916, Doll and Richards, Boston, March 21, 1916, sold by Doll and Richards to John Taylor Spaulding (b. 1870 - d. 1948), Boston, 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948);NOTES;[1] Sold as a portrait of "Mr. Fairlie of Fairlie.;[2] When John Taylor Spaulding acquired the portrait in 1916, Ehrich Galleries forwarded him a letter (December 20, 1913) from Raeburn scholar James Greig to a Mr. Brunner (no address) congratulating him on his "possession of the portrait of Mr. Fairlie.;[3] Included in the "Exhibition of Paintings by Gainsborough, Reynolds, Raeburn" (Ehrich Galleries, New York, March 22-April 10, 1915).
https://collections.mfa.org/objects/33143/hercules-as-heroic-virtue-overcoming-discord1904, Fontaine-Flament, Lille, France, June 10, 1904, Fontaine-Flament sale, Galerie Georges Petit, Paris, lot 47, to Charles Sedelmeyer, Paris, June 3-5, 1907, Sedelmeyer sale, Galerie Sedelmeyer, Paris, lot 42, to Giskoff [see note 1]. 1919, Marczell von Nemes, Budapest and Munich, March 19, 1919, Nemes sale, Hotel Drouot, Paris, lot 19, to François Monod (b. 1877), Paris. Dr. Fritz Rothman (b. 1893), London, by 1946, sold by Rothman to Agnew and Sons, London [see note 2], 1947, sold by Agnew to the MFA for £2000. (Accession Date: December 11, 1947);NOTES;[1] The buyer's name is annotated in a copy of the auction catalogue.;[2] According to correspondence from Agnew's to the MFA (August 31, 2004), Dr. Rothman sold the painting to the gallery. It was included in Agnew's Summer Exhibition (June, 1946), no. 18.
https://collections.mfa.org/objects/32718/view-of-alkmaar1824, Eugène de Beauharnais (b. 1781 - d. 1824), 1st Duke Leuchtenberg, Milan and Munich [see note 1], by descent within the family, until about 1904/1907, to Georg, 5th Duke Leuchtenberg (b. 1872 - d. 1929), St. Petersburg and Seeon Castle, Bavaria, Germany [see note 2]. By 1939, with Hans Gronau (b. 1904 - d. 1951), London, possibly representing Arnold Seligmann, Rey and Co., Paris and New York [see note 3], 1939, sold by Arnold Seligmann Rey and Co. to the MFA for $15,000. (Accession Date: December 14, 1939);NOTES;[1] First published in "Catalogue des Tableaux de la Galerie de son Altesse Royale, Monsieur le Duc de Leuchtenberg à Munich" (Munich, 1825), p. 41. cat. no. 108.;[2] The painting was published in “Les Tableaux de la collection du duc G. N. de Leuchtenberg,” Les Trésors d’art en Russie 4 (1904). It was mentioned as having been "until recently" in the collection of Georg von Leuchtenberg by A. Neoustroieff, "Niederländische Gemälde in der Kaiserlichen Akademie der Künste zu St. Petersburg," Zeitschrift für bildende Kunst, n. F., 18 (1907): 39.;[3] W. G. Constable saw the painting with Gronau in London in the summer of 1939, at which time Gronau quoted a sale price. The painting was then shipped to Arnold Seligmann, Rey and Co. in New York, whose representative stated that the Ruisdael "is our property." The reverse of the painting's stretcher has a French shipping label bearing Gronau's name and "A[rnold] S[eligmann] Rey.
https://collections.mfa.org/objects/35585/still-life-with-fruit-wanli-porcelain-and-squirrelSchaumburg-Lippe collection, Germany [see note 1]. December 16, 1929, Régine Chasles and others sale, Galerie Fievez, Brussels, lot 90. 1934, Kunsthaus A.G., Lucerne, Switzerland. By 1956, Edmond Meert, Saint-Nicholas-Waas, Belgium [see note 2]. Deschandau collection, Belgium [see note 3]. 1970, with Edward Speelman, Ltd., London, 1970, sold by Speelman to Robert H. Smith, Arlington, VA [see note 4], 1993, sold by Smith to the MFA. (Accession Date: September 22, 1993);NOTES;[1] The provenance given here (to 1956) is taken from Hella Robels, "Frans Snyders, Stilleben- und Tiermaler, 1579-1657" (Munich, 1989), p. 261, cat. no. 125.;[2] Edith Greindl, "Les peintres flamandes de nature morte au XVIIe siècle" (Brussels, 1956), p. 181, published the painting as in the collection of Edmond Meert, though when he acquired it and when it left his possession have not been established.;[3] According to information provided by Anthony Speelman of Edward Speelman, Ltd. (May 17, 2004). The dates of ownership are not known, nor has it been established whether Speelman acquired the painting directly from this collection.;[4] That the painting was purchased from Speelman in 1970 is information provided by Robert Smith in a letter to Peter C. Sutton of the MFA (July 14, 1993, in MFA curatorial file).
https://collections.mfa.org/objects/33670/portrait-of-a-manRobert Zahn (d. by 1917), Plauen, Germany, November 21, 1917, posthumous Zahn sale, Helbing, Munich, lot 38. Private collection, Italy, sold from private collection to Baron Detlev von Hadeln (b. 1878 - d. 1935), about 1931 or 1934, sold by Baron von Hadeln to Rudolf J. Heinemann (b. 1902 - d. 1975), New York [see note 1], 1960, gift of Rudolf J. Heinemann to the MFA. (Accession Date: December 14, 1960);NOTES;[1] A letter from Rudolph Heinemann to Thomas N. Maytham of the MFA (June 7, 1961, in MFA curatorial file) states that the picture had been in his possession "since about 1931 or 1934," when he purchased it from Hadeln, Hadeln was said to have acquired it from an Italian nobleman.
https://collections.mfa.org/objects/433123/woman-seated-in-bedBy 1913, Théodore Duret (b. 1838 - d. 1927), Paris [see note 1]. Bruno Cassirer (b. 1872 - d. 1941), Berlin. By 1931, Jakob Goldschmidt (b. 1882 - d. 1955), Berlin, December 22, 1931, transferred by Goldschmidt to the Darmstädter- und Nationalbank (Danatbank) but physically retained by Goldschmidt [see note 2], April 11, 1932, transferred to August Thyssen Iron and Steel Works but physically retained by Goldschmidt [see note 3], after 1933, ownership transferred back to Goldschmidt but remained in Berlin, 1941, confiscated by the Finance Ministry of the Nazi regime [see note 4], September 25, 1941, Goldschmidt auction, Hans W. Lange, Berlin, lot 53, sold for 64,000 RM to Baroness von der Goltz, Wannsee bei Berlin, 1955, restituted to Jakob Goldschmidt, New York, probably sold by Goldschmidt to Justin K. Thannhauser (b. 1892 - d. 1976), New York, sold by Thannhauser to Arthur K. Solomon (b. 1912 - d. 2002), Cambridge, MA, 2004, gift of the Arthur K. Solomon collection to the MFA. (Accession Date: June 23, 2004);NOTES;[1] Duret lent the painting to the exhibitions "Französische Kunst des XIX. Jahrhunderts," Galerie Heinemann, Munich, April 1913, no. 178, and "Exposition d'art français du XIXe siècle," Dansk Kunstmuseums Forening, Copenhagen, May 15 - June 30, 1914, no. 214.;[2] The Danat Bank obtained full legal ownership of Goldschmidt's art collection as security against his debts. Goldschmidt retained physical possession of the collection and insured and cared for it. Once his debts were paid off, ownership was to be transferred back to him.;[3] Ownership of the art collection was transferred in 1932, when Thyssen took over 3 million RM of Goldschmidt's debt at the Danatbank (taken over that year by the Dresdner Bank). The painting remained in Goldschmidt's home.;[4] Goldschmidt's assets were confiscated by the Finance Ministry and auctioned, with the proceeds going to the Nazi regime.
https://collections.mfa.org/objects/33534/breakfast-still-life-with-glass-and-metalwork1926, Linnartz, Schloss Schlesisch-Nettkow, Germany, March 23, 1926, Linnartz sale, Lepke, Berlin, lot 117 [see note 1], May 24, 1927, sold by Lepke, Berlin to Pieter de Boer, Amsterdam, 1927, sold by de Boer to Jacques Goudstikker, Amsterdam, November 14, 1927, sold by Goudstikker to Julius Böhler, Munich (stock no. 27,235), March 12, 1930, sold by Böhler to Böhler and Steinmeyer, Lucerne [see note 2], May 24, 1930, sold by Böhler and Steinmeyer to Charles Bain Hoyt (b. 1889 - d. 1949), Lucerne and New York, from Hoyt to an anonymous donor, 1954, anonymous gift to the MFA. (Accession Date: December 8, 1954);NOTES;[1] Attributed in the catalogue to W. C. Heda. [2] Julius Böhler co-founded Böhler and Steinmeyer.
https://collections.mfa.org/objects/83838/wiencyzyslawa-barczewksa-madame-de-jurjewicz1928, Comtesse Jean de Quélen, France [see note 1]. By 1936 until at least 1988, Bussière collection, France [see note 2]. 1998, Konrad O. Bernheimer, Munich, 1998, sold by Bernheimer to the MFA. (Accession Date: October 21, 1998);NOTES;[1] She lent this to "L'exposition Winterhalter (Portraits de Dames du Second Empire)" (Jacques Seligmann et Fils, Paris, May 25 - June 15, 1928), cat. no. 14. [2] The Baronne de Bussière lent this to the exhibition "Winterhalter" (Knoedler, London, December 3-16, 1936), cat. no. 19 and the Baron de Bussière lent it to the exhibition "Franz Xaver Winterhalter and the Courts of Europe, 1830-1870" (National Portrait Gallery, London, and Petit Palais, Paris, 1987-1988), cat. no. 62.
http://records.collectionstrust.org.uk/spoliation/french-limoges-when-bought-considered-to-be-by-jean-ii-penicaud-and-about-1540-but-now-thought-to-be-19th-centuryAuction: Amsterdam: Muller 13/14 November 1928, sale of part of the collection of Marczell von Nemes (Hungarian art collector living in Munich 1866-1930). Said by F.A. Drey to have come from the "Pringsheim sale, Germany", and said by W.B. Honey to have been "formerly in the Pringsheim Collection". It is illustrated as plate 116 (wrongly captioned as Jean I Penicaud), in Willy Burger's "Abendlaendische Schmelzarbeiten" (1930) where it is described as being in a private collection.
http://records.collectionstrust.org.uk/spoliation/giovanni-battista-tiepolo-38Francis Capel-Cure;by whom sold at Christie's, London, May 6 1905 (66);where bought by Hofantiquar J. Bohler, Munich;from whom bought by Baron von Stumm, Holzhausen in 1906.;Count Zoubow, Paris, by c.1932;from whom acquired by Seilern in 1952.
http://records.collectionstrust.org.uk/spoliation/giovanni-battista-tiepolo-45Tomas Harris, London, 1928/9.;F. Rothmann, Berlin.;Caspari, Munich.;Frey, Paris.;A.C. Canessa, Rome;from whom acquired by Seilern in 1959.
http://records.collectionstrust.org.uk/spoliation/lutma-the-elder-janus-ca-1584-1669Adalbert von Lanna, Prague (1836-1909), L.2773;his estate sale, H.G. Gutekunst (Stuttgart), 6 - 11 May 1910, lot 361;Hess (Munich);purchased there by Sir Robert Witt, London (1872-1952), L.2228b, n.d. (15 shillings);Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/lutma-the-elder-janus-ca-1584-1669-2Adalbert von Lanna, Prague (1836-1909), L.2773;his estate sale, H.G. Gutekunst (Stuttgart), 6 - 11 May 1910, lot 361;Hess (Munich);purchased there by Sir Robert Witt, London (1872-1952), L.2228b, n.d. (15 shillings);Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/lutma-the-elder-janus-ca-1584-1669-3Adalbert von Lanna, Prague (1836-1909), L.2773;his estate sale, H.G. Gutekunst (Stuttgart), 6 - 11 May 1910, lot 361;Hess (Munich);purchased there by Sir Robert Witt, London (1872-1952), L.2228b, n.d. (15 shillings);Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/lutma-the-elder-janus-ca-1584-1669-4Adalbert von Lanna, Prague (1836-1909), L.2773;his estate sale, H.G. Gutekunst (Stuttgart), 6 - 11 May 1910, lot 361;Hess (Munich);purchased there by Sir Robert Witt, London (1872-1952), L.2228b, n.d. (15 shillings);Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/lutma-the-elder-janus-ca-1584-1669-5Adalbert von Lanna, Prague (1836-1909), L.2773;his estate sale, H.G. Gutekunst (Stuttgart), 6 - 11 May 1910, lot 361;Hess (Munich);purchased there by Sir Robert Witt, London (1872-1952), L.2228b, n.d. (15 shillings);Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/lutma-the-elder-janus-ca-1584-1669-6Adalbert von Lanna, Prague (1836-1909), L.2773;his estate sale, H.G. Gutekunst (Stuttgart), 6 - 11 May 1910, lot 361;Hess (Munich);purchased there by Sir Robert Witt, London (1872-1952), L.2228b, n.d. (15 shillings);Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/oskar-kokoschkaMarcell von Nemes, Munich.;Grete Ring, London;from whom acquired by Seilern in 1939/45.
http://records.collectionstrust.org.uk/spoliation/spitzweg-carl-1808-1885the artist's posthumous sale, H. Helbing (Munich), 9 April 1908, L.2307;Sir Robert Witt, London (1872-1952), L.2228b;Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/giovanni-battista-tiepolo-3possibly given by the artist’s son Domenico to Johann Dominik Bossi, Munich (1767-1853);by descent to his daughter Maria Theresa Caroline (1825-1881) and her husband, Carl Christian Friedrich Beyerlen (1826-1881);their estate sale, H.G. Gutekunst (Stuttgart), 27 March 1882;a 'foreign nobleman', possibly Prince Trivulzio, whose property was consigned by Pollak and Winternitz (Vienna) to Sotheby's (London), 13 July 1937, lot 52;purchased there by Dr Alfred Scharf, London (1900-1965), presumably on behalf of Count Antoine Seilern, London (1901-1978);Princes Gate Bequest 1978
http://records.collectionstrust.org.uk/spoliation/tiepolo-giovanni-battista-1696-1770-4possibly given by the artist's son Domenico to Johann Dominik Bossi, Munich (1767-1853);by descent to his daughter Maria Theresa Caroline (1825-1881) and her husband, Carl Christian Friedrich Beyerlen (1826-1881);their estate sale, H.G. Gutekunst (Stuttgart), 27 March 1882;purchased there by Dr O. Eisenmann, Cassel, on behalf of Wilhelm Lübke (1826-1893);purchased from his estate by Joseph Baer & Sons (Frankfurt);purchased there by Dr Hans Wendland, Lugano, by 1925;acquired by Colnaghi (London) between May and November 1929;Christian M. Nebehay (Vienna);purchased there by Count Antoine Seilern, London (1901-1978), by April 1936;Princes Gate Bequest 1978
http://records.collectionstrust.org.uk/spoliation/giovanni-battista-tiepolo-10possibly given by the artist’s son Domenico to Johann Dominik Bossi, Munich (1767-1853);by descent to his daughter Maria Theresa Caroline (1825-1881) and her husband, Carl Christian Friedrich Beyerlen (1826-1881);their estate sale, H.G. Gutekunst (Stuttgart), 27 March 1882;purchased there by Galerie-Inspektor Kräutle;a 'foreign nobleman', possibly Prince Trivulzio, whose property was consigned by Pollak and Winternitz (Vienna) to Sotheby's (London), 13 July 1937, lot 62;purchased there by Dr Alfred Scharf, London (1900-1965) presumably on behalf of Count Antoine Seilern, London (1901-1978);Princes Gate Bequest 1978
http://records.collectionstrust.org.uk/spoliation/giovanni-domenico-tiepolo-2possibly given by the artist’s son Domenico to Johann Dominik Bossi, Munich (1767-1853);by descent to his daughter Maria Theresa Caroline (1825-1881) and her husband, Carl Christian Friedrich Beyerlen (1826-1881);their estate sale, H.G. Gutekunst (Stuttgart), 27 March 1882;Stephen Higgins (Paris);purchased from him by Colnaghi (London), 26 April 1957;purchased there by Count Antoine Seilern (1901-1978), 3 May 1957 (£350);Princes Gate Bequest 1978
http://records.collectionstrust.org.uk/spoliation/tiepolo-giovanni-domenico-1727-1804-attributed-topossibly given by the artist’s son Domenico to Johann Dominik Bossi, Munich (1767-1853);by descent to his daughter Maria Theresa Caroline (1825-1881) and her husband, Carl Christian Friedrich Beyerlen (1826-1881);their estate sale, H.G. Gutekunst (Stuttgart), 27 March 1882;consigned by Nebehay (Vienna) to Gilhofer & Ranschburg (Lucerne), 28 June 1934, lot 294;purchased there by Count Antoine Seilern (1901-1978);Princes Gate Bequest 1978
http://records.collectionstrust.org.uk/spoliation/tiepolo-giovanni-battista-1696-1770-attributed-to-alternatively-attributed-to-tiepolo-lorenzo-1736-1772possibly given by the artist's son Domenico to Johann Dominik Bossi, Munich (1767-1853);by descent to his daughter Maria Theresa Caroline (1825-1881) and her husband, Carl Christian Friedrich Beyerlen (1826-1881);their estate sale, H.G. Gutekunst (Stuttgart), 27 March 1882;a 'foreign nobleman', possibly Prince Trivulzio, whose property was consigned by Pollak and Winternitz (Vienna) to Sotheby's (London), 13 July 1937, lot 39;purchased there by Sir Robert Witt, London (1872-1952), L.2228b;Witt Bequest 1952
http://records.collectionstrust.org.uk/spoliation/bowlLuigi Grassi, Florence, A.S. Drey, Munich, Alfred Pringsheim (1850-1941), Munich, before 1914, sold, Sotheby's, 19 June 1939, lot 250, bought by Louis C.G. Clarke, Cambridge
http://records.collectionstrust.org.uk/spoliation/broad-rimmed-bowl-5Conte Ferdinando Pasolini Dall'Onda, Faenza, Paris, Ridel, 14 December 1853, lot 171, Andrew Fountaine IV (1808-73), his heir, Christie's, 16 June 1884, lot 39, Lowengard, Bourgeois Fr?res, Cologne, Heberle, 19-27 October 1904, lot 93, Alfred Pringsheim (1850-1941), Munich, before 1923, sold Sotheby's, 20 July 1939, lot 390, bought by Marmaduke Langdale Horn, Stoke Charity, near Winchester.
http://records.collectionstrust.org.uk/spoliation/dish-12Andrew Fountaine IV, his heir, Christie's, 17 June 1884, lot 156, Prof. Hermann, Alfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold, Sotheby's, 7 June 1939, lot 74, bought by Louis C.G. Clarke, Cambridge
http://records.collectionstrust.org.uk/spoliation/dish-13Alfred Pringsheim (1850-1941), Munich before 1923, sold Sotheby's, 19 July 1939,first part of lot 277, bought by H.S. Reitlinger (1885-1950), London, the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/dish-with-scalloped-rimAlfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold Sotheby's, 20 July 1939, lot 379, bought by H.S. Reitlinger (1885-1950), London, the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/emil-noldeSold, A. Weinmuller, Munich, 1967, bought Piccadilly Gallery, from whom purchased by the Friends of The Fitzwilliam Museum
http://records.collectionstrust.org.uk/spoliation/globular-pharmacy-jarC. & S. Bourgeois Fr?res, Cologne, Heberle, 19-27 October, 1904, lot 110, Alfred Pringsheim (1850-1941), Munich before 1923, sold Sotheby's, 19 July 1939, lot 240, bought by H.S. Reitlinger (1885-1950), London, the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/hans-rottenhammer-and-jan-i-brueghelE.Permann, Stockholm, sold Bukowski, spring 1980, bought David Carritt with Levie of Munich, from whom bought.
http://records.collectionstrust.org.uk/spoliation/mauch-danielPurchased in Munich, 1934, by Otto Wertheimer, Paris;Sold to H Weiss, Sagen and London;Bought from them by Edith M. Mendelssohn Bartholdy.
http://records.collectionstrust.org.uk/spoliation/one-handled-jarAlfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold Sotheby's, 19 July 1939, lot 203, E.L. Paget, sold Sotheby's, 11 October 1949, lot 7, bought by the Fitzwilliam Museum.
http://records.collectionstrust.org.uk/spoliation/panel-the-adoration-of-the-shepherds-in-a-landscapeAlfred Pringsheim (1850-1941), Munich, before 1923, sold Sotheby's, 19 July 1939, lot 288, bought by H.S. Reitlinger (1885-1950), London., the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/pharmacy-jar-waisted-albarello-formAlfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold Sotheby's, 7 June 1939, lot 45, bought by H.S. Reitlinger (1885-1950), London: the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/plate-6Alfred Pringsheim (1850-1941), Munich, before 1923, sold, Sotheby's, 7 June 1939, lot 97, bought by the Fitzwilliam Museum.
http://records.collectionstrust.org.uk/spoliation/plate-7Geremia Delsette, probably sold Paris, Delbergue, 12 April 1866. Andrew Fountaine IV (1808-73), his heir, Christie's, 16 June 1884, lot 45, Charles Mannheim, J. Pierpont Morgan, Alfred Pringsheim (1850-1941), Munich before 1929 when published, sold, Sotheby's, 7 June 1939, lot 33, bought by the Fitzwilliam Museum.
http://records.collectionstrust.org.uk/spoliation/plate-8Alfred Pringsheim (1850-1941), Munich, before 1923, sold, Sotheby's, 19 July 1939, lot 256, bought by the Fitzwilliam Museum.
http://records.collectionstrust.org.uk/spoliation/plate-9Comm. Giuseppe Cavalieri, Milan, Palazzo Cova, 25-30 May 1914, lot 192, uncertain, Alfred Pringsheim (1850-1941), Munich, before 1923, sold Sotheby's, 20 July 1939, part of lot 377(1), bought by H.S. Reitlinger (1885-1950), London, the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/plate-10Alfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold Sotheby's, 20 July 1939, second part of lot 377, bought by H.S. Reitlinger (1885-1950), London, the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/shallow-basin-for-a-ewerAlfred Pringsheim (1850-1941), Munich before 1923, sold, Sotheby's, 7 June 1939, lot 24, bought by Louis C.G. Clarke, Cambridge
http://records.collectionstrust.org.uk/spoliation/spouted-vessel-with-handleProbably Conte Ferdinando Pasolini Dall'Onda, uncertain, Alfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold Sotheby's, 19 July 1939, part of lot 277, bought by H.S. Reitlinger (1885-1950), London, the Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/two-handled-pharmacy-jarAlfred Pringsheim (1850-1941), Munich, almost certainly before 1930, sold Sotheby's, 7 June 1939, lot 43, bought by H.S. Reitlinger (1885-1950), London, The Reitlinger Trust, Maidenhead
http://records.collectionstrust.org.uk/spoliation/two-handled-vase-2Alfred Pringsheim (1850-1941), Munich before 1914, sold, Sotheby's, 7 June 1939, lot 22, bought by the Fitzwilliam Museum.
http://records.collectionstrust.org.uk/spoliation/workshop-of-severo-calzetta-severo-da-ravenna-italy-ravenna-first-half-16th-centuryMargarete Oppenheim, Munich, her sale, Julius B?hler, Munich, 18 May 1936, lot 31, pl. 4;purchased Leitch & Kerin, London;from whom purchased on 13 April 1937 by Lt Col. the Hon. M.T. Boscawen, DSO MC;lent to The Fitzwilliam Museum in 1946
http://records.collectionstrust.org.uk/spoliation/switzerland-3rd-quarter-of-the-15th-century-4English private collection', A.S. Drey, Munich (In Drey's collection by 1931, see article by Betty Kurth in Pantheon, 1931, 6, p.234), acquired by Burrell from John Hunt by 13 February (but insured by Burrell from 10 January) 1939.
http://records.collectionstrust.org.uk/spoliation/upper-rhineland-early-15th-centuryBohler, Munich, Albert Figdor, Vienna (Cat. 1930, no. 15), acquired by Burrell from Robert Frank by or in October 1936.
http://records.collectionstrust.org.uk/spoliation/eduard-gaertnerErnst-Jürgen Otto, Berlin, until c.1950 {1}. Private collection, Munich. Hildegard Fritz- Denneville Fine Arts (dealer), London;bought by the National Gallery from Hildegard Fritz-Denneville Fine Arts (dealer), 1989.
http://records.collectionstrust.org.uk/spoliation/claude-monet-2Neue Staatsgalerie, Munich, 1907;De-accessioned by the museum (with other works) in January 1940 to Karl Haberstock, dealer in Berlin, in exchange for a painting by Hans Thoma {1}. Wildenstein (dealer), Paris {1}. Mr and Mrs Norman B. Woolworth, NY, 1954 {1}. Christie's, London, 19 June 1964. Agnew's (dealer), London;Sotheby's, London, 24 June 1996 (unsold);acquired by the National Gallery through Sotheby's, 1996.
http://records.collectionstrust.org.uk/spoliation/master-of-the-borgo-crucifix-master-of-the-franciscan-crucifixesRuef, Munich, 14/15 December 1989 {1};Private collection;bought by the National Gallery 1998.
http://records.collectionstrust.org.uk/spoliation/franz-anton-maulbertschBavarian private collection {1, 2}. Sold 5 December 2008 at Hampel Fine Art Auctions, Munich, lot 256. Ulrich Hofstaetter, Vienna. Bought by the National Gallery, 2013.
http://records.collectionstrust.org.uk/spoliation/renoir-pierre-augusteAcquired by Georg Caspari, Munich (1878 - 1930). Acquired by Kojiro Matsukata, Japan (1865 - 1950). The painting was with Matthiesen, London in 1946 and with the Lefevre Gallery, London in 1948. Purchased by Captain R. A. Peto of Bembridge, Isle of Wight and passed by descent to his wife, Mrs. Rosemary Peto.
http://records.collectionstrust.org.uk/spoliation/von-lenbach-franz-seraph-1836-1904C. 1887, given by the artist to the Countess Marie Kalckreuth, (1857-1897), MunichCollection of Waldemaar Croon Jr., Aix-la-Chapelle, Germany, from circa 1943 * +acquired by G.' Cramer, Javastraat 38, The Hague (art dealer), circa 1958 +
http://records.collectionstrust.org.uk/spoliation/daddi-bernardo-active-by-1327-died-1348W. Fuller Maitland Collection, Stansted Hall, by 1854by whom sold to R. Langton Douglas, c.1907with Julius Böhler, Munich, by 1917with the Spanish Art Gallery, London, by 1938 *from whom purchased by the Gallery in that year
http://records.collectionstrust.org.uk/spoliation/c-sigoniusCollection Graf von Firmian (ex libris);on upper cover pastedown in manuscript: '2037';bought: Karl & Faber, Munich, May 12, 1955 lot 486;Henry Davis, O.B.E., Belfast and London.
http://records.collectionstrust.org.uk/spoliation/j-actuariusMarcus Fugger (on endleaf, manuscript note: 'Arc.134/Nro.2.54' [Fugger's library shelf mark);Princes fron Oettingen-Wallerstein (library stamp on title page;sold: Munich, Karl and Faber, Auktion IX (III Teil), May 11, 1934, lot 223);Bought: Breslauer, January 1956
http://records.collectionstrust.org.uk/spoliation/loffice-de-la-semaine-sainte(Pierre) Du Cambout de Coislin (1636-1706);bought: Karl and Faber, Munich, May 12, 1955 lot 476;Henry Davis, O.B.E., Belfast and London.
http://records.collectionstrust.org.uk/spoliation/le-vite-de-santi-padriSister Sulpitia (Sulpizia) Campeggi (historic, name inscribed on binding from period). Karl & Faber, Munich, May 12, 1955 lot 489;Henry Davis, O.B.E., Belfast and London, acquired at the above auction sale.
http://records.collectionstrust.org.uk/spoliation/martin-luther-2Nikolaus von Ebleben (c.1514-1579);Karl & Faber, Munich (Fugger Sale, May 3, 1933 lot 104a);library stamp with initials EK;Lathrop Harper (sold: July 20, 1953);Henry Davis, O.B.E., Belfast and London.
http://records.collectionstrust.org.uk/spoliation/petrus-faberJohannes Mahuet, prize given by Antoine de Leoncourt at the Jesuit College of Pont-a-Mousson (endleaf in manuscript: 'Ex liberalitate & munificientia (...?) ac Reverendissime Domini D. Antonii a Lenoncourt SRJ Comitis a Lotharingia Primatis Joannis Mahuet quod primas orationis solutae Latinae in Tertia anno 1622 tulisset. Hoc libro in praemium publice donatus est anno 1623');seal of the Jesuit College of Pont-a-Mousson;Off [ici]er D'artillerie, Villers (library label);bought: Karl & Faber, Munich, May 12, 1955 lot 466;Henry Davis, O.B.E., Belfast and London
http://records.collectionstrust.org.uk/spoliation/beijeren-abraham-van-a535A.S. Drey, Munich (before 1930);with Dowes, Amsterdam, c. 1930.
http://records.collectionstrust.org.uk/spoliation/karel-dujardinH. A. J. Munro, London 1854;Prince P. Demidoff sale, San Donato near Florence, 1880, no. 1065;Sold in Paris 4th June 1891 No.11;Purchased by Agnew in Munich 1966.
http://records.collectionstrust.org.uk/spoliation/master-of-ulmHelbing sale, October 14, 1907 (174, as by Wolgemut).;Schwachenburg, Munich, c.1925.;L. Rosenthal, sale Sotheby's, April 29, 1937 (121, as Wolgemut);where accquired for Lee.
http://records.collectionstrust.org.uk/spoliation/spitzweg-a872aLugt, Helbing- Munich 9 April 1909
http://records.collectionstrust.org.uk/spoliation/beckmann-max-1884-1950I.B. Neumann,+ Berlin (later New York) 1920 owned for about 5 years;private collection c.1925*? Heinrich Fromm +;available for sale from Günther Franke,+ 23 June 1927 (Beckmann letter);exhibited in Max Beckmann: Gemälde und Graphik, Kestner-Gesellschaft, Hanover, January-February 1931 as 'private collection'*;Galerie Axel Vömel, Düsseldorf by 1938;Günther Franke,+ Munich, 1938;Klaus Hegewisch, Hamburg, 1971.
http://records.collectionstrust.org.uk/spoliation/corinth-lovis-1858-1925A. Degner, Berlin;V. Hartberg, Berlin;Auktion Keller und Reimer, Berlin July 1923;shown in Berliner Sezession, Konigsberg 1924 (14) no collection cited;W. Gurlitt, Munich*;Herr Melsheimer*;Acquired through Kunstsalon Franke, Baden-Baden 1991.
http://records.collectionstrust.org.uk/spoliation/paolo-veneziano-italian-venice-circa-1330from the Cathedral at Veglia, Croatia, sold early in 20th century to raise funds. Bernheimer, Munich, 1964
http://www.artic.edu/aic/collections/artwork/80570Parish church of San Andrés, Villamediana (Palencia) [based on their relation to paintings presumably from the same retable still in San Andrés]. Galerie Heinemann, Munich, probably by 1926 [this date is suggested by a paper label imprinted Galerie Heinemann, Munchen / 18734, and a customs label reading ZOLL / I-26]; sold to Joseph Winterbotham, Jr. (died 1954), Burlington, Vt., by 1936 [lent by him to the 1936 exhibition; an annotated list of loans gives Heinemann as the source for the picture; Silva Maroto 1990 stated that it was in the Winterbotham collection in 1933]; bequeathed to the Art Institute, 1954.
http://www.artic.edu/aic/collections/artwork/27309Reportedly in the Simonetti Collection, Rome. Walter Schackenberg, Munich, until 1938 [unsubstantiated note in curatorial file]. Dr. J. Schoenemann [unsubstantiated note in curatorial file]. Wentworth Green Field, Chicago, 1938; given to Art Institute, 1938.
http://www.artic.edu/aic/collections/artwork/12895Oliver Latham (d. 1850?), sold Christie's London, April 13, 1850, lot 27, to Mr. Hoare for 16 gns. William Lygon, 7th Earl Beauchamp, London (died 1936) [according to archival photograph and stockbook of Arthur Tooth and Sons; information kindly provided by Simon Matthews]. Arthur Tooth, London, 1939; sold to Karl Haberstock, Berlin, April 1, 1939 [according to Tooth stockbook cited above and Ein- und Verkaufsbuch for July 1936 - December 1939 preserved in the Haberstock Stiftung, Augsburg, copy in curatorial file; the pair of paintings are also documented in the Warenkontrollbücher of 1939, 1940, and 1941; in the last book it is listed as on deposit in the Dresdener Bank, Tegernsee]; consigned by Haberstock to Julius Böhler, Munich in 1950, [letter of January 29, 2001 from Jutte Fianke, Böhler]; sold by Böhler to E. and A. Silberman, New York, in January 1951 [according to the letter from Jutta Fianke cited above]. Arthur C. Tate, New Canaan, CT, 1957 [according to Hartford 1957 exhib. cat.]. E. and A. Silberman Galleries, New York, by 1960 [advertised in Burlington Magazine, December 1960]; sold to the Art Institute, 1961.
http://www.artic.edu/aic/collections/artwork/144969Bought by Friedrich Wilhelm III, King of Prussia from the artist in 1834 for 1000 Taler [acc. to records of Friedrich Wilhelm III’s acquisitions in Archiv der Verwaltung der Staatlichen Schlösser und Garten in Potsdam-Sanssouci: “28.11.1834 Blechen ‘Palmenhaus’ 200 Frd. Cour Die Kaiserinn” and “181. Journal Nr. 638. Blechen Palmenhaus 200 Frd. Cour,” see Uwe Simmons, research paper, ms, 1994, copy in curatorial file]; possibly given to his daughter Charlotte, the Tsarina Alexandra Fedorovna, wife of Tsar Nicholas I in November 1834; possibly part of the Russian imperial collection until after 1917. Swiss collection by c. 1920. Daxer and Marshall, Munich and James Mackinnon, London, by 1996; sold to the Art Institute, 1996.
http://www.artic.edu/aic/collections/artwork/100476Eberhard Freiherr von Bodenhausen (died 1918), Munich [according to Billeter 2001]; perhaps by inheritance to his wife Dora Freifrau von Bodenhausen. Martin Fabiani, Paris; sold to Gallery Fine Arts Associates (Otto Gerson), May 1951 [see Gallery Fine Arts Associates' stockcard, Otto Gerson Papers, Archives of American Art, copy in curatorial file]; sold to Mrs. Vincent Astor, Rhinebeck, New York, May 1951 [see stockcard citied above]. Mr. and Mrs. Werner E. Josten, New York, by 1964 [according to Compin 1964] until at least 1968 [New York 1968]. Private Collection, Maryland [information given by R. L. Feigen]. Richard L. Feigen and Co., by 1982; sold to the Art Institute, 1983.
http://www.artic.edu/aic/collections/artwork/79349Jack Aghion, Paris (died before 1914), by 1905 [lent by him to Paris 1905]. Carl Reininghaus, Vienna (died 1932), by 1909 to at least 1925 [lent by him to Vienna 1909, Berlin 1914, and Vienna 1925]. Probably Galerie Thannhauser, Munich and Berlin [according to annotated working list prepared for the Arts Club exhibition, Chicago 1936; copy in curatorial file]; probably sold by Galerie Thannhauser to Joseph Winterbotham, Jr. (died 1954), Burlington, Vt., by 1933 [purchase from Thannhauser is implied by context on working list cited above]; Joseph Winterbotham, Jr. (died 1954), Burlington, Vt., by 1933 to 1953 [Winterbotham placed the painting on deposit with Durand-Ruel Gallery, New York, on 13 November 1933, instructing that it be shipped to Chicago for temporary loan to the Art Institute, according to records of Durand-Ruel and Art Institute shipping receipt; the frame was sent separately from Burlington, Vt.]; given by Joseph Winterbotham to the Art Institute, 1953.
http://www.artic.edu/aic/collections/artwork/59891Hilmer Åberg, Sweden until 1928 [according to a letter of September 17, 1982, from Johan Norden, Bukowski-Auktioner, to Ilse Hecht in curatorial files]; sold Bukowski, Stockholm, September 13, 1928, no. 32, to Ball [according to letter cited above]; Max Ball, Berlin, and Z.M. Hackenbroch, Frankfurt, until at least 1930 [according to letter cited above; they lent it jointly to Cologne1930; since no owner is listed in Munich 1931, it was probably still on the market at that time]. Paul Tiocca, Paris, by 1936 [see Fraenger 1936; in a letter dated February 4, 1939 to Charles Worcester, Tiocca stated that the painting had been in his possession for many years]; sold to E. and A. Silberman Galleries, New York, 1937 [according to an article in the Chicago Tribune, May 5, 1937]; sold to Charles H. Worcester, Chicago, 1937 [invoice dated April 16, 1937, in curatorial files]; given to the Art Institute, 1947.
http://www.artic.edu/aic/collections/artwork/4896The second wife of the artist, Charlotte (Lolo) von Lenbach (died 1941), Munich, to at least December 1936 [see inscription on reverse]. General Heinrich Karl Knappstein, German Consul General, Chicago; given by Knappstein to Otto K. Eitel (died 1983), Chicago, sometime between 1950 and 1956 [see Paul Eitel letter of September 11, 1956, in curatorial file]; given by Mr. and Mrs. Otto K. Eitel to the Art Institute, 1956.
http://www.artic.edu/aic/collections/artwork/94144Sammlung Nell Walden, Berlin [verso]. Graphisches Kabinett, Munich, no earlier than 1935 and no later than 1939 [verso]. Marlborough-Gerson Inc. New York/ Marlborough Fine Art Ltd. London [letter in curatorial file]. Mr. and Mrs. Sigmund Kunstadter.
http://www.artic.edu/aic/collections/artwork/103139Sold by the artist to Durand-Ruel, Paris, May 11, 1904, for 9,000 francs. [1]

Sold by Durand-Ruel, Paris, to Paul Cassirer, Berlin, Nov. 28, 1904, for 11,500 francs. [2]

Acquired by Albrecht Guttmann, Berlin, by May 18, 1917. [3]

Sold at the Albrecht Guttmann, Berlin, sale, Paul Cassirer (Berlin) and Hugo Helbing (Munich), Berlin, May 18, 1917, lot 69. [4]

Acquired by Howard Young, New York. [5]

Acquired by Mrs. Potter Palmer, Chicago. [6]

Acquired by Anderson Gallery, Chicago, c. 1927. [7]

Sold by Anderson Gallery, Chicago, to William Redfield, Chicago, c. 1927. [8]

Given by William Redfield, Chicago, to his sister, Mrs. Mortimer B. (Ethel R.) Harris, Chicago, c. 1930. [9]

Given by Mrs. Mortimer B. (Ethel R.) Harris, Chicago, to the Art Institute of Chicago, beginning in 1984. [10]

NOTES

[1] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 7643, as La Tamise, Waterloo Bridge, temps couvert, 1901): “Purchased from Monet by DR Paris on 11 May 1904 for 9 000 F / Stock DR Paris no. 7643; Photo Druet [sic] no. 22 / (no. 11 of the exhibition),” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.

[2] The transaction is recorded in the Durand-Ruel, Paris, stock book for 1901–13 (no. 7643, as La Tamise, Waterloo Bridge, temps couvert, 1901): “Sold to Cassirer on 28 November 1904 for 11 500 F,” as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Feb. 21, 2013, curatorial object file, Art Institute of Chicago.

[3] See Paul Cassirer and Hugo Helbing, Moderne gemälde: Die sammlung Albrecht Guttmann und nachlass eines Berliner sammlers, sale cat. (Paul Cassirer and Hugo Helbing, May 18, 1917), lot. 69 (ill.), as Waterloo – Brücke in London.

[4] See Paul Cassirer and Hugo Helbing, Moderne gemälde: Die sammlung Albrecht Guttmann und nachlass eines Berliner sammlers, sale cat. (Paul Cassirer and Hugo Helbing, May 18, 1917), lot. 69 (ill.), as Waterloo – Brücke in London.

[5] According to Art Dealers Association of America, report, Mar. 8, 1995, curatorial object file, Art Institute of Chicago.

[6] According to Art Dealers Association of America, report, Mar. 8, 1995, curatorial object file, Art Institute of Chicago.

[7] See Art Dealers Association of America, report, Mar. 8, 1995, curatorial object file, Art Institute of Chicago. This information is further corroborated by a telephone conversation between Courtney Donnell, Art Institute of Chicago, and Jeanne Hansell (daughter of Mrs. Mortimer B. Harris), March 1999, see provenance worksheet, dated June 17, 1999, curatorial object file, Art Institute of Chicago.

[8] According to Jeanne Hansell (daughter of Mrs. Mortimer B. Harris), relayed to Courtney Donnell, Art Institute of Chicago, March 1999 telephone conversation; see conversation summary in provenance worksheet, June 17, 1999, curatorial object file, Art Institute of Chicago.

[9] According to Jeanne Hansell (daughter of Mrs. Mortimer B. Harris), relayed to Courtney Donnell, Art Institute of Chicago, telephone conversation, Mar. 1999, see conversation summary in provenance worksheet, June 17, 1999, curatorial object file, Art Institute of Chicago.

[10] The painting was given to the Art Institute of Chicago in undivided fractional interests beginning in 1984. The Art Institute received the final fractional interest for one hundred percent ownership in 2000.
http://www.artic.edu/aic/collections/artwork/49068Otto Pein, Müncheburg; sold J. M. Heberle, Cologne, October 29-30, 1888, lot 56. Sold Galerie Hugo Helbing, Munich, March 23, 1903, lot 61. Honoré Palmer, Chicago, by 1943; given to the Art Institute, 1943.
http://www.artic.edu/aic/collections/artwork/46382Sale, Sotheby’s, London, July 5, 1967, no. 88, the pair to Böhler; Julius Böhler, Munich from 1967 until sold to P. and D. Colnaghi, London [according to email of July 2002 from Georgina Duits to Martha Wolff, copy in curatorial file]; sold by Colnaghi to the Art Institute, 1974.
http://www.artic.edu/aic/collections/artwork/46383Sale, Sotheby’s, London, July 5, 1967, no. 88, the pair to Böhler; Julius Böhler, Munich from 1967 until sold to P. and D. Colnaghi, London [according to email of July 2002 from Georgina Duits to Martha Wolff, copy in curatorial file]; sold by Colnaghi to the Art Institute, 1974.
http://www.artic.edu/aic/collections/artwork/84709Probably in the artist’s possession, Toledo, before he retired to a Carthusian monastery, in August 1603 [inventory 1603, no. V, (“Un lienzo de frutas adonde está el ánade y otros tres pájaros ques de Diego de Valdivieso”; Jordan in Madrid 1992, pp. 41–43); Diego de Valdivieso, Toledo, 1603 [see 1603 inventory cited by Jordan 1992]. Cardinal Bernardo de Sandoval y Rojas, archbishop of Toledo and primate of Spain, Toledo or Huerta de Sandoval, near Madrid (died 1618); acquired from his estate with 4 other still lifes for the decoration of the Galería del Mediodía in the royal hunting lodge of El Pardo, the series completed by an additional still life commissioned for this purpose from Juan van der Hamen [according to a note of 10 September 1619 in the accounts of the royal household; see José María de Azcárate, “Algunas noticias sobre pintores cortesanos de siglo XVII” Anales de Instituto de estudios Madrileños, 6 (1970), p. 60; see also Jordan 2006, pp. 54-58,]; royal inventories of 1653, no. 145 (“145. Un frutero Pequeño Con su marco de oro y negro y un Melon abierto en medio”, A small fruit still life with its black and gold frame with an open melon in the middle; an inventory number 145 is inscibed in the lower left corner of the painting; see Jordan 2006, pp. 58, 300, n. 24) and 1701/03, no. 132 (Fernández Bayton 1981, vol. 2, p. 144, no. 132). August L. Mayer, Munich, by 1922 [see Mayer 1922]; sold, Munich, Hugo Helbing, November 24–25, 1933, lot 79, pl. 4, as Sánchez Cotán, Küchenstilleben for 380 Marks [the price based on Die Weltkunst 1933; that the picture belonged to Mayer can be deduced from the provenance of no. 74 in this sale, which later entered the Bayerische Staatsgemäldesammlungen]. Private collection, Germany [according to 1955 receipt from Frederick Mont, in curatorial file]. Frederick Mont and Newhouse Galleries, New York, by 1955 [1955 receipt cited above and shipping invoice, in curatorial file]; sold to the Art Institute, 1955.
http://www.artic.edu/aic/collections/artwork/73054Thannhauser Gallery, Berlin and Munich [based on sticker on reverse; see also Daulte 1959]; Mrs. Kate Jarrett, Forest Hills, New York, consignor of painting at the Justin K Thannhauser Gallery, New York, sometime between September 1941 and 1952 [according to stock files attached to letter from Janet Briner, Thannhauser archives]; painting sold but unknown to whom. Mr. and Mrs. J.W. Block, by January 1952 [according to handwritten note on stretcher]; Mrs. Leopold Block (died 1973), Chicago, by at least 1963 [lent to Chicago 1963; see receipt 18943, 10 Sept. 1963, for Chicago 1963 exh.]; by descent to her son and his wife, Joseph L. Block and Lucille Block, Chicago; given to the Art Institute, 1988.
http://www.artic.edu/aic/collections/artwork/21934Private collection, Zurich [according to Mayer 1936]. Dr. L. von Buerkel, Munich [according to Mayer 1936]. Bottenwieser, Berlin [according to Mayer 1936]. J. Goudstikker, Amsterdam, by 1927, until 1935 [see Mayer 1927; Mayer 1936 mentions Mrs. Sterner, New York as owner between Goudstikker and the Art Institute, however, the painting was shipped directly from Goudstikker in Amsterdam to Chicago in November, 1925]; sold by Goudstikker to The Art Institute, 1935.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139135.html(sale, Karl & Faber, Munich, 23-24 November 1978, no. 210); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41642.htmlProfessor Wieser, Innsbruck, by 1891.[1] Lacher von Eisack, Bad Tölz, Oberbayern.[2] (Paul Cassirer, Berlin).[3] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later, Villa Favorita, Lugano-Castagnola, Switzerland, by 1930;[4] by inheritance to his son, Baron Hans Heinrich Thyssen-Bornemisza [1921-2002], Villa Favorita; acquired 1950 by (M. Knoedler & Co., New York);[5] purchased February 1951 by the Samuel H. Kress Foundation, New York; gift 1952 to NGA.[1] As per Max Friedländer, Albrecht Altdorfer, der Maler von Regensburg, Leipzig, 1891: 56, no. 27.[2] Cited by Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937: 2.[3] Information from annotated copy of Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930, in the possession of Mrs. Walter Feilchenfeldt, Sr., Zurich, per letter of 28 January 1989 to John Hand in the object file (1952.5.31.a-c), NGA curatorial files. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 35, erroneously listed Walter Feilchenfeldt as owning the picture.[4] Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930: no. 4.[5] Knoedler commission book no. 4, p. 143, no. CA 3724 and sales book no. 16, p. 334, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41641.htmlProfessor Wieser, Innsbruck, by 1891.[1] Lacher von Eisack, Bad Tölz, Oberbayern.[2] (Paul Cassirer, Berlin).[3] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later Villa Favorita, Lugano-Castagnola, Switzerland, by 1930;[4] by inheritance to his son, Baron Hans Heinrich Thyssen-Bornemisza [1921-2002], Villa Favorita; acquired 1950 by (M. Knoedler & Co., New York);[5] purchased February 1951 by the Samuel H. Kress Foundation, New York; gift 1952 to NGA.[1] As per Max Friedländer, Albrecht Altdorfer, der Maler von Regensburg, Leipzig, 1891: 56, no. 27.[2] Cited by Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937: 2.[3] Information from annotated copy of Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930, in the possession of Mrs. Walter Feilchenfeldt, Sr., Zurich, per letter of 28 January 1989 to John Hand in the object file (1952.5.31.a-c), NGA curatorial filess. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 35, erroneously listed Walter Feilchenfeldt as owning the picture.[4] Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930: no. 4.[5] Knoedler commission book no. 4, p. 143, no. CA 3724 and sales book no. 16, p. 334, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41643.htmlProfessor Wieser, Innsbruck, by 1891.[1] Lacher von Eisack, Bad Tölz, Oberbayern.[2] (Paul Cassirer, Berlin).[3] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later, Villa Favorita, Lugano-Castagnola, Switzerland, by 1930;[4] by inheritance to his son, Baron Hans Heinrich Thyssen-Bornemisza [1921-2002], Villa Favorita; acquired 1950 by (M. Knoedler & Co., New York);[5] purchased February 1951 by the Samuel H. Kress Foundation, New York; gift 1952 to NGA.[1] As per Max Friedländer, Albrecht Altdorfer, der Maler von Regensburg, Leipzig, 1891: 56, no. 27.[2] Cited by Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937: 2.[3] Information from annotated copy of Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930, in the possession of Mrs. Walter Feilchenfeldt, Sr., Zurich, per letter of 28 January 1989 to John Hand in the object file (1952.5.31.a-c), NGA curatorial files. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 35, erroneously listed Walter Feilchenfeldt as owning the picture.[4] Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930: no. 4.[5] Knoedler commission book no. 4, p. 143, no. CA 3724 and sales book no. 16, p. 334, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.100357.html(Katrin Bellinger, Munich); purchased by NGA, 1997.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.74168.htmlJan Pietersz. Zoomer (Lugt 1511); Jonathan Richardson, Sr. (Lugt 2184); John Campbell, 5th Duke of Argyll by 1784 (sale, London, T. Philipe, 21-23 May 1798); Walter Savage Landor, Florence; Private Collection, Zurich; Julius Böhler, Munich; sold to Armand Hammer Collection, 1977; gift to NGA in 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41613.htmlHigh altar of the church of San Marco, Florence, from about 1440 until about 1677.[1] Possibly in the passageway to the sacristy of the same church, by 1758,[2] or in the Spezieria of the Convent of San Marco (recorded here in the early 19th century).[3] possibly in the Galleria dell'Accademia, Florence, after 1810-1812, and from here (if not directly from the Spezieria) in private hands.[4] James-Alexander, comte de Pourtalès-Gorgier [1776-1855], Paris, by 1841; (his sale, Hôtel Pourtalès-Gorgier, Paris, 27 March-4 April 1865, no. 86, as by Masaccio); probably Edmond [1822-1896] and Jules Huot [1830-1870] de Goncourt, Paris.[5] (Julius Böhler, Munich).[6] Albert Keller [1879-1939], New York, by 1924; (Duveen Brothers, Inc., London and New York); sold 1944 to the Samuel H. Kress Foundation, New York;[7] gift 1952 to NGA.[1] Vasari, in the second edition of his Lives (1568), states that along with the main image, the predella of the altarpiece on the high altar of San Marco, representing "storie del martirio di San Cosimo e Damiano e degli altri" ("stories of the martyrdom of Saints Cosmas and Damian and of others"), is also the work of Fra Angelico; see Giorgio Vasari, Opere, ed. Gaetano Milanesi, 9 vols., Florence, 1878-1885: 2(1878): 508-509 (2nd ed. 1906, reprinted 1981, 1998). Another equally rare elaboration of the legend of the two saints was realized in Angelico's workshop in the so-called Annalena altarpiece (its main panel is now in the Museo di San Marco along with six elements of the predella; a seventh from the same series belongs to the Kunsthaus, Zurich; see John Pope-Hennessy, Fra Angelico, 2nd ed., London and New York, 1974: 211-212). The predellas of these two works have been confused in the literature (see note 4), but the one formerly completing the Annalena altarpiece cannot be related to the San Marco high altar because of the smaller size of the single scenes. It is now generally thought to be the work of an assistant, who has been identified as Zanobi Strozzi; see Licia Ragghianti Collobi, "Zanobi Strozzi Pittore," Part I: CdA 22 (1950): 463-464.The San Marco altarpiece was probably removed for a restoration of the church that was to take place in 1678-1679. On the restoration, see Giuseppe Richa, Notizie istoriche delle chiese fiorentine, 10 vols., Florence, 1754-1762: 7(1758): 136. Already Giovanni Cinelli in his edition of Francesco Bocchi, Le bellezze della città di Firenze, Florence (1591), 1677: 16, reported that the old altarpiece had been moved to the Convent.[2] This location is indicated for the first time by Richa, Notizie istoriche, vol. 7 (1758): 143, and then by others up to Vincenzo Follini and Marco Rastrelli, Firenze antica e moderna illustrate, 8 vols., Florence, 1789-1802: 3(1791): 225; however, none mentions the predella. The old altarpiece was probably transferred to the passageway immediately after it was removed from the church, and it might have remained there until the suppression of the Dominican order in 1810.[3] Father Vincenzo Marchese, in his Memorie dei più insigni Pittori, Scultori e Architetti Domenicani, 2nd ed., 2 vols., Florence, 1854: 1:249, reports that "innanzi l'abolizione dei Conventi in Firenze erano nella Farmacia di San Marco sette tavolette dell'angelico rappresentanti...il martirio de'Santi Cosma e Damiano, e un'altra con la Deposizione di Croce dello stesso pittore" ("before the abolition of the Convents in Florence there were in the Pharmacy of San Marco seven panels by Angelico representing...the martyrdom of Saints Cosimo and Damian, and another with the Deposition from the Cross by the same painter"). It could be that among the "bellissimi quadri" ("beautiful pictures") that Cambiagi Gaetano (L'Antiquario fiorentino o sia guida per osservar con metodo le cose notabili della città di Firenze, Florence, 1765: 38) said could be seen in the Spezieria, there were also elements of the predella, already separated from the main altarpiece and divided into individual panels. The transfer of the panels into the Spezieria is recorded also by a label glued to the back of the Deposition in the Alte Pinakothek in Munich (WAF 38a) which reads: "Copia. Il quadro di Fra Angelico che si trova presso lo Speziale di St. M.co"; see Briefwechsel zwischen Ludwig I von Bayern und Georg von Dillis, 1807-1841, ed. by R. Messerer, Munich, 1966: 356.[4] Neither the panel now in Washington nor its companions were ever in the Saint Luke chapel in Santissima Annunziata, where in the early nineteenth century there were six panels with stories of the same saints; these, belonging to the Annalena altarpiece, entered the Gallereia dell'Accademia in Florence in 1854 (Galerie des petits tableaux, no. 22; see Description des objets d'Art de la Royal Académie des Beaux-Arts de Florence, 12th ed., Florence, 1854: 29) and were subsequently transferred to the Museo di San Marco. The author of the Descrizione dell'Ie e R.e Accademia delle Belle Arti di Firenze , Florence, 1817: 22 n. 1; Maselli and Montani, 1832-1838, 307, n. 15; and other writers erroneously thought that six Cosmas and Damian panels then in Santissima Annunziata had originally belonged to the high altar of San Marco.The series that concerns us here probably stayed in the Spezieria of San Marco only a short time. Already in 1813 the Deposition now in Munich was sold by a group of persons who seem to have owned it jointly ("Das Bild von Fra Angelico... welches 14 Patronen hat.." ("the picture by Angelico, the property of fourteen persons"), as Georg von Dillis explained to the purchaser, Prince Ludwig of Bavaria; see Briefwechsel..., ed. Messerer, 1966: 356). The above-mentioned Descrizione... (1817: 22, 24) reports that in the Galleria di Quadri Piccoli of the Accademia delle Belle Arti there were three "istorie di cinque Martiri" ("histories of five martyrs"), while the second edition of the same work (1827: 28) mentions only two, as do all the subsequent editions of the catalogue. These are The Healing of the Deacon Justinian by Cosmas and Damian and The Burial of the Two Saints and Their Three Younger Brothers, now part of the collection of the Museo di San Marco. The third panel can probably be identified as The Beheading of the Saints (Louvre, RF 340); on its back is a label dated 10 October 1817, according to which the work was transferred to the Accademia from San Marco and then given in exchange to a Prof. Nicola Tacchinardi (see Thomas Bodkin, "A Fra Angelico Predella," The Burlington Magazine 58 [1931]: 188, 194). As for the remaining five panels, we have no record of their transfer to the Accademia, and like the Deposition, they apparently came onto the Florentine art market directly from the Spezieria of San Marco. Marchese (1854: 249) states that this was the provenance of the four panels in the Alte Pinakothek in Munich (WAF 36-38 and WAF 38a) and identifies them as "quattro quadretti dell'Angelico, rappresentanti storie del martirio dei santi Cosma e Damniano, ch'erano a San Marco...in Germania" ("four little paintings by Angelico, representing stories of the martyrdom of Saints Cosimo and Damiano, which were in San Marco [and now are] in Germany"), which were apparently restored in Florence in 1817 by Luigi Scotti. Of the paintings in the series now in Munich, The Saints before Lycias, Lycias Possessed by Devils, and The Saints Crucified reached their current destination only in 1827, and thus ten years earlier could still have been in Florence; see C. Syre, "Wirken Sie was Sie vermögen! Die Erwerbungen italienischer Gemälde in der Korrispondenz mit den Kunstagenten," 'Ihm, welcher der Andacht Tempel baut.' Festschrift zum Jubilaümsjahr 1986, Munich, 1986: 49. The fourth painting restored by Scotti in 1817 must therefore have been a different one from the Deposition by Fra Angelico, which was already in Munich in 1813. It might perhaps be The Saints Saved from Fire now in the National Gallery in Dublin (no. 249), which in 1848 was still in Florence, in the collection of Francesco Lombardi and Ugo Baldi (see Giorgio Vasari, Le vite de' più eccellenti pittori, scultori e architetti, 14 vols., Florence, 1568, ed. Le Monnier, 1846-1879: 4[1848]: 28-29 note 4); but it could also be the Washington painting, which is mentioned for the first time in Paris, in the Pourtalès-Gorgier collection, only in 1841 (see Léon-Jean-Joseph Dubois, Description des tableaux faisant partie des collections de M. le Comte de Pourtalès-Gorgier, Paris, 1841: 3, no. 3, as by Masaccio).[5] A handwritten note with the name of the purchaser in the sale catalogue has been read as "de Zincourt" (Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:9), although with a question mark. Ellis Waterhouse (written communication to the Gallery, 22 July 1980) suggests instead the reading "de Goncourt," referring, obviously, to the two Parisian novelists, critics, and collectors, who were great admirers of quattrocento painting.[6] Adolfo Venturi (Studi dal vero: Attraverso le raccolte artistiche d'Europa, Milan, 1927: 12) reports that the work used to belong to the art dealer Böhler, probably at the beginning of the 1920s; see also Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century, London, 1966: 94. There does not appear to be a stock card for this painting among the Böhler Gallery records at the Getty Research Institute.[7] The painting has been hanging in the National Gallery since 1945, when it was still part of the Kress collection (see Paintings and Sculpture from the Kress Collection, National Gallery of Art, Washington, D.C., 1945 (reprinted 1947, 1959): 32).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107208.htmlPrivate collection, Göppingen, Baden-Württemberg, since about 1900; (sale, Auktionshaus Dr. Fritz Nagel, Stuttgart, 6-7 December 1996, no. 7176, as German, First Third of the 16th Century); (Dr. Hinrich Sieveking, Munich); purchased 1999 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.101681.htmlPrivate collection; (Daniel Katz, London); sold to (Julius Böhler Gallery, Munich); purchased 6 June 1997 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.103793.htmlAnton Schmid, Vienna. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.123018.htmlProbably the Cistercian convent of Kirchheim, near Nordlingen. Princes zu Oettingen-Wallerstein, Schloss Wallerstein, since the early 19th century;[1] purchased 7 February 2002 through (Alexander Rudigier, Munich) by NGA.[1] The convent of Kirchheim was closely connected with the Oettingen-Wallersteins, who had a crypt there in the 14th century. In the wake of secularisation during Napoleon's reorganization of Germany, the princely house received seven convents, including Kirchheim, together with all their possessions in compensation for lost territory on the left bank of the Rhine. The then prince, Ludwig, was one of the very earliest collectors of medieval art, and he seized this opportunity to secure everything of artistic value from the convents which had been transferred to him. Some of his collection of paintings now forms part of the core of the Alte Pinakothek in Munich, and other parts of his painting collection are at Hampton Court in England. The Holy Kinship was intended by Prince Ludwig for the main altar of the chapel of Saint Anne at Schloss Wallerstein, and he commissioned the neo-Gothic retable from which it was separated at the end of the 20th century. (Information provided by Alexander Rudigier, in NGA curatorial files)
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41601.html(Van Diemen Gallery, Berlin).[1] Acquired 1926 in Berlin by Karl Rössler, until 1947.[2] (Van Diemen-Lilienfeld Galleries, New York); sold 1950 Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.[1] The catalogue of the Exposition d'Art flamand ancien (Antwerp, 1930), no. 53, gives the owner as Dr. Benedict; this refers to Curt Benedict who was with the Van Diemen Gallery, part of a group of galleries under the umbrella organization of the Margraf Concern. The initial ownership of the painting by the Van Diemen-Margraf Gallery is verified in a letter of 27 January 1951 from Karl Lilienfeld to the Samuel H. Kress Foundation, in NGA curatorial files.[2] This picture was acquired from Rössler in 1940 by the dealer Walter Paech in Amsterdam. Paech sold the painting to Hans Posse, for Hitler's planned museum in Linz. (See Linz inventory no. 1368, as by Brueghel, National Archives RG260/Boxes 428, 430, copies NGA curatorial files). The records of the Munich Central Collecting Point indicate that the painting was recovered at Alt Aussee and restituted to the Netherlands on 4 March 1946 (See Munich property card #4347/2996, National Archives RG260/Munich Central Collecting Point/Box 501 and Dutch Receipt for Cultural Property no. 8A, dated 7 March 1946, National Archives RG260/Munich Central Collecting Point/Box 288, both copies NGA curatorial files.) The painting was restituted to Rössler on 23 May 1947 (see documentation provided by the Dutch Inspectie Culuurbezit in letter dated 5 February 2002, in NGA curatorial files.)
https://www.nga.gov/content/ngaweb/Collection/art-object-page.39795.htmlEugene Schweitzer [1845-1918]; (sale, Berlin, Kunstsalon Paul Cassirer, Berlin, and Hugo Helbing, Munich, 6 June 1918, lot 60).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.43727.htmlFriedrich Augustus I, King of Poland and Elector of Saxony;[1] presented 1826 to Baron Wittinghoff [Vietinghoff], Adjutant General, Dresden; Camillo Castiglioni, Vienna, 1923; (his sale, Frederik Muller & Co., Amsterdam, 18 November 1925, no. 10). (Jacob Hirsch Antiquities, New York); sold 1944 to the Samuel H. Kress Foundation, New York; gift 1957 to National Gallery of Art.[1] The first known reference to ownership by Friedrich Augustus I and an 1826 presentation to Wittinghoff is in the Jacob Hirsch sale receipt to the Kress Foundation, dated 24 April 1944, copy in NGA curatorial files; that receipt also declares that “According to tradition in the Baron Wittinghoff family” the sculpture was acquired in Siena around 1740 by Guarienti on behalf of Augustus I. The 1925 Castiglioni sale catalogue simply cites “Freiherr von Vittinghof [Vietinghoff], Dresden” as the former owner. An alternate early provenance is suggested by Dorothea Diemer, who proposed that the Washington group might be identical with a version listed as no. 2433 (2393) in the inventory of the Münchner Kunstkammer in 1598: “Ein alte Lupa Romana den Romulum und Remum saugent, auf einem hochen Posament in metal gossen.” (See Dorothea Diemer, Peter Diemer, Lorenz Seelig, Peter Volk, Brigitte Volk-Knüttel et al., eds., Die Münchner Kunstkammer. Bayerische Akademie der Wissenschaften, philosophisch-historische Klasse, Abhandlungen, NF, Heft 129, 3 vols., Munich, 2008: 2:723).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46198.htmlReportedly from the chapel of the Château de Sassangy, Saône-et-Loire. Reportedly Dr. Simon Meller, former curator of sculpture, Szépmüvészeti Múzeum [Museum of Fine Arts], Budapest, possibly in his Munich house before 1934, or at an unknown date in Paris;[1] Dr. Jacob Hirsch, New York, by 1935; (Jacques Seligmann et Cie, New York);[2] purchased 1957 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] The references to the sculpture's provenance from the chapel of the Château de Sassangy and Simon Meller's Paris collection are in an undated text presumably provided either by Seligmann or the Kress Foundation, in NGA curatorial files. On the Château de Sassangy, its owners and construction phases since the fifteenth century, see Françoise Vignier, Bourgogne, Nivernais (Dictionnaire des château de France, ed. Yvan Christ, vol. 9) (Paris, 1980), 285. In the nineteenth century the château belonged to the La Roche La Carelle family, at least one of whose members was reputedly a great collector of works of art. No inventories or sale records for their collection are known to survive. This information was supplied by the Service Régional de l'Inventaire Général des Monuments et des Richesses Artistiques de la France en Bourgogne, letter to Alison Luchs, 18 December 1986, in NGA curatorial files. The reference to Meller's Munich house is inscribed on a photograph in the possession of William Forsyth, curator emeritus of medieval art, The Metropolitan Museum of Art, New York, bearing a date 1935 and inscribed "New York, Hirsch Collection." In a letter to Alison Luchs, 14 February 1986, Prof. Willibald Sauerländer of the Zentralinstitut für Kunstgeschichte, Munich, reported that Meller had come to Munich after 1920 and emigrated in 1934, and that Professor Theodor Müller, who had visited his home there, did not recall seeing the marble Madonna there or elsewhere in Munich. Anthony Geber has pointed out that a limestone Virgin and Child with a jewel-encrusted crown, strikingly similar to the marble example now in Washington, once belonged to Meller. Conceivably the source that placed the Washington sculpture in Meller's house had confused the two. For the limestone Virgin and Child see Régi Egyházmüvészet Országos Kiállítása [Ausstellung Alter Kirchlicher Kunst], exh. cat., Országos Magyar Iparmüvészeti Muzeum, (Budapest, 1930), no. 5, pl. 2. This work at the time belonged to Baron Móric Kornfeld. Notes of c. 1952-1962 by Anthony Geber's father (typescript copy in NGA curatorial files), Antal Geber, on the Kornfeld collection indicate this sculpture was "from Meller, but returned."[2] Raphael Stora was also "involved in the sale" to Seligmann (letter, Perry Cott to Mme Georges Bouchot Saupique, 9 October 1964, in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139136.html(sale, Christie's, London, 4 July 1995, no. 374, as attributed to Lorenzo de Ferrari). David Lachenmann, Munich; Wolfgang Ratjen, Munich; purchased by NGA, 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139319.htmlUnknown private collector (the so-called "double-numbering collector"). P. O. Dubaut, Paris (1886 - unknown). (Hans Calmann [1899-1982], London); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139316.htmlNicolo Sagredo [1606-1676], Venice; Zaccaria Sagredo [1653-1729], Venice, the so-called "Sagredo-Borghese Album"(1); Jacques Petithory [1929-1992) (not in Lugt), Paris; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased by NGA, 2007.(1) See Palais des Congrès, Catalogue de l'exposition de dessins italiens du XVe au XVIIIe s. de la collection H. de Marignane, Monte Carlo, 1966.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139300.htmlHerbert List, Munich [1903-1975] (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139292.htmlfrom an album belonging to Veuve Galippe (sale, de Vries, Amsterdam, 27-29 March 1923, lot 515, as Anton Raphael Mengs); Fritz Haussmann, Berlin; Carmen, Countess Finckenstein, Zurich and Ascona. Herbert List, Munich (not in Lugt); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139134.html(sale, Phillips, London, 7 July 1993, no. 111). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.111835.htmlGerman private collection, near Munich, by 19th century - until 1994; (Galerie Siegfried Billisberger, Munich, 1994); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.111834.htmlGerman private collection, near Munich, by 19th century - until 1994; (Galerie Siegfried Billisberger, Munich, 1994); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.80924.htmlCommissioned by Friedrick Augustus III, king of Poland and elector of Saxony [1696-1763];[1] Henry Temple, 2nd viscount Palmerston [1739-1802], London; Henry John Temple, 3rd viscount Palmerston [1784-1865], London;[2] who gave it, perhaps to pay a debt, to William Lygon, 1st earl Beauchamp [1747-1816], Madresfield Court, Worcestershire;[3] by inheritance to Else, Countess Beauchamp [1895-1989];[4] (sale, Sotheby's, London, 11 December 1991, no. 18); (Bernheimer Fine Arts Ltd., London and Munich, and Meissner Fine Art Ltd., Zurich and London); sold 3 June 1993 to NGA.[1] Five views of Königstein were commissioned, executed on canvases of the same size and format, and intended to complete the earlier views of Dresden and Pirna painted for the king and placed in the Stallgebäude, the wing of the royal palace that housed the paintings collection after about 1731. The commission was interrupted, however, by the hostilities of the Seven Years' War, and the paintings were never delivered to the royal collection. Efforts to establish the early history of the views have not been successful. The paintings might have been seized by the Prussians during the seige of Dresden, Pirna, and Königstein. Alternatively, following the disarray of the Saxon court and the depletion of its treasury, Bellotto might have retained the canvases and sold them privately. Two of the paintings came to light twenty years later in England, in a sale at Christie's, London, 7 March 1778, lots 79 and 80, described as "Canaletto. A View of the fortress of Koningstein [sic] in Saxony, painted for the King of Poland. A ditto, its companion" (sale catalogue, Sotheby's London, Old Master Paintings, 11 December 1991: 36). They passed to the collection of the marquess of Londonderry, Wynyard Park, Durham, and were acquired by the City Art Gallery, Manchester, in 1983 (Byam Shaw, James, "Two Views of the Castle of Königstein by Bernardo Bellotto," National Art Collections Fund Review [1984]: 139-140). The other two exterior views of the fortress of Königstein, now (1993) in the collection of the earl of Derby, Knowsley Hall, were published in various nineteenth-century catalogues at Knowsley, without any indication of earlier provenance. However, a loose note, written by the 13th earl of Derby and inserted into an 1846 Catalogue of pictures at Knowsley records: "Königstein Castle 2 Canaletti (Palmerston) 200 Pounds" (Sotheby's 1991 sale catalogue, 36). Since the National Gallery's painting and the Knowsley paintings were once identically framed, it is reasonable to believe that the 2d lord Palmerston had owned at least three of the Königstein views. Thus he may have been responsible for bringing them to England in the later eighteenth century.[2] The earliest reference to the National Gallery's painting occurs at the end of the eighteenth century when it belonged to Henry Temple, 2d viscount Palmerston (Scharf, George, A Descriptive and Historical Catalogue of the Collection of Pictures at Knowsley Hall, London, 1875: 10). The painting hung in Lord Palmerston's London House in Hanover Square. He acquired the property in 1790, but alterations were still being made in 1796, when he moved in, so it is unlikely that the painting was there before that date (Connell, Brian, Portrait of a Whig Peer. Compiled from the Papers of the Second Viscount Palmerston 1739-1802, London, 1957: 208-209, 259-260, 346). The painting is listed in an undated inventory (paper watermarked 1796), "Catalogue of Pictures belonging to Lord Palmerston in Hanover Square," in the Dressing Room and described as a "View of Keenigsteen: Cannaletti" and valued at 250 pounds. The painting is recorded after Lord Palmerston's death in an undated manuscript (paper watermarked 1804) of "Pictures in Stanhope Street and Hanover Square" as "Cannaletti Koningstein 105 pounds" (Sotheby's 1991 sale catalogue, 37, citing Broadlands Papers, Southampton University Library Archives and Manuscripts, BR 126/11 and BR 126/15).[3] This family tradition is recounted in Sotheby's 1991 sale catalogue, 37. George Scharf mentions the painting as in the Beauchamp collection in his 1875 publication describing the Derby collection, A Descriptive and Historical Catalogue of the Pictures at Knowsley Hall, p. 10, under no. 17.[4] Presumed to be the following owners: the first Earl's son, William Beauchamp, 2nd Earl Beauchamp (1782-1823); his brother, John Reginald, 3rd Earl Beauchamp (1783-1853); his brother, Henry Beauchamp, 4th Earl Beauchamp (1784-1863); his son, Henry, 5th Earl Beauchamp (1829-1866); his brother, Frederick, 6th Earl Beauchamp (1830-1891); his son, William, 7th Earl Beauchamp (1872-1938); his son, William, 8th Earl Beauchamp (1903-1979); his wife, Else, Countess Beauchamp (1895-1989).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46163.htmlPrivate collection, Saxony.[1] Possibly (Sabin, London); sold 1928 to (Karl Haberstock, Berlin), possibly until 1936.[2] Acquired during World War II by Dr. Gustav Mez, Switzerland;[3] (Rosenberg and Stiebel, New York); purchased 1951 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] A photograph of the painting in the Witt Library, London, is inscribed on the reverse with the information that the painting was once in the collection of Augustus III, elector of Saxony.[2] Karl Haberstock appears to have handled two Bellotto views of Munich: the Gallery version and one which was sold to the Sonderauftrag Linz, processed through the Munich Central Collecting Point (no. 7573) in 1945, transferred in 1949 to the German government, and sent to the Auswärtig Amt in 1962 (see photocopies from the Bundesarchiv, Koblenz, in NGA curatorial files). One of the Bellottos was acquired by Haberstock from Sabin in London in 1928 (see photocopies from Haberstock-archiv in NGA curatorial files), and at least one was still in his possession as of 1936, per Hellmuth Allwill Fritzsche, Bernardo Bellotto, genannt Canaletto, Burg-bei-Magdeburg, 1936: 116.[3] According to Saemy Rosenberg (letter of 7 December 1955 in NGA curatorial files), the painting was acquired by Mez from a Dresden collection during World War II. It is, however, possible that both this painting and its companion (NGA 1961.9.63) were acquired by Gustav Mez in 1929, when the third painting of the group (replicas of the originals in the electoral palace painted for Elector Maximilian III Joseph) was sold.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.125520.htmlAnonymous sale; (sale, Sotheby's Amsterdam, 14 November 1988, no. 137). (sale, Christie's London, 9 July 2002, no. 31); (Katrin Bellinger, Munich); purchased 2002 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.130607.htmlDr. C. Gaa, Mannheim (1871 - c. 1925) (Lugt 538a)(his sale, C. G. Boerner, Leipzig, 9-10 May 1930, no. 30). (Galerie Arnoldi-Livie, Munich); purchased 2004 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139218.htmlHeinrich Wallraff (1858-1930), Nuremberg. (sale, Helmut Tenner, Heidelberg 6-8 May 1976, no. 5127). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.320.html(Walter Schnackenberg, Munich), by April 1925.[1] (F. Kleinberger, Paris and New York), by 1927.[2] Private collection, New York.[3] (Count Alessandro Contini-Bonacossi, Florence), by 1929;[4] sold 26 June 1935 to the Samuel H. Kress Foundation, New York;[5] gift 1939 to NGA.[1] According to a hand-written notes by Bernard Berenson on the back of a photograph of the painting in the I Tatti archive in Florence (copy in NGA curatorial files).[2] Kleinberger lent the painting to a 1927 exhibition at The Lotos Club.[3] Raimond Van Marle, The Development of the Italian Schools of Painting, The Hague, 1931: 13:180, fig. 119, relates that he saw the painting "in a private collection in New York," but does not specify when.[4] An opinion written by Roberto Longhi and dated October 1929 was addressed to Contini-Bonacossi (copy and translation in NGA curatorial files).[5] The bill of sale was for seven paintings and a number of decorative art objects; NGA 1939.1.179 was identified as "Florentine about 1475" (copy in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139315.htmlFrancesco Dubini, Milan (Lugt 987a). (sale, Sotheby's London, 7 December 1976, no. 55); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139108.html(sale, Hollstein & Puppel, Berlin, 27-28 February 1933, no. 688; ill.). Alice Hanile, née Bloem, Wistinghausen; Angelika von Lüttichau-Haniel, Bad Godesberg. Acquired 1979 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139202.htmlBlechen's studio stamp (Lugt 263b). H. Wilhelm F. Brose, Berlin (Lugt 307c); (his sale, Hollstein & Puppel, Berlin, 8 November 1928, no. 36). Carl Heumann, Chemnitz [1886-1945] (Lugt 555b and 2841a); Stuttgarter Kunstkabinett. (Roman Norbert Ketterer, 29 November 1957, no. 18). Richard Tüngel, Ahrensburg; Beatrice Tüngel-Disclez, Niederweiler; sold 1972 to Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.71099.html(Galerie Arnoldi-Livie, Munich); acquired 1989 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.129262.htmlDidier Aaron, Paris; (Daxer & Marschall, Munich); purchased 2004 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.75766.htmlChevalier de Damery, Paris [d. 1803] (Lugt 2862); (sale Paris, May 14, 1906, no. 10); Baron Nathaniel Mayer von Rothschild [1836-1905], Vienna; by inheritance to his nephew, Baron Alphons de Rothschild [1878-1942];[1] his widow Baroness Clarice de Rothschild [1894-1967]. Arthur Liebman [d. 1991], Lake Forest, IL; bequest 1992, to NGA[1] This drawing was among the Rothschild collections confiscated by the Nazis in Austria in 1938 and stored at the monastery in Kremsmünster, from where it was later evacuated to the salt mine at Alt Aussee. It was discovered there and in July 1945 sent to the Munich Central Collecting Point (Munich Central Collecting Point Property Card no. 4804, US National Archives, copy NGA curatorial files). On 15 December 1945 it was returned Kremsmünster and placed under the control of the Landeskonservator of Land Oberoesterreich. It was restituted to the Rothschild family on 4 October 1947 (AR 711, export license Zl 5905/47 dated 3 October 1947, Bundesdenkmalamt, Vienna, copies in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.52157.htmlLevy de Benzion, Paris.[1] (sale, Hôtel Drouot, Paris, 29 November 1949, no. 80). E. Slater; sold 1950 to (Alex Reid and Lefevre, Glasgow and London); sold 1951 to Capt. Edward H. Molyneux [1891-1974], Paris;[2] sold 15 August 1955 to Ailsa Mellon Bruce [1901-1969], New York; bequest 1970 to NGA.[1] This painting was confiscated by the Nazi Einsatzstab Reichsleiter Rosenberg (ERR) from the Levy de Benzion collection in France. The painting was selected by Hermann Goering on 25 November 1942 from the Jeu de Paume (OSS Consolidated Interrogation Report #2, The Goering Collection, 15 September 1945, Attachment 5, Liste der für die Sammlung des Reichsmarschalls Hermann Göring abgegebenen Kunstgegenstände, dated 20 October 1942, 1. Nachtrag, no. 67, National Archives RG239/Entry 73/Box 78, copy in NGA curatorial files). The records of the Munich Central Collecting Point indicate that the painting was recovered in Berchtesgaden and restituted to France on 18 April 1946 (Munich property card no. 5914; French Receipt for Cultural Objects no. 6A, item no. 950, National Archives RG260/Ardelia Hall/Box 286 copies NGA curatorial files). The painting was returned to the Levy de Benzion family on 10 May 1946.[2] See letter from Alex Reid & Lefèvre, dated 18 August 1977, in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.56210.htmlJulius Böhler, Munich; purchased 1976 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.12118.htmlMonastery of San Cerbone, near Lucca, by 1706 until no later than 1845;[1] possibly Carlo Lasinio [1759–1838] or his son, Giovanni Paolo Lasinio [c. 1796-1855], Pisa; probably Monsignor Gabriele Laureani [d. 1849], Rome;[2] Giulio Sterbini [d. 1911], Rome, by 1905; (Pasini, Rome).[3] (Godfroy [sometimes spelled Godefroy] Brauer, Paris and Nice), by 1921;[4] his estate; (sale, Christie, Manson & Woods, London, 5 July 1929, no. 29); half shares purchased by (Kunsthandel A.G., Lucerne) and (antique dealer, Amsterdam); sold 18 October 1932 to (Julius Böhler, Munich);[5] sold 4 September 1937 to (Duveen Brothers, Inc., London, New York, and Paris);[6] sold 1940 to the Samuel H. Kress Foundation, New York; gift 1943 to NGA.[1] The church of San Cerbone near Lucca is mentioned for the first time in a document of 1059. Another document, of 1140, also records the Benedictine monastery annexed to the church. In 1234 the community of nuns assumed the Cistercian rule. They abandoned the monastery in 1442, when a community of Franciscan Observants was established in its place. See Enrico Lombardi, San Cerbone nella leggenda, nel culto e nell’arte, Massa Marittima, n.d. [c. 1970-1975]: 34-35. Antonio da Brandeglio (Vita di S. Cerbone Vescovo di Populonia e confessore, Lucca, 1706: 214-218) described the painting as extant in the chapel of the Madonna. Michele Ridolfi (“Sopra i tre più antichi dipintori lucchesi dei quali si conoscono le opere: cenni storici e critici,” Atti dell'Accademia lucchese di scienze, lettere ed arti 13 [1845]: 349-393) does not find the NGA painting; it was probably dispersed after the 1806 Napleonic suppression of religious orders.[2] David Farabulini (La pittura antica e moderna e la Galleria del cav. Giulio Sterbini, Rome, 1874), who does not cite the painting now in Washington, states that the central nucleus of the Sterbini collection was formed of paintings collected by Monsignor Gabriele Laureani, custodian of the Biblioteca Vaticana from 1838 to 1849. Laureani is known for having acquired a large number of “primitives” for what is now the Pinacoteca Vaticana. Probably this prelate also collected paintings for himself and, following his death, his collection passed into that of Sterbini. It is also known that Laureani purchased Tuscan paintings of the fourteenth and fifteenth centuries from Carlo Lasinio, keeper/curator of the Camposanto in Pisa from 1807, whose collection was swollen in large part by paintings amassed at the time of the suppression of the convents in the early nineteenth century. It seems plausible to assume, therefore, that the panel now in the National Gallery of Art reached Rome through the intermediary of Carlo Lasinio (who in addition to being an engraver, is known to have been an art dealer as well as a collector) or his son Giovanni Paolo Lasinio (see Christopher Lloyd, “A note on Carlo Lasinio and Giovanni Paolo Lasinio,” The Bodleian Library Record 10 [1978-1982]: 51-57; Donata Levi, "Carlo Lasinio, curator, collector and dealer," The Burlington Magazine 135 [1993]: 133-148). For the paintings in the Biblioteca Vaticana with a provenance from the collection of Lasinio or his son through that of Laureani, see Wolfgang Fritz Volbach, Catalogo della Pinacoteca Vaticana. Vol. 2. Il Trecento. Firenze e Siena, Vatican City, 1987: 23, 24, 40; Francesco Rossi, Catalogo della Pinacoteca Vaticana. Vol. 3. Il Trecento. Umbria, Marche, Italia del Nord, Vatican City, 1994: 139, 142.[3] Adolfo Venturi (“La quadreria Sterbini,” L’Arte 8 (1905): 422-440; La Galleria Sterbini in Roma, Rome, 1906: no. 6) first mentions the panel, together with two companion pieces now in the collection of the Pinacoteca Capitolina in Rome, as belonging to the Sterbini collection, but it had probably been there for several decades by then. After the collector’s death, at least part of the works formerly belonging to him passed to the Pasini collection in Rome (Raimond van Marle, The Development of the Italian Schools of Painting, 19 vols., The Hague, 1923-1938: 4[1924]:288, 378; 13[1931]:454 n. 1) and, possibly, to other collectors as well. Federico Zeri wrote to Robert O. Parks that Pasini was the dealer who sold the entire Sterbini collection; Parks in turn passed this information on to John Walker (letter, Parks to Walker, 27 December 1949, in NGA curatorial files). [4] The painting was in Brauer’s collection at least by 20 May 1921, when the Paris office of Duveen Brothers describes it in a letter to their New York office: “A picture of ‘Saint Catherine,’ about 18 inches by 14, which he attributes to Ambrogio Lorenzetti.” The dimensions are more accurate in their description two years later (31 March 1923): “1 picture ‘St-Catherine of Alexandria.’ Pointed top. Gold background. Red cloak. Large gold plaque on breast. School of LORENZETTI. About 28 inches high.” Brauer died in December 1923, and Duveen Brothers remained in contact with his widow, Lina Haas Brauer (1868-1936), although they made no purchases from her. Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 82, box 227, folders 26–28, and reel 115, box 260, folder 24 (copies in NGA curatorial files).[5] Newspaper coverage of the 1929 sale, as well as an annotated copy of the sale catalogue (copies in NGA curatorial files), record Böhler as purchaser of the painting. Inventory card no. 164-32, in the Records of Julius Böhler Munich, Research Library, Getty Research Institute, Los Angeles (copy in NGA curatorial files), documents instead the 1932 purchase by Böhler and the half shares owned by the other dealers. The Lucerne and Munich firms, however, were intimately connected, as the Lucerne firm had been founded in 1920 by a son of the founder of the Munich firm.In 1930, Emilio Cecchi (Pietro Lorenzetti, Milan, 1930: 7) stated that the panel of Saint Catherine “è ora passata alla raccolta Ringling in Monaco.” Fern Rusk Shapley (Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:271), as well as the prospectus assembled by Duveen Brothers (in NGA curatorial files), also speak of an otherwise unspecified Ringling collection in Munich. However, in view of the fact that the painting had been publicized as having been purchased by Böhler’s in Munich, the possible new owner was presumably the circus tycoon John Ringling (1866-1936), who is known to have used Böhler’s services in building up his art collection (now the Ringling Museum) in Sarasota, Florida, since the late 1920s. By 1930-1931, however, Ringling’s collecting had come to a rather abrupt halt as a consequence of the economic crisis (Peter Tomory, Catalogue of the Italian Paintings before 1800. The John Ringling Museum of Art, Sarasota, 1976: ix–xiii). Possibly for this reason the painting never in fact joined the rest of the Ringling collection. Instead, it must have remained in Europe, and Andrea Péter (“Ugolino Lorenzetti e il Maestro d'Ovile,” Rivista d'Arte 13 (1931): 2-44) also cites it as being with Böhler’s, whereas its two companion pieces were still in a private collection, presumably one of Sterbini’s heirs. It is noted in the 1929 newspaper coverage that Ringling was a purchaser at the sale, and perhaps because of this his name was linked with the painting by mistake.[6] See the Böhler inventory card cited in note 5. The card also notes that the painting was first sold to Carl Hamilton in May 1937, but was then returned. Hamilton (1886-1967) was a client of Duveen Brothers; the dealer had offered him a large collection of Italian paintings on approval by 1920, but Hamilton did not purchase them and returned the paintings to Duveen the following year. .
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46085.htmlPossibly Bartolomeo Cavaceppi [c. 1716-1799], Rome.[1] Outside wall of a house on the Lungarno delle Grazie, Florence; acquired from there by Baron Reinhold von Liphart, Dorpat and Munich-Grafeling, by 1891;[2] on consignment from September 1947 with (Paul Drey, New York);[3] sold 1948 to the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] Johann Joachim Winckelmann, History of Ancient Art, translated by Alexander Gode, New York, 1969[1764]: 258.[2] The sculpture had been discovered in Florence by Liphart's grandfather, Karl Eduard von Liphart (1808-1891), and the grandson's acquisition of the sculpture is described by Wilhelm von Bode, "Eine Marmorkopie Michelangelos nach dem antiken Cameo mit Apollo und Marsyas," Jahrbuch des preussischen Kunstsammlungen 12 (1891): 167. Liphart is also listed as the owner in Amtliche Berichte aus den Königlichen Kunst Sammlungen, 1 July 1891: IV, no. 3, and he is cited as the lender of the sculpture in the catalogue of a 1935 exhibition at the Drey galleries in New York.[3] A statement by Drey in the dealer's prospectus for the sculpture (in NGA curatorial files) states that it had been "continuously" in his custody from the time it was shipped to New York in 1935 for exhibition, but that the "official permit for sale" was granted in September 1947. Charles de Tolnay's 1943 book, The Youth of Michelangelo (vol. 1 of 5, Princeton, pp. 233-234), lists the sculpture as with a New York dealer at that time, but a note in Drey's prospectus specifically refutes this fact, indicating the sculpture belonged to von Liphart.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.45888.htmlA church in Bruges.[1] Imbert de Mottelettes, Bruges, by 1831.[2] Jonkheer de Potter-Soenens, Ghent, by 1839.[3] Countess de Oudemard.[4] (Wildenstein and Co., New York), 1946-1949; purchased June 1949 by the Samuel H. Kress Foundation, New York;[5] gift 1959 by exchange to NGA.[1] According to J.D. Passavant, Kunstreise durch England und Belgien (Frankfurt-am-Main, 1833), 349.[2] Passavant saw the picture on his journey through England and Belgium in 1831.[3] F.A. Spyers, "Beschryving van twee merkwaerdige Schilderyen uit de School der Gebroeders Van Eyck," Belgisch Museum voor der Nederduitsche Tael- en Letterkunde en de Geschiedenis des Vaderlands (Ghent, 1839), 188. Shortly after entering the De Potter-Soenens collection, the picture was cleaned and disfiguring overpaint, which had caused Passavant to consider it a pre-Eyckian tempera painting, was removed; see J.D. Passavant, "Beiträge zur Kenntniss der altniederländischen Malerschulen bis zur Mitte des sechzehnten Jahrhunderts," Kunst-Blatt 55 (1843), 230, and Georg Kasper Nagler, Die Monogrammisten, 5 vols. (Munich and Leipzig, 1858), I: I, no. 1. The first of these references was offered by Lorne Campbell.[4] According to William E. Suida, Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1945-1951, Washington, D.C., 1951: 168, no. 74.[5] The Wildenstein invoice to the Kress Foundation for 16 items, including this painting, is dated 23 June 1949 (copy in NGA curatorial files). The painting is described as "Madonna and Child with saints" by Master of Flemalle.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139341.htmlLodovico Furnletto, Venice; Sir Richard Colt Hoare [1758-1838], Stourhead, Wiltshire; by decent to Henry Ainslie Hoare, Stourhead; (sale, Christie's London, 2 June 1883, no. 32); Rothschild Family, Mentmore; Eva, Countess of Rosebury; (sale, Sotheby's London, 11 December 1974, no. 10); P. & D. Colnaghi & Co. Gallery, London; Robert H. and Clarice Smith, Bethesda, MD; (John and Paul Herring & Co., New York); Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139343.htmlauction Finarte Milan, 9-10 June 1976, 175; purchased by Giuseppe Patitucci Gallery, Venice; purchased by Joseph and Maria Matzker, Bensberg; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139335.htmlStephan List, Munich. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.66406.html(Ambroise Vollard [1867-1939], Paris); sold to (Etienne Bignou, Paris and New York).[1] (Dalzell Hatfield Galleries, Los Angeles). Aline Barnsdall [1882-1946], Los Angeles, by 1941.[2] Mr. and Mrs. Walter Bareiss, Greenwich, CT, by 1956, until at least 1965.[3] (Eugene Victor Thaw and Co., New York); sold April 1973 to Mr. Paul Mellon [1907-1999], Upperville, VA; gift 1985 to NGA.[1]Exhibited at the Bignou Gallery in New York in 1940. [3]Lent by Barnsdall to 1941 exhibition in Los Angeles, in the catalogue of which Hatfield is listed as a prior owner. The picture was not included in the 24 April 1952 sale of Barnsdall's estate held at Kende Galleries, New York. [3]Lent by Bareiss to exhibitions at Yale in 1956, New York in 1958, and Munich in 1965.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41648.htmlPossibly (Wildenstein & Co., Paris, New York, and London);[1] David David-Weill [1871-1952], Neuilly-sur-Seine, France, by 1925;[2] purchased February/March 1937 with the David-Weill collection by (Wildenstein & Co., Paris, New York, and London);[3] sold 1946 to the Samuel H. Kress Foundation, New York; gift 1952 to NGA.[1] Eisler 1977: 314 indicates that David-Weill acquired the painting from Wildenstein, whose Paris office no longer has records to confirm this transaction (see letter from Ay-Whang Hsia to David Rust, 8 August 1978, in NGA curatorial files).[2] The painting appears in the background of a portrait of David-Weill painted by Edouard Vuillard in 1925, and was catalogued in the David-Weill collection by Georges Henriot in 1926.[3] "Sale of the David-Weill Collection." Art News 35 (27 February 1937), p. 12 and "David-Weill Pictures Come to New York." Art Digest 12 (1 November 1937), p. 13. David-Weill, head of Lazard Frère Bank and Chairman of the Conseil des Musées de France, had an extraordinary collection of art which was dispersed in several ways during the World War II era. Some of the collection was consigned to Wildenstein's in London, who in turn sent some of the paintings, including this Chardin, to their New York branch where they were exhibited in 1937. Despite complications of nationality during the war, David-Weill managed to ship a large part of the collection via Lisbon to New York. Unfortunately another portion of the collection, which had been safeguarded in Sourches by French museum administration officials, was confiscated by the Nazis in July 1941. Much of the collection was recovered and processed through the Munich Central Collecting Point after the War by the Allies.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.61219.html(Julius Böhler, Munich). (Hermann Schickman Gallery, New York), 1966. Christian Humann [1929-1981]; (his estate sale, Sotheby's, New York, 30 April 1982, no. 49). GIft 1982 to the National Gallery of Art.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139121.htmlWilhelm Engelmann [1808-1878], Leipzig. Margarete Stechow, Berlin. (sale, C.G. Boener, Leipzig, 10-13 December 1919, no. 13). (Claude Kuhn, Basel) in 1985. Wolfgang Ratjen, Munich; acquired 2007 by the NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139342.htmlLouis Deglatigny, Rouen (1854 - 1936) (Lugt1768a). P. and N. de Boer, Amsterdam; De Boer Foundation, Amsterdam; (their sale, Christie's London, 4 July 1995, no. 25). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.53126.htmlGift from the artist to Clément Laurier [1831-1878].[1] Private collection, Poitiers, France, by 1935.[2] (Paul Rosenberg et Cie., Paris), by 1937;[3] (Paul Rosenberg and Co., New York); sold June 1947 to Marie N. Harriman [1903-1970] and W. Averell Harriman [1891-1986], New York;[4] The W. Averell Harriman Foundation, New York; gift 1972 to NGA.[1] Letter from Robert Fernier to David Rust, dated 31 July 1972, in NGA curatorial files.[2] Lent to Gustave Courbet, Kunsthaus, Zurich, 1935, no. 44, from a private collection in Poitiers.[3] Exhibited at Paul Rosenberg Galleries in Paris in 1937. It was deposited with part of the Rosenberg collection at the Banque Nationale pour le Commerce et l'Industrie in Libourne, from which it was confiscated by the Nazi's ERR on 28 April 1941 (see Rosenberg claim file, National Archives RG260/OMGUS/Records of the Museum, Fine Arts and Archives Section/Cultural Property Claims Applications/ Box 743, copies in NGA curatorial files). Documents from the National Archives in Washington indicate that the painting had been selected by Hermann Goering on 14 September 1941 from the Jeu de Paume (OSS Consolidated Interrogation Report #2, The Goering Collection, 15 September 1945, Attachment 5, Liste der für die Sammlung des Reichsmarschalls Hermann Göring abgegebenen Kunstgegenstände, dated 20 October 1942, no. 52, National Archives RG239/Entry 73/Box 78, copy in NGA curatorial files). The records of the Munich Central Collecting Point indicate that the painting was recovered at Berchtesgaden and restituted to France on 29 January 1946 (Munich property card #5836/788; French Receipt for Cultural Objects no. IIIa, item no. 167, National Archives RG260/Box 503 and RG260/Box 287, copies in NGA curatorial files). The painting was returned to the Rosenbergs on 17 May 1946 (see correspondence dated 23 June 2000 from the French Ministere des Affaires Étrangeres in NGA curatorial files.)[4] See Harriman collection cards in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139333.htmlJacques Petithory, Paris (not in Lugt). (sale, Nouveau Drouot, Paris, 1-2 March 1983, no. 42, as "attributed to Lodovico Carracci). Private collection, Zurich; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.45886.htmlDr. Friedrich Campe [1777-1846], Nuremberg, by 1844.[1] Bernhard von Lindenau, Altenburg; by inheritance to his niece, Mrs. von Watzdorf-Bachoff, Altenburg.[2] (Paul Cassirer, Berlin, by 1921).[3] Private collection, possibly von der Heydt.[4] August and Serena Lederer, Vienna, possibly by 1923, but certainly before 1932;[5] Lederer family; sold by 1954 to (Rosenberg & Stiebel, Inc., New York); purchased January 1954 by the Samuel H. Kress Foundation, New York;[6] gift 1959 to NGA.[1] The 1995 NGA systematic catalogue entry on the painting stated that it was only possibly owned by Dr. Campe. Although Joseph Heller, Das Leben und die Werke Lucas Cranach's (Bamberg, 1844), 89, lists "Ein männliches und ein weibliches Brustbild, bezeichnet mit 1522 und der Schlange" as belonging to the art and book dealer Dr. Friedrich Campe of Nuremberg, the painting is not mentioned in other descriptions of the collection, such as Ritter C. Heideloff, Verzeichniss der Friedrich Campe'schen Sammlung von Oelgemälden und geschmeltzen Glasmalereien, (Nuremberg, 1847). However, correspondence from Dr. Dieter Gleisberg (letters of 27 July and 1 November 1999, in NGA curatorial files) does confirm Campe's ownership and provides his life dates.[2] H.-C. v.d. Gabelentz, Director, Staatliche Lindenau Museum, Altenburg, letter of 19 July 1968 to Dr. Ilse Franke, Munich, in curatorial files. As Gabelentz notes in his letter, Bernhard von Lindenau ordered all his papers destroyed after his death, so it is not possible to determine, for example, when he acquired the painting.[3] Karl Scheffler. "Kunstausstellungen." Kunst und Künstler 19 (1921), 298, cites the painting as being with Cassirer. Gabelentz, letter of 19 July 1968 cited above, says that Mrs. von Watzdorf-Bachoff sold the portrait to Cassirer.[4] Not verified. Gabelentz, letter of 19 July 1968, cited in note 2, states that the portrait was in the von der Heydt collection, but it has not been possible to locate it in any catalogues associated with the name von der Heydt.[5] Curt Glaser. Lukas Cranach. (Leipzig, 1923), 179, reproduces the portrait as being in a private collection, Vienna; this is not included in the 1921 edition. Scheffler 1921, 298, reports only that the portrait went from Cassirer into a private collection and so it is possible, although not verified, that Lederer owned it as early as 1921. Max J. Friedländer and Jakob Rosenberg. Die Gemälde von Lucas Cranach. (Berlin, 1932), 53-54, nos. 123-124 (Rev. ed. The Paintings of Lucas Cranach. Amsterdam, 1978, 99, nos. 145-146, repro.), are the first to mention Lederer as owner.This painting was confiscated by the Nazis in 1938 with others in the Lederer collection. It was discovered in the Alt Aussee salt mine after the war and restituted to the Austrian government in 1947. [Receipt for objects of Austrian origin, dated 14 July 1947, item no. 841, National Archives RG 260/USACA/Box 1, copy in NGA curatorial files.] According to a letter dated 10 April 1987 from Gerald G. Stiebel to John Hand, in NGA curatorial files, this and 1959.9.2 were acquired from the Lederer family by the firm of Rosenberg & Stiebel, who sold the paintings to the Kress Foundation in 1954.[6] Invoice of 29 January 1954 and letter of 30 January 1954 from Saemy Rosenberg to John Walker, in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.45887.htmlDr. Friedrich Campe [1777-1846], Nuremberg, by 1844.[1] Bernhard von Lindenau, Altenburg; by inheritance to his niece, Mrs. von Watzdorf-Bachoff, Altenburg.[2] (Paul Cassirer, Berlin, by 1921).[3] Private collection, possibly von der Heydt.[4] August and Serena Lederer, Vienna, possibly by 1923, but certainly before 1932;[5] Lederer family; sold by 1954 to (Rosenberg & Stiebel, Inc., New York); purchased January 1954 by the Samuel H. Kress Foundation, New York;[6] gift 1959 to NGA.[1] The 1995 NGA systematic catalogue entry on the painting stated that it was only possibly owned by Dr. Campe. Although Joseph Heller, Das Leben und die Werke Lucas Cranach's (Bamberg, 1844), 89, lists "Ein männliches und ein weibliches Brustbild, bezeichnet mit 1522 und der Schlange" as belonging to the art and book dealer Dr. Friedrich Campe of Nuremberg, the painting is not mentioned in other descriptions of the collection, such as Ritter C. Heideloff, Verzeichniss der Friedrich Campe'schen Sammlung von Oelgemälden und geschmeltzen Glasmalereien, (Nuremberg, 1847). However, correspondence from Dr. Dieter Gleisberg (letters of 27 July and 1 November 1999, in NGA curatorial files) does confirm Campe's ownership and provides his life dates.[2] H.-C. v.d. Gabelentz, Director, Staatliche Lindenau Museum, Altenburg, letter of 19 July 1968 to Dr. Ilse Franke, Munich, in curatorial files. As Gabelentz notes in his letter, Bernhard von Lindenau ordered all his papers destroyed after his death, so it is not possible to determine, for example, when he acquired the painting.[3] Karl Scheffler. "Kunstausstellungen." Kunst und Künstler 19 (1921), 298, cites the painting as being with Cassirer. Gabelentz, letter of 19 July 1968 cited above, says that Mrs. von Watzdorf-Bachoff sold the portrait to Cassirer.[4] Not verified. Gabelentz, letter of 19 July 1968, cited in note 2, states that the portrait was in the von der Heydt collection, but it has not been possible to locate it in any catalogues associated with the name von der Heydt.[5] Curt Glaser. Lukas Cranach. (Leipzig, 1923), 179, reproduces the portrait as being in a private collection, Vienna; this is not included in the 1921 edition. Scheffler 1921, 298, reports only that the portrait went from Cassirer into a private collection and so it is possible, although not verified, that Lederer owned it as early as 1921. Max J. Friedländer and Jakob Rosenberg. Die Gemälde von Lucas Cranach. (Berlin, 1932), 53-54, nos. 123-124 (Rev. ed. The Paintings of Lucas Cranach. Amsterdam, 1978, 99, nos. 145-146, repro.), are the first to mention Lederer as owner.This painting was confiscated by the Nazis in 1938 with others in the Lederer collection. It was discovered in the Alt Aussee salt mine after the war and restituted to the Austrian government in 1947. [Receipt for objects of Austrian origin, dated 14 July 1947, item no. 841, National Archives RG 260/USACA/Box 1, copy in NGA curatorial files.] According to a letter dated 10 April 1987 from Gerald G. Stiebel to John Hand, in NGA curatorial files, this and 1959.9.2 were acquired from the Lederer family by the firm of Rosenberg & Stiebel, who sold the paintings to the Kress Foundation in 1954.[6] Invoice of 29 January 1954 and letter of 30 January 1954 from Saemy Rosenberg to John Walker, in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.407.htmlEugen Miller von Aichholz [1835-1919], Vienna.[1] Camillo Castiglioni, Vienna, by 1924;[2] (his sale, Frederik Muller & Co., Amsterdam, 17-20 November 1925, no. 10); purchased by (P. & D. Colnaghi & Co., London and New York) for Mme E. ten Cate, Enschede, The Netherlands; purchased April 1930 by (Duveen Brothers, Inc., London and New York);[3] sold 1937 to the Samuel H. Kress Foundation, New York;[4] gift 1939 to NGA.[1] Collections Camillo Castiglioni de Vienne, 3 vols., Frederik Muller & Cie., Amsterdam, 1925: 1:3. According to a memorandum of 7 April 1949 (in NGA curatorial files), William Suida recalled that about 1910 von Aichholz told him he had bought this picture, perhaps around 1890, from a nobleman in a castle in the Romagna, Italy.[2] Castiglioni lent the painting to the 1924 exhibition in Vienna.[3] The negotiations for the painting were begun in February 1930, and are documented in a series of messages between Duveen Brothers' offices in New York, Paris, and London. The sale was concluded by 15 April 1930, when the Paris office cabled New York: "Concluded Crivelli...plus 10 percent for Venturi. Funds must be paid immediately...as are warned if payment delayed after holidays lady may change her mind." (Copies are in NGA curatorial files; Box 234, Folder 10, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). See also Franz Drey, Carlo Crivelli und seine Schule. Munich, 1927: 122-123, and Pietro Zampetti, Carlo Crivelli, Florence, 1986: 287.[4] The Duveen Brothers letter confirming the sale of twenty-four paintings, including NGA 1939.1.264, is dated 9 March 1937; the provenance is given as "Ten Cate Collection" (copy in NGA curatorial files; Box 474, Folder 5, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.119136.htmlFreiherr von Heyl zu Herrnsheim, Darmstadt (b. 1844) (Lugt 2879); (his sale, Darmstadt, May 1903); Dr. Güterbock, Berlin; E. A. Veltman, Bloemendael; Fritz Lugt, 1938 (his paraph on the verso); (Hans Calmann, London,1948); Private collection (sale, Christie's Amsterdam, 15 November 1993, no. 93); Pfeiffer collection; (Galerie Arnoldi-Livie, Munich); purchased 2001 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46113.htmlBequeathed in 1826 by the sitter, Marguerite-Charlotte David, née Pécoul [1764-1826],[1] to her daughter, Baronne Claude-Marie Meunier, née Laure-Emilie-Félicité David [1786-1863], Calais;[2] her daughter-in-law, Baronne Jules Meunier, née Pauline Derode [1824-1903], Calais; the artist's great-granddaughter, Mme. Marius Bianchi, née Mathilde Jeanin, by 1913;[3] her daughter, Caroline-Pauline-Thérèse, Comtesse Joachim Murat [1870-1940], by 1930;[4] her sister, Renée, vicomtesse de Fleury [1869-1948]; (Pierre Cailleux, Paris), 1948-1953.[5] Jointly owned from 1953 by (Otto Wertheimer [Galerie les Tourettes], Paris) and (M. Knoedler & Co., Inc., New York);[6] sold 1954 to the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] In a chronological list of his works which David drew up in about 1815 ("Liste B"), Madame David figures in next-to-last place as "Le portrait de Me David mon épouse" (Schnapper, Antoine, et al., Jacques-Louis David 1748-1825, exh. cat. Louvre and Versailles, Paris, 1989: 20).[2] Mme David's last will, dated 6 March 1826 (Paris, Archives Nationales, Minutier Central, CVIII, 1013; Wildenstein, Daniel, and Guy Wildenstein, Documents complémentaires au catalogue de l'oeuvre de Louis David, Paris, 1973: 239, no. 2045), and the posthumous inventory of her possessions, dated 27 June 1826 (CVIII, 1014; Wildenstein and Wildenstein 1973: 247, no. 2071; Schnapper et al. 1989: 636), both mention this portrait and indicate that it had been bequeathed to Baronne Emilie Meunier, her daughter.[3] David et ses elèves, Petit Palais, Paris, 1913, no. 56.[4] Richard Cantinelli, Jacques-Louis David, Paris, 1930: 113, no. 132.[5] The painting was lent by Cailleux to the 1952-1953 exhibition Meisterwerke de französichen Malerei von Poussin bis Ingres, shown at the Kunsthalle, Hamberg, and the Alter Pinakothek, Munich.[6] Knoedler stock book no. 10, p. 115, no. A5477, and sales book no. 17, both as Portrait of Mme David, M. Knoedler and Co. Records, Getty Research Institute (copis NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139305.htmlThomas Tomkins (1743 - 1816). (sale, Mr. Hickman's Gallery, London, 25-28 February 1818, no. 289). Robert Stayner Holford [1808-1892]; his son, Sir George Lindsay Holford, K.V.O.C. [1860-1926]; (his sale, Sotheby's London, 22 May 1928, no. 29B). (sale, Christie's London, 18 March 1975, no. 80). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139306.htmlThomas Tomkins (1743 - 1816). (sale, Mr. Hickman's Gallery, London, 25-28 February 1818, no. 289). Robert Stayner Holford [1808-1892]; his son, Sir George Lindsay Holford, K.V.O.C. [1860-1926]; (his sale, Sotheby's London, 22 May 1928, no. 29B). (sale, Christie's London, 18 March 1975, no. 80). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139340.htmlSir Bruce Ingram, Chesham (1877 - 1963) (Lugt 1405a). Carl Winter. Mrs. Don Forrest. (sale, Sotheby's London, 5 December 1977, no. 10). (Hazlitt, Gooden & Fox, London); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139250.htmlEstate of the artist. H.W. Fichter, Frankfut am Main, 1997. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139222.htmlPrinces of Liechtenstein, Vienna and Vaduz (Lugt 4398). Richard Tüngel [1893-1970], Ahrensburg. Wolfgang Ratjen, Munich; purchased by NGA, 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139102.html(sale, Hugo Ruef, Munich, 23 November 1972, no cat.). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139128.htmlHildegard Fritz-Denneville, London; (Katrin Bellinger, Munich) 1989. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139221.htmlJoseph Fach, Frankfurt-am-Main, 1976. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139260.htmlRichard Huber, Heidelberg. (sale, Bernd Rieber, Stuttgart, 22 September 1990, no. 966). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139212.htmlBruno de Bayser, Paris, 1975. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.98397.htmlHelmut Domizlaff (1902-1983)(his mark[?], HD in a circle [Lugt undesc.]); by inheritance to his nephew; (Galerie Arnoldi-Livie, Munich); purchased by NGA, 1997.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.132365.html(Galerie Arnoldi-Livie, Munich); NGA purchase in 2005.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117428.htmlGalerie Ambaum, Cologne, 1976; Dr. Hans Hellmut Klihm (sale, Ketterer Kunst, Munich, 6 May 2000, no. 710); (Jörg Maas Kunsthandel, Berlin); purchased 2001 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139307.htmlArthur Sambon [1867-1947], Paris (Lugt 3519); (Hans Calmann [1899-1982], London); Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.111718.htmlPurchased 1670 by Lorenzio Onofrio Colonna, Roma;[1] Colonna family, Rome, likely until at least 1802.[2] Barberini family, Rome, by 1844;[3] sold 1948 through (Studio d'art Palma, Rome) to Machado Coelho [member of the Chamber of Deputies], Rio de Janeiro; sold 1976 to private collection, Rio de Janeiro; (sale, Sotheby's, New York, 4 June 1987, no. 96); (Richard L. Feigen & Co., New York); sold July 1989 to Saul P. Steinberg, New York; (sale, Sotheby's, New York, 28 January 2000, no. 63); purchased 8 February 2000 through (Kate Ganz, New York) by NGA.[1] The NGA painting certainly corresponds to the "original painting by Domenichino with the figure of Adam" that Lorenzo Onofrio Colonna bought from two Roman dealers in 1670 for 700 scudi; see Natalia Gozzano, La Quadreria di Lorenzo Onofrio Colonna. Prestigio nobiliare e collezionismo nella Roma barocca, Rome, 2004: 111, 147, 192, and 238. It is described as a painting of Adam and Eve chased from the Garden of Eden by Domenichino in the 1679 inventory of Colonna's collection, and, having only been purchased in 1670, does not appear in the family's inventory drawn up in 1664; see Eduard A. Safarik, Collezione dei dipinti Colonna: Inventari 1611-1795, Munich, 1996: 124, item 61, described as "Un Quadro di p.mi 5 1/4, e 6 1/2 con Adamo, et Eva scacciati dal paradiso terrestre con cornice intagliata e dorata opera del Domenichini."[2] A report drawn up in 1802 by C. Dufourny in preparation for the shipment of works of art from Italy to France discusses the cartoon (now in the Louvre, Paris) for the NGA painting, and indicates that the painting was still in the possession of the Colonna family: "Cartons. . .5. Adam et Eve, chassés du Paradis terrestre, fig. demi-nat., carton du tableau de la Gallerie [sic] Colonna par le Dominiquin" (cited by Sylvie Béguin, "Tableaux provenant de Naples et de Rome en 1802 restés en France," Bulletin de la Société de l'Histoire de l'Art français (1959): 194). Unless Dufourny's information was based on outdated hearsay, this would confirm continued ownership by the family to at least the year of the report. A later entry for the cartoon ("notice de Musée Napoléon") reiterates this information.[3] The painting appears in an unpublished 1844 inventory of the Barberini family collection.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.362.htmlRichard Lovell Edgeworth [1744-1817], Edgeworthstown, co. Longford, Ireland; by inheritance to his daughter, Maria Edgeworth [1767-1849], Edgeworthstown; by inheritance to her half-brother, Charles Sneyd Edgeworth [d. 1864], Edgeworthstown; by inheritance to Maria's and Charles' half-nephew, Prof. Francis Ysidro Edgeworth [1845-1926];[1] Acquired 1929 by (Julius Böhler, Munich);[2] purchased 1930 by (Duveen Brothers, Inc., London and New York);[3] sold May 1936 to the Samuel H. Kress Foundation, New York;[4] gift 1939 to NGA.[1] The catalogue of the 1930 exhibition in London gives the provenance as "Professor Edgeworth, Edgeworthstown, Ireland." A more detailed list of the previous owners is given in Duveen Pictures in Public Collections of America, New York, 1941: no. 42. On the Edgeworth family see The Dictionary of National Biography. The Concise Dictionary, Part 1, Oxford, 1953: 384, and Part 2, Oxford, 1961: 131. Julius Böhler sent Joseph Duveen a postcard of "Edgeworthstown House" and wrote in the postscript to the accompanying letter: "I am sorry I cannot give you more than the enclosed postcard regarding the pedigree of the Domenico Veneziano. This is the place and the people the picture comes from. I know nothing more and the picture was the only picture in the place." (Copy in NGA curatorial files; Box 299, Folder 1, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles).[2] Böhler Inventory card no. 226-29, Getty Research Institute gives source as "Sarasota." (copy NGA curatorial file).[3] Correspondence between Böhler and Joseph Duveen in the Duveen Brothers Records documents the purchase from the 1930 exhibition (copies in NGA curatorial files; Box 299, Folder 1, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles).[4] The Duveen Brothers letter confirming the sale of thirteen paintings and one sculpture, including NA 1939.1.221, is dated 18 May 1936; the provenance is given as "Prof. Edgeworth Coll'n" (copy in NGA curatorial files; Box 474, Folder 5, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.281.htmlMain altar of the church of Santa Lucia de' Magnoli, Florence, probably until the early 18th century.[1] Sacristy of the same church, by 1728.[2] Third altar on the right of the nave of the same church, by 1762 and probably until the early 1800s.[3] Possibly Osvald Sirén [1879-1977], Stockholm; purchased 6 May 1921 by (Julius Böhler, Munich);[4] sold 17 September 1921 to (Count Alessandro Contini-Bonacossi, Rome and Florence);[5] purchased December 1933 by the Samuel H. Kress Foundation, New York;[6] gift 1939 to NGA.[1] The altarpiece is cited as being on the main altar (erroneously, as a work of Andrea del Castagno) by Giovanni Cinelli in Francesco Bocchi, Le bellezze della città di Firenze, ed. Giovanni Cinelli, Florence, 1677 (originally 1591): 280, reprinted Bologna, 1973. It was probably moved on the occasion of restoration work done in the church between 1712 and 1715 (see W. and E. Paatz, Die Kirchen von Florenz, Frankfurt am Main, 1941: 2:607).[2] Cited as being there by Filippo Baldinucci, Notizie dei professori del disegno da Cimbaue in qua, ed. F. Ranalli, 5 vols., Florence, 1845-1847 (originally 6 vols., 1681-1728): 3:95 n. 1.[3] The altarpiece was described there by both Giuseppe Richa, Notizie istoriche della chiese fiorentine), 10 vols., Florence, 1754-1762: 10(1762): 294, and Vincenzo Follini and Modesto Rastrelli, Firenze antica e moderna, 8 vols., Florence, 1789-1802: 8(1801):254). Among early writers, Luigi Lanzi (Storia pittorica della Italia, 3 vols., Bassano, 1795-1796: 1(1975):58) is the only one who mentions the predella, which at that time must still have been attached to the main panel. The fact that in 1827 the usually careful Rumohr, the first to read and transcribe the signature of Domenico Veneziano on the altarpiece, did not mention the predella, leads one to suppose that by this date it was no longer in the church. See Carl Friedrich von Rumohr, Italienische Forschungen, 3 vols., ed. by J. von Schlosser, Frankfurt am Main, 1920 (originally Berlin, 1827-1831): 387. In fact, Rumohr presumably saw the panel during his second stay in Italy, between 1816 and 1820. (See E. Sigismund, "R.C.F. Freiherr von Rumohr," in Ulrich Thieme, Felix Becker, and Hans Vollmer, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 37 vols. Leipzig, 1907-1950: 29[1935]:202, reprinted 1970-1971.)[4] According to the Getty Index, the NGA painting is probably the same painting as a "Picture of Two Saints. Stigmatizing of St. Francis in a hilly mountain landscape," listed in the Böhler records as acquired from Sirén on that date. Roberto Longhi ("Un frammento della pala di Domenico Veneziano per Santa Lucia de'Magnole," L'Arte 28 [1925]: 31-35, reprinted in Edizione delle opera complete di Roberto Longhi, 14 vols., Florence and Milan, 1956-2000: 2[1967]) and other writers of the 1920s indicate the painting as belonging to Böhler. It was presumably also for Böhler that Georg Gronau wrote his expertise, dated 10 August 1921 (copy in NGA curatorial files), recognizing the authorship of Domenico Veneziano.[5] A. Chiapelli, "Una nuova opera di Domenico Veneziano," L'Arte 27 (1924): 93 note 6, is wrong in stating that the panel was "recently acquired by Longhi in Germany"; Longhi himself (1925: 31) states clearly that the purchaser was, on his advice, Count Contini-Bonacossi. Contini lent the picture to the 1930 exhibition in London.[6] The bill of sale for the painting is dated 27 December 1933 (copy in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.391.htmlCommissioned by Alfonso I d'Este, Duke of Ferrara, Castello, Ferrara, by c. 1521; by inheritance through the Este Collection, in Camerino d'Alabastro, until 1608; Borghese collection, Rome, until at least 1693. (Kunsthandel A.G., Lucerne); sold 1926 to (Julius Böhler, Munich and Luzerne).[1] (Count Alessandro Contini-Bonacossi [1878-1955], Florence and Rome, from the early 1920s); sold 1936 to the Samuel H. Kress Foundation, New York;[2] gift 1939 to NGA.[1] Inventory card no. 55-26, Böhler records, Getty Research Institute (copy, NGA curatorial files)[2]According to Kress files in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46032.htmlProbably Kurfürst Karl Albrecht [1697-1745], Munich, by 1742.[1] (Kurfürstliche Galerie, Munich);[2] Alte Pinakothek, Munich, by the mid-eighteenth century; deaccessioned in 1927;[3] sold to (Galerie van Diemen, New York and Berlin);[4] William R. Timken [1866-1949], New York; by inheritance to his wife, Lillian S. Guyer Timken [1881-1959], New York; bequest 1960 to NGA.[1] On the back of the painting are two wax seals that were detached from the original panel when it was cradled and then reapplied. According to Dr. Susan Neuburger (letter, 6 November 1981, in NGA curatorial files), one of these seals is that of Kurfürst Karl Albrecht, and this seal was used until 1742. The other seal may also be that of Karl Albrecht, or alternatively of Kurfürst Maximillian II Emmanuel (1662–1726). [2] Franz von Reber, Katalog der Gemälde-sammlung der kgl. Älteren Pinakothek in München, Munich, 1884: 86, no. 399 (also reprint, 1904: 93, no. 399).[3] Dr. Susan Neuburger (letter, 6 November 1981, in NGA curatorial files) wrote that a painting by Dou that appeared in an auction in Amsterdam in 1779 (May 19, no. 49; a sale by Van der Schley, De Winter, Hosteyn, and Yver for a “Mr. V…”), traditionally thought to be The Hermit, was another work, as the NGA painting must have already been owned by the Alte Pinakothek. She also provided the information about the deaccession and sale of the painting.[4] In 1935 the Berlin branches of van Diemen and its affiliated galleries were liquidated by order of the Nazis, with sales organized by Graupe on January 25 and April 26. This painting was not in either of those sales, and thus had been sold from the Berlin branch or sent to the New York branch before 1935.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139256.htmlEstate of the artist. Professor Georg Schöne, Berlin; Professor Wolfgang Schöne [1910-1989], Hamburg; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139263.htmlEstate of the artist. Professor Georg Schöne, Berlin; Professor Wolfgang Schöne [1910-1989], Hamburg. (sale, Galerie Gerda Bassenge, Berlin, 31 May 1991, no. 5741) Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.140072.htmlWalter Bareiss [1919-2007]; (sale, Karl und Faber, Munich, 30 November 2007, no. 290); (via C. G. Boerner, New York); purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.73852.htmlPrince Heinrich Lubomirski, Przeworsk, Poland [1770-1850], by 1823; transferred by his heirs to the Lubomirski Museum in the Ossolinski Library, Lemberg (now Lviv, Ukraine) 1869 (inv. 8296); on 2 January 1940, by decree of the People's Commissars of the Ukranian Soviet Socialist Republic, the Ossolinski Library ceased as a separate institution and was combined with other libraries into the L'vov branch of the Library of the Ukranian Academy of Sciences; German troops took L'vov in June 1941, and in July K. Muhlmann, the German special representative for works of art, took the Lubomirski Dürer drawings to Adolf Hitler in Berlin; in the possession of the German military until 1945, mainly at the Reich Chancellery; discovered in a salt mine near Salzburg, Austria, and taken to the Munich Central Collecting Point, April 1945; restituted to Prince Georg Lubomirski, Switzerland, 1950; (Colnaghi's, London, 1954); Dr. and Mrs. Vitale Bloch (sale, London, Sotheby's, 28 June 1962, lot 87); private collection, Nuremberg; (Rolf Kistner, Nuremberg); purchased by Ian Woodner, New York, 14 May 1985; by inheritance to his daughters, Andrea and Dian Woodner, New York, 1990; gift to NGA, 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.62604.htmlArt Market, Munich; purchased 1975 by Julius S. Held; Peter Mark Held; purchased by National Gallery, 1983.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139219.htmlBernhard Funck [1895-1993], Munich; acquired 1976 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.33253.htmlProbably in El Greco's possession at his death;[1] his son Jorge Manuel Theotócópuli, Toledo, in 1621.[2] The Infante Antonio María Felipe Luis de Orleáns, Duque de Montpensier [1824-1890], Seville;[3] by inheritance to his son, the Infante Don Antonio de Orleáns, Duque de Galliera, Sanlúcar de Barremada, Cádiz.[4] (Durand-Ruel, Paris) by 1910.[5] (Paul Cassirer, Berlin) by October 1915.[6] The pianist Edwin Fischer [1886-1960], Basel and Berlin, by 1923;[7] Eleanora Irme von Jeszenski von Mendelssohn, Berlin, who was divorced from Fischer in 1925, by 1926.[8] T.R.H. Prince and Princess Paul of Yugoslavia, Belgrade, Johannesburg, and Paris by May 1934;[9] consigned by Prince Paul in 1946 to (M. Knoedler and Co., London, Paris, and New York), who sold it later that year to the Samuel H. Kress Foundation, New York;[10] gift 1946 to NGA.[1] The inventory made of the artist's estate in 1614 included two examples of "a small Laocoön" ("Un laocon pequeño) and one large painting of this subject ("Un laocon grande"). Francisco de Borja de San Román y Fernández, El Greco en Toledo (Madrid, 1910): 193. Because the measurements of the Kress painting correspond most closely to those of the smallest of the versions cited in the inventory of 1621 (see n. 2 below), it seems likely that the Kress painting was one of the two small versions recorded in 1614. [2] The inventory made of the possessions of Jorge Manuel in 1621 includes the following items: "41 Un laocon, de dos baras de largo y bara y dos terzias de alto" ("A Laocoön of two varas in width and one and two-thirds of a vara in height"). "179 Un laocon grande, de tres baras y media en quadrado" ("A large Laocoön, three and one-half varas square"). "180 Otro laocon, casi del mismo Tamaño" ("Another Laocoön, almost the same size"). Francisco de Borja de San Román y Fernández, "De la vida del Greco," Archivo Español de Arte y Arqueologia 3 (1927), 291, 301. Because a vara equals approximately 84 cm., the measurements of no. 41 correspond closely to those of the Kress painting. The difference in the numbers of large and small versions of the subject mentioned in the two inventories suggest that Jorge Manuel sold one of the two smaller paintings in his father's estate and that he or another artist in the workshop produced another large copy of the composition before 1621. Alternatively, a mistake may have been made in one of the inventories. Many previous scholars have maintained that the Kress painting was in the Spanish royal collection in the seventeenth and eighteenth centuries. Manuel B. Cossío, El Greco (Madrid, 1908), 362; Emilio H. del Villar, El Greco en España (Madrid, 1928), 132; Walter S. Cook, "El Greco's Laocoön in the National Gallery," Gazette des Beaux-Arts 26 (1944), 262, n. 1; José Camón Aznar, Domenico Greco (Madrid, 1950) 2: 921; Harold E. Wethey, El Greco and His School (Princeton, 1962) 2: 84, no. 127; Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 198, no. K1413; William B. Jordan, El Greco of Toledo [exh. cat.] (1982-1983), 257, no. 56. However, it is likely that the royal inventories refer not to the Kress painting but to one of the larger versions cited in the 1621 inventory (nos. 179 and 180). The relevant entries are as follows: Alcázar, Madrid, Inventory of 1666, no. 520: "3 varas casi en quadro de Lauconte y sus hijos de mano del Greco en 300 dicadps de plata" ("3 varas, almost square, of Laocoön and his sons, by the hand of El Greco, at 300 silver ducados"). Harold E. Wethey, letter, 22 June 1969, NGA curatorial files. Alcázar, Madrid, Inventory of 1686, no. 310: "Un quadro de tres baras de largo casi quadrado de la Oconte y sus hijos de blanco y negro de mano del Griego, tiene Marco negro como las demas pinturas de esta pieza" ("A painting, three varas in width, almost square, of Laocoön and his sons, in white and black by the hand of El Greco, has a black frame like the other paintings in this room"). Yves Bottineau, "L'Alcázar de Madrid et l'inventaire de 1686: aspects de la cour d'Espagne au XVIIe siècle," Bulletin Hispanique 60 (1958), 164. Alcázar, Madrid, Inventory of 1701-1703, no. 119: "Un cuadro de tres varas de largo quasi quadrado de laoconte y sus hijos de blanco y negro de mano del Griego con marco negro tasado en cien Doblons" ("A painting three varas in width, almost square, of Laocoön and his sons, in white and black by the hand of El Greco, with a black frame valued at 100 doblones"). Gloria Fernández Bayton, ed., Inventarios reales: Testamentario del Rey Carlos II, 6 vols. (Madrid, 1975-), 1:29. The dimensions given in all these inventories correspond to the now lost larger versions of the Laocoön but not to the Kress painting. The dimensions given in all these inventories correspond to the now lost larger versions of the Laocoön but not to the Kress painting. The Kress painting has also been related to references in the royal inventories of 1701-1703 and 1791 to an approximately square painting of Laocoön, about two varas across, said to be a copy of Titian. The width of this painting approximates that of the Kress painting. However, it seems most unlikely that the Kress painting would have been described as a copy of Titian, especially because an original Laocoön by El Greco and the copy after Titian were recorded in the royal collections at the same time (Fernández Bayton 1975-, 1:29, no. 119; 2:324, no. 581). Spanish critics of the seventeenth and eighteenth centuries carefully distinguished the styles of Titian and El Greco, and the compilers of the royal inventories probably would not have confused them. See, e. g. Antonio Palomino de Castro y Velasco, El Museo pictórico y escala óptica (1715 and 1724, reprint ed., Madrid, 1947), 841; and Antonio Ponz, Viaje de España, ed. C. María de Rivero (Madrid, 1947), 640. [3] Catalogo de los cuadros y esculturas pertenecientes á la galeria de SS. AA. RR. los Serenísmos Señores Infantes de España, Duques de Montpensier (Seville, 1866), 44, no. 155. [4] Manuel B. Cossío, El Greco (Madrid, 1908), 579, no. 162. [5] Colin Eisler, 1977 (see n. 2 above), 198, 201, n. 163, no. K1413. On loan to the Alte Pinakothek, Munich, July 1911-1913. The ownership of the painting from 1911 to October 1915 is uncertain. [6] Ludwig Burchard, "Werke alter Kunst aus Berliner Privatbesitzer," Kunst und Kunstler 13 (1915), 525. Recorded in 1914 and again in 1915 as on loan to the Kaiser Friedrich Museum, Berlin. [7] "Die Zeit und der Markt: Sammlungen," Der Cicerone 15 (1923), 1156-1157; H. U. Schmid, "Über das Jahr 1923," Jahresbericht der öffentlichen Kunstsammlungen, Basel 20 (1923), 6; H. U. Schmid, Über das Jahr 1924: Gemäldegalerie," Jahresbericht der öffentlichen Kunstsammlungen, Basel 21 (1924), 6. [8] R. Riggenbach, "Über das Jahr 1926: Gemäldegalerie," Jahresbericht der öffentlichen Kunstsammlungen, Basel 23 (1926), 27; Otto Fischer, "Bericht über das Jahr 1928: Gemäldegalerie," Jahresbericht der öffentlichen Kunstsammlungen, Basel (1928), 6; Otto Fischer, "Bericht über das Jahr 1929," Jahresbericht der öffentlichen Kunstsammlungen, Basel (1929), 34. Basic biographical information about Fischer and Von Jeszenski von Mendelssohn is given in Neue Deutsche Biographie 5 (Munich, 1961), 180. Walter S. Cook, "El Greco's Laocoön in the National Gallery," Gazette des Beaux-Arts 26 (1944), 262, n. 1 maintains that the Laocoön was purchased before 1914 by Fischer's wife, whom he misidentifies as Frau von Schwabach. Because this painting was owned by the dealer Cassirer in 1915, this supposition is unlikely. However, the painting may have been purchased by ischer's wife before their marriage in 1919. Frau von Schwabach may possibly have been an earlier owner, unrelated to Fischer. [9] Kenneth Clark, , "Report: National Gallery, 1935," National Gallery and Tate Gallery Directors' Reports 1935 (London, 1935), 4. On loan to the National Gallery, London, May 1934-December 1935. During the Second World War, Prince Paul, then resident in Johannesburg, arranged to have the painting at the National Gallery, Washington, for safekeeping (David Edward Finley, A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington, [Washington, DC, 1973], 89). [10] John Walker, Self Portrait with Donors (Boston, 1974), 144-146, presents a lively discussion of the negotiations involved in the sale.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.112155.htmlPrivate collection, Munich; (sale, Ketterer Kunst Hamburg, 3 December 1999, no. 146); (Martin Moeller Kunsthandel, Hamburg); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139127.htmlJohann August Gottlieb Weigel [1773-1846], Leipzig; Theodore Oswald Weigel [1812-1881], Leipzig; (J.A.G. Weigel sale, Gutekunst, Stuttgart, 15 May 1883, no. 285). Richard von Kühlmann [1873-1948], Germany. Richard Holtkott [1866-1950], Bedburg. (sale, Stephan List, Frankfurt am Main, 10-11 October 1969, no. 120, as Elsheimer School). Kurt Meissner, Zurich. David Lachenmann, Munich; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139223.htmlSiegfried Laemmle [1863-1953]. (sale, Weinmüller, Munich, 9-10 March, 1939, no. 726, as Leitkrath); Bernhard Funck, [1895-1993] Munich (not in Lugt), until 1977; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139273.htmlSiegfried Laemmle [1863-1953], Munich and Los Angeles; his son Walter Laemmle, Munich and Los Angeles. (Blumka Gallery, New York); sold 2004 to Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139232.htmlPrinces of Liechtenstein, Vienna and Vaduz (Lugt 4398). Richard Tüngel [1893-1970], Ahrensburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139261.htmlPrivate collection, Hamburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139299.htmlHeinrich Beckmann, Bremen (1874 - 1940) (Lugt 2756a); (his sale, R. Puppel Berlin, 27-28 February 1941, no. 118). Bernhard Funck [1895-1993], Munich. Herbert List [1903-1975], Munich (Lugt 4063). Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139286.htmlEberhard Jabach, Paris [1610 - 1695]; (Lugt 960a) and (Lugt 2959c); Bernhard Funck [1895-1993], Munich (not in Lugt); Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased by NGA, 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139238.htmlDagomar Fleischmann, Munich. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139287.htmlAchille Ryhiner, Basel (1731 - 1788) (Lugt 2164 and 3004b). Johann Kaspar Lavater. Falkeisen & Huber, Basel (under Lugt 1008). Unidentified private collector "i." (sale, Stephan List, Frankfurt am Main, 10 April 1970, no. 86); Herbert List [19803-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139298.html(sale, Stephan List, Frankfurt am Main, 3 April 1971, no. 340, as "Italienisch 18. Jahrhundert"); Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.71461.html(P. & D. Colnaghi & Co. Gallery, London, 1978); (Galerie Arnoldi-Livie, Munich); (Paul Prouté, Paris); acquired 1990 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139124.htmlPossibly a gift of the artist to an ancester of Adolf Gruis, Berlin and inherited by him by 1939. (sale, Gerd Rosen, Frankfurt am Main, 11-13 October 1961, no. 60). Fritz Busche, Dortmund. (Galerie Arnoldi-Livie, Munich) 1987. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.130555.html(Estate sale, Munich, 2003, as by an anonymous artist); private collection, Germany; (sale, Sotheby's, London, 15 June 2004, no. 26); (French & Company, Inc., New York); purchased 20 October 2004 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139280.htmlKühlmann Collection, Berlin. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139241.htmlBy descent to Anny von Rittinger, granddaughter of the artist, Innsbruck. Carl Heumann, Chemnitz [1886-1945] (Lugt 2841a); (his sale, Roman Norbert Ketterer, 29 November 1957, no. 78). Gustav Stein, Cologne. (Galerie Arnoldi-Livie, Munich); 1984 to Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139209.htmlBy descent to Anny von Rittinger, Innsbruck, granddaughter of the artist. (sale, C.G. Boerner, Leipzig, 28 April 1939, no. 72, repro.). Bernhard Funck, Munich. Wolfgang Ratjen, Munich; purchased by the NGA 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139210.htmlBy descent to Anny von Rittinger, Innsbruck, granddaughter of the artist. Bernhard Funck [1895-1993], Munich; acquired 1974 by Wolfgang Ratjen, Munich; purchased by the NGA 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.98941.html(Galerie Arnoldi-Livie, Munich); purchased by NGA, 1997.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139288.htmlHerbert List [1903-1975], Munich (Lugt 4063). Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139289.htmlConrad M. Metz (Lugt 598a); E. Parsons & Sons, London, by 1947, as "Lombard School circa 1500. The Ascension of Our Lord" [as per Hugo Chapman]; (sale, Karl & Faber, Munich, 14 October 1964, no. 178, as "Italienischer Meister"). Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139325.htmlJacques Petithory, Paris; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139100.htmlDr. Gustavo Frizzoni [1840-1919], Bergamo and Milan. Eva Denker-Winkler, Zurich; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.118598.htmlProbably Cardinal Ludovico Ludovisi [1595-1632], Villa Ludovisi at Porta Pinciana, Rome, by 1623, and Niccolò Ludovisi, Prince of Piombo [1613-1664], until 1664.[1] Prince Joseph Poniatowski [1816-1873], Paris; (his sale, Hôtel Drouot, Paris, 25 March 1867, no. 6); probably purchased by (François Niewenhuys, Paris); purchased 21 May 1870 by Alfred Louis Lebeuf de Montgermont [1841-1918], Paris;[2] by descent in his family; (sale, Sotheby's, Monaco, 7-8 December 1990, no. 5); private collection; (sale, Sotheby's, New York, 11 January 1996, no. 44, bought in); private collection; purchased 28 February 2001 through (Hall & Knight Ltd., New York and London) by NGA.[1] This provenance is the result of a collaborative research effort by Peter Humfrey and Burton Fredericksen, who kindly shared their work with the Gallery. When the painting was on the art market in the 1990s, and initially in the Gallery's records, it was identified with one formerly in the collections of the Empress Josephine at Malmaison, of her son Eugène de Beauharnais, and then of his heirs, the Dukes of Leuchtenberg, in Munich and St Petersburg. Supporting evidence was provided by the fact that the engraving of this picture by J. N. Muxel included in the luxurious 1851 catalogue of the Leuchtenberg collection compiled by J. D. Passavant, shows a composition that is near-identical (J.N. Muxel and J.D. Passavant, Galerie Leuchtenberg. Gemälde-Sammlung seiner kaiserl. hoheit des Herzogs von Leuchtenberg in München, 2 vols., Frankfurt am Main, 1851: 8, no. 35, repro.). However, the Leuchtenberg picture was recorded as still in St. Petersburg by Harck in 1896 ("Notizien über italienische Bilder in Petersburger Sammlungen," Repertorium für Kunstwissenschaft 19 [1896]: 413-438; Die Russischen Bestimmungen über Nachtmärsche und Nachtgefechte: Uebersetzt von Harck, Leipzig, 1896: 423) and by Néoustroieff in 1903 (A. Néoustroieff, "I Quadri Italliani nella collezione del Duca G.N. von Leuchtenberg dit Pietroburgo," Arte, Anno VI, November/December 1903: 329-346, repro. 333), whereas the Gallery's picture had been sold at the Poniatowski sale in Paris in 1867. Indeed, while the photograph of the Leuchtenberg picture reproduced by Néoustroieff corresponds to Muxel's engraving, both show minor but distinct differences from the Washington picture, as is particularly evident in the treatment of the haloes. Furthermore, it was Harck's opinion that the Leuchtenberg picture -- unlike other works by Garofalo in the same collection -- was no more than a copy. This judgement cannot be definitely confirmed until the real Leuchtenberg picture re-emerges, and can be compared with the Gallery's picture. Suspicions that the now missing Leuchtenberg picture was a copy of the Gallery's picture were also raised by Alain Pougetoux (La collection de peintures de l'impératrice Joséphine, Paris, 2003: 148), and by Burton Fredericksen in an annotation to the Getty Index. Another circumstantial argument for suspecting that the two pictures are not identical is the fact that the Gallery's version retains its original wooden support, whereas in nineteenth-century Russia panel paintings were transferred to canvas almost as a matter of routine.Instead, the Gallery's painting is likely to correspond to one described in the posthumous inventory of Cardinal Ludovisi of 1633 as follows: "Un Christo che lava li Piedi alli Apostoli quadro alto pmi due lono pmi tre cornice nera rabescata d'oro di mano del Garofano" (Klára Garas, "The Ludovisi Collection of Pictures in 1633," The Burlington Magazine [1967]: 343, no. 37). The stated dimensions (= 44.68 x 67.02 centimeters) are slightly larger than those of the Gallery's painting, but the measurement in palms is clearly not precise, and as pointed out by Garas 1967, 289 n. 2, it probably included the orginal black frame. The same picture is listed (but with no attribution) in an earlier inventory of the cardinal's collection of 1623, and in the posthumous inventory of 1665 of his brother and heir Niccolò, Prince of Piombino (Carolyn H. Wood, "The Ludovisi collection of paintings in 1623," The Burlington Magazine 134 [1992]: 521, no. 218). Cardinal Lodovisi was a Bolognese, and his collection was rich in pictures acquired directly from Ferrara.[2] An old label on the reverse of the painting records this part of the provenance: "Reçu de Monsieur L. Lebeuf de Mongermont [sic] la somme / de neuf mille francs pour payment d'un tableau / peint par Garofalo représentant le lavement des / pieds des apôtres, dont quittance Paris le 21 Mai 1870 / Provenant de la vente du Prince Poniastowski [sic] -- F. Nieuwenhuys".
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139251.htmlFürstlich Hohenzollernsches Museum, Sigmaringen (Lugt 2759). Konrad Diepolder, Munich; purchased 1984 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.71624.htmlBusch Collection, Dortmund. Galerie Arnoldi-Livie, Munich; gift 1990 to NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.162261.htmlMillard F. Tompkins, Esq.;[1] (sale, American Art Gallery, New York, 5 March 1915, no. 27); Ruppert. private collection, Maryland; (sale, Parke-Bernet Galleries, New York, 17 October 1956, no. 52). Woodford; P. Tretyakov. Sordoni collection, Wilkes-Barre, Pennsylvania.[2] (Mathaf Gallery, London), 1978; sold 1982 to private collection; purchased 14 June 2013 through (Galerie Arnoldi-Livie, Munich) by NGA. [1] The provenance given here is based on Gerald M. Ackerman, The Life and Work of Jean-Léon Gérôme, with a catalogue raisonné, London, 1986: 228, no. 205.[2] This is probably the collection of Andrew J. Sordoni [d. 1963], Pennsylvania state senator and founder of the Sordoni Construction Company.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.115437.htmlJan Pietersz. Zoomer, Amsterdam (1641 - 1724); (his sale, Amsterdam, 5 April 1725, no. 56); Jan Goeree, Amsterdam; (his sale, Amsterdam, 12 March, 1731). Probably Swiss private collection; (Katrin Bellinger Kunsthandel, Munich; acquired from Hazlitt, Gooden & Fox, 11 November 1991); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139338.htmlUnidentified collector, Italy; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139326.htmlUnidentified private collector of Luca Giordano(1). Jacques Petithory, Paris; Wolfgang Ratjen, Munich; purchased 2007 by NGA.1. See David Lachenmann, Italian Drawings from the Ratjen Collection, Vaduz, Bern, 1996, no. 35, note 1.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139303.htmlPierre Crozat [1665-1740], Paris. Pierre-Jean Mariette, Paris [1694 - 1774](Lugt 1852). Marquis de Lagoy, Aix en Provence [1764 - 1829] (Lugt 1710). Thomas Dimsdale London [1758 - 1823](Lugt 2426). Sir Thomas Lawrence, London [1769 - 1830](Lugt 2445). Lord Francis Egerton, 1st Earl of Ellesmere, London [1800 - 1857] (Lugt 2710b), and by descent; (his sale, Sotheby's London, 5 December 1972, no. 17); Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139278.html(Galerie Fischer, Lucerne). David Lachenmann, Munich, 1996. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139225.htmlNathan Chaikin [b. 1887], Vaud, Switzerland. David Daniels [1907-2002], New York; (his sale, Sotheby's London, 25 April 1978, no. 45). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139220.htmlDr. Benno Griebert, Munich. Peter Griebert, Munich, 1976. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139282.htmlCarl Heumann [1886-1945], Chiemnitz. Helmut Domizlaff [1902-1983], Munich. (Galerie Arnoldi-Livie, Munich); sold 1997 as "near Reinhart" Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.408.htmlGrand Duke Georg II Saxe-Meiningen [1826-1914], who possibly acquired it during the third quarter of the nineteenth century in Florence;[1] by 1900 in his castle at Meiningen, Saxony;[2] sold in the mid- or late 1920s.[3] (Duveen Brothers, Inc., London and New York); sold March 1937 to the Samuel H. Kress Foundation, New York;[4] gift 1939 to NGA.[1] Although it does not appear among the ten early Italian panels described by Max Jordan in the collection of the Duke of Saxe-Meiningen in 1872 (see Joseph Archer Crowe and Giovanni Battista Cavalcaselle, A New History of Painting in Italy, from the II to the XVI Century, German ed. trans. Max Jordan, 6 vols. in 8 parts, Leipzig, 1869-1876: 4:592-593), it is likely that at that time the collection had already assumed its definitive aspect. Two of the more important items, the pair of Saints by Perugino now in New York (see Pietro Scarpellini, Perugino, Milan, 1984: 114) were still in Florence in 1850, with the dealer Metzger (see Giorgio Vasari, Le vite de'più eccellenti pittori, scultori e architetti, ed. Le Monnier, 14 vols., Florence, 1850 (originally 1568): 6:47 n. 2), and it is likely that Johann Metzger and his son, Ludwig, suppliers of early Italian pictures to the Berlin and Munich galleries, also provided paintings of the same kind to Meiningen Castle. On the Metzgers see John Fleming, "Art Dealing in the Risorgimento-II," The Burlington Magazine 121 (1979): 497 n. 2.[2] See Bernard Berenson, The Florentine Painters of the Renaissance, 2nd ed., New York and London, 1900: 106.[3] The collection was probably broken up in the 1920s. A triptych by Bernardo Daddi, now in the Frick Art Museum in Pittsburgh (no. 1973.27), was sold in 1920 (see Richard Offner, A Critical and Historical Corpus of Florentine Painting, sec. 3, 2nd ed., Florence, 1991: 4:234), and Filippino Lippi's Adoration of the Child (NGA 1937.1.18), left the Saxe-Meiningen collection in 1929. In any case, Gozzoli's panel, recorded by Bernard Berenson, "Quadri senza casa: Il Quattrocento fiorentino. Part 3," Dedalo 12, no. 11 (November 1932): 837, as on the market, obviously must have changed ownership sometime before that date.[4] The Duveen Brothers letter confirming the sale of twenty-four paintings, including NGA 1939.1.265, is dated 9 March 1937; the provenance is given as "Saxe-Meiningen Coll'n" (copy in NGA curatorial files; Box 474, Folder 5, Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.137697.htmlArtist friend of Greiner. (Amsler and Ruthardt, Berlin). Dr. Michaelik, Munich. Private collection, Amsterdam; (D. Moeller & Cie. KG, Hamburg); purchased by NGA, 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139243.html(sale, C.G. Boerner, Leipzig, 19 June 1937, no. 57). (sale, Karl & Faber, Munich, 5 June 1984, no. 352); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46118.htmlWilhelm V, duke of Bavaria [d. 1597], Munich. Maximilian I, duke of Bavaria [d. 1651], Munich.[1] Private collection, western Germany, possibly Westfalia.[2] Dr. Friedrich Schöne, Essen and Stettin (now Szczecin), by 1922; purchased 27 September 1927 by Franz Wilhelm Koenigs [1881-1941], Haarlem;[3] sold 1953 by his heirs to the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] Joachim von Sandrart, Teutsche Academie der edlen Bau-Bild-und Mahlerey-Künste (Der Teutschen Academie. Zwenter theil/von der alt/und neu-beröhmten Egyptischen/Briechischen/ Römischen/Italiänischen/hoch-und Niederteutschen Bau-Bild-und Mahlerey Künstlere Lob und leben.) (Nuremberg, 1675), 236; Alfred R. Peltzer, Joachim von Sandrarts Academie der Bau-Bild-und-Mahlerey-Künste von 1675 (Munich, 1925), 82, "Ferner haben ihre Fürstl. Durchl. Herzog Wilhelm in Bayern hochseligsten Andenkens als vernünftiger Urtheiler und Liebhaber der edlen Kunst ein klein Crucifix mit unser Lieben Frauen und S. Johann samt einer niederknienden und andächtig betenden Maria Magdalena so fleissig gemahlt von dieser Hand gehabt, auch sehr geliebt, ohne dass sie gewust, von wem es sey. Selbiges ist wegen des verwunderlichen Christus am Creutz, so ganz abhenkend auf den Füssen ruhet, sehr seltsam, dass es das wahre Leben nicht anderst thun könte, und gewiss über alle Crucifix natürlich wahr und eigentlich ist, wann ihm mit vernünftiger Gedult lang nachgesonnen wird, solches ist deswegen halb-Bogen gross auf gnädigen Befehl hochgedachten Herzogs Anno 1605 von Raphael Sadler in Kupfer gestochen worden, und erfreute ich hernachmalen Ihre Churfürstl. Durchl. Maximilian seligster Gedächnis höchlich, da ich des Meisters Namen geoffenbaret."[2] Max J. Friedländer, "Grünewalds einst beim Bayernherzog bewahrte Kreuzigung." Jahrbuch der Preussischen Kunstsammlungen 43 (1922): 60; Alfred Scharf, "Alte Malerei aus Rheinisch-Westfälischem Privatbesitz. Die Jubiläumsausstellung des Kunstvereins für die Rheinlande und Westfalen in Düsseldorf." Der Cicerone 21 (1929): 370.[3] Statement by Mrs. Christie van der Waals, daughter of Franz Koenigs, in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.83993.htmlJ.D. Gocking (sale, London, Christie's, 27 November 1973, no. 350); (Katrin Bellinger, Munich, by 1990); purchased 1994 by David Thomson, Toronto; by exchange to William B. O'Neal, Charlottesville, VA, 1994; gift to NGA, 1995.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139311.htmlJohn Clerk, Lord Eldin; (his sale, Winstanley & Sons, Edinburgh, 14-29 March 1833, no. 594. Sir Archibald Campbell; Sir George Campbell; Sir Ilay Campbell [1769-1848]; (sale of his collection, Christie's London, 26 March 1974, no. 70). Herbert List [1903-1975], Munich, (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139094.htmlChute Collection at The Vyne, Basingstoke. (P. & D. Colnaghi & Co., Ltd., London, 1950). Dr. Walter Feilchenfeldt, Zurich; Ursula and Adolf Ratjen, Vaduz; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139125.htmlBaron von Freiherr von Freyberg-Eisenberg. (Kunsthaus Julius Böhler, Munich) in 1989. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139235.html(sale, Buch- und Kunstantiquariat Franz Malota, Vienna, 1919, no. 99). (sale, Christies, London, 7 July 1981, no. 112). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139231.htmlDr. Herbert Dreyer, Berlin. Richard Tüngel [1893-1970], Ahrensburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139237.htmlWolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.103794.html(Galerie Arnoldi-Livie, Munich); purchased by NGA, 1998.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139205.htmlUnknown collection, possibly Kunstverein Munich (KVM, not in Lugt). (sale, Hugo Ruef, Munich, 23 November 1972). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.111633.htmlPrivate collection; (Katrin Bellinger Kunsthandel, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.73844.htmlCornelis Ploos van Amstel [1726-1798] (Lugt 3002-3), Amsterdam; (possibly sale, Amsterdam, van der Schley ... Roos, 3 March 1800, part of Album BBB, lot 49); Rudolph Weigel, Leipzig, 1838, no. 1187; J.A.G. Weigel, (sale, Stuttgart, Gutekunst, 8-15 May 1883, lot 445); William Mitchell [d. 1908] (Lugt 2638), London; (sale, Frankfurt am Main, Prestel, 7 May 1890, lot 54); A.W. Thibaudeau, Paris; A.S. Drey, Munich; F.A. Drey, London; (A. Strölin, Lausanne); purchased (via de Bayser) by Ian Woodner, New York, 25 July 1985; by inheritance to his daughters, Andrea and Dian Woodner, New York, 1990; gift to NGA, 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139120.htmlPrivate collection, Israel; (sale, Christie's London, 12 April 1983, no. 171). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.96655.htmlBaron Louis de Rothschild [1882-1955], Vienna.[1] his niece, Baroness Reininghaus [née Bettina Rothschild Springer, 1912-1974]; her husband, Baron Kurt Reininghaus [d. 1984]; sold to (Galerie Sanct Lucas, Vienna); sold c. 1994 to Mr. and Mrs. Philip Cunningham, Alexandria, Virginia; partially sold and partially given 1996 through (Otto Naumann, New York) to NGA.[1] This painting was confiscated by the Nazis from the Louis de Rothschild collection in Vienna in 1938 and was destined for Adolf Hitler's planned museum in Linz, Austria. It is listed on the 20 October 1939 Vorschlag sur Verteilung der in Wien beschlagnahmte Gemaelde: Für das Kunstmuseum in Linz prepared by Hitler's curator, Hans Posse, and also Posse's Verzeichnis der für Linz in Aussicht genommenen Gemälde dated 31 July 1940 (OSS Consolidated Interrogation Report #4, Linz: Hitler's Museum and Library, 15 December 1945, Attachments 72 and 73, U.S. National Archives RG226/Entry 190B/Box 35, copy in NGA curatorial files). The records of the Allies' Munich Central Collecting Point indicate that the painting was recovered by the Allies and restituted to Austria on 11 May 1948. It was returned to Louis de Rothschild in 1949 (Munich property card #1665; Austrian Receipt for Cultural Property dated 11 May 1948; copies in NGA curatorial files.). The painting is listed and illustrated in Birgit Schwarz, Hitlers Museum: Die Fotoalben Gemäldegalerie Linz: Dokumente zum “Führermuseum”, Vienna, 2004: no. V/1. See also Sophie Lillie, Was Einmal War, Vienna, 2003: 113-116.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.108721.html(Katrin Bellinger Kunsthandel, Munich); (sale, Christie's, New York, 28 January 1999, no. 43); NGA purchase (via W.M. Brady & Co., Inc., New York), in 1999.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139272.htmlAnna Koenigs, daughter of the artist, Haarlem; by descent to her sister, Christine Gräfin Kalckreuth [b. 1898], Munich; by descent to Kornelia van Eyck-Koenigs, daughter of Anna Koenigs, Munich. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139247.htmlAnna Koenigs, daughter of the artist [1890-1946], Haarlem; her daughter Kornelia van Eyck-Koenigs, Munich; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.71239.htmlThe artist [1880-1938]; his estate; (Galerie Wolfgang Ketterer, Munich);[1] purchased by Ruth and Jacob Kainen, Chevy Chase, Maryland; gift 1989 to NGA.[1] according to Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, Exh. cat., Washington, D.C., 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139111.html(sale, Hollstein und Puppel, Berlin, 26 February 1932, no. 119). (Galerie Barrsch & Chariau, Munich) 1980. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.103790.htmlHelmut Domizlaff, Munich. (Galerie Arnoldi-Livie, Munich); purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139270.htmlGeorg Hirzel [1868-1924], Leipzig. (sale, Villa Grisebach, Berlin, 4 June 1993, no. 69); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.79327.htmlsale, Sotheby's, Munich, 10 December 1992, lot 119; via Galerie Arnoldi-Livie, Munich; purchased 1993 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.125190.htmlBaron Feury, Munich. (David Tunick, Inc., New York); purchased by NGA, 2002.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.79325.htmlHildegard Domizlaff, Cologne; sale, Sotheby's, Munich, 10 December 1992, no. 122; via Galerie Arnoldi-Livie, Munich; purchased 1993 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139246.htmlKonrad Diepolder, Munich, 1985. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139255.html(Galerie Biedermann, Munich) 1988. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139214.htmlLeo von Klenze, Munich. (sale, Karl & Faber, 28 November 1975, no. 474). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.79326.htmlsale, Sotheby's, Munich, 10 December 1992, lot 108; via Galerie Arnoldi-Livie, Munich; purchased 1993 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139211.htmlHenry Aceland, England; (sold, Sotheby's London, 15 November 1973, no. 110). (Herner & Weingraf, London) 1974. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139276.htmlPossibly Baron von Bernus, Heidelberg. (Galerie Dr. H. Burg, Cologne). Dr. Georg S.Hirschland [1885-1942], Essen and New York;[1] his son-in-law, Fred Triest [1914-1999], San Francisco; sold 1996 to Wolfgang Ratjen, Munich; purchased 2007 by NGA.[1] In 1938 Georg Hirschland, a patron of the Museum Folkwang, Essen, emigrated to the United States with his family, but was not permitted by the Nazi government to bring his art collection with him. In 1939 the Museum Folkwang and the city of Essen raised the funds to purchase the collection to keep it together; the funds were paid to an estate administrator. The collection consisted of 27 paintings and drawings including this by Koch, described as a pencil and India ink drawing of Tivoli. Eleven Hirschland paintings were evacuated, with other paintings from the Folkwang, to a mine near Siegen, where they were recovered by Allied forces and taken in June 1946 to the Collecting Point at Marburg, in the American zone of Occupied Germany. Other Hirschland objects were discovered in a convent in the French zone, and several drawings, including the Koch, were identified as being in a palace Hugenpost bei Kettwig, near Essen, in the British zone, in 1947. (List of location of objects from the Hirschland estate enclosed in letter from Riegelman, Strasser, Schwarz & Spiegelberg to the US Secretary of State dated 22 March 1947, National Archives RG260/Records of the Wiesbaden Central Collecting Point/Restitution Claim Records/ External Claims Case Files and Internal Claims Case Files, Boxes 116-123, M1947 reels 45 and 48)Georg Hirschland died in New York in 1942. After the war his heirs, represented by a New York law firm, made claims for the collection. The 11 paintings in Marburg were transferred by September 1946 to the Collecting Point in Wiesbaden, and in October 1948 were transferred to the British zone (Receipt for Interzonal Exchange dated 19 October 1938, NARA M1941/reel 45). The objects in the French zone could not be transferred as there was no interzonal agreement in place. By 1951 it appears that all but one of the Hirschland objects in the British zone had been released to the estate in the United States. The sole holdout was an El Greco for which there was difficulty in obtaining an export permit. (Letter dated 20 August 1951 from the Senior Finance Officer, British Control Council for Germany, National Archives, Kew, FO 1014/668.)
https://www.nga.gov/content/ngaweb/Collection/art-object-page.45890.htmlPart of the high altar in the abbey church of the Cistercian Cloister at Marienfeld, near Münster, completed in 1456/1457, installed 6 February 1457, until 1803.[1] Charles Léon Cardon, Brussels, by 1912.[2] Rudolph Chillingworth, Lucerne, Brussels, and Nuremberg; (sale, Galeries Fischer and Frederik Muller & Cie., Lucerne, 5 September 1922, no. 47); acquired by Jacob Walter Zwicky [d. 1956], Freiburg and Arlesheim-Basel;[3] acquired 1955 by (M. Knoedler & Co., New York); jointly owned with (Pinakos, Inc. [Rudolph Heinemann], New York);[4] purchased 1957 by the Samuel H. Kress Foundation, New York; gift 1959 by exchange to NGA.[1] Alb. Wormstall, "Zur Geschichte der Liesborner und Marienfelder Altargemälde," Zeitschrift für vaterländische Geschichte und Alterthumskunde 55 (1897), 90-92, Rincklake's "Gutachten" is cited, 99-102. See also Johannes Sommer, Johann Koerbecke. Der Meister des Marienfelder Altares von 1457 (Münster 1937), 11-12, 17-18. Jochen Luckhardt, Der Hochaltar der Zisterzienserklosterkirche Marienfled. (Bildhefte des Westfälischen Landesmuseums für Kunst und Kulturgeschichte, Nr. 25) (Münster 1987), 24, 34, notes the tradition of reliquary altars in the Cistercian order and reproduces two examples from the fourteenth century.[2] Exhibited with the Cardon collection in Brussels, 1912: Exposition de la Miniature [exh. cat., Palais Goffinet] (Brussels, 1912), no. 2051, as "Anonyme (Ecole de Souabe, XV siècle)".[3] Per letter from Zicky's son, dated 20 May 1989 (NGA curatorial files). The painting was exhibited at Julius Böhler, Munich, in 1934. Böhler no. 37-34, per index to card file, Böhler Gallery Records, Getty Research Institute. No card appears to exist. Böhler likely had the picture on consignment and returned it to Zwicky.[4] Knoedler stock book no. 10, p. 146, no. A5951, sales book no. 17, p. 314, M. Knoedler & Co. Records, Getty Research Institute (copies, NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139271.htmlFürst Leopold von Anhalt-Dessau (1676 - 1747) or Herzog Leopold Friedrich Franz von Anhalt-Dessau (1740 - 1817) (Lugt 1708b). Einsiedel Collection. Galerie Gerda Bassenge, Berlin, June 4, 1993, lot 5424. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.54383.htmlAcquired 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] On loan from Falk to the Kunsthalle Mannheim from 1917 until 1921, when the gift became official.[2] 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. 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.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139213.htmlMax Silberberg [d. 1944], Breslau; (sale, Paul Graupe, Berlin, 12 October 1935, no. 64). (Sale, Karl und Faber, Munich, 30 May 1975, no. 448); Wolfgang Ratjen, Munich; repurchased 2003 by Ratjen Foundation from the heirs of Max Silberberg; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139239.htmlRichard von Schnitzler [1855-1938], Cologne. Private collection, Hamburg. (Galerie Arnoldi-Livie, Munich); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.73839.html(Katrin Bellinger, Munich); NGA purchase in 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107158.htmlJerome Zipkin, New York; (Arnoldi Livie, Munich, by 1987); (Thomas Williams, London); purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139130.htmlDr. Ernst Wolffsohn. Dr. Wolf Stubbe [1903-1994], Hamburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139249.htmlEgon Meilicke, Berlin. (sale, Neumeister, Munich, 10 December 1986, no. 844); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139309.html(sale, Sotheby's London, 13 December 1973, no. 23); Herbert List [1903-1975] (Lugt 4063), Munich; Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139295.htmlRichard von Kühlmann [1873-1948], Ohlstadt. (sale, Karl & Faber, Munich, 14-16 May 1962, no. 153, as "unbekannter italienischer Meister, wohl piemontesisch"). Herbert List [1903-1975], Munich (Lugt 4063];Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.258.htmlLeuchtenberg Collection, Munich and Leningrad, by 1843;[1] sold 1933 through (Heinemann Galerie, Munich) to (Count Alessandro Contini-Bonacossi, Florence and Rome);[2] sold 1933 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.[1] The painting was catalogued in 1843 and 1852 by J. D. Passavant as part of the Leuchtenberg collection. [2] Heinemann Galerie no. 18964 (sold paintings card; copy in NGA curatorial files).[3] Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools, XV - XVI Century, London, 1968: 68.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46126.html(Van Diemen Gallery, Berlin, by 1923); (sold, Christie's, London, 20 May 1926, no. 269, as by Van Leyden); bought by Asscher and Welker, London). [1] Acquired from "Sarasota" 19 November 1928 by (Galerie Julius Böhler, Munich).[2] (Tomas Harris Gallery, London, by 1935).[3] Private Collection, Switzerland, by 1945.[4] (Frederick Mont, New York); sold 18 October 1951 to the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] Van Diemen listed as seller and Asscher as buyer in the annotated auctioneer catalogue, Christie's Archive, London. [2] Böhler card no. 309-28, Böhler Gallery Records, Getty Research Institute.[3] Tomas Harris Gallery, Exhibition of Early Flemish Paintings, (London, 1935), no. 19, as Lucas van Leyden.[4] Basel, Offentliche Kunstsammlung (Kunstmuseum), 1945, Meisterwerke hollandischer Malerei des 16. bis 18. Jahrhunderts, no. 43, as Lucas van Leyden.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.293.htmlDuke of Leuchtenberg, Munich and Saint Petersburg, by 1852;[1] sold 1933 through (Heinemann Galerie, Munich) to (Count Alessandro Contini-Bonacossi, Florence);[2] sold December 1934 to the Samuel H. Kress Foundation, New York;[3] gift 1939 to NGA.[1] See J.D. Passavant, The Leuchtenberg Gallery. Collection of Pictures...of ...the Duke of Leuchtenberg at Munich, Frankfurt and London, 1852: no. 44, repro.; A. Néoustroïeff, "I quadri italiani nella collezione del duca G.N. von Leuchtenberg di Pietroburgo," Arte (1903): 338 (fig. 10), 341.[2] Heinemann Galerie no. 18999 (sold paintings card; copy in NGA curatorial files).[3] The bill from Contini-Bonacossi to the Kress Foundation for five paintings, including Madonna and Child by Bernardino Luini "from the Coll. of Prince Leuchtenberg, Petrograd," is dated 27 December 1934 (copy in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139297.htmlUnidentified private collector TB (Lugt 416a). Herbert List [1903-1975], Munich (Lugt 4063]; Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139321.htmlAlessandro Maggiori, Faenza and Rome, 1804 (Lugt 3005b). (sale, Sotheby's London, 15 June 1983, no. 53); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.62640.html(Kunshandlung Brakl, Munich); acquired 1910 by Dr. Ludwig Hopf [1884-1939], Aachen.[1] Acquired by the Kellen family before 1953; Mr. and Mrs. Stephen Kellen, New York; gift 1983 to NGA.[1] According to Annagret Hoberg and Isabelle Jansen, Franz Marc: The Complete Works Volume 1, The Oil Paintings, London, 2004: 100, no. 79.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139265.htmlEstate of the artist. Conrad Fiedler [1841-1895], Munich; his heir, Mary Balling [1854-1919], Partenkirchen. (sale, Christie's, London, 21 June 1991, no. 66); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139266.htmlEstate of the artist. Conrad Fiedler [1841-1895], Munich; his heir, Mary Balling [1854-1919], Partenkirchen. (sale, Christie's, London, 12 June 1991, no. 66); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.9.htmlPossibly from the Strozzi Sacrati family, Mantua. Said to have been acquired in Italy by Prince Leopold-Emmanuel-Louis Croy Dülmen [1827-1894], Vienna, by 1886;[1] by inheritance to his widow, Princess Rosa Anne von Sternberg [1836-1918], Vienna; by inheritance to her son-in-law, Count Albert Lónyay [1850-1923], Vienna;[2] by inheritance to his son, Count Carl Lónyay [b. 1886], Vienna; sold April 1929 to (Duveen Brothers, Inc., London and New York);[3] purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[4] gift 1937 to NGA.[1] Relating the results of a 1930 trip to investigate the painting's provenance, Edward Fowles, of Duveen's Paris office, wrote to Bernard Berenson on 7 April 1930 (Biblioteca Berenson, Villa I Tatti, near Florence; copy in NGA curatorial files): "It comes from the Lonyays, a very good family. They inherited it from Princess Anna de Croy who was of German origin but married a Hungarian who was a general in the Austrian Army. The family's idea is that he 'commandeered' the picture in one of the Austro-Italian wars..." This information seems trustworthy, although not precise. According to the Almanach de Gotha (1877: 103, and 1895: 136), in 1864 Prince Leopold-Emmanuel-Louis Croy Dülmen married Béatrice, widow of the Count Laval de Nugent, and after her death married a second time, in 1881, Rosa Anne von Sternberg, widow of Count Hohenlohe Bartenstein. Prince Leopold was in the Austrian military service, but it seems unlikely that the painting could have come from the spoils of war. More probably it belonged to his first wife, the daughter of Massimiliano Strozzi Sacrati of Mantua; she was a descendant of an old Florentine family, and one of her forebears, Giulio Cesare, is said to have had an art collection that included fragments of Michelangelo's cartoon of the Battle of Cascina (see Pompeo Litta, Famiglie celebri italiane, ser. 1, vol. 5 [n.d.], pl. xiv). Fowles, in any case, reports "testimony of people of the family that the picture has been known in the family as far back as 1886."[2] Count Albert Lónyay, general of the Austrian Army, in 1885 married Marie Henriette Hohenlohe Bartenstein, daughter of Princess Rosa Anne von Sternberg from her first marriage (see Almanach de Gotha, ed. 1895: 159).[3] On 2 April 1929 the Paris office of Duveen Brothers wrote to the New York office, sending a photograph "of the Masaccio 'Madonna' which we have purchased from a private family in Hungaria [sic]. The picture is on panel and will need carefully [sic] cradling and cleaning before shipment" (copy in NGA curatorial files; Box 264, Folder 13, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles).Early in 1930 the painting was sent to Florence for examination by experts of the Soprintendenza there. This came about because, according to Martin Porkay, Auf dem Karussell der Kunst, Munich, 1956: 178, "the restorer P. [Porkay himself?] who had left the Vienna 'Atelier' on account of financial controversies with the proprietor, took revenge by going to Duveen himself and telling him that the picture had been faked." Actually, the "betrayal" of the restorer was probably only one of the reasons for which Sir Jospeh Duveen was "in the dumps over the Masaccio," as Nicky Mariano, Berenson's secretary, put it in a letter of 2 April 1930 (copy in NGA curatorial files; Biblioteca Berenson, Villa I Tatti, near Florence). In correspondence dated 16 March 1930 Raimond van Marle advised Duveen's New York office that, "Professor [August L.] Mayer just wrote me that he is going to publish number of faked pictures of which he says to know the origin...amongst which the Madonna which Berenson has published as by Masaccio," and this message was relayed by the New York office to the Paris office on 28 March. The situation quickly changed: on 18 April 1930 Duveen wrote to the dealer Julius Böhler, "I understand that Dr. Mayer had a doubt, but has since told my Paris people that he was in error and that he is now quite satisfied." (Copies of this correspondence in NGA curatorial files; Box 264, Folder 13, Duveen Brothers Records, accession number 960015, Research Library, The Getty Research Institute, Los Angeles). Presumably Duveen convinced Mayer that the examination at the Soprintendenza earlier that year had confirmed the painting's authenticity; Carlo Gamba, in a letter of 20 February 1930 to Berenson (copy in NGA curatorial files; Biblioteca Berenson, Villa I Tatti, near Florence), recognized Masaccio's authorship and lamented the seriously repainted condition of the panel, commenting very acutely: "forse le carni wono tutte ripasste e non ci rimane che la preparazioneverdastra e rosea come nella Madonna di Londra, ma togliendo i pasticci, resta il modellato di Masaccio con tutto il suo vigore" ("the flesh tones may all be retouched and all that is left is the greenish and pinkish preparation as in the Madonna in London [that is, in the central panel of the Pisa altarpiece in the National Gallery], but taking away the pastiches there remains the modeling of Masaccio in all its vigor"). Subsequently the painting was kept in Duveen's London office (see Samuel N. Behrman, Duveen, New York, 1952: 171, and Porkay 1956: 178).The account given of the painting's provenance by Porkay 1956: 177 is different and seems less reliable. He claims that the painting was acquired by an unnamed dealer in Vienna in 1927 and was cleaned and repainted in Masaccio's style in the dealer's atelier. Subsequently, the dealer took the result of his efforts to the Kunsthistorisches Museum in Vienna to be examined by the Museum's experts and, having obtained a positive response, sold the picture to Duveen "durch den ungarischen Grafen Lónyay, der als Besitzer fungierte" ("through the Hungarian Count Lónyay who appeared as the owner"). Although it is sometimes stated that the painting came from Hungary, this apparently is not the case. Although the Lónyays were of Hungarian origin, they resided mainly in Vienna, and the painting probably remained there even after the the death of Princess Rose Croy Dülmen in 1918.[4] The original Duveen Brothers invioce is in Gallery Archives, copy in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.52622.htmlProbably Steven Wils the younger [d. 1628], Antwerp.[1] Probably Herman Neyt [d. 1642], Antwerp.[2] James-Alexandre, comte de Pourtalès-Gorgier [1776-1855], Paris; his heirs; (Pourtalès-Gorgier sale, his hôtel, Paris, 27 March-4 April 1865, no. 176). Comtesse de Pourtalès;[3] Comte Edmond de Pourtalès [d. 1895], Paris, by 1888;[4] by descent to Comtesse de Pourtalès, Paris.[5] Count Bismarck, Paris and New York, by the late 1940's.[6] (Spencer A. Samuels, New York), by 1969; purchased 7 October 1971 by NGA.[1] Inventory of 6 July 1628, no. 62. Jan Denucé, The Antwerp Art Galleries: Inventories of the Art-Collections in Antwerp in the 16th and 17th Centuries, (The Hague, 1932): 49, "Item. een stucxken van Meester Quinten, daer een honge brouwe den ouden man om de bourse vryt." Several authors, beginning with Henri Hymans, "Quentin Matsys," Gazette des Beaux-Arts, 2e per., 38 (1888), 205, and including Walter Cohen, Studien zu Quentin Metsys (Munich, 1904), 71-72; S. Speth-Holterhoff, Les Peintres flamands de cabinets d'amateurs au XVIIe siècle (Brussels, 1957), 16 and Andrée de Bosque, Quentin Massys (Brussels, 1975), 194, have associated the Ill-Matched Lovers with the Card Players by Massys, which was in the collection of Peeter Stevens, Antwerp, in the first half of the seventeenth century and is described in Alexander van Fornenberg's 1658 biography of Massys, Den Antwerpschen Protheus, ofte Cyclopschen Apelles.... From Van Fornenberg's careful description, which reads in part, "Het Derde is een Stuck van vier Figuren twee Mans-persoonen, ende twee Vroukens, staende om een Tafel, sijn doende met een uytheyms spel meest in Polen en Duyts-landt bekent" (quoted from J. Briels, "Amator Pictoriae Artis. De Antwerpse kunstverzamelaar Peeter Stevens (1590-1688) en zijn Constkamer," Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen (1980): 192, n. 149), it is clear that another painting was in Stevens' collection.[2] Inventory of 15-21 October 1642, no. 4. Jan Denucé, The Antwerp Art Galleries: Inventories of the Art-Collections in Antwerp in the 16th and 17th Centuries (The Hague, 1932), 94. "Een stuck van Quinten, wesende een out man met honge vrouwe ende eene sot, in ebbenhoute lyste, gen. no. 4."[3] Unverified, but annotated in the copy of the sales catalogue in the NGA. The Getty Index cites Pillet, Escribe as the establishment where the 1865 Paris sale took place.[4] Mentioned as owner in Henri Hymans, "Quentin Matsys," Gazette des Beaux-Arts, 2e per., 38 (1888), 205.[5] Spencer A. Samuels, in conversation 11 July 1984, stated that the painting remained with the Pourtalès family until after World War II.[6] Spencer A. Samuels, in conversation 11 July 1984 and 20 May 1985. It has not been possible to identify clearly Count Bismarck.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.86967.htmlGalerie Arnoldi-Livie, Munich; purchased 1995 by MGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41698.htmlPossibly the Convent of the Poor Clares, Eger (Cheb), Bohemia (now Czechoslovakia), or Eger (Erlau), Hungary.[1] (Karl Schäfer, Munich); (Walter Schnackenberg, Munich), 1921/1922-1951;[2] in 1943 a one-third share was acquired from Schnackenberg by Carl Langbehn, Munich, and passed by inheritance to his mother, Marta Langbehn.[3] owned jointly by (Seiler & Co., Walter Schnackenberg, and Alfred Müller, Munich);[4] sold 1951 to (M. Knoedler & Co., New York, with Pinakos, Inc. [Rudolf Heinemann]);[5] purchased 1951 by the Samuel H. Kress Foundation, New York; gift 1952 by exchange to NGA.[1] Alfred Stange, Deutsche Malerei der Gotik, 11 vols., Berlin and Munich, 1934-1961: 11:4. In a letter of 13 February 1965 to Fern Rusk Shapley, in NGA curatorial files, Stange gave Prince Joseph Clemens of Bavaria as the source, but noted that while there was a convent of the Poor Clares in Bohemian Eger in the fourteenth and fifteenth centuries, Clemens did not specify Czechoslovakia or Hungary and so both were possible. There is no verification for the statement in Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 234, that the panel may have belonged to the Kings of Saxony.[2] English translation of Walter Schnackenberg letter of 12 April 1951 in files of M. Knoedler & Co., New York, giving date of acquisition from Karl Schäfer. Stange's letter of 13 February 1965 also mentions Schäfer as handling the painting.[3] Schnackenberg letter of 12 April 1951. Carl and Marta Langbehn are listed as owners in a Knoedler brochure, in NGA curatorial files.[4] M. Knoedler & Co. account book.[5] M. Knoedler & Co. account book.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46128.htmlPossibly the Carthusian monastery of Saint Barbara, Cologne.[1] Richard von Schnitzler [1855-1938], Cologne, by 1917 until at least 1931.[2] (Pinakos, Inc. [Rudolf Heinemann]); sold 1953 to (M. Knoedler & Co., New York);[3] purchased 1954 by the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] Although unverified it is possible, as Eisler first suggested, that The Crucifixion was originally located in the Charterhouse of Saint Barbara in Cologne, the city where the Master of Saint Veronica was active as well as the birthplace of Saint Bruno, founder of the Carthusian Order. The Charterhouse in Cologne was a large and important institution that underwent a major building campaign between 1391 and 1405. (see J.J. Merlo, "Kunst und Kunsthandwerk im Karthäuserkloster zu Köln", Annalen des historischen Vereins für den Niederrhein insbesondere die alte Erzdiöcese Köln, 45 (1886): 1-2. See also Paul Clemen, Ludwig Arntz, Hugo Rahtgens, Heinrich Neu, and Hans Vogts, Die Kunstdenkmäler der Stadt Köln, vol. 2, part 3 (Düsseldorf, 1934), 137-162, and Otto Braunsberger, "Die Kölner Kartause. Erinnerungen aus alter Zeit," Stimmen der Zeit. Katholische Monatschrift für das Geistesleben der Gegenwart, 94 (1918): 134-152. If the Gallery's panel were in the Charterhouse, it might have remained there until 1794 when the monastery was dispersed.) Given the Order's emphasis on solitary contemplation and devotion, it would seem likely that the Gallery's panel adorned the cell of a single monk. It is possible that it was originally part of a commission for multiple images, as was the case with the Crucifixions painted by Jean de Beaumetz and his shop for the Charterhouse at Champmol. (Noted by Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. (Oxford, 1977), 1.[2] Walter Bombe, "Die Sammlung Dr. Richard von Schnitzler in Cöln." Der Cicerone 9 (1917): 366. Published in Otto Helmut Förster, Die Sammlung Dr. Richard von Schnitzler, Munich, 1931: 21, no. 1, pl. 1. Unless sold by Schnitzler between 1931 and his death in 1938, the painting was inherited by his two daughters, Edith and Eriak von Schröder. [3] Knoedler stock book no. 10, p. 104, no.A5322, and sales book no. 17, p. 37, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). A a pencilled notation indicates that the panel was previously owned by a Dr. Howard in partnership with Mont and Newhouse.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.56721.htmlSold by the artist 27 or 30 April 1912 to (Galerie Bernheim-Jeune, Paris); sold 15 June 1912 to Curt Glaser [1879-1943], Berlin.[1] by sale or exchange to Oskar [1875-1947] and Greta Moll, Berlin, by 1913/1914.[2] (Galerie Thannhauser, Berlin), by 1932.[3] (Valentine Gallery, New York).[4] (Erhard Weyhe Gallery, New York), by the early 1940s;[5] sold after 1945 to Mr. and Mrs. Alfred H. Barr, Jr., New York;[6] on consignment with (Eugene Victor Thaw and Co., New York) and (Xavier Fourcade, Inc., New York); sold 1978 to NGA.[1] The April 27 date, from the Archives Henri Matisse in Paris, is given in Matisse in Morocco: The Paintings and Drawings, 1912-1913, exh. cat., National Gallery of Art, Washington, D.C. (plus three subsequent venues), 1990: 72 note 1. The April 30 date, from the Bernheim-Jeune records (where the painting is their number 19329 and titled Matin de mars près de Tanger), is given in Guy-Patrice and Michel Dauberville, Henri Matisse chez Bernheim-Jeune, 2 vols., Paris, 1995: 1: 508-509, no. 122.[2] The Matisse in Morocco catalogue (see note 1) cites a letter of 20 April 1951 from Greta Moll to Alfred Barr (in the Alfred H. Barr, Jr. Papers, Archives, The Museum of Modern Art, New York) that says in part: "... Besides we owned for a long time...the Palm Leaf... The Palm Leaf we probably had from 1913 to 1930." By 1914 Oskar Moll, who with his wife was an original class member of the school Matisse set up in Paris in 1908, had the most important collection of the artist's work in Germany. The Molls were in Berlin when they acquired the NGA painting; they went to Breslau (now Wroclaw, Poland) in 1919, to Düsseldorf in 1930, and returned to Berlin in the mid-1930s. See also Siegfried and Dorothea Salzmann, Oskar Moll Leben und Werk, Munich, 1975: 62, and letter of 17 July 1997 from Peter Kropmanns, in NGA curatorial files.[3] The painting is visible in a photograph of Thannhauser's apartment, taken c. 1932/1933 and sent to the Barrs by Thannhauser. A photocopy of the photograph is in NGA curatorial files, along with the Barr's collection record for the painting.[4] Valentine Gallery is included in the provenance given in Henri Matisse 1904-1917, exh. cat., Centre Georges Pomidou, Paris, 1993: no. 98, but no supporting documentation is given. The Archives of American Art holds some Valentine Gallery records, but they do not include any information about this painting. See note 6.[5] Erhard Weyhe (1882-1972) came to the United States from Germany in 1914, having apprenticed as a book dealer in his native country, Italy, and Belgium. In his New York gallery, managed for many years after World War I by Carl Zigrosser, Weyhe specialized in art books and prints, and he made annual buying trips to Europe. (See Reba White Williams, "The Weyhe Gallery Between the Wars, 1919-1940," Ph.D. diss., The City University of New York, 1996.) The extant Weyhe Gallery records at the Archives of American Art deal almost exclusively with prints, and no mention of the Matisse painting was found.[6] Mrs. Alfred H. Barr, Jr., in a letter of 27 June 1981 (in NGA curatorial files), relates that when Justin Thannhauser left Germany for Paris prior to World War II, he did not take the painting. Mrs. Barr suggests that it may have been entrusted to the Molls, or was re-bought by them, as her husband's impression was that "Weyhe had come upon it or heard about it in Dresden and that it belonged to Greta Moll by that time impoverished;" she also writes that her husband must have bought the painting "after 1945."
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46516.htmlPossibly Oskar Moll [1875-1947], Breslau.[1] Mrs. Hanke, Berlin.[2] Acquired probably through (Alex Reid & Lefèvre, London) by (Kraushaar Galleries, New York);[3] sold 18 December 1925 to Chester Dale [1883-1962], New York; bequest 1963 to NGA.[1]By 1914 Oskar Moll had the most important collection of Matisse in Germany; this picture however is not included on the list of his collection in Siegfried and Dorothea Salzmann, Oskar Moll Leben und Werk, Munich 1975.[2]Mrs. Hanke according to Chester Dale papers in NGA curatorial records; this information was provided to Dale by Kraushaar in a letter dated 19 February 1927 (see Kraushaar Gallery Records, Archives of American Art, Box 1, Folder 43, Outgoing correspondence). Maud Dale's 1929 book on the Dale collection, Before Manet to Modigliani, gives the name as Hauke.[3] On 7 January 1927 Kraushaar writes to Reid & Lefevre for information on the "small Matisse that I bought from you," and shortly thereafter conveys information about this picture to Chester Dale. (See Kraushaar Gallery Records, Archives of American Art, Box 1, Folder 72, Outgoing Correspondence). Etienne Bignou was probably involved in the sale to Dale, as a photograph of the picture is included in the Bignou albums at the documentation center of the Musée d'Orsay (copy NGA curatorial files). Bignou often acted on Dale's behalf in conjunction with Reid & Lefèvre.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.71071.htmlPurchased from the artist by (Paul Rosenberg, Paris);[1] (Alexandre Rosenberg, New York)by 1948; sold 1950 to William Somerset Maugham [1874-1965], St. Jean-Cap-Ferrat, France;[2] (his sale, Sotheby's, London, 10 April 1962, no. 24); Colonel C. Michael Paul, New York; sold 15 January 1970 to Taft B. Schreiber, Beverly Hills [1908-1976];[3] his wife, Rita B. Schreiber, Beverly Hills [d. 1989]; gift 1989 to NGA.[1] This painting was confiscated by the ERR in 1941 with others from the Rosenberg collection in France (ERR inventory card PR34, National Archives RG260/Property Division/Box 19, copy NGA curatorial files). There is confusion in the archival records as to whether picture was taken from the Rosenberg vault at Libourne or the chateau at Floirac. In the Rosenberg claim file (National Archives RG260/Box 742, copies NGA curatorial files) there are lists and correspondence from Edmond Rosenberg, brother of Paul Rosenberg, which provide conflicting information. However, it seems likely the picture was taken from Floirac, as it was this part of the Rosenberg collection assigned the code "PR." Documents from the National Archives in Washington indicate that the painting was traded by the ERR on 16 November 1943, along with a Bonnard painting from the Kann collection, to the dealer Max Stöcklin in exchange for a painting by Rudolf Alt. (Receipt for the exchange, National Archives RG260/Munich Central Collecting Point/Restitution Research Records/Box 452, copy NGA curatorial files). The picture seems to be confused throughout the archival documentation with another Matisse painting described as of a woman in a yellow chair, which also appears to have been confiscated from the Rosenberg collection. However this second picture dates from 1939, is in a vertical format, and the woman is nude. On some documents the code PR34 seems to be associated with the 1939 picture, but it is clearly the NGA painting which is described on the ERR card for PR34, and on the receipt for the exchange between Stöcklin and the ERR. Moreoever, the photographs taken by the ERR of confiscated objects illustrate the NGA picture with the code PR34. After Stöcklin, the painting was traced to the Swiss dealer André Martin, and seen on view at the Galerie Neupert in Zurich (See item no. 62 on atachment B to Douglas Cooper's "Report on Mission to Switzerland," 10 December 1945, National Archives RG239/Entry 73/Box 82, copy NGA curatorial files).The NGA picture was returned to the Rosenbergs by 1948, according to the records of the gallery, which sold it to Somerset Maugham in 1950.[2]According to Rosenberg gallery records.[3]Correspondence between Paul and Schreiber in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.129958.htmlElderly musical instrument dealer in Innsbruck, who bought from librarian in Innsbruck (according to dealer, via AR's notes on invoice);(Galerie Arnoldi-Livie, Munich); purchased 2004 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139253.html(sale, Karl & Faber, Munich, 25-26 November 1987, no. 217, as Venetian. (Galerie Arnoldi-Livie, Munich). Acquired as Maulbertsch by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41660.htmlProbably Bernardo Bembo, Venice or Verona [d. 1519]. Probably his son, Pietro Bembo, Padua [d. 1547].[1] Nicolai Nikitich Demidov, Prince of San Donato [1773-1828], near Florence;[2] his son, Anatoly Nikolaievich Demidov, Prince of San Donato [1812-1870], near Florence; (his sale, Paris, 3 March 1870, no. 204, repro., etching by Rajou). Private collection, Italy, until c. 1928.[3] (Matthiesen Gallery, Berlin). (Paul Cassirer, Berlin).[4] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later, Villa Favorita, Lugano-Castagnola, Switzerland, by 1930; [5] on consigment 1950 with (M. Knoedler & Co., New York); purchased 1951 by the Samuel H. Kress Foundation, New York; [6] gift 1952 by exchange to NGA.[1] Letter of 31 August 1502 from Carlo Bembo, son of Bernardo, to Isabella d'Este, accompanying a loan of paintings to her in Mantua. The letter was published by Vittorio Cian, "Pietro Bembo e Isabella d'Este Gonzaga. Note e documenti," Giornale storico della letteratura italiana 9 (1887), 85-86. Bernardo Bembo was at that time away from Venice on a diplomatic mission. Carlo Bembo died in 1503. For the Bembo family see Dizionario biografico degli italiani (Rome, 1966), 8: 103-109 and 133-151. Approximately thirty years later (after Bernardo's death), Marcantonio Michiel's notes on what seems to be this diptych name the owner as the poet Pietro Bembo, another son of Bernardo: "The little painting with two wings of Saint John the Baptist clothed, with a lamb that sits in a landscape on one side, and Our Lady with the little Child on the other [side] in another landscape, by the hand of Hans Memling, year 1470, this being true." D. Jacopo Morelli, Notizia d'opere di disegno (Bassano, 1800), 17, and Theodor von Frimmel, Der Anonimo Morelliano (Quellenschriften für Kunstgeschichte und Kunsttechnik) N.F. I (Vienna, 1896), 86. Pietro Bembo's paintings were then in Padua. Jennifer Fletcher, "Marcantonio Michiel: his friends and collection," Burlington Magazine 123 (1981), 461 dates Michiel's notice of Pietro Bembo's collection in the 1520's or early 1530's.[2] According to the catalogue of the Demidov sale, 3 March 1870, no. 204.[3] According to Max J. Friedländer, Die altniederländishe Malerei, 14 vols. (Berlin and Leiden, 1928), 6: 125.[4] According to Friedländer, in Unknown Masterpieces in Public and Private Collections, ed. by W.R. Valentiner, (London, 1930), unpaginated, no. 27. [The list of references published in the NGA systematic catalogue entry erroneously cites no. 37 rather than no. 27.][5] According to the exhibition catalogue, Sammlung Schloss Rohoncz, Munich, Neue Pinakothek, 1930, no. 222.[6] Knoedler commission book no. 4, p. 143, no. CA 3725 and sales book no. 16, p. 310, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.41659.htmlProbably Bernardo Bembo, Venice or Verona [d. 1519]. Probably his son, Pietro Bembo, Padua [d. 1547].[1] Nicolai Nikitich Demidov, Prince of San Donato [1773-1828], near Florence;[2] his son, Anatoly Nikolaievich Demidov, Prince of San Donato [1812-1870], near Florence; (his sale, Paris, 3 March 1870, no. 204, repro., etching by Rajou). Private collection, Italy, until c. 1928.[3] (Matthiesen Gallery, Berlin). (Paul Cassirer, Berlin).[4] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later, Villa Favorita, Lugano-Castagnola, Switzerland, by 1930; [5] on consignment 1950 with (M. Knoedler & Co., New York); purchased 1951 by the Samuel H. Kress Foundation, New York; [6] gift 1952 by exchange to NGA.[1] Letter of 31 August 1502 from Carlo Bembo, son of Bernardo, to Isabella d'Este, accompanying a loan of paintings to her in Mantua. The letter was published by Vittorio Cian, "Pietro Bembo e Isabella d'Este Gonzaga. Note e documenti," Giornale storico della letteratura italiana 9 (1887), 85-86. Bernardo Bembo was at that time away from Venice on a diplomatic mission. Carlo Bembo died in 1503. For the Bembo family see Dizionario biografico degli italiani (Rome, 1966), 8: 103-109 and 133-151. Approximately thirty years later (after Bernardo's death), Marcantonio Michiel's notes on what seems to be this diptych name the owner as the poet Pietro Bembo, another son of Bernardo: "The little painting with two wings of Saint John the Baptist clothed, with a lamb that sits in a landscape on one side, and Our Lady with the little Child on the other [side] in another landscape, by the hand of Hans Memling, year 1470, this being true." D. Jacopo Morelli, Notizia d'opere di disegno (Bassano, 1800), 17, and Theodor von Frimmel, Der Anonimo Morelliano (Quellenschriften für Kunstgeschichte und Kunsttechnik) N.F. I (Vienna, 1896), 86. Pietro Bembo's paintings were then in Padua. Jennifer Fletcher, "Marcantonio Michiel: his friends and collection," Burlington Magazine 123 (1981), 461 dates Michiel's notice of Pietro Bembo's collection in the 1520's or early 1530's.[2] According to the catalogue of the Demidov sale, 3 March 1870, no. 204.[3] According to Max J. Friedländer, Die altniederländishe Malerei, 14 vols. (Berlin and Leiden, 1928), 6: 125.[4] According to Friedländer, in Unknown Masterpieces in Public and Private Collections, ed. by W.R. Valentiner, (London, 1930), unpaginated, no. 27. [The list of references published in the NGA systematic catalogue entry erroneously cites no. 37 rather than no. 27.][5] According to the exhibition catalogue, Sammlung Schloss Rohoncz, Munich, Neue Pinakothek, 1930, no. 222.[6] Knoedler commission book no. 4, p. 143, no. CA 3725 and sales book no. 16, p. 310, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.131152.htmlRolas du Rosey collection (sale, Weigel, Leipzig, 5 September 1864, no. 5386, as Murer); Boguslaw Jolles, Dresden and Vienna (Lugt 381)(sale, Helbing, Munich, 31 October 1895, no. 374, as C. Murer); (sale, Weinmüller, Munich, 9-10 May 1939, no. 317, as C. Maurer). Kurt Meissner, Zurich. (C. G. Boerner, Inc., New York); NGA purchase in 2004.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139216.htmlEstate of the artist. (Gerd Rosen [1903-1961]), Berlin. Richard Tüngel [1893-1970], Ahrensburg; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139107.htmlJohn Postle Heseltine, London [b. 1843] (Lugt 1508); (his sale, London, 1912, no. 28). Paul Cassirer, Berlin. Julius Böhler, Lucerne. Alfred E. Stehli, Küsnacht-Zurich. Julius Böhler, Munich. Walter and Marianne Feilchenfeldt, Zurich, 1978; Adolf and Ursula Ratjen, Munich; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139131.htmlJulius Aufseesser, Berlin, 1905. [1] H. Alagheband, Munich. Wolfgang Ratjen, Munich; purchased 2007 by NGA.[1] In 1926, Aufseeser published a book on his collection, Aus meinem Sammlerleben, which did not include any works by Menzel. Neither did the 1-2 November 1926 sale of his collection in Berlin.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139101.htmlNationalgalerie, Berlin. Leo Lewin [1881-1965], Breslau. (sale, Lepke's, Berlin, 23 February 1932,no. 171). Carl Heumann, Chemnitz [1886-1945] (Lugt 2841a); Stuttgarter Kunstkabinett;. (sale, Roman Norbert Ketter, Stuttgart, 29 November 1957, no. 204). Richard Tüngel, Ahrensburg; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.112211.htmlPrivate collection, England, from about 1930; Gabrielle Thyssen-Bornemisza [1915 or 1917-1999] and her husband, Baron Adolphe Bentinck van Schoonheten [1905-1970], Paris and London. Private collection, Germany, from about 1980; (Bernheimer Gallery, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139274.html(Galerie Thannhauser, Berlin). (Galerie Caspari, Munich). (sale, Galerie Gerda Bassenge, Berlin, 3 December 1993, no. 5944). David Lachenmann, Munich. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139233.htmlAlexander Flinsch, Berlin; (his sale, C. G. Boerner, Leipzig, 29-30 November 1912, no. 393). (sale, Karl & Faber,. Munich, 27 November 1980, no. 728); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139234.htmlAlexander Flinsch, Berlin; (his sale, C. G. Boerner, Leipzig, 29-30 November 1912, no. 409). (sale, Karl & Faber,. Munich, 27 November 1980, no. 729);Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.103609.htmlFranz Gawet (1762 or 1765-1847), Vienna (Lugt 1069); Carl Heumann [1886-1945], Chemnitz (Lugt 555b and 2841a) (his sale, Stuttgart, Ketterer, 29 November 1957, lot 210); Herbert List (1903-1975), Munich (Lugt 4063); Wolfgang Ratjen, Vaduz; (Katrin Bellinger, Munich); purchased by NGA, 1998.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.61375.htmlDr. Georges de Bellio [1828-1894], Paris; probably by inheritance to M and Mme [she née Victorine de Bellio,1863-1958] Ernest Donop de Monchy, Paris.[1] Sold 1907 for or by von Tschudi through (Boussod, Valadon et Cie., Paris).[2] (Galerie Caspari, Munich)in 1916.[3] Mrs. Meta Schütte, Bremen, by c. 1919 and probably in Schütte family collection until c. 1948;[4] by inheritance to her granddaughter and her husband, Dr. and Mrs. F.M. Oelze, Bremen.[5] (E.J. van Wisselingh and Co., Amsterdam); sold February 1951 to (Wildenstein and Co., London, New York, and Paris);[6] by whom sold December 1956 to Arnold Kirkeby, New York; (his sale, Parke-Bernet Galleries, New York, 19 November 1958, no. 12); Mr. and Mrs. George Friedland, Merion, Pennsylvania; (their sale, Parke-Bernet Galleries, New York, 13 December 1961, no. 80). (M. Knoedler & Co., London, New York and Paris); sold January 1965 to Mr. Paul Mellon, Upperville, Virginia; gift 1983 to NGA.[1] No. 85 bis in inventory of de Bellio collection cited in Remus Niculescu, "Georges de Bellio, l'Ami des Impressionistes (I)," Paragone no. 247, September 1970, p. 52. See also letter from Niculescu to Paul Mellon, dated 12 April 1970, in NGA curatorial files.[2] According to Wildenstein 1974, no. 101.[3] According to 1961 Parke-Bernet sales catalogue.[4] Published by Emil Waldmann, "Bremer Privatsammlungen," Kunst und Künstler XVII, 1919, p. 176. Also published as Schütte collection in the listing of "Monet paintings in some well-known museums and private collections" included in Oscar Reuterswärd, Monet, En konstnärshistorik, Stockholm, 1948, p. 279.[5] According to 1961 Friedland sales catalogue.[6] See letter dated 18 June 1999 from Wildenstein & Co. regarding date of acquisition from Van Wissellingh and sale to Kirkeby (in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46178.htmlProbably Prince Karl Anton von Hohenzollern-Sigmaringen [d. 1885].[1] His son, Prince Leopold von Hohenzollern-Sigmaringen [d. 1905]. His son, Prince Wilhelm August Karl von Hohenzollern-Sigmaringen [d. 1927]. Fürstlich Hohenzollernsches Museum für Wissenschaft und Kunst, Sigmaringen. (A.S. Drey, Munich and New York, 1928-1929); (M. Knoedler & Co., Inc., 1929-1934); (Robert Frank, Ltd., 1934).[2] Baron Heinrich Thyssen-Bornemisza [1875-1947], Villa Favorita, Lugano-Castagnola, Switzerland, by 1937; by inheritance to his daughter, Baroness Gabrielle Bentinck-Thyssen [b. 1915]; on consignment 1951 to (M. Knoedler & Co., Inc., New York); purchased February 1952 by the Samuel H. Kress Foundation, New York; [3] gift 1961 to NGA.[1] See Franz Reiffel, "Das Fürstlich Hohenzollernsche Museum zu Sigmaringen: Gemälde und Bildwerke," Städel-Jahrbuch 3-4 (1924), 59. The painting is not mentioned in F.A. von Lehner, Fürstlich Hohenzollernsches Museum für Wissenschaft und Kunst, Verzeichniss der Gemälde (Sigmaringen, 1871; 2d ed., 1883), suggesting either that it was acquired after 1883 or that it hung in some other property of the family.[2] Knoedler stock book no. 8, p. 68, no, A537, M. Knoedler & Co. Records, Getty Research Institute (copy NGA curatorial files)[3] Knoedler commission book no. 5A, p. 50, no. CA 3996, and sales book no. 16, p. 383, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files)
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139122.html(sale, Galerie Fischer, Lucerne, 21 May 1986, no. 200). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.118889.html(sale, Sotheby's New York, 23 January 2001, no. 280, as attributed to Christoph Mürer); purchased 2001, via Galerie Arnoldi-Livie, Munich, by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.71369.htmlJacob Frederikszn van Beek, Amsterdam; (his sale, Jeronimo De Vries et al., Amsterdam, 2 June 1828, no. 49); Engelberts.[1] F. Tielens, Brussels. J. Walter, London.[2] Possibly August Thyssen [1842-1926]; his son, Baron Heinrich Thyssen-Bornemisza [1875-1947), Schloss Rohoncz, Hungary, Amsterdam, and Villa Favorita, Lugano, by at least 1930; by inheritance to his daughter, Gabrielle Thyssen-Bornemisza [1915 or 1917-1999] and her husband, Baron Adolphe Bentinck van Schoonheten [1905-1970], Paris and London.[3] (Galerie Sanct Lucas, Vienna), by 1989; purchased 29 January 1990 by NGA.[1] Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, 8 vols., trans. Edward G. Hawke, London, 1907-1927: 7:406, states that "Engelberts" purchased the picture for 200 florins. An annotated copy of the sale catalogue in the Frick Art Reference Library, New York, records the same information (copy in NGA curatorial files).[2] The names of Tielens and Walter were provided by the Galerie Sanct Lucas.[3] According to the Galerie Sanct Lucas, the picture had been in the Thyssen family for three generations before its sale; the Galerie included Baron Bentinck's name in the provenance. Ownership by Thyssen-Bornemisza is also given in Wolfgang Schultz, Aert van der Neer, Doornspijk, 2002: no. 528. Although August Thyssen did collect art in his later years, the main Thyssen-Bornemisza collection was formed by his son, Heinrich, at whose death the collection was divided among his four children. The Dutch diplomat Baron Bentinck van Schoonheten married Gabrielle Thyssen-Bornemisza in 1938. The painting was exhibited in Munich in 1930 in an exhibition of works from Schloss Rohoncz, and the painting was on loan as part of the Bentinck-Thyssen collection to the Gemäldegalerie of the Kunstmuseum, Düsseldorf from 1974 until August 1984 (e-mails of 18 and 23 May 2012, in NGA curatorial files).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.119068.htmlAdalbert Freiherr von Lanna, Prague [1836 - 1909] (Lugt 2773); (sale, H. G. Gutekunst, Stuttgart, 6-11 May 1910, no. 418); Siegfried Laemmle [1863-1953], Munich, 1936. Mr. and Mrs. Kurt Meissner, Zurich; gift to NGA, 2001.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139110.htmlEva Denckler-Winkler, Zuirch; 1980 to Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139283.html(sale, Christie's London, 1 July 1997, no. 223). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.140073.htmlWalter Bareiss [1919-2007]; (sale, Karl und Faber, Munich, 30 November 2007, no. 505); (via C. G. Boerner, New York); purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139236.htmlDr. Georg Blohm, Hamburg. (sale, Galerie Commeter, Hamburg, 7-10 November 1927, no. 407, pl. XVIII). (sale, Karl & Faber, Munich, 6 May 1950, no. 1247, pl. XII). (Galerie Bartsch & Chariau, Munich); acquired 1982 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139224.html(sale, Hôtel Drouot, Paris, 4 December 1974, no. 5). (Paul Prouté, Paris, 1976). (Galerie Gunzenhauser, Munich) in 1976. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139217.html(sale, Hôtel Drouot, Paris, 4 December 1974, no. 3). (Paul Prouté, Paris, 1976). (Galerie Gunzenhauser, Munich) in 1976. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139293.htmlEinar Perman, Stockholm; Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.70321.html(Sale, Christie's, 6 July 1977, lot 69); Kunsthandel Bellinger, Munich, 1987; purchased by NGA, 1988.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139268.htmlPastor Oesterley, Arbergen/Bremen (not in Lugt). Hans Geller [b. 1894], Dresden. (Galerie Siegfried Billesberger, Moosinning near Munich). Purchased 19 May 1992 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139279.htmlJosef Schmidl [1852-1916] and his wife Maria [1858-1934], granddaughter of Friedrich Olivier; by descent to their daughter, Marianne Schmidl [1890-1942];[1] (sale, C. G. Boerner, Leipzig, 28 April 1939, no. 15, pl. V). Carl Heumann [1886-1945], Chemnitz (Lugt 2841a). Helmut Domitzlaff, Munich. (Galerie Arnoldi-Livie, Munich), in 1996. Wolfgang Ratjen, Munich; purchased 2007 by NGA.[2][1] When Austria was annexed by Nazi Germany in 1938, Marianne Schmidl was subjected to persecution as a Jew. This led to her immediate involuntary retirement from her position at the Austrian National Library in Vienna. Due to her resulting precarious financial situation, Ms. Schmidl was forced to sell off the valuable drawings that she had inherited from her parents in order to pay the newly imposed "Jewish Property Tax" and for her general livelihood. Marianne Schmidl was deported to Poland on 9 April 1942 where she was killed.[2] In 2016, the heirs of Marianne Schmidl and the National Gallery of Art came to a mutually acceptable agreement by which the Olivier remains in the collection of the National Gallery of Art. A second drawing from her collection (Julius Schnorr von Carolsfeld, A Branch with Shriveled Leaves, formerly NGA 2007.111.160) was returned to the family.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139206.htmlPrinces of Liechtenstein, Vienna and Vaduz (Lugt 4398). Richard Tüngel [1893-1970], Ahrensburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139304.htmlHerman Walter de Zoete; (sale, Christie's London, 6 December 1972, no. 40); Herbert List, Munich; Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139323.htmlRichard Houlditch, London (died 1736) (Lugt 2214); The Earl of Harewood; the Earl of Harewood Charitable Trust; (sale, Christie's London, 2 July 1985, no. 35); Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.133453.htmlFranz von Brentano [1838-1917], Wurzberg and Vienna, acquired from the artist in the 1850s/1860s (dealer notes); (Katrin Bellinger Kunsthandel, Munich); purchased 2005 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.86972.htmlAnton Schmid, Vienna; (Galerie Arnoldi-Livie, Munich); purchased 1994 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.118731.htmlProbably (Moderne Galerie Heinrich Thannhauser, Munich).[1] Dr. Walter Minnich [1864-1940], Montreaux; gift 1937 to the Kunstmuseum, Lucerne; (sale, Klipstein & Kornfeld, Bern, 25-26 May 1962, no. 931); London art market; private collection, Rome; [2] (Galerie Anne Abels, Cologne); sold c. 1970 to Mr. and Mrs. Arnold Saltzman, Sands Point, New York; [3] gift (partial and promised) 2000 to NGA.[1] A seal of the Galerie Thannhauser is recorded as having been on the back of the painting, on the stretcher, when it was sold in 1962. However this seal is no longer evident. [2] Post 1962 sale provenance according to Aya Soika, Max Pechstein : das Werkverzeichnis der Ölgemälde, Munich, 2011, p. 326, repro.[3] The Saltzmans lent the painting to the 1970 exhibition in Ithaca and Rochester.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139294.htmlAugust Grahl, Dresden [1791 - 1868] (Lugt 1199); (his sale, Sotheby's London, 28 April 1885, no. 324, as Perino del Vaga). (sale, Max Perl, Berlin, 8-9 November 1926, no. 505). (sale, Weinmüller, Munich, 20-21 May 1941, no. 704). (sale, C. G. Boerner, Leipzig, 19 February 1942, no. 526). Bernhard Funck [1895-1993], Munich (not in Lugt). Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased by NGA, 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.91589.htmlPurchased from the artist by Wilhelm Uhde, 1906; (Galerie Caspari, Munich); sold 1915 to Hertha Koenig [1884-1976], Munich;[1] sold 1950 to (Justin K. Thannhauser, New York);[2] W. Somerset Maugham, St.-Jean-Cap-Ferrat; (his sale, Sotheby's, London, 10 April 1962, no. 26); purchased by (Hector Brame, Paris) for Mr. and Mrs. Paul Mellon, Upperville, VA; gift to NGA, 1996.[1] Christian Geelhaar, Picasso. Wegbereiter und Foerderer seines Aufsteigs 1899-1939, Zurich, c. 1993: 73-75. [2] Correspondence in the Thannhauser files at ZADIK [Zentralarchiv des Internationalen Kunsthandels, Cologne], transcriptions in NGA curatorial files.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139320.html(sale, Helmut Tenner, Heidelberg, 9-10 October 1958, no. 2940; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139098.html(sale, Sotheby's London, 3 July 1980, no. 76); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139093.htmlBrunet-Lotter collection, Tours; by 1947 to Jacques Petithory, Paris [1929-1992] (not in Lugt); Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139329.html(Thomas LeClaire, Hamburg); Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139332.htmlPierre-Jean Mariette, Paris [1694 - 1774] (Lugt 1852); (his sale, Paris, 1775, no. 607); LeBrun. William Esdaile, London [1758 - 1837] (Lugt 2617); (his sale, Christie's London, 18 June 1840, no. 29; Mr. Sheath. Thomas Thane, London [1782 - 1846] (Lugt 2433). Jacques Petithory, Paris (not in Lugt). Private collection, Boston; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139334.htmlCarlo Prayer, Milan [1826 - 1900] (Lugt 2044). Juan and Felix Bernasconi, 1977 (not in Lugt); by descent; (sale, Christie's London, 7 July 1987, no. 70); (Stephen Somerville Ltd., London); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139264.htmlRichard Holtkott [1866-1950], Bedburg. David Lachenmann, Munich; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139344.htmlJohn Skippe; by descent to Edward Holland Martin; (sale, Christie's London, 21 November 1958, no. 4, as Michelangelo Anselmi); Private collection, England; (sale, Christie's London, 1 July 1997, no. 30). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139314.htmlJonathan Richardson, Sr., London (1665 - 1745)(Lugt 2184). Sir Thomas Lawrence. Sir J. C. Robinson, London (1824 - 1913) (Lugt 1433). John Malcolm. The Hon. A. E. Gathorne-Hardy; Geoffrey Gathorne-Hardy; the Hon. Robert Gathorne-Hardy; (his sale, Sotheby's London, 24 November 1976, no. 15); Wolfgang Ratjen, Munich; purchased by NGA, 2007
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107181.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107205.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107197.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107196.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107198.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107199.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107189.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107187.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107165.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107169.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107168.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107184.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107164.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107204.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107166.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107206.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107203.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107190.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107178.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107182.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107167.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107188.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107201.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107163.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107202.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107183.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107180.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107179.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107200.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107193.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107195.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107170.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107173.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107175.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107172.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107176.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107171.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107174.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107194.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107177.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107192.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107185.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107191.htmlGalerie Arnoldi-Livie, Munich; purchased 1998 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.12131.htmlCommissioned by the sitter, then by inheritance in the Altoviti family, Rome and later Florence;[1] sold November 1808 via Johann Metzger to Ludwig I, King of Bavaria [1786-1868]; presented to the Alte Pinakothek, Munich; traded September 1938 to (Thos. Agnew and Sons, Ltd., London);[2] sold October 1938 to (Duveen Brothers, Inc., London, New York, and Paris);[3] sold 1940 to the Samuel H. Kress Foundation, New York; gift 1943 to NGA.[1] The complete provenance of this painting is described in David Alan Brown and Jane Van Nimmen, Raphael & the Beautiful Banker, New Haven and London, 2005.[2] Regarding deaccessions from the Pinakothek, see also Jonathan Petropoulos, The Faustian Bargain, Oxford, 2000: 31+. [3] The painting is listed in the General Stock Book of Duveen Brothers that covers the period 1 June 1937 to April 1941 (copy in NGA curatorial files; Duveen Brothers Records, Accession No. 960015, Getty Research Institute, Los Angeles, Reel 66, Box 186).
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139230.html(sale, C. G. Boerner, Leipzig, 6 June 1937, no. 156). Alice Haniel née Bloem, Wistinghausen; Angelika von Lüttichau-Haniel, Bad Godesberg. (sale, Karl & Faber, Munich, 11 November 1979, no. 94). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139112.htmlDr. Ralph Grosse, Frankfurt am Main. Prof. Dr. Friedrich Winkler, Berlin; Eva Denckler-Winkler, Zurich, 1981. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139204.htmlRichard Tüngel (1893-1970), Ahrensburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117377.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117370.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117378.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117376.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117375.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139137.htmlAlexander Flinsch [1834-1912], Berlin; (his sale, C. G. Boerner, Leipzig, 29-30 November 1912, no. 63). Princes of Liechtenstein, Vaduz (Lugt 4398). (Galerie Fischer, Lucerne). David Lachenmann, Munich; Wolfgang Ratjen, Munich; purchased by NGA 2007.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117380.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117382.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117384.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117386.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117383.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117372.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117368.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117385.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117387.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117374.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117371.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117366.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117367.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117373.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117369.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117381.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.117379.htmlDomitzlaff Collection, Munich. (Galerie Arnoldi-Livie, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139252.htmlJohan August Gottleib Weigel (1773-1846), Leipzig; Theodor Oswald Weigel (1812-1881); (J.A.G. Weigel sale, Gutekunst, Stuttgart, 15 May 1883, no. 1243). (Karl & Faber, Munich). (August Laube Antiquariat, Zurich). (David Tunick, Inc., New York) 1985. (Galerie Arnoldi-Livie, Munich) 1987. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139132.htmlJohan August Gottleib Weigel (1773-1846), Leipzig; Theodor Oswald Weigel (1812-1881); (J.A.G. Weigel sale, Gutekunst, Stuttgart, 15 May 1883, no. 1221 [?]). Sir John Clermont Witt (1907-1982), London (Lugt 646a). Private collection; (sale, Sotheby's, London, 1 July 1991, no. 30). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46081.htmlWilhelm Sattler and his son, Jens Sattler [d. 1901], Schloss Mainberg (near Kitzingen), before 1826; (Sattler sale, Rudolph Lepke Kunst-Auction-Haus, Berlin, 29 October-2 November 1901, no. 63);[1] Benoit Oppenheim [1842-1931], Berlin, until at least 1927;[2] Munich art market;[3] Henry Goldman [1857-1937], New York, by 1934;[4] (Duveen Brothers, Inc., London, New York, and Paris), by 1942;[5] sold 1944 to the Samuel H. Kress Foundation, New York;[6] gift by exchange 1961 to NGA.[1] Justus Bier, "The Bust of a Bishop by Tilmann Riemenschneider," Art Quarterly 6 (1943): 166, n. 3.[2] Max J. Friedländer, "Review of Eduard Tönnies, Leben und Weke des Würzburger Bildschnitzers Tilmann Riemenschneider, Strasbourg, 1901," RfK 24 (1901): 468; Benoit Oppenheim, Originalbildwerke in Holz, Stein, Elfenbein, usw. aus der Sammlung Benoit Oppenheim, Berlin, Leipzig, 1907: no. 10, pl. 6; Kurt Prister, Riemenschneider, Dresden, 1927: 34.[3] Bier 1943, 159.[4] Justus Bier, "Tilman Riemenschneider," in Thieme-Becker 28 (1934): 334; Bier 1943, 159. Undated Duveen brochure, in NGA curatorial files.[5] George Swarzenski to Edward Fowles of Duveen Brothers, letter of 9 May 1942, copy in NGA curatorial files.[6] Middeldorf 1976, 125.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.131948.htmlKatrin Bellinger Kunsthandel, Munich and London (sale, Galerie Gerda Bassenge, Berlin, 3 December 2004, no. 5707); (C. G. Boerner Inc., New York); purchased 2005 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.74282.htmlJulius Böhler, Munich, GER; Mrs. John Pope, Washington, DC, c. 1964; gift to NGA, 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139330.htmlPrivate Collection, Paris. (Thomas Le Claire, Hamburg); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.134578.htmlArt market, London, c. 1970; private collection, Austria; purchased 14 February 2006 through (Kunsthandel S. Mehringer, Munich) by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139106.htmlWilliam, Second Duke of Devonshire, Chatsworth (1665 - 1729) (Lugt 718). C. Robert Rudolph, London (b. 1884) (Lugt 2811b); (his sale, Sotheby Mak van Waay, Amsterdam, 18 April 1977, no. 28). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.110655.htmlJosef Karl Stieler (Lugt undescribed). Paul Arndt, Munich [1865 - 1937] (Lugt 2067b).[1] (sale, Karl und Faber, Munich, June 1958, no. 384). Busche Collection, Dortmund. Stiftung Ratjen, Vaduz. (Galerie Arnoldi-Livie, Munich, 1999); purchased 1999 by NGA.[1]This drawing does not appear in the catalogue of the 1934 sale of the Arndt collection held in Leipzig.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.43721.htmlPierre-Louis-Paul Randon de Boisset [1708-1776], Paris; (his estate sale, Paris, 27 February 1777, no. 31).[1] Destouches, Paris; (his sale, A.J. LeBrun and Ph. Fr. Jueliot, Paris, 21 March 1794, no. 5); John Trumbull [1756-1843], Paris and New York; (his sale, Christie's, London, 17 February 1797, no. 25). Fritz August von Kaulbach [1850-1920], Munich;[2] (his estate sale, Hugo Helbing, Munich, 29-30 October 1929, no. 194).[3] (Frederick Mont, Inc., New York); sold 8 February 1955 to the Samuel H. Kress Foundation, New York; gift 1957 to NGA.[1] Julius S. Held, The Oil Sketches of Peter Paul Rubens. A Critical Catalogue, 2 vols., Princeton, 1980: 1:25 questions whether NGA 1957.14.2 was in this sale because the catalogue describes the work as being on panel whereas an old inscription on the verso of the painting once indicated that it had been transferred from panel to canvas in 1773 (see note 3). Held's reservations, however, seem unwarranted since the description of the scene (even though the subject is wrongly interpreted as "Germanicus à qui on harangue ou donne des orders à cinq officiers...") and the dimensions conform to the Gallery's painting.[2] Oldenbourg, Rudolf, ed. P.P. Rubens. Des Meisters Gemälde. Berlin and Leipzig, 1921: 460.[3] An inscription on the verso of the painting was recorded in the 1929 sales catalogue as reading: "relevé de sure bois et remis sure toile par hacquin en 1773." Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 105, lists the Newhouse Galleries, New York, at this point in the provenance; Mont was associated with Newhouse. The copy of the Helbing sale catalogue in the Knoedler Library German Sales microfiche is not annotated with a buyer's name.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139200.html(sale, Karl & Faber, Munich, 27 May 1971, no. 407). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139109.htmlRunge's estate; by descent to his son, Otto Sigismund Runge, Hamburg; left by him to the Hamburger Künstlerverein, Hamburg. (sale, C. G. Boerner, Leipzig, 19 June 1937, no. 184). Alice Haniel née Bloem, Wistinghausen. Angelika von Lüttichau-Haniel, Bad Godesberg. (Karl & Faber, 28 November 1979, no. 112). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.128371.htmlLouis (or Léopold) Hirsch, Paris. (sale Objets du xviiie siècle appartenant à Divers Amateurs..., Paris, 14 March 1964, no. 3, reproduced plate II, 3). (Bernheimer, Munich); purchased by NGA 2004.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139281.html(Maître Eric Boureau auction, Coutances, Normandy, 22 February 1997, no. 2). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139126.htmlSalathé's estate. (Kurt Meissner, Zurich). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.112271.htmlEstate of the artist, Basel 1913, inv. no. 46; Kurt Meissner, Zurich; Stiftung Wolfgang Ratjen, Vaduz; (Katrin Bellinger, Kunsthandel, Munich); purchased 2000 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139331.htmlPaignon-Dijonval, France. George Usslaub, Marseille (born 1845) (Lugt 1221). Jacques Petithory, Paris (not in Lugt). Private collection, Geneva; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46086.htmlA villa in Fasano, Lago di Garda.[1] Baron Max von Heyl, Darmstadt; (Julius Böhler, Munich); sold 30 July 1931 to William Randolph Hearst [1863-1951], San Simeon, California.[2] (Duveen Brothers, Inc., London, New York, and Paris); sold 1949 to the Samuel H. Kress Foundation, New York; gift 1961 to NGA.[1] according to Ulrich Middeldorf, Complete Catalogue of the Samuel H. Kress Collection: European Sculptures XIV-XIX Century, London, 1976: 75.[2] Information about Hearst's ownership can be found in The William Randolph Hearst Collection: photographs and acquisition records on microfiche, Taylor Coffman, ed., New York, 1987: fiche 252. Mary Levkoff of the Los Angeles County Museum of Art kindly brought these records to the NGA's attention (see her letter of 19 September 2006 in NGA curatorial files). It appears from a hand-written notation on the typed information sheet in the Hearst files that the sculpture was sold at the 1942 Gimbel Brothers sale of the Hearst collection. This is possibly where Duveen Brothers purchased it.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.107207.htmlHeinrich Wilhelm Campe, Leipzig (Lugt 1391); Katrin Bellinger, Munich; gift to NGA, 1998.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139104.htmlDr. August Heymann [b. 1857] Vienna. Bernhard Funck [1895-1993], Munich; acquired 1974 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139105.htmlDr. August Heymann [b. 1857], Vienna. Bernhard Funck [1895-1993], Munich; acquired 1974 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.92282.htmlAdolf Glüenstein [born 1849], Hamburg (Lugt 123); (sale Frankfurt, Prestel, 1-3 January 1920, lot 135); (Franz Meyer, Antiquariat, Dresden); Richard von Kühlmann [1873-1948], Germany; (Katrin Bellinger, Munich); purchased by NGA, 1995.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139269.html(Galerie H.W. Fichter, Frankfurt am Main) 1992. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139259.htmlPrivate collection. (sale, Schneider-Henn, Munich, 14 May 1990, no. 82). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139113.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139114.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139116.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139119.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139117.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139118.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139115.htmlFriedrich Wilhelm IV [1795-1861], King of Prussia; presented 20 January 1845 to the Schinkel Museum, Berlin, inventory number S. 202 N.5 (Lugt 2362c); returned 11 February 1845 to the King; Fürstlich Schaumburg-Lippesche Hofbibliothek, Bückeburg, Inv. no. 35384; (sold, Kunsthandel Groth, Berlin, 9 May 1935). Private collection, Berlin, possibly Friedrich Winkler; Eva Dencker-Winkler, Zurich. Wolfgang Ratjen, Munich, 1997. Purchased 2007 by NGA
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139227.html(Paul Prouté, Paris). (sale, Galerie am Neumarkt, Zurich, 3 November 1972, no. 214). (sale, Arno Winterberg, Heidelberg, 4 May 1979, no. 856). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139228.html(Paul Prouté, Paris). (sale, Galerie am Neumarkt, Zurich, 3 November 1972, no. 214). (sale, Arno Winterberg, Heidelberg, 4 May 1979, no. 856). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139242.htmlSir Thomas Lawrence, London (1769 - 1830) (Lugt 2445). John MacGowen, Edinburgh, (late 18th century) (Lugt 1496). Armand Gobiet [1902-1975], Salzburg. Dr. Georg Schaller, Bairawies über Wolfratshausen. (sale, Karl & Faber, Munich, 5-6 June 1984, no. 1). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139248.htmlJohann Christoph Endris, Vienna; (his sale, C.J. Wawra, Vienna, 4 May 1891, no. 273) Dr. Gustav Jurie von Lavandal, Vienna. Princes of Liechtenstein, Vienna and Vaduz.(Lugt 4398) (sale, Roman Norbert Ketterer, Stuttgart, 30 October 1956, no. 280). Gustav Stein, Cologne. (Galerie Arnoldi-Livie, Munich) 1986. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139262.html(C. G. Boerner Inc., Dusseldorf). (sale, Stuttgarter Kunstkabinett, 30 October 1956, no. 293). Gustav Stein, Cologne. (Galerie Arnoldi-Livie, Munich) 1990. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139229.htmlElse Sohn-Rethel, Dusseldorf. Alice Haniel, née Bloem; Angelika von Lüttichau-Haniel, Bad Godesberg. (sale, Karl & Faber, Munich, 28 November 1979, no. 9, as Peter von Cornelius). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.127761.html(Galerie Arnoldi-Livie, Munich); purchased 2003 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.127893.htmlEstate of the artist; Dr. Demmer-Siebert ; Ingeborg Tremmel;(sale, Ketterer Kunst, Munich, 5 May 2003, no. 318); (via Artemis Fine Arts Inc., New York); purchased 2003 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.103792.htmlHelmut Domizlaff, Munich. (Galerie Arnoldi-Livie, Munich); purchased by NGA, 1998.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.103608.htmlPrivate collection, Darmstadt; (sale, Munich, Karl and Faber, 28 November 1975, lot 624); Wolfgang Ratjen, Vaduz; (Katrin Bellinger, Munich); purchased by NGA, 1998.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139103.htmlFranz von Schober, Vienna. Arnold Otto Meyer, Hamburg [1825 - 1913] (Lugt 1994); (his sale, C. G. Boerner, Leipzig, 16-18 March 1914, no. 20); Dr. Heinrich Stinnes [d. 1932], Cologne. (sale, Wolfgang Ketterer, Munich, 30 May 1973, no. 2204). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139245.htmlSalomon Gautier, Paris and Amsterdam (first half of 18th century) (Lugt 2978). (sale, Ader Picard Tajan, Paris, 17 June 1985, no. 46). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139129.html(sale, Galerie Kornfeld, Bern, 22 June 1990, no. 984); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.98264.htmlMathias Polakovits, Paris (1921-1987)(his mark at lower right, not in Lugt); Thomas Le Claire, Munich; gift to NGA, 1997.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139310.htmlPrinces of Liechtenstein, Vienna and Vaduz (Lugt 4398). Richard Tüngel (1892-1970), Ahrensburg, byn 1966. Herbert List [1903-1975], Munich (Lugt 4063). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46187.htmlPossibly O. Streber, Munich.[1] (Haskard Bank, Florence, and Charles Fairfax Murray, as agent, by 1900);[2] sold 1900 to (Thomas Agnew & Sons, Ltd., London); sold May 1900 to Rodolphe Kann [d. 1905], Paris;[3] by descent to executors of the Kann estate: Edouard Kann, Paris; Betty Schnaffer [née Kann], Frankfurt; Martin and Eleanore [née Kann] Bromberg, Hamburg; Jacob and Mathilde [née Kann] Emden, Hamburg, and Edmond and Madeline [née Kann] Bickard See, Paris.[4] (Duveen Brothers, Paris, August 1907);[5] purchased August 1907 by members of the Kann family, possibly Martin and Eleanore Bromberg, Hamburg.[6] Probably Dr. Max Emden, Switzerland, by 1939.[7] (Wildenstein & Co., New York, by 1939);[8] purchased February 1954 by the Samuel H. Kress Foundation, New York;[9] Denver Art Museum, Colorado, 1954-1958; at the NGA from February, 1958;[10] gift 1961 to NGA.[1] Unverified, cited by Alfred Stange, Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer. 3 vols. (Munich, 1970), 2:204, no. 899.[2] Letter of 24 January 1969, from Richard Kingzett, Thos. Agnew & Sons, Ltd., London, to Colin Eisler, in NGA curatorial files.[3] Kingzett letter of 24 January 1969 cited above.[4] Duveen stockbook in archives at the Metropolitan Museum of Art, New York; see letter of 23 February 1987 from Guy Bauman, Department of European Paintings to John Hand in NGA curatorial files.[5] Guy Bauman letter cited above and Edward Fowles, Memories of Duveen Brothers (London, 1976), 36-43.[6] Bauman letter, cited in note 4, notes that in both the stockbook and the salesbook, the paintings are listed only as having been sold to "Kann relations."[7] Wildenstein & Co. brochure in NGA Kress files lists Bromberg and Dr. Emden as previous owners.[8] Letter of 14 September 1988 from Ay-Whang Hsia, Wildenstein & Co., to John Hand, in NGA curatorial files.[9] The bill of sale (copy in NGA curatorial files) is dated February 10, 1954, and was for a total of fourteen paintings; payments by the Foundation continued to March 1957.[10] William E. Suida, Paintings and Sculpture of the Samuel H. Kress Collection. (Denver, 1954), 64, no. 28; letter of 10 November 1987 to John Hand from Louise H. Kliopov, Denver Art Museum, in NGA curatorial files. Eisler 1977, 26, reversed the exhibition dates for this and the Saint Mary Salome and Her Family also by Strigel.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.46188.htmlPossibly O. Streber, Munich.[1] (Haskard Bank, Florence, and Charles Fairfax Murray, as agent, by 1900);[2] sold 1900 to (Thomas Agnew & Sons, Ltd., London); sold May 1900 to Rodolphe Kann [d. 1905], Paris;[3] by descent to executors of the Kann estate: Edouard Kann, Paris; Betty Schnaffer [née Kann], Frankfurt; Martin and Eleanore [née Kann] Bromberg, Hamburg; Jacob and Mathilde [née Kann] Emden, Hamburg, and Edmond and Madeline [née Kann] Bickard See, Paris.[4] (Duveen Brothers, Paris, August, 1907);[5] purchased August 1907 by members of the Kann family, possibly Martin and Eleanore Bromberg, Hamburg.[6] Probably Dr. Max Emden, Switzerland, by 1939.[7] (Wildenstein & Co., New York, by 1939);[8] purchased February 1954 by the Samuel H. Kress Foundation, New York;[9] at the NGA from 1956; gift 1961 to NGA.[1] Unverified, cited by Alfred Stange, Kritisches Verzeichnis der deutschen Tafelbelder vor Dürer. 3 vols. (Munich, 1970), 2: 204, no. 899.[2] Letter of 24 January 1969, from Richard Kingzett, Thos. Agnew & Sons, Ltd., London, to Colin Eisler, in NGA curatorial files.[3] Kingzett letter of 24 January 1969 cited above.[4] Duveen stockbook in archives at the Metropolitan Musuem of Art, New York; see letter of 23 February 1987 from Guy Bauman, Department of European Paintings to John Hand in NGA curatorial files.[5] Guy Bauman letter cited above and Edward Fowles, Memories of Duveen Brothers (London, 1976), 36-43.[6] Bauman letter, cited in note 4, notes that in both the stockbook and the salesbook, the paintings are listed only as having been sold to "Kann relations."[7] Wildenstein & Co. brochure in NGA Kress files lists Bromberg and Dr. Emden as previous owners.[8] Letter of 14 September 1988 from Ay-Whang Hsia, Wildenstein & Co., to John Hand, in NGA curatorial files.[9] William E. Suida, Paintings and Sculpture of the Samuel H. Kress Collection. (Denver, 1954), 64, no. 28; letter of 10 November 1987 to John Hand from Louise H. Kliopov, Denver Art Museum, in NGA curatorial files. Eisler 1977, 26, reversed the exhibition dates for this and the Saint Mary Salome and Her Family also by Strigel.The bill of sale (copy in NGA curatorial files) is dated February 10, 1954, and was for a total of fourteen paintings; payments by the Foundation continued to March 1957.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139258.htmlPhilipp Johan Sparkuhle, Bremen [1860-1930] (Lugt 2302). (sale, Wolfgang Ketterer, Munich, 5 December 1989, no. 1054); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139208.htmlPrinces of Liechtenstein, Vienna and Vaduz (Lugt 4398). Richard Tüngel [1892-1970], Ahrensburg. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139244.htmlProfessor Dr. Paul B. Diezel [b.1923], Pforzheim. (sale, Karl & Faber, Munich, 1 December 1984, no. 35); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.124941.html(Daxer and Marschall, Munich, and Jean-François Heim); (Thomas LeClaire, London); gift to NGA, 2002.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139312.htmlJonathan Richardson, Jr., London (1694 - 1771) (Lugt 2170). Benjamin West, London (1738 - 1820) (Lugt 419). (sale, Sotheby's London, 21 November 1974, no. 6). Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139301.htmlJohann Dominik Bossi, Munich; by descent to his daughter, Maria Theresia Caroline and her husband Carl Christian Friedrich Beyerlen, Stuttgart; (their sale, H. G. Gutekunst, Stuttgart, 27 March 1882); Dr. Oscar Eisenmann, Cassel; Wilhelm Lübke, Stuttgart; (Joseph Baer & Sons, Frankfurt); Dr. Hans Wendland, Lugano; (his sale, Ball & Graupe, Berlin, 24-25 April 1931, no. 103); Dr. Erich Alport, Oxford; (sold by his estate, Christie's London, 4 July 1972, no. 186); Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139302.htmlJohann Dominik Bossi, Munich; by descent to his daughter, Maria Theresia Caroline and her husband Carl Christian Friedrich Beyerlen, Stuttgart; (their sale, H. G. Gutekunst, Stuttgart, 27 March 1882); Dr. Oscar Eisenmann, Cassel. Wilhelm Lübke, Stuttgart. (Joseph Baer & Sons, Frankfurt. Dr. Hans Wendland, Lugano; (his sale, Ball & Graupe, Berlin, 24-25 April 1931, no. 103). Dr. Erich Alport, Oxford; (sold by his estate, Christie's London, 4 July 1972, no. 186); Herbert List [1903-1975], Munich (Lugt 4063); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139095.htmlLibrary of the monastery of the Padri Somaschi, Santa Maria della Salute, Venice. Count Leopoldo Cicognara. Antonio Canova; by descent to his half-brother, Monsignor Giovanni Battista Sartori-Canova. Francesco Pesaro, Venice, until 1842; Col. Edward Cheney, Badger Hall, Shropshire (1803 - 1884) (see Lugt 444); by descent to his brother-in-law, Col. Alfred Capel Cure, Blake Hall, Essex. (sale, Sotheby's London, 29 April 1885, no. 1024); Parsons. William Fagg, Sydenham. Messrs. B. T. Batsford, London. (sale, Christie's London, 14 July 1914, lot 49); (E. Parsons & Sons, London) (see Lugt supplement, 2881). (Savile Gallery, London). Franz Koenigs, Haarlem (1881 - 1941) (Lugt 1023a). D. G. van Beuningen, Rotterdam. Dr. Max J. Friedländer, Amsterdam; (his sale, Paul Brandt, Amsterdam, 17 March 1959, no. 29). Marianne Feilchenfeldt, Zurich; Ursula and Adolf Ratjen, Vaduz; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.73405.htmlJohann Dominik Bossi [1767-1853], Munich; by descent to his daughter Maria Theresa Caroline [1825-1881], Munich, and by her marriage to Carl Christian Friedrich Beyerlen [1826-1881], Stuttgart; (sale H.G. Gutekunst Stuttgart, 27 March 1882); Dubini collection, Milan; Count Rasini, Milan; (sale, New York, Sotheby's, 13-14 January 1989, no. 211); (Kate Ganz, Ltd., London, 1989); (Nissman, Abromson and Co., 1991); purchased by NGA, 1991.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139339.html(sale, Hôtel Drouot, Paris, 26 June 1913, no. 110); Henri Goudechaux, Paris; (Thomas le Claire, Hamburg); Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139308.html(sale, Sotheby's London, 20 March 1974, no. 134); Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen [1943-1997], Vadiz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139324.htmlJohann Dominik Bossi 1767-1853], Munich; by descent to his daughter, Maria Theresia Caroline [1825-1881] and her husband, Carl Christian Friedrich Beyerlen [1826-1881], Stuttgart; (their sale, H. G. Gutekunst, Stuttgart, 27 March 1882); Baron Ferdinand von Stumm [1843-1925]; (his sale, Hans W. Lange, Berlin, 30 March 1939, no. 103, as "Giovanni Battista Tiepolo"); Nikolaus and Ursula von Stumm, Munich; Wolfgang Ratjen [1943-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139328.htmlSohn-Rethel Collection, Rome, 1926. (Douwes Fine Art Ltd., London); Wolfgang Ratjen [1947-1997], Vaduz and Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.128601.htmlArtist's estate stamp created by Christie's in 2003, forthcoming in Lugt; (Duke of Oldenburg, Schloss Oldenburg, Germany); (sale, Christie's New York, 22 January, 2003, part of no. 176); (Galerie Arnoldi-Livie, Munich); purchased by NGA, 2003.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.118722.htmlKarl & Faber Munich, 9 June 1999, 71; Arturo Cuellar Gallery, Zurich; purchased by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.132954.html(Galerie Arnoldi-Livie, Munich); purchased 2005 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.132955.html(Galerie Arnoldi-Livie, Munich); purchased 2005 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139123.htmlGeorg Schäfer [1886-1975], Schweinfurt. (Galerie Arnoldi-Livie, Munich) in 1997. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139285.html(sale, Weinmüller, Munich, 13 October 1938, no. 699). Bernhard Funck, Munich (not in Lugt). Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139207.htmlDr. Wilhelm Freiherr von Erlanger, Nieder-Ingelheim, in 1909. (sale, F.A.C. Prestel, Frankfurt, 30 September 1919, no. 191). (Galerie Arnoldi-Livie, Munich); acquired 1973 by Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139322.htmlBaron Horace de Landau [1824-1903] Florence (Lugt 1334c); his niece Madame Hugo Finaly [d. 1938], Florence. Tor Engestroem, Stockholm. (sale, Christie's London, 5 July 1983, no. 53, as Domenico Passignano). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.104729.html(Jacques Goudstikker, Amsterdam), before 1917. Dr. Walter von Pannwitz [1856-1920], Berlin, by 1917;[1] by inheritance to his wife, Catalina von Pannwitz [1876-1959, née Roth], Heemstede; by descent in the Pannwitz family; (Otto Nauman, Ltd., New York); purchased 1988 by Mr. and Mrs. Michal Hornstein, Montreal; (sale, Sotheby's, New York, 30 January 1998, no. 69); purchased through (Bob P. Haboldt & Co., New York) by NGA.[1] The Pannwitz family lent the painting to the Mauritshuis, The Hague, from 1917 to 1923. Walter von Pannwitz was a Munich lawyer who, with his second wife Catalina Roth, relocated to Berlin in 1910. He acquired an extensive collection of paintings and applied arts in the first two decades of the twentieth century.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.93030.htmlDavid David-Weill [1871-1952], Neuilly-sur-Seine, probably after 1928;[1] Mr. and Mrs. Paul Mellon, Upperville, VA; gift to NGA, 1995.[1] Not included in Gabriel Henriot, Collection David-Weill, 3 vols. Paris,1926-1928. During World War II the drawing was confiscated by the Nazi Einsatzstab Reichsleiter Rosenberg (ERR, no. D-W 416) from the David-Weill collection in France, and recovered at Alt Aussee. The records of the Munich Central Collecting Point indicate that the drawing was restituted to France on 11 July 1946, with David-Weill as the presumed owner (Munich property card #1254/9; copy in NGA curatorial files). David-Weill was president of the Conseil artistique de la Réunion des Musées Nationaux. His claim for objects not recovered after the war is published in the Répertoire des biens spoliés en France durant la guerre 1939-1945, Groupe français du conseil de controle, 1947.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139291.htmlHans Calmann [1899-1982], London. Herbert List [1903-1975], Munich (Lugt 4063);Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139318.html(sale, Sotheby's London, 3 July 1980, no. 37); Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.127894.htmlIngeborg Tremmel, Munich; (sale, Ketterer Kunst, Munich, 5 May 2003, no. 328); NGA purchase via Artemis Fine Arts Inc., New York, 2003.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139226.html(sold, Karl & Faber, Munich, 27 May 1978, no. 1158). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139254.htmlH.W. Fichter, Frankfurt am Main, 1988. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.129443.htmlSauerwein Collection, Munich. Tremmel Collection, Munich; (sale, Ketterer Kunst, Munich, 5 May 2003, no. 265); (Martin Moeller, Munich); purchased by NGA, 2004.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139240.htmlSir A. Alison, England. (sale, Sotheby's, London, 1 December 1983, no. 180). Mia Weiner, New York, 1984. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.75350.htmlHarriet, Duchess of St. Albans; Baroness Burdett-Coutts, stepdaughter of the above; by inheritance to vendor of (sale London, Christie's July 7, 1992 [lot 237]); via Galerie Arnoldi-Livie, Munich; purchase 1992, by NGA
https://www.nga.gov/content/ngaweb/Collection/art-object-page.75349.htmlHarriet, Duchess of St. Albans; Baroness Burdett-Coutts, stepdaughter of the above; by inheritance to vendor of (sale London, Christie's, July 7, 1992 [lot 236]); via Galerie Arnoldi-Livie, Munich; purchased by NGA, 1992.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.74803.htmlPrivate Collection, Prague; Private Collection, Munich; purchased by Kent Sobotik, 1974; (sale, New York, Christie's, 15 January 1992, lot 170); purchased (via Galerie Arnoldi-Livie, Munich) by NGA, 1992.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139296.htmlBartolomeo Cavaceppi, Rome. Vincenzo Pacetti, Rome. Paul Fatio, Geneva (not in Lugt). (sale, Nicolas Rauch, Geneva, 13-15 June 1960, no. 385). Richard Tüngel, Ahrensburg. Herbert List [1903-1975], Munich (Lugt 4063); Ursula and Adolf Ratjen, Vaduz, for Wolfgang Ratjen; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139201.htmlHerbert List, Munich, in 1971. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139277.html(Kunsthandlung Peter H. Fichter, Frankfurt-am-Main), in 1996. Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139097.htmlSir Horace Mann; by descent to Mrs. Doris Ray Courtney Herbert, Herbert, South Africa; (her sale, Sotheby's London, 11 July 1979, no. 182). Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://www.nga.gov/content/ngaweb/Collection/art-object-page.139313.htmlArmando Neerman, London; Wolfgang Ratjen, Munich; purchased 2007 by NGA.
https://artgallery.yale.edu/collections/objects/218548Collection of Wladimr Rosenbaum (1894-1984), collection/Casa or Galeria Serodine, Ascona, Switzerland before 1978, Peter Conradty and family, Nurenberg, Germany, acquired from the above, 1982, Charles Ede, London, acquired from the above by March, 2015, exhibited at TEFAF Fair, New York City, October 22-26, 2016, Yale University Art Gallery, acquired from the above, 2016.;This work appears on our "Antiquities and Archaeological Material with Provenance Documentation Gaps" page.;This work appears on our "Antiquities and Archaeological Material with Provenance Documentation Gaps" page.;Bibliography;Sarah D. Price, “Anacrontic Vases Reconsidered,” Greek, Roman, and Byzantine Studies (1990): 161.;Christa Bauchenss-Thüriedl, Erika Simon, and Ingrid Krauskopf, Lexicon Iconographicum Mythologiae Classicae, 8 vols. (Zurich: Artemis, 1981–97).;Wilhelm Hornbostel, Aus der Glanzzeit Athens:Meisterwerke Griechischer Vasenkunst in Privatbesitz (Hamburg Germany: BATIG Gesellschaft, 1986), 111–14, no. 53, ill.;Thomas Mannack, “Beazley Archive Database,” http://www.beazley.ox.ac.uk/xdb/ ASP /browse.asp?tableName=qryData&newwindow=&BrowseSession=1&companyPage=Contacts&newwindowsearchclosefrombrowse= (accessed 1997–2019), Shape Record: Cup B.;Gundrun Güntner et al., Mythen und Menschen (Mainz, Germanny: Verlag Philipp von Zabern, 1997), 94–97, no. 27, ill.;Margaret C. Miller, “Reexamining Transvestism in Archaic and Classical Athens: The Zewadski Stamnos,” American Journal of Archaeology 103 (1999): 230, 232–33, 237, fig. 11–12.;Michael Philipp, Dionysos, Rauch und Ekstase/Ausstellung und Katalog (Munich, Germany: Hirmer, 2013), 184–85, no. 79, ill.;“Acquisitions July 1, 2016–June 30, 2017,” https://artgallery.yale.edu/sites/default/files/files/bulletin/Pub-Bull-acquisitions-2017.pdf (accessed December 1, 2017).;Susan B. Matheson, “Reveling with Dionysos: A Drinking Cup by the Oedipus Painter,” Yale University Art Gallery Bulletin (2017): 102, 104–105, fig. 1–4.
https://artgallery.yale.edu/collections/objects/24368Charles Sedelmeyer (1837-1925), Vienna, Sale, Gemälde moderner und alter Meister, Künstlerhaus Vienna, December 20-21, 1872, lot 147, The Paterno Collection, Pierre-Eugène Secrétan (1836-1899), Paris, by 1889. Monsieur Adolphe (1842-1910) and Madame Mathilde Lucie Schloss (née Haas) (1858-1938), Paris [See Note I], by descent to their children Marguerite Schloss (1879-1959), Henry Schloss (1882-1964), Juliette Weil (b.1885) and Lucien Schloss (1881-1962), confiscated by the ‘Schutzstaffel’ (SS) and French auxiliaries of the Gestapo at Château de Chambon, Laguenne, Corrèze, April 13, 1943 [See Note II], transferred to the Dreyfus Bank, Paris, transferred to the Jeu de Paume (ERR inv. no. Schloss 192) [See Note III], transferred to the Führerbau, Munich, November 27, 1943 (Kiste Nr. München Fuhrerbau 15) [See Note IV], stolen by Josef Karl, Munich, Central Collecting Point, Munich, October 25, 1948 (MCCP no. 48076) [See Note V], repatriated to France, December 3, 1948, restituted to the Schloss Collection, Sale, Collection de feu M. Adolphe Schloss, Galerie Charpentier, Paris, December 5, 1951, lot 49, The Brod Gallery, London, sold to Katherine Ordway (1899-1979), November 1, 1972, bequeathed to the Yale University Art Gallery, New Haven, Conn.;Notes: [I] Adolphe Schloss was a German born Jewish art collector. He and his wife Mathilde collected 333 works of Netherlandish art, which they exhibited at Salon Adolphe Schloss, residence 38, Avenue Henri Martin, Paris. [II] In 1939, with the outbreak of WWII and in fear of bombing, the family relocated the paintings to Château de Chambon. Given its widespread fame, German units had already been searching for it following the 1940 occupation. The SS was a paramilitary unit within Nazi Germany and occupied Europe, the Gestapo was the secret police. [III] The collection was taken to Paris and stored in the Dreyfus Bank where an inventory and valuation was drawn up by police and government officials with curators from the Louvre Museum. Forty-nine paintings were sent to the Louvre, while the remainder were transferred to the Jeu de Paume Museum, a depot used for sorting and cataloguing collections confiscated by the Nazis. The paintings were earmarked for Hitler’s Linz Museum, a gallery intended to showcase the best of Western artistic production. [IV] The Fuhrerbau was the central headquarters of Adolf Hitler. At the end of April 1945, before allied forces entered Munich, a civilian mob broke into the building and looted the contents including liquor, furnishings, and art collections in storage. [V] The Central Collecting Point, Munich, was a depot used by the allied forces to process and redistribute cultural property confiscated by the Nazis. Karl Josef, a German civilian and steelworker, who had stolen two other paintings and traded them for food and clothing, relinquished the Ruysdael in 1948. (National Archives and Records Administration, College Park, Maryland M1946 260);Bibliography;Lesley K. Baier, The Katharine Ordway Collection, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1983), 110–11, no. 80.
https://artgallery.yale.edu/collections/objects/7061Scuola Grande di San Rocco, Venice (?), Fritz August von Kaulbach, Munich, Paul Drey Collection, New York, by 1930.;Bibliography;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.
https://artgallery.yale.edu/collections/objects/43549Rhô Collections, Vienna, Ludwig F. Limburg Collection, Munich, Charles A. Wimpfheimer Collection (9/24/27-), New York, Mrs. Andrè and Mildred Blumenthal Collection, Norwalk, Connecticut (by descent).
https://artgallery.yale.edu/collections/objects/191510Probably the painting commissioned from Poussin by Seraphin de Mauroy, Intendant des Finances, and later French Ambassador to Rome, in 1650, Apparently executed in 1653, Joachim de Seigliere de Boisfranc (or Bois-Franc), Collection of William Morris Hunt, Boston, Heirs of William Morris Hunt (– July 27, 1940), Count Ivan N. Podgoursky, New York and San Antonio (July 27, 1941–1962), Estate of Count Ivan N. Podgoursky, Mary Ermolaev (née Babicki), his wife (1962–1999), Estate of Vladimir Podgoursky (2011), by descent to William Lapko, his son;Bibliography;John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters (London: Smith and Son, 1829–1842), xliv–xlv, 29, no. 51.;Andreas Andresen, Nicolaus Poussin: Verzeichnis der nach seinen Gemälden gefertigten gleichzeitigen und späteren Küpferstiche (Leipzig: Leipzig, 1863), no. 93.;Émile Magne, Nicolas Poussin, premier peintre du roi, 1594-1665 (documents inédits) suivi d’un catalogue raisonné et accompagné de la reproduction de 2145 de ses tableaux et dessins, de deux portraits, autographes et autres documents (Paris: G. Van Oest, 1914), 208, no. 175.;Otto Grautoff, Nicolas Poussin, sein Werk und sein Leben, 2 (Munich: Munich, 1914), 255.;Walter Friedländer, Nicolas Poussin (Munich: Piper, 1914), 122, 270.;André Félibien, Entretiens sur la vie et les ouvrages de Nicolas Poussin (Geneva: Pierre Cailler, 1947), 89.;Anthony Blunt, The Paintings of Nicolas Poussin. A Critical Catalogue, I (London: Phaidon, 1966), 33, no. 42.;Anthony Blunt, Nicolas Poussin, 7 (New York: Bollingen Foundation, 1967), 301, 309, 312„ pl. 212.;Jacques Thuillier, Tout loeuvre peint de Poussin: documentation et catalogue raisonné (Paris: Flammarion, 1974), no. 185.;Christopher Wright, Poussin, paintings: a catalogue raissonné (New York: Hippocrene Books, 1985), 111, 225, no. 181.;Jacques Thuillier, Nicolas Poussin (Paris: Flammarion, 1994), 262, no. 206.;“Acquisitions July 1, 2015–June 30, 2016,” https://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2016.pdf (accessed December 1, 2016).
https://artgallery.yale.edu/collections/objects/576Probably from the collection of Captain Charles Henry Townshend, Henry Hotchkiss Townshend and Raynham Townshend, Yale University Art Gallery, New Haven, Conn.;Bibliography;John J. Marciari, “Redescubriendo a Velázquez/Velázquez Rediscovered: The Education of the Virgin at Yale,” Ars Magazine 3 (2010): 52–66, ill.;Tanya J. Tiffany, Early Paintings and the Culture of Seventeenth-Century Seville (University Park, Pa.: The Pennsylvania State University Press, 2012), 9–11, fig. 5–6.;Matthias Weniger, Spanische Malerei (Munich: Prestel-Verlag, 2012), 138–39, fig. abb. 23.2.;John J. Marciari et al., El joven Velázquez: “La educación de la Virgen” de Yale restaurada, Spanish ed. (New Haven, Conn.: Yale University Art Gallery, 2014).;John J. Marciari et al., The Young Velázquez: “The Education of the Virgin” Restored, English ed. (New Haven, Conn.: Yale University Art Gallery, 2014).;John J. Marciari et al., El joven Velázquez: a propósito de la educación de la Virgen de Yale, ed. Benito Navarrete Prieto (Seville, Spain: Espacio Santa Clara, Instituto de la Cultura y las Artes de Sevilla, 2015), ill.;Véronique Gérard Powell, “La chair du Récit,” Dossier de L’A rt (2015): 54–55, ill.
https://artgallery.yale.edu/collections/objects/15861Originally part of side altar in the Collegiate Church of Messkirch, Baden-Württemberg, Germany (sold late 17th century or removed by Zuge der Barockisierung in 1772), Joseph Otto Entres Collection, Munich, Dr. Franz Ludwig Baumann Collection, Donaueschingen (by inheritance, late 1880s),Professor Schleibner Collection, Munich,M. Orterer Collection, Munich,dealer Julius Böhler, Munich, 1918,Bum Collection (Fabrikant Bum), Cottbus, Germany, and Terrebonne, Montreal, acquired from the above by 1922, and by descent until,Sale, Parke-Bernet Galleries, New York, 5 November 1942, lot #45, Walter Bareiss Collection, New York.;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 7, ill.;Anna Moraht-Fromm and Hans Westhoff, Der Meister von Messkirch: Forschungen zur südwestdeutschen Malerei des 16. Jahrhunderts (Ulm, Germany: Süddeutsche Verlagsgesellschaft, 1997), 178, 181–83, fig. 84a.
https://artgallery.yale.edu/collections/objects/15881Originally part of side altar in the Collegiate Church of Messkirch, Baden-Württemberg, Germany (sold late 17th century or removed by Zuge der Barockisierung in 1772), Joseph Otto Entres Collection, Munich, Dr. Franz Ludwig Baumann Collection, Donaueschingen (by inheritance, late 1880s), Professor Schleibner Collection, Munich, M. Orterer Collection, Munich, dealer Julius Böhler, Munich, 1918, Fabrikant Bum Collection, Kottbus, Germany, by 1922, Richard Zinser Collection, New York, by 1942, auction, Private Collection of a Czechoslovakian Gentleman, Parke-Bernet Galleries, New York, 5 November 1942, lot #45, Walter Bareiss Collection, New York.;Bibliography;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 7, ill.;Anna Moraht-Fromm and Hans Westhoff, Der Meister von Messkirch: Forschungen zur südwestdeutschen Malerei des 16. Jahrhunderts (Ulm, Germany: Süddeutsche Verlagsgesellschaft, 1997), 200–01.
https://artgallery.yale.edu/collections/objects/6908Julius Bohler, Munich, Maitland F. Griggs Collection, New York, acquired from Bohler in 1929.;Bibliography;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 600.
https://artgallery.yale.edu/collections/objects/46602Leone Oreffice Collection, Palazzo Labia, Venice, Julius Böhler, Munich, E. A. Silberman Galleries, New York, Rabinowitz Collection, Sands Point, Lond Island.;Bibliography;Charles Seymour, “Louis Mayer Rabinowitz,” Bulletin of the Associates in Fine Arts at Yale University 23 (September 1957): 13, fig. 7.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 601.
https://artgallery.yale.edu/collections/objects/46486Leone Oreffice Collection, Palazzo Labia, Venice, Julius Böhler, Munich, E. A. Silberman Galleries, New York, Rabinowitz Collection, Sands Point, Lond Island.;Bibliography;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 601.
https://artgallery.yale.edu/collections/objects/188696Landsberg, by descent to Käte Landsberg, by descent to Ronald A. Wohl (–2014), Yale University Art Gallery;Bibliography;Charlotte Berend-Corinth, Lovis Corinth, die Gema¨lde: Werkverzeichnis, 2nd ed. (Munich: Friedrich Bruckmann, 1992), 61, 313, no. 45.;“Acquisitions 2014,” http://artgallery.yale.edu/sites/default/files/files/Pub_Bull_acquisitions_2014_02.pdf (accessed December 1, 2014).
https://artgallery.yale.edu/collections/objects/278James Jackson Jarves Collection, Florence, reported to have been purchased from the Convent of S. Martino alle Selve at Signa, near Florence.;Bibliography;James Jackson Jarves, Descriptive Catalogue of “Old Masters,” Collected by James J. Jarves, to Illustrate the History of Painting from A.D. 1200 to the Best Periods of Italian Art (Cambridge, Mass.: H. O. Houghton and Co., 1860), 46, no. 37.;Russell Sturgis, Jr., Manual of the Jarves Collection of Early Italian Pictures (New Haven, Conn.: Yale University Press, 1868), 29–30, no. 16.;W. F. Brown, Boston, Catalogue of the Jarves Collection of Early Italian Pictures, sale cat. (1871), 13–14, lot 16 (Unknown, Sienese School, dated 1370).;Osvald Sirén, “Trecento Pictures in American Collections- III,” Burlington Magazine 14 (1908-1909): 326, Ambrogio di Baldese, fig. 2.;Osvald Sirén, A Descriptive Catalogue of the Pictures in the Jarves Collection Belonging to Yale University (New Haven, Conn.: Yale University Press, 1916), 58–62, no. 22, (Ambrogio di Baldese), fig. 22.;Raimond van Marle, Development of the Italian Schools of Painting, 1, 3, 9, 17 (The Hague: M. Nijhoff, 1923), 87, Vol. 9, gives Sirén’s attribution of 1909 and 1916.;Richard Offner, Italian Primitives at Yale University: Comments and Revisions (New Haven, Conn.: Yale University Press, 1927), 19–20, (follower of Agnolo Gaddi), fig. 11.;Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works, with an Index of Places (Oxford: Clarendon Press, 1932), 195, under Florentine unknown, 1420-1465, so-called Baldese.;Mrs. Francis Steegmuller, The Two Lives of James Jackson Jarves (New Haven, Conn.: Yale University Press, 1951), 296.;Rediscovered Italian Paintings, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1952), 20–21, attributed to Ambrogio di Baldese, from the suppressed convent of San Martino alle Selve, near Florence.;Albert G. Hess, Italian Renaissance Paintings with Musical Subjects: A Corpus of such Works in American Collections, with Detailed Descriptions of the Musical Features (New York: Libra Press, 1955), no. LXX b (Italian unknown, 15th century).;Bernard Berenson, Italian Pictures of the Renaissance: a list of the principal artists and their works, with an index of places, 1 (New York, Greenwich, Conn.: Phaidon, 1963), 219, under Florentine unknown, 1420-1465, so-called Baldese.;Charles Seymour Jr. and Everett Fahy, Annotated copy of Charles Seymour, Jr. Early Italian Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1970), Lippo d’Andrea, with Saints Peter and Albert painted by a workshop assistant.;Charles Seymour Jr., Early Italian Paintings in the Yale University Art Gallery: A Catalogue by Charles Seymour, Jr. (New Haven, Conn.: Yale University Press, 1970), 112.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 599.;Enzo Carli and Valerio Mariani, Chi e lo Pseudo-Ambrogio di Baldese? (Naples, Italy: Libreria scientifica editrice, 1972), 109–112.;Daniel L. Arnheim, Charles Seymour Jr., and Gloria Kury Keach, Italian Primitives: The Case History of a Collection and Its Conservation (New Haven, Conn.: Yale University Art Gallery, 1972), 18, (as Pseudo-Ambrogio di Baldese[?] and assistants).;Christa Gardner von Teuffel, “Masaccio and the Pisa Altarpiece: A New Approach,” Jahrbuch der Berliner Museen 19 (1977): 54, notes 90 and 92, follower of Angolo Gaddi, a high altarpiece produced for the Carmelite foundation Le Selve near Signa, fig. 19.;Howard Mayer Brown, “A Corpus of Trecento Pictures with Musical Subject Matter, Part II /1, Installment 4,” Sonderdruck aus Imago Musicae (1988): 167–168, 234–235, Florentine, ca. 1420, fig. 676.;Saur allgemeines Künstler-Lexikon, 3 (Munich: K.G. Saur, 1992), 134–135.;Laurence Kanter, Italian Paintings in the Museum of Fine Arts Boston (Boston, Mass.: Northeastern University Press, 1994), 149, note 1 (Ventura di Moro).;William Levine, “Advertising Charity in Trecento: the Public Decorations of the Misericordia in Florence,” Studies in Iconography 17 (1996): 215–233, discusses mural painting of Ambrogio in Florence.;Linda Pisani, “Pittura Tardogotica a Firenz negli Anni Trenta del Quattrocento: Il Caso dello Pseudo-Ambrogio di Baldese,” Mitteilungen des Kunsthistorischen Institutes in Florenz 45 (2001): 8, 10, Lippo d’Andrea, fig. 12.;Andrea Staderini, “Primitivi’ fiorentini dalla collezione Artaaud de Montor. Parte I: Lippo d’Andrea e Stefano d’Antonio,” Arte Cristiana 92 (July/August, 2004): 261, 265–266, note 14 (Lippo d’Andrea).;Christa Gardner von Teuffel, From Duccio’s Maesta to Raphael’s Transfiguration: Italian Altarpieces and their Settings (London: Pindar Press, 2005).;Katherine Renell Smith Abbott et al., The Art of Devotion: Panel Painting in Early Renaissance Italy, exh. cat. (Lebanon, N.H.: Middlebury College Museum of Art, 2009), 12, 88–89, no. 7, ill.
https://artgallery.yale.edu/collections/objects/49195Alphonse Portier, Paris, Eugene Blot, Paris (sale, Blot Collection, Hotel Drouot, Paris, May 10, 1906, no. 15 [ill.]), Auguste Pellerin, Paris, J. Hessel, Paris, Paul Cassirer, Berlin, Moderne Galerie [Heinrich Thannhauser], Munich, Paul Vallotton, Lausanne, until 1926, Berheim-Jeune, Paris, Walter S. Brewster, Chicago from 1928.
https://artgallery.yale.edu/collections/objects/110696E. Brenken, Wewer, by 1925, A. S. Drey Gallery, Munich (sale, Paul Graupe, Berlin, June 17-18, 1936, lot 32), Karl Lemke, Berlin, Frau Martha Lemke, Berlin, Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin, 1984, Heirs of the A. S. Drey and Stern families, 2003.;Bibliography;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 221, 394, pl. 208.
https://artgallery.yale.edu/collections/objects/110695E. Brenken, Wewer, by 1925, A. S. Drey Gallery, Munich (sale, Paul Graupe, Berlin, June 17-18, 1936, lot 32), Karl Lemke, Berlin, Frau Martha Lemke, Berlin, Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin, 1984, Heirs of the A. S. Drey and Stern families, 2003.;Bibliography;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 220, 394, pl. 207.
https://artgallery.yale.edu/collections/objects/7604Durlacher Bros., New York (University Purchase in October 1958) (dealer correspondence suggests that subject matter is "possibly from Greek mythology although more probably Ossian or even Shakespeare).;Bibliography;Henry H. Hawley, Neo-classicism: style and motif, exh. cat. (Cleveland, Ohio: Cleveland Museum of Art, 1964), no. 118, ill.;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 50, ill.;Gert Schiff, Johann Heinrich Füssli, 1741–1825 (Munich: Prestel Publishing, 1973), 193, 496, no. 756, fig. 756.;Gert Schiff, L’opera completa di Füssli (Milan: Rizzoli International Publications, Inc., 1977), no. 87, fig. 87.;Jean Starobinski, 1789, The Emblems of Reason (Charlottesville, VA: University of Virginia Press, 1982).;Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 147, fig. 1958.65.;Artists on Art: Observations by Yale Faculty on Selections from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1999), 38–39, ill.
https://artgallery.yale.edu/collections/objects/48770A La Viellie Russie, 18 Fauburg Saint-Honore, Paris, sold to Mrs. Laird Goldsborough in 1938.;Bibliography;John David Farmer, The virtuoso craftsman: Northern European design in the sixteenth century, exh. cat. (Worchester, Massachusetts: Worcester Art Museum, 1969), 162–63, no. 85, fig. 85.;Klaus Maurice, Die deutsche Ra¨deruhr: zur Kunst und Technik des mechanischen Zeitmessers im deutschen Sprachraum (Munich: Beck, 1976), 47, no. 280, fig. 280.;Clare Vincent, The Triumph of humanism: a visual survey of the decorative arts of the Renaissance, exh. cat. (San Francisco: Legion of Honor Museum, Fine Arts Museums of San Francisco, 1977), 55, 58, 88, no. 147, fig. 83.
https://artgallery.yale.edu/collections/objects/9723Dr. Rudolph Heinemann Collection, New York,Madame (Godfrey) Brauer Collection, Nice(?),E. A. Fleischmann, dealer, Munich, 1931,J. Boehler Collection, Munich, 1914-1920, Boehler series, the only remaining complete Apostolado of Van Dyck;Palazzo Serra, Genoa, c. 1780 (acquired with the whole series in Italy)
https://artgallery.yale.edu/collections/objects/15502Dr. James Simon, Berlin, Kaiser Friedrich Museum, Berlin, to ca. 1927, Victor Hahn, Berlin, acquired from the above in exchange for paintings, Ball & Graupe et Cie, Berlin, June 27, 1932, lot 26, Possibly Collection Carl von Weinberg, Frankfurt, Friedrich Pfundmayer, Vienna, sale of the above, Weinmueller, Munich, November 13-14, 1941, lot 296. Possible sale, ca. 1942, Josef Thorak, Hartmannsberg, ca. 1942, and by descent to Mrs. Erna Josef Thorak until 1963, Wilhelm Henrich, Frankfurt, likely acquired from the above to 1965, Yale University Art Gallery, New Haven, Conn.;This work appears on our "Artworks with Nazi-Era Provenance Documentation Gaps" page.;Bibliography;Otto von Falke and Victor Hahn, Die Sammlung Victor Hahn, Berlin (Berlin: Hermann Ball and Paul Graupe, Berlin, 1932), no. 24.;Dorothy Gillerman, Gothic Sculpture in America: The New England Museums, 1 (New York: Garland Publishing, 1989), 330–32, no. 246, ill.
https://artgallery.yale.edu/collections/objects/49741Ambroise Vollard, Paris, Berheim-Jeune, Paris, Auguste Pellerin, Paris, Jos. Hessel, Paris, Moderne Galerie [Heinrich Thannhauser], Munich, Hugo Perls, Berlin, Gottlieb Friedrich Reber, Lugano, Sale, Dr. Hans Wendland Collection and others, Ball & Graupe, Berlin, Apr. 24, 1931, no. 72 [ill.], Leo Levin, Breslau, Richard H. Zinser, New York, Walter Bareiss, Greenwich, Conn.;Bibliography;Philip Conisbee, Cezanne in Provence, exh. cat. (Washington, D.C.: National Gallery of Art, 2006), 138.
https://artgallery.yale.edu/collections/objects/64296Baron E. de Beurnonville (1825-1906), Paris, Sale of the above, Pillet, Paris, May 9, 1881, lot 468, Jean Dollfus (1823-1911), Paris, Sale of the above, Lair-Dubreuil, Paris, April 1, 1912, lot 99, illus., Frederik Muller, Amsterdam, Franz Kleinberger, Paris, 1913, Harald Petri (1877-1954), Antwerp, Sale of the above, Frederik Muller et Cie, Amsterdam, November 30– December 6, 1926, lot 57. Maurice Lagrand, Brussels. Kunsthandel A.G., Lucerne, and ‘Seling,’ March 1973, jointly owned, Julius Böhler, Munich, received on commission from the above, March 1973, and acquired September, 1973 (Lagerbuch-number 7-73), Dr. Herbert and Mrs. Monika Schaefer, June 1974.;This work appears on our "Artworks with Nazi-Era Provenance Documentation Gaps" page.;Bibliography;Leandre Vaillat, “La peinture hollandaise,” L’A rt et les Artistes 15 (April–September 1912): 146, ill.;Walter Cohen, Ulrich Thieme, and Felix Becker, “Engebrechtsz” in Thieme-Becker, Kunstler Lexikon, 10 (Leipzig: E. A. Seemann, 1914), 527, ill.;Nicolaas Beets, “De tentoonstelling 1575,” Onze Kunst 25 (1914): 53, ill.;Paul Wescher, “Zur Chronologie der Gemalde des Cornelis Engelbrechsten,” Zeitschrift fur bildende Kunst 58 (1924): 99, 103, ill.;E´mile Gavelle, Cornelis Engebrechtsz. L’e´cole de peinture de Leyde et le romantisme Hollandais au de´but de la Renaissance (Lille: Raoust, 1929), 292–93, G. 40.;Max J. Friedländer, Die Altniederla¨ndische Malerei, 10 (Berlin: P. Cassirer, 1932), pl. 52, fig. 93.;G. J. Hoogewerff, De Noord-Nederlandsche Schilderkunst, 3 (The Hague: Martinus Nijhoff, 1939), 202–204, fig. 108.;E. Peinck, “Cornelis Engebrechtsz: de herkomst van sijn kunst,” Nederlands Kunsthistorisch Jaarboek (1948–1949): 53, ill.;Office de Re´cupe´ration E´conomique, Re´pertoire d’oeuvres d’art dont la Belgique a e´te´ spolie´e durant la guerre 1939-1945 (Brussels: Royaume de Belgique, 1948), Illus. 25 (Pl. V), fig. 76.;Max J. Friedländer, Early Netherlandish Paintings, 10 (Leiden & Brussels: Foleor Publishers, 1973), 73, 79, fig. 93.;Walter S. Gibson, The Paintings of Cornelis Engebrechtsz, 34 (New York & London: Garland Publishing, 1977), 167–68, 247, fig. 43.;Missing art works of Belgium (Brusells: Ministère des affaires économiques, 1994), 31, fig. 67.;Collection: Dr. Herbert & Monika Schaefer, Selected Works, exh. cat. (New Haven, Conn.: Mountain View Press, 1998), 12–15, ill.;Joachim Pissarro, Saints, Sinners, and Scenery: European Genre and Landscape Paintings from the Collection of Herbert and Monika Schaefer, exh. cat. (New Haven: Yale University Art Gallery, 1998), 6–7.;Jan Piet Filedt Kok, Walter S. Gibson, and Yvette Bruijnen, Cornelis Engebrechtsz: A Sixteenth-Century Leiden Artist and his Workshop (Turnhout: Brepols, 2014), 126–27, no. 33, fig. 119.
https://artgallery.yale.edu/collections/objects/26073Baron van den Bogaerde, Château de Heeswijk, Bois-le-Duc, Holland (1901), Edward R. Lubin Gallery, New York City;Bibliography;Dorothy Gillerman, Gothic Sculpture in America: The New England Museums, 1 (New York: Garland Publishing, 1989), 320–322, no. 238, ill.;Dagmar Taube and Miriam Verena Fleck, Glans und Grobe des Mitterlalters (Munich: Hirmer, 2011), 344–46, no. 91.
https://artgallery.yale.edu/collections/objects/52669Heilbing's Sale, Munich, Private Collection, Munich, Julius Böhler Gallery, Munich, The Arcade Gallery, Ltd., London.
https://artgallery.yale.edu/collections/objects/81245Collection Jacques Rosenthal (see catalogue, Munich, 1914, ill. p. 270, fig. 16), H. Schickman Gallery, sold to Ted Pillsbury in 1973 (purchased as Milanese School, ca. 1500, Follower of Vincenzo Foppa).;Bibliography;Art for Yale: Collecting for a New Century, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2007), 224, pl. 211.
https://www.dia.org/art/collection/object/study-day-481581921, (Gallery Neupert, Zürich, Switzerland);(Gallery Thannhauser, Munich, Germany);1988, (Bruno Meissner, Zürich, Switzerland);1988-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/portrait-antonio-canova-67953St. James, London, Collection Martin C. Woods, Esq.;Munich, (dealer) D. Heinemann, 1927;Detroit, Collection Mr. and Mrs. Leo Butzel;by descent to Mr. and Mrs. Martin Butzel by whom given to the Detroit Institute of Arts in 1998.
https://www.dia.org/art/collection/object/repentant-magdalene-582741922, (Julius Böhler, Munich, Germany);by 1924-25, collection of Julius H. Haass (Detroit, Michigan, USA);by inheritance to Mrs. Trent McMath [née Constance Haass];1938-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/portrait-man-54862Munich, J. Böhler (dealer);Paris and New York, Eugene Glaenzer and Co. (dealer);New York, auction (American Art Association) 16 Feb. 1922, lot 77, repr. (consigned as part of the liquidiation of Eugene Glaenzer && Co.);Devon, PA, Francis Ralston Welsh;His sale, Parke-Bernet Galleries, Inc, New York, 1938, lot 523;New York, Nicholas Acquavella (dealer) by whom given to the DIA in August 1944.
https://www.dia.org/art/collection/object/child-lute-44875Berlin, Eugen Schweizer (prior to 1904-until after 1907;Munich, A. S. Drey (dealer-1922);Detroit, Julius H. Haass;By descent, Detroit, Mr. and Mrs. Trent McMath (until 1952), by whom given to the DIA
https://www.dia.org/art/collection/object/child-viol-44876Berlin, Eugen Schweizer (prior to 1904-until after 1907;Munich, A. S. Drey (dealer-by 1922);Detroit, Julius H. Haass;By descent, Detroit, Mr. and Mrs. Trent McMath (until 1952), by whom given to the DIA
https://www.dia.org/art/collection/object/portrait-woman-55132by 1930, co-owned by (Galerie P. de Boer, Amsterdam, Netherlands) and (Hans Baumann, Düsseldorf, Germany);(Galerie Fleischmann, Munich, Germany);by 1956, (Rudolf J. Heinemann, New York, New York, USA);December 1956 and January 1957-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/laban-searching-his-gods-54781May 3, 1909, sold by (Helbing, Munich, Germany);1910, G. von Mallamann (Blaschkow);Baron Leopold Maurus Herzog [Mor Lipot] (Budapest, Hungary);Oscar Bondy (Vienna, Austria);1939, confiscated by the German National Socialist (Nazi) government;1947, restituted to Oscar Bondy's widow, Elizabeth A. Bondy;March 3, 1949, sold by (Kende Galleries, New York, New York, USA) auction Estate of Oscar Bondy, lot 66;(Julius Weitzner, New York, New York, USA);1957-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/young-man-red-cap-61539Genoa, private collection;Wien?;Lucerne, 1925?;Berlin?;Paul Bottenwieser (dealer, based in Munich, Berlin, New York), likely January 1928;Sold to Julius H. Haass, Detroit, 1928;by descent to (?) Mrs. Lillian Henkel Haass, 1940;Newhouse Galleries, New York, 1957/58;Frederick Mont, New York;Detroit, DIA (presented by Mr. and Mrs. Henry Ford II).
https://www.dia.org/art/collection/object/fall-manna-249491929, (Julius H. Böhler and Ernst Steinmeyer, Munich, Germany and New York, New York, USA);by 1929, purchased by Lillian Henkel Haass (Detroit, Michigan, USA);1961-present, bequest to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/saint-christopher-415971883, Baron Mecklenburg (Berlin, Germany);June 3, 1919, auction Freiherr von Mecklenburg (Berlin, Germany) lot 73;July 27, 1928, sold by (Christie's, London, England) auction Garnier, lot 40;private collection (New York, New York, USA);(art market, Berlin, Germany);1932, private collection (Potsdam, Germany);(Böhler and Steinmeyer, Munich, Germany and New York, New York, USA);(Howard Young Galleries, New York, New York, USA);Mr. and Mrs. Edward Fisher (Detroit, Michigan, USA);1961-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/adoration-shepherds-35102Germany, private collection (ca. 1935);Munich, Professor Herman Voss (as late as 1959);New York, Frederick Mont (dealer, by 1962), from whom purchase by the DIA with funds provided by Robert H. Tannahill (R. Tannahill Fund).;Note, that the German private coll., c. 1935, was not cited by Bissell in the 2005 catalogue -- is this incorrect information, or did he simply not know about it?
https://www.dia.org/art/collection/object/kitchen-corner-50359Jacques Augustin de Silvestre, drawing master to the royal family;February 28-March 1811, sold by (Regnault, Paris, France) auction Silvestre, lot 38 [sold with Grisebach, no. 28, for 167 frs.];Mr. Lavallée, Secretary General for French Museums (Paris, France);March 9, 1818, sold by (Paillet & Bénard, Paris, France) auction Levalée, lot 8 [sold with Grisebach no. 28, for 200 frs.];May 7, 1895, sold by (Lepke, Berlin, Germany) [as Kupferkessel und Gemüse bei einem Küchenschranke, im Hintergrund Köchin einen Korb tragend];April 25, 1904, sold by (Helbing, probably Munich, Germany) lot 60, possibly cat. 28;1935, (Arnold, Seligman, Rey and Co., New York, New York, USA);by 1964, E. Raymond Field (Detroit, Michigan, USA);1964, purchased by Mr. and Mrs. Bernard F. Walker (Detroit, Michigan, USA);1969-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/portrait-sophia-princess-palatine-48293Corbett Winder (Vaynore Park, Berriew);April 6, 1889, sold by (Christie's, London, England) auction Major Corbett Winder, lot 109 [as the Winter Queen, Elizabeth of Bohemia];ca. 1925, (Galerie Drey, Munich, Germany);(Gallery N. Beets, Amsterdam, Netherlands);1927-1928, Howard Young Gallery (New York, New York, USA);Mr. & Mrs. William A. Fisher (Detroit, Michigan, USA);1972-present, bequest to the Detroit Institute of Arts (Detroit, Michigan, USA)
https://www.dia.org/art/collection/object/madonna-and-child-56935Perugia, Collection Francesco Baglioni, 1784;Florence, Giovanni Metzgar (dealer-1828);Bavaria, Collection Ludwig I, King of Bavaria, by 1831;Munich, Alte Pinakothek (acc. no. 1036), placed on deposit in 1850 following Ludwig I's abidcation in 1848;Munich, Galerie Drey, (dealer--1925);London/New York, Duveen Bros., (dealer--1925);New York, Collection John D. Rockefeller, Jr. (acquired from Duveen in 1927 and returned to same dealer, by exchange, in 1930);New York, Duveen Bros., (dealer--1930), from whom purchased by Edsel && Eleanor Ford;Detroit, Collection Mr. and Mrs. Edsel B. Ford, 1932, and bequeathed by;Eleanor Clay Ford to the DIA in 1977.
https://www.kimbellart.org/collection/ap-200401(Luigi Grassi, Florence), from about 1910–12, as “Lombard School”;Dr. Otto Lanz, Amsterdam [1865–1935] by 1931;his widow Anna Theresia Willi Lanz, Amsterdam and Lugano, Switzerland;sold to Adolf Hitler through Hans Posse in 1941;transferred to Kremsmünster and then Alt Aussee, Austria;recovered by Allied forces and taken to the Munich Central Collecting Point on June 28, 1945;repatriated June 3, 1946, to the Netherlands Art Property Foundation (Stichting Nederlands Kunstbezit), Amsterdam;(sale, Frederik Muller & Cie, Amsterdam, March 13-19, 1951, lot no. 312);purchased by Anna Gertrud Lanz Kijzer [1895-?], Amsterdam;given to her brother, Dr. Adrian Berchtold Lanz, Glion-sur-Montreux, Switzerland;purchased by the Thyssen-Bornemisza Collection, Lugano, Switzerland (through Marco Grassi) in 1973;purchased by (Daniel Katz, London), 2002;purchased by Kimbell Art Foundation, Fort Worth, 2004.
https://www.kimbellart.org/collection/ap-200403Franz von Lenbach [1836–1904], Munich;by descent to his daughter, Gabriele von Lenbach Neven DuMont [b. 1899], Munich and Cologne;by descent to her heirs;(sale, Sotheby’s, London, 11 December 1996, no. 48);private collection, London;purchased through (Adam Williams, New York) by Kimbell Art Foundation, Fort Worth, 2004.
https://www.kimbellart.org/collection/ap-200601Probably a member of the Borromeo family, c. 1450;probably given to the Church of San Giovanni Battista, in Lissaro di Mestrino, by c. 1500 and until 1902.;Camillo Castiglioni [1879-1957], Vienna, possibly 1902;(his sale, Frederik Muller, Amsterdam, 17–21 November, 1925, no. 90);purchased for NLG 2,800 by (AS Drey, Munich).;Possibly O. Rathgeber, Berlin.;Acquired for NLG 12,000 by (Kunsthandel J Goudstikker NV, Amsterdam), by 1928 until May 1940 and the invasion of the Netherlands.;(Sale, Galerie Jürg Stuker, Bern, 24 November–2 December 1989, no. 4003, as a copy after Donatello);purchased by (Galerie Kn"ll, Basel).;European private collection;(sale, Sotheby’s, London, 13 December 1990, no. 34, as circle of Donatello), unsold.;(Sale, Sotheby’s, New York, 26 January 2006, no. 74, as Donatello);purchased by Kimbell Art Foundation, 2006.
https://www.kimbellart.org/collection/ap-201701Heinrich Thannhauser, Munich, until 1935;Justin Thannhauser, his son, New York, until 1972;Trude Thannhauser Beyer, daughter of Justin Thannhauser, USA;Thence by descent, until 2016;Galerie Arnoldi-Livie, Munich;Purchased by the Kimbell Art Foundation Fort Worth, 2017.
https://art.nelson-atkins.org/objects/11416/saint-georgeZu den drei Mohren, Augsburg, Germany [1];Dr. Walter;Hugelshofer (1899-1987), Zürich, by October 4, 1958;Purchased;from Hugelshofer by the dealer Julius Böhler, stock no. 58103, October 4, 1958-October;29, 1959 [1];Purchased;from Julius Böhler by The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.;NOTES;[1];According to Julius Böhler, in a letter to the Kansas City Museum, April 1;1959, NAMA curatorial files. Zu den drei Mohren is an inn dating back to at least;the 18th century. It was destroyed by bombing during World War II and;reconstructed in 1955.;[2] Zentralinstitut für Kunstgeschichte;Munich, Julius Böhler Photoarchive.
https://art.nelson-atkins.org/objects/12122/portrait-of-jean-de-carondeletCharles;Baring-Wall (1795-1853), Norman Court, Salisbury, England, by 1853;By;descent to Sir Francis George Baring (1850-1929), Salisbury, England, by 1907;Purchased;at his sale, Ancient and Modern Pictures;Christie, Manson and Woods, London, May 4, 1907, lot 55, as by C. Amberger, Portrait of a Divine, by Colnaghi and;Co., London, 1907-1909;Purchased;from Colnaghi by Baron Rudolf von Gutmann (1880-1966), Vienna, 1909 [1];With;Walter Feilchenfeldt, Ascona, Switzerland, on joint account with Pinakos, Inc.;[Rudolf Heinemann], New York, Frederic Mont, Inc., New York and Knoedler and;Co., New York, Knoedler stock book 9, no. A3689, by June 16, 1947-November 11;1947 [2];Purchased;from Feilchenfeldt, Pinakos, Mont and Knoedler by Richard N. Ryan (d. 1949);New York, November 11, 1947;With;Paul Drey Gallery, New York, 1954;With;Frederick Mont, Inc., New York, 1962-1963;Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1963.;NOTES;[1];Gutmann, a Jewish industrialist, fled Austria on March 11, 1938 at the time of;the Anschluss, travelling through Czechoslovakia and Switzerland before;arriving in Canada December 14, 1940, where he and his wife settled. According;to the List of Austrian Monuments created by the American Commission for the Protection and Salvage of Artistic and;Historic Monuments in War Areas (Roberts Commission), this painting was;located at Schloss Perlhof, Gutmann’s home outside of Vienna in Gießhübl. Most;of Gutmann’s collection at Schloss Perlhof was confiscated by the German;National Socialist (Nazi) Gestapo in March 1938. This painting, however, was;not included in the works from Gutmann’s collection inventoried by the Germans;at their Neuen Berg repository at the Kunsthistorisches Museum in Vienna (where;most of the Gutmann collection was taken). In a note dated November 19, 1938;an employee named Otto Demus of the Zentralstelle für Denkmalschutz im;Bundesministerium für Unterricht (Central Office for Monument Protection), who;was asked to investigate missing artworks from the Gutmann collection on behalf;of the Gestapo, describes the painting as missing from Gutmann’s Beethovenplatz;3 apartment, as well as his country houses Hagenbackhaus and Gießhübl. See Bundesdenkmalamt Österreich Archives, Vienna, Rudolf Gutmann;Restitutionsmaterialen (Zl. 4051/Dsch./1938). One of the paintings Demus was;searching for, a Schongauer, was sold to the Alte Pinakothek in Munich.;According to Anneliese Schallmeiner, Kommission für Provenienzforschung;Bundesdenkmalamt, in an email to MacKenzie Mallon, Specialist, Provenance;April 28, 2016, Dr. Andrea Bambi of the Pinakothek verified that they have no;record of the Gossaert in their files. Most of Gutmann’s collection was;restituted to him (with the help of Austrian dealer Christian Nebehay);following the war in 1947, but this painting does not appear in Allied;restitution records. Internal correspondence within the Office of Military;Government for Germany (OMGUS) dated July 11, 1946, mentions that the location;of the Gossaert painting was unknown. For full documentation, see NAMA;curatorial files.;[2] The entry for;this painting in Knoedler’s stock book 9 indicates Knoedler received this;painting May 21, 1947. However, according to Walter Feilchenfeldt, the dealer’s;son, in an email to MacKenzie Mallon, Specialist, Provenance, November 1, 2015;NAMA curatorial files, a letter from the senior Feilchenfeldt to Dr. Grete;Ring, Paul Cassirer, Ltd., London, dated June 16, 1947 from Ascona;Switzerland, indicates Feilchenfeldt had the painting at that time and each of;the four dealers owned a quarter share.
https://art.nelson-atkins.org/objects/12640/christ-crowned-with-thornsOlivier Nicolaus Joseph Merzenich (1804-1890), Cologne;by 1890;His posthumous sale, Sammlung;von Ölgemälden, Kupferstichen und anderen Kunst-Gegenständen aus dem Nachlasse;des Herrn Olivier Nicolaus Joseph Merzenich, J. M. Heberle, Cologne;December 12, 1891, no. 32, as by Hugo van der Goes;Richard von Kaufmann (1849-1908), Berlin, by 1898-1908;Purchased at his posthumous sale, Die Sammlung Richard von Kaufmann Berlin, Paul Cassirer and Hugo;Helbing, Berlin, December 4-5, 1917, no. 74, as by Aelbrecht Bouts, by Julius;Böhler (1860-1934), Munich, 1917;Harry Martin Evans (1859-1939);Pasadena, by 1937-1939 [1];Inherited by his wife;Mary Ellison Evans (1861-1963), Pasadena, and their daughter, Helen Wheeler;(née Evans), Pasadena;1939-1940;Given by Evans and Wheeler;to The Nelson-Atkins Museum of Art, Kansas City, MO, 1940.;NOTES;[1] The painting was loaned to NAMA by the Evans family from;1937 to 1940.
https://art.nelson-atkins.org/objects/12755/the-socalled-temple-of-the-deus-rediculusWith;Dr. Heinz Steinmeyer, Munich, by June 5, 1959 [1];Purchased;from Steinmeyer by Julius Böhler Kunsthandlung, Munich, stock no. 5997, June 5;1959-September 14, 1959;Purchased;from Böhler by Milton McGreevy (1903-1981), Kansas City, MO, September 14;1959;His;gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.;NOTES;[1] Zentralinstitut für Kunstgeschichte, Munich, Julius;Böhler Photo Archive.
https://art.nelson-atkins.org/objects/1486/head-of-a-roebuckPrince Henryck Lubomirski (1777-1850), Przeworsk (present-day;Poland), by 1834-1850 [1];By descent to his son, Jerzy Henryk Lubomirski (1817-1872);Przeworsk, 1850-July 10, 1866;Transferred to the Lubomirski Museum, Ossolinski National;Institute, L’viv (present-day Ukraine), July 10, 1866-July 2, 1941 [2];Confiscated from the Lubomirski Museum by German National;Socialist (Nazi) forces, July 2, 1941-May 1945 [3];Recovered by Allied forces and taken to the Munich Central;Collecting Point, May 1945-May 26, 1950 [4];Restituted by Allied forces to Prince Georg Lubomirski;(1887-1978), Geneva, May 26, 1950-December 9, 1953 [5];Purchased from Lubomirski, through Paul Drey, Inc., by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1953.;NOTES;[1] When inventoried as part of Lubomirski’s collection in;1834, this drawing was part of a group of 27 Dürer drawings on 24 sheets (three;were double-sided).;[2] An 1823 agreement between Prince Henryk Lubomirski and;the founder of the Ossolinski National Institute, Count Józef Maksymilian;Ossolinski, stated that Lubomirski would donate his library and art collections;to the Ossolinski National Institute to be housed in a Lubomirski Museum. The;works were finally transferred to the Institute in 1869, under a foundation;charter that maintained the Lubomirski family’s right of inheritance to the;objects in a hereditary estate, under which direct Lubomirski descendants would;be “literary curators”. If in the future, the Ossolinski National Institute were;dissolved, its funds used for purposes other than those stated in the charter, or;the literary curator’s rights limited in any way, the Lubomirski collection;would revert to the Lubomirski hereditary estate. If such a breach occurred;the relationship between the Ossolinski National Institute and the Lubomirski;Museum could be restored, under the original conditions, within 50 years. If;the Lubomirski hereditary estate was abolished by governmental authority, the contents;of the Lubomirski Museum would become the unencumbered property of the heir’s;family. For more information, see Ossolinski National Institute, The Fate of the Lubomirski Dürers;(Wroclaw: Society of the Friends of the Ossolineum, 2004), 9-16 and Konstantin;Akinsha and Sylvia Hochfield, “Who Owns the Lubomirski Dürers?” in ARTnews, 100, no. 9 (October 2001);158-163.;[3] This drawing, along with the;other Lubomirski Dürers, was removed from the Lubomirski Museum July 2, 1941 by;Kajetan Mühlmann, the Nazi officer in charge of art confiscation in Poland and;Holland, on direct orders from Hermann Göering, Reichsmarschall and head of the;Luftwaffe, to whom Mühlmann handed over the drawings on July 3, 1941. They were;intended for the planned Führermuseum in Linz and this drawing was assigned;Linz inventory number 1984/23. They were sent to Berlin and delivered to Adolf;Hitler, who admired them so much he frequently kept them in his possession;even when he traveled to his Eastern Front headquarters. The Dürers were;eventually deposited in the Alt Aussee salt mine art repository in Austria in;early 1945, where this drawing was assigned number 1743. Copies of Allied and;German documents describing the drawing’s wartime movements are in the NAMA;curatorial files. For Mühlmann’s own account of the confiscation of the Dürer;drawings from L’viv, see Bundesarchiv, Koblenz, B323/332, Aussagen und Erklärungen;von Händlern und Verkäufern (K-Z) (1946) 1949-1961.;[4];Following the discovery of the artworks in the mine by Allied forces in May;1945, this drawing entered the Munich Central Collecting Point on July 4, 1945;where it was given inventory number 2399-232.;[5] Allied;restitution policy, drawn up at the Potsdam Conference in 1945, directed all recovered;art works to be returned to their countries of origin. The governments of those;countries would restitute the objects to the individual rightful owners. By;1948, as the new Cold War progressed and it became clear that restitution by;the Soviet Union was improbable, this policy changed to allow people who had;fled Soviet-occupied countries to make their claims directly to the Allies. In;July 1948, Prince Georg Lubomirski, grandson of Prince Henryk, submitted a;claim for the Dürer drawings. Based on the 1869 Lubomirski-Ossolinski;agreement, the U.S. State Department returned the Dürer drawings to Prince;Georg Lubomirski on May 26, 1950. This decision was the result of a number of;complicated factors: the failure of the USSR and Poland to file claims for the drawings;after the war, the new location of L’viv within the USSR following the;redrawing of Poland’s borders at the Potsdam Conference, and Poland’s;dissolution of hereditary estates in 1946.
https://art.nelson-atkins.org/objects/14979/saint-sebastianAlbertina, Vienna, 1925;Auktion;VII: Handzeichnungen alter Meister: Der italienischen, deutschen, französischen;und niederländischen Schulen des XVI. Bis XVIII. Jahrhunderts, Sammlung E.S.;Paris U. And. Besitz, Hans Goltz, Munich, April 27, 1927, lot 189, as;Der heilige Sebastian;Gilhofer and Ranschburg, Lucerne, Switzerland, 1929, lot 50;Purchased from Alden Galleries, Boston, by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1934.
https://art.nelson-atkins.org/objects/15648/sleeping-bacchusWith;the artist, until 1824;Purchased;at his posthumous sale, Tableaux, esquisses;dessins et croquis, de M. Girodet-Trioson, peintre d’histoire, 55, Rue;Neuve-Saint-Augustin, Paris, April 11, 1825, lot 63, by Alexis Nicolas;Pérignon, the Elder (1785-1864), Paris, April 11, 1825-1864;Sold at his posthumous sale, Tableaux et des Dessins Provenant de la Collection de Mr. A.-N. Pérignon;père, Ancien Commissaire-Expert des Musées Royaux, Hôtel Drouot, Paris, May;17-20, 1865, lot 40, as Le Berger endormi;Sold at Etudes Couturier-Nicolay, Dessins, Aquarelles et Tableaux Modernes, Dessins et Tableaux Anciens;Objets d’Art, Meubles et Sièges, Tapisseries, Tapis d’Orient et d’Aubusson;Palais Galliéra, Paris, June 2, 1972, lot 92, as Bacchus endormi;With;Galerie Arnoldi-Livie, Munich, by summer 1977;With;David Carritt Limited, Artemis Group, London, by November 15, 1979;With;E. V. Thaw and Co., New York;Private;collection, USA;With;Artemis Fine Arts Inc., New York, by October 20-December 15, 1997;Purchased;from the latter by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1997.
https://art.nelson-atkins.org/objects/16759/augustus-the-strong-elector-of-saxony-and-king-of-polandSamuel, Graf von Festetits (1806-1862);Vienna, by 1859;Possibly purchased from Graf von;Festetits by Georg Plach (d. 1885), Vienna, 1859;Possibly F. J. Gsell (1812-1871), by September;20, 1871;Possibly sold;at his posthumous sale, Versteigerung der;Grossen Gallerie und der übrigen Kunst-Sammlungen des am 20. September 1871;verstorbenen Herrn F. J. Gsell, Georg Plach, Sälen des Künstlerhauses;Vienna, March 14, 1872, no. 63, as Männliches;Portrait. Im Harnisch. Mit dem Ludwigskreuze [1];Baron Nathaniel Mayer von Rothschild;(1836-1905), Theresianumgasse, Vienna, probably by 1893-1905;By descent to his nephew, Baron Alphonse;Mayer von Rothschild (1878-1942) and his wife, Clarice Adelaide von Rothschild;(née Sebag-Montefiore, 1894-1967), Theresianumgasse, Vienna, 1905-1938;Confiscated from the Rothschilds by German;National Socialist (Nazi) forces, 1938-May 1945 [2];Recovered by Allied forces, May;1945-May 16, 1946 [3];Returned by Allied forces to Austria;May 16, 1946-September 24, 1947;Restituted by Austria to Clarice;Adelaide von Rothschild, New York, September 24, 1947-1954 [4];Purchased from Rothschild by Rosenberg and;Stiebel, New York, 1954;Purchased from Rosenberg and Stiebel by;The Nelson-Atkins Museum of Art, Kansas City, MO, 1954.;NOTES;[1] It is not clear from the;description if this is indeed NAMA’s painting, and there is no reproduction in;the sales catalogue.;[2] The;collections of Baron Alphonse and Clarice von Rothschild were confiscated by;the Gestapo soon after the German annexation of Austria in March 1938. This;painting was taken to the Nazi depot for confiscated art objects at the Kunsthistorisches;Museum, Neue Burg, Vienna, in 1939, where it was inventoried as number AR 863, “König;Friedrich IV v. Dänemark” (see Katalog;beschlagnahmter Sammlungen, inbesondere der Rothschild-Sammlungen in Wien;Verlags-Nr. 4938, Staatsdruckerei Wien;1939, Privatarchiv, reproduced in Sophie Lille, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens;(Vienna: Czernin Verlag, 2003), 1031). It was intended for Hitler’s;planned Führermuseum in Linz and included in inventories of Linz objects dated;October 20, 1939 and July 31, 1940 (National Archives and Records;Administration, RG 260, Records Concerning the Central Collecting Points;Munich, Restitution Research Records, Linz Museum: Consolidated Interrogation;Report No. 4, Catalog ID 3725274). The painting was transferred to the Nazi;repository at the Kremsmünster Abbey, where it was assigned inventory number;K976. From there it was moved to the Führerbau in Munich on December 16, 1943;and assigned inventory number 3219 (National Archives and Records;Administration, RG 260, Records Concerning the Central Collecting Points;Munich, Restitution Research Records, Reger, Hans: Transport Correspondence and;Lists, Catalog ID 3725274). It was subsequently transferred from the Führerbau;to the Nazi repository in a salt mine at Alt Aussee, Austria on August 24, 1944;(Bundesarchiv, Koblenz, Germany, B323/6).;Copies of Allied and German documents describing the painting’s wartime movements;are in the NAMA curatorial files.;[3] Following;the discovery of the art objects in the Alt Aussee salt mine in May 1945, the;officers of the U.S. Army’s Monuments, Fine Arts and Archives Section (the;“Monuments Men”) worked to catalog every looted object and return it to its;rightful owner. This painting was sent to the Munich Central Collecting Point;on July 17, 1945, where;it was assigned numbers Aussee 3237 and Mun. 4588 (Bundesarchiv;Koblenz, Germany, B323/656, MCCP Restitution Card File). Upon its transfer to;the US Allied Commission of Austria on May 16, 1946, it returned to Kremsmünster;from where it was restituted to the Rothschild family (National Archives and;Records Administration, RG 260, Records of the Reparations and Restitutions;Branch of the USACA Section, General Administrative Records, Stift Kremsmünster;R&R 41, Catalog ID 1561451).;[4] Bundesdenkmalamt Archives, Vienna;Restitution Materials, Sammlung Alphons Rothschild, Kartons 53/1 and 53/3.;Copies of restitution documents provided by Anneliese Schallmeiner, Commission;for Provenance Research at the Bundesdenkmalamt, see NAMA curatorial files. Also;Rothschild Archive, London, 000/2135/12.
https://art.nelson-atkins.org/objects/18047/adoration-of-the-shepherdsEugène de Beauharnais, 1st Duke;of Leuchtenberg (1781-1824), Munich, by 1824;By descent to his son, Auguste de;Beauharnais, 2nd Duke of Leuchtenberg (1810-1835), Munich, as by Giorgione, 1824-1835;Inherited by his brother;Maximilian de Beauharnais, 3rd Duke of Leuchtenberg (1817-1852), Munich and St.;Petersburg, as by Giorgione, 1835-1852;By descent to his son, Nikolai;4th Duke of Leuchtenberg (1843-1891), St. Petersburg, as by Giorgione or;Bernardino Licinio, 1852-1891;By descent to his son, Nikolai de;Beauharnais (1868-1928), St. Petersburg, 1891;Asher Wertheimer (1844-1918);London, by 1903-June 18, 1920;Purchased at his sale, The Remaining Stock of Pictures by Old;Masters and Works of the early English School of Mr. Asher Wertheimer;Christie, Manson and Woods, London, June 18, 1920, lot 18, as by Giorgione, by;S. F. Smith, 1920;With Robert Langton Douglas;(1864-1951), London, as by Dosso Dossi, by 1934 [1];With Walter P. Fearon (d. 1935);New York, by 1934;Purchased from Fearon by The;Nelson-Atkins Museum of Art, Kansas City, MO, 1934.;NOTES;[1] According to an annotation on;a photograph (Francesco Vecellio 709-5a) in the Frick Art Reference Library;New York.
https://art.nelson-atkins.org/objects/18630/the-chateau-gaillard-view-from-my-window-petitandelyWith;Moderne Galerie Thannhauser, Munich, stock no. 6920, by 1919 [1];With Galerie M. Goldschmidt, Frankfurt, by 1929;Rathe;Richter, Berlin;Karen Gutmann (neé Rosin, 1906-2000), New;York, by February 1975 [2];Purchased;from Gutmann through D. Zargar, New York, by The Nelson-Atkins Museum of Art;Kansas City, MO, 1978.;NOTES;[1];A partial label on the back of the painting was confirmed to be from Moderne;Galerie Thannhauser by Brigitte Jacobs van Renswou, Zentralarchiv des;internationalen kunsthandels E.V., in an email to MacKenzie Mallon, Specialist;Provenance, September 21, 2015, NAMA curatorial files. According;to Günter Herzog, Archives Director, Zentralarchiv des internationalen;kunsthandels E.V., in conversation with MacKenzie Mallon, October 17, 2016, the;painting must have been with Thannhauser prior to 1919, based on the extant;label and the lack of documentation of the painting in the Thannhauser records;at the Zentralarchiv.;[2];There is some confusion surrounding Karen Gutmann’s acquisition of the;painting. According to Mark Sussman, Gutmann’s grandson, in an email to;MacKenzie Mallon, Specialist, Provenance, January 4, 2016, NAMA curatorial;files, Gutmann told a family member she purchased the painting in Paris as a;young woman of about 20 years old, or ca. 1924-26. However, according to Harry;Bober, Gutmann’s art advisor, in a letter to Ralph Coe, Director, May 17, 1978;NAMA curatorial files, Gutmann told Bober the painting had been in her;possession for 27 years (purchased ca. 1951). According to an unknown contact;at Gutmann Frames, New York, in a phone call dated February 17, 1987 and noted;in NAMA curatorial files, Gutmann purchased the painting from Thannhauser. Karen;Gutmann consigned the painting to Wildenstein and Co. from February 1975 to;January 1977.
https://art.nelson-atkins.org/objects/23410/a-waterfallPurchased from the Hermitage, Leningrad, by C. G. Boerner;Leipzig, by 1932;Purchased at their sale, Handzeichnungen alter Meister des XV. bis XVIII. Jahrhunderts aus den;Besta ̈ nden der Eremitage zu Leningrad, C. G. Boerner;Leipzig, May 4, 1932, lot 5, as Blick auf;einen Wasserfall an einer Hausmauer. Im Vordergrunde ein Hirt mit Tieren;by Hering, 1932;Purchased at Kunst;15.-20. Jahrhundert, Einblattholzschnitte Graphik U. Zeichnungen alter Meister, Karl und Faber, Munich, November 29, 1962, lot 355, as Blick auf einen Wasserfall an einer;Hausmauer, im Vordergrund ein Hirt mit Ziegen und Schafen, by the dealer Julius Böhler, Munich, 1962-1965 [1];Purchased from Julius Böhler by Milton McGreevy;(1903-1980), Shawnee Mission, KS, March 29, 1965-1975;His gift to The Nelson-Atkins Museum of Art;Kansas City, MO, 1975.;NOTES;[1] As listed in the Julius Böhler Archive, Bayerisches Wirtschaftsarchiv, Munich, according to Richard Winkler, Bayerisches Wirtschaftsarchiv, in an email to MacKenzie Mallon, Specialist, Provenance, September 27, 2018, NAMA curatorial files.
https://art.nelson-atkins.org/objects/23573/the-last-judgmentCornelis Hoogendijk (1866-1911), Amsterdam, by 1907-1911 [1];By descent to Hoogendijk heirs, Amsterdam, 1911-May 14, 1912;Their sale, Tableaux anciens dépendant des collections;formées par M.-C. Hoogendijk de la Haye, Frederik Muller et Cie, Amsterdam;May 14, 1912, lot 18;Musée van Stolk, Haarlem, The Netherlands, 1912-May 8, 1928;Its sale, 300 Sculptures et Tableaux, Xe-XVIe siècles;Objets de vitrine – Art Textile, etc., Frederik Muller et Cie, Amsterdam;May 8, 1928, lot 379;Possibly Johanna Grossmann-Kanoldt (1890-1940), Munich, by;November 22, 1928 [2];With Gottschewski-Schäffer Galleries, Berlin, by 1932;Florenz Wigger (b. 1873), Garmisch-Partenkirchen, Germany, by;1932-at least June 1937;Inherited by his wife, Karoline Wigger, Garmisch-Partenkirchen;Germany, by August 30, 1947 [3];Purchased from Wigger by Peter Nathan, Zürich, on joint;account with Schaeffer Galleries, New York, by September 1959-1960 [4];Purchased from Schaeffer by The Nelson-Atkins Museum of;Art, Kansas City, MO, 1960.;NOTES;[1] The painting was on loan to the Rijksmuseum, Amsterdam;from 1907-1911 and is included in the 1911 Rijksmuseum collection catalogue. According;to Dr. A van Schendel, Director of the Department of Paintings, Rijksmuseum, in;a letter to Mr. H. Schaeffer, Schaeffer Galleries, June 22, 1959, Getty;Research Institute, Los Angeles, Schaeffer Galleries Records, box 59, the;painting was returned to the Hoogendijk heirs in 1911.;[2] The Grossmann-Kanoldt collection is listed in the;painting’s provenance as published in Schaeffer Galleries, Schaeffer Galleries: Twenty-Fifth Anniversary, 1936-1961 (New York;Schaeffer Galleries, 1961), unpaginated, but no date of ownership is given. In;a letter from Ludwig Burchard, art historian, to Johanna Grossmann-Kanoldt;Getty Research Institute, Los Angeles, Schaeffer Galleries Records, box 59;Burchard tells Grossmann-Kanoldt that the painting is a genuine work by Cranach;and is in good condition.;[3] According to an unaddressed note from Karoline Wigger;August 30, 1947, Getty Research Institute, Los Angeles, Schaeffer Galleries;Records, box 59, she had already sold the painting but it was still in her;possession for safety reasons.;[4] According to Hanns Schaeffer, Schaeffer Galleries, in a;letter to Peter Nathan, May 9, 1960, Getty Research Institute, Los Angeles;Schaeffer Galleries Records, box 117, Correspondence, Nathan and Schaeffer had;joint ownership of the painting. According to Jakob Rosenberg, Professor;Emeritus, Harvard University, in a letter to Ross Taggart, Senior Curator, May;29, 1973, NAMA curatorial files, Kate Schaeffer told Rosenberg that Hanns;Schaeffer bought the painting back from its owner in Garmisch-Partenkirchen;before selling it to NAMA.
https://art.nelson-atkins.org/objects/24386/rest-on-the-flight-into-egyptJoséphine de Beauharnais (1763-1814), Château de Malmaison, as by Carle Maratte [sic], by 1811-1814;By descent to her son, Eugène de Beauharnais, 1st Duke of Leuchtenberg (1781-1824), Munich, 1814-1824;By descent to his son, Auguste de Beauharnais, 2nd Duke of Leuchtenberg (1810-1835), Munich, 1824-1835;Inherited by his brother, Maximilian de Beauharnais, 3rd Duke of Leuchtenberg (1817-1852), Munich and St. Petersburg, 1835-1852;Inherited by his wife, Grande-Duchesse Maria Nikolaevna (1819-1876), St. Petersburg and Florence, 1852-1876;By descent to her son, Nikolai de Beauharnais, 4th Duke of Leuchtenberg (1843-1891), St. Petersburg, 1876-1891;By descent to his son, Nikolai de Beauharnais (1868-1928), St. Petersburg, 1891;With A.-B. Nordiska Kompaniet, Stockholm, by 1917;Private collection, by December 14, 1979 [1];Purchased at Fine Old Master Pictures, Christie, Manson and Woods, London, December 14, 1979, lot 88, as by Carlo Maratti, by Robert L. and Barbara Bloch, Mission Hills, Kansas, 1979-1980;Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1980.;NOTES;[1] Offered for sale at Fine Old Master Pictures, Christie's, London, July 13, 1979, lot 103, as by Carlo Maratti, but failed to sell.
https://art.nelson-atkins.org/objects/26478/study-of-a-seated-man-possibly-for-the-sailorWith;Wolfgang Gurlitt (1888-1965);Munich, probably by 1945-at least June 1955 [1];With Fine Arts Associates, New York, by September 20;1958;Purchased from Fine Arts Associates by The Nelson-Atkins;Museum of Art, Kansas City, MO, 1958.;NOTES;[1];In the 1945 Waldmann catalogue, the owner is listed as W. G., Bad Aussee. Gurlitt;lent the sculpture to the 1955 exhibition.
https://art.nelson-atkins.org/objects/34411/still-life-with-guelder-rosesGiven by the artist;to Bonis Charancle;Probably;Georges Lévy (1891-1953), Paris [1];David;David-Weill (1871-1952), Neuilly-sur-Seine, France, 1933-November 1943 [2];Confiscated;from David-Weill by German National Socialist (Nazi) forces, November 1943-May 1945;[3];Recovered by;Allied forces and taken to the Munich Central Collecting Point, May 1945-March;27, 1946 [4];R eturned by;Allied forces to France, March 27, 1946;Restituted by;France to David-Weill, by June 1946-1952 [5];By inheritance;to David-Weill’s heirs, 1952-June 9, 1972 [6];Purchased from the;David-Weill heirs, through Galerie Schmit, Paris, by Herman R. (1913-2006) and;Helen (née Delano, 1914-2004) Sutherland, Mission Hills, KS, June 9, 1972-2004;Their gift to The;Nelson-Atkins Museum of Art, Kansas City, MO, 2004.;NOTES;[1] When this;painting was inventoried at the Munich Central Collecting Point on June 26;1945 (see note 4 below), it was recorded as bearing the following identifying;mark, which is no longer extant: Georges;Levy [sic] /42, B d de Clichy. Lévy later changed his name to Georges;Lurcy.;[2] The date of;the David-Weill purchase was provided by Nathalie Petitdidier on behalf of;Michel David-Weill in an email to MacKenzie Mallon, Specialist, Provenance, October;22, 2015, NAMA curatorial files. The painting was inventoried in David-Weill’s;collection as D.W. 33/98.;[3] The;painting was inventoried at the Jeu de Paume, Paris, by the Einsatzstab;Reichsleiter Rosenberg and assigned number D.W. Mod. 38. It was transferred to;the Nazi warehouse in Nikolsburg Castle on November 15, 1943, and subsequently;moved to the salt mine at Alt Aussee, Austria, where it was assigned number;772. See Bundesarchiv, Koblenz, Germany, B323/300, Transporte des Einsatzstabes;Reichsleiter Rosenberg in Bergungsdepots nach Schloss Kogl;Amstetten/Seisenegg, Nikolsburg, Füssen, Buxheim, Lager Peter/Alt-Aussee;Kisten-Verzeichnesse David Weill.;[4] Following;the discovery of the artworks in the mine by Allied forces in May 1945, the;painting entered the Munich Central Collecting Point on June 26, 1945, where it;was assigned inventory number 887. It was repatriated to France on March 27;1946. Copies of the ERR and Munich property cards are in the NAMA curatorial file.;[5] David-Weill lent the;painting to the exhibition, Les;chefs-d’oeuvre des collections privées françaises retrouvés en Allemagne par la;Commission de Récupération Artistique et les services alliés, held at the;Orangerie des Tuileries, June-August 1946.;[6] The painting was offered for;sale at Collection D. David-Weill;Dessins et Tableaux, Histoire de Paris et de ses environs…Sujets Divers… Tableaux;Modernes, Hôtel Drouot, Paris, June 9-10, 1971, lot 295, as Fleurs dans un vase, Boules de neige;but failed to sell. Email from Laurence Mille, Drouot Documentation;to MacKenzie Mallon, August 31, 2015, NAMA curatorial files.
https://art.nelson-atkins.org/objects/4305/saint-michael-casting-down-the-rebel-angelsWith Galerie;Almas, Munich, by June 15, 1959;Purchased;from Galerie Almas by the dealer Julius Böhler, Munich, stock no. 59-109, as;attributed to Giovanni Giuliani, June 15, 1959-December 8, 1961 [1];Purchased;from Julius Böhler by The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1];Bayerisches Wirtschaftsarchiv, Munich, Julius Böhler archive, copy of Böhler;stock book entry in NAMA curatorial files. Zentralinstitut für Kunstgeschichte;Munich, Julius Böhler archive, copy of stock card in NAMA curatorial files.
https://art.nelson-atkins.org/objects/7415/saint-florianZu den drei Mohren, Augsburg, Germany [1];Dr. Walter;Hugelshofer (1899-1987), Zürich, by October 4, 1958;Purchased;from Hugelshofer by the dealer Julius Böhler, stock no. 58104, October 4, 1958-October;29, 1959 [1];Purchased;from Julius Böhler by The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.;NOTES;[1];According to Julius Böhler, in a letter to the Kansas City Museum, April 1;1959, NAMA curatorial files. Zu den drei Mohren is an inn dating back to at least;the 18th century. It was destroyed by bombing during World War II and;reconstructed in 1955.;[2] Zentralinstitut für Kunstgeschichte;Munich, Julius Böhler Photoarchive.
https://www.toledomuseum.org/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf1941 Seized by Germany;Hermann Goering, Berlin (inv. 8);1946 Central Collecting Point, Munich;1946 (inv. 5352);1946 Returned to France;Dealer: André Seligmann, Paris;1960 1960 Dealer: Rosenberg & Stiebel;1960 Toledo Museum of Art
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1969.13.PJohannes, Count of Fugger-Oberkirchberg, Castle Oberkirchberg, Ulm.;Walter C. Schnackenberg, Munich and Monaco, until Dec. 10, 1926 when sold to;[F. Kleinberger and Co., New York (stock no. 15773) and Paris, 1926 – sold May 17, 1928 for
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1976.04.PGraf Rudolph Széchényi, Budapest (Dorotheum, Vienna, 4-6 June 1930, lot 217).;Silvano Lodi, Munich, sold 1966 to;[Dr. Walter Feilchenfeldt, Zurich, by 1975, sold 1976 to];Norton Simon Art Foundation.
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1976.13.PDuke of Wagram, Paris, until 1906;[Galerie Georges Petit, Paris, by 1906];[Galerie Heinemann, Munich, by 1908, sold 1911 for 18,500 goldmarks to];Hugo Schmeil, Dresden (sale, Berlin, Galerie Paul Cassirer, 17 October 1916, lot 8, ill., as Le Ruisseau du Puits Noir d’Ornans, bought in at RM 15,500).;[Emil Baum, Galerie Baum, Munich, sold 13 July 1922 for 870,000 mks to];Leo Meijer, Amsterdam, sold late 1940s.;Thomas Mitchell (1892-1962), Beverly Hills, by 1948, still in 1950.;[Paul Kantor Gallery, Beverly Hills, stock no. K1724, sold 1965 to];Norton Simon, gift 1976 to;Norton Simon Art Foundation.
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1982.1.2.PPieter van Winter (1745-1807), Amsterdam, by descent in 1807 to his daughter;Anna Louisa Agatha (Annewies) van Loon-Van Winter (1793-1877), collection was sold at her death as a whole to a Rothschild consortium;Gustav, Baron de Rothschild (1829-1911), Paris, to his brother;Edmond James de Rothschild, Paris and Château Rothschild, to his daughter;Miriam Caroline Alexandrine Rothschild, Château Rothschild, Boulogne-Billancourt, Hauts-de-Seine;Einsatzstab Reichsleiter Rosenberg (ERR no. R857, the reverse of the card notes recovered by Allied forces, Munich Central Collecting Point, inv. no. 218);Restituted to the Rothschild family.;Max Wasserman, Paris, 1967.;[E.V. Thaw & Co., Inc., New York, 1982, to];Norton Simon Art Foundation.
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1996.1.PDonaldson, sold May 1911 to;Julius Böhler, Munich, and Stein, (stock nos. 11822 and 1329), sold March 1916 to;Marczell von Nemes, Budapest and Munich.;Captain and Mrs. Folke Sandström, Stockholm, by 1959.;Lennart Akerblom, Göteborg, Sweden, by 1962 (sale, Göteborg, Auktionsverk, 23 March 1976, lot 334, ill., as circle of Palma il Vecchio, to);Norton Simon, N.76.12.P., bequest 1993 to;Jennifer Jones Simon Art Trust, gift 1996 to;Norton Simon Art Foundation.
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.2010.1.25.PPossibly Aeltie Pieters. Begga, Haarlem, 3 August 1684.;Presumably Wilhelmus van Velthuyzen (sale, Rotterdam, Philippus Losel, 15 April 1751, lot 47, to?);Hendrik Verschuuring, The Hague, by 1752 (sale, The Hague, Stephanus Rietmulder, 17 September 1770, lot 75).;Jan Lucas van der Dussen (sale, Amsterdam, Jan Sleves Hendriksz., Philippus van der Schley/Jan Yver, 31 October 1774, lot 19, for 110 to);[Cornelis Ploos van Amstel (1726-1798), Amsterdam].;Probably (Anonymous sale, Amsterdam, Van Campen, 25 January 1830, lot 29, to);Esser.;Possibly Sagan collection and thus by descent to;Frederic Wilhelm Konstantin, Prince of Hohenzollern-Hechingen, Löwenberg-Schlesien, 1858 – still in 1863.;[Fritz Gurlitt, Berlin, 1935];[Wolfgang Gurlitt, Munich, by 1955, (sale Cologne, Lempertz, 18 November 1965, lot 64, to)];Ruax or Raux [for?];[Adolphe Stein, Paris, by 1966].;[Kunsthandel P. de Boer, Switzerland, by 1966, consigned to P. de Boer, Amsterdam October, 1966, sold July 1967 to];Becker Collection, Dortmund, sold 1973 through;[G. Cramer Oudekunst, The Hague, to];Norton Simon, by bequest 1993 to;Jennifer Jones Simon Art Trust, to;Norton Simon Art Foundation.
https://www.getty.edu/art/collection/objects/1075/unknown-maker-relief-blue-jar-with-dots-italian-about-1430-1450/Provenance -;Museo della casa fiorentina antica - Palazzo Davanzati (Florence, Italy) -;Stefano Bardini, 1836 - 1922 (Florence, Italy) - 1910;Elie Volpi (Florence, Italy) [sold, Jandolo and Tavazzi, Rome, April 25 - May 3, 1910, lot 777, to Count Hans-Albrecht Harrach.] 1910 - 1953;Count Hans-Albrecht Harrach, German, 1873 - 1963 (Rome, Italy until 1914, Munich, Germany 1923 - 1943, Niederarnbach, near Ingolstadt/Donau, Germany after 1943) [sold, Lempertz, Cologne, May 6, 1953, lot 414.] - 1965;Dr. Robert Bak (New York, New York) [sold, Sotheby's, New York, December 7, 1965, lot 15, to Erich Lederer.] 1965 - 1985;Erich Lederer, 1896 - 1985 (Geneva, Switzerland), by inheritance to his widow, Elisabeth Lederer, 1985. 1985;Mrs. Elisabeth Lederer, 1908 - 1995 (Geneva, Switzerland), sold to the J. Paul Getty Museum, 1985.
https://www.getty.edu/art/collection/objects/535/adriaen-van-utrecht-still-life-with-game-vegetables-fruit-and-a-cockatoo-flemish-1650/Provenance by 1899;Charles Sedelmeyer, 1837 - 1925 (Paris, France);Source: 1899 Sedelmeyer catalogue. by 1903 - 1905;Rodolphe Kann, died 1905 (Paris, France), by inheritance to Edouard Kann, Betty (Kann) Schnaffer, Jacob Emden, Mathilde (Kann) Emden, Martin Bromberg, Eleanore (Kann) Bromberg, Edmond Bickard See,and Madeline (Kann) Bickard See, 1905.;Source: Marguillier article in Les Arts (1903). 1905 - 1907;Maurice Moritz Edouard Kann, German, 1839 - 1906 (Paris, France) and Betty (Kann) Schnaffer (Frankfurt, Germany) and Jacob Emden (Hamburg, Germany) and Mathilde (Kann) Emden (Hamburg, Germany) and Martin Bromberg (Hamburg, Germany) and Eleanore (Kann) Bromberg (Hamburg, Germany) and Edmond Bickard See (Paris, France) and Madeline (Kann) Bickard See (Paris, France), sold to Duveen Brothers, Inc. 1907 - 1911;Duveen Brothers, Inc. (Paris, France, London, England, New York, New York), sold to Baron Albert von Schrenck-Notzing, 1911.;Source: GRI, Duveen Brothers records, series I.C, box 115 [stock book #1, Kann collection, pp. 3, 36, 54, 66, no. 30], box 117 [Paris ledger #1, Kann collection, p. 95], box 118 [sales book #1, Kann collection, p. 155]. 1911 -;Albert, baron von Schrenck-Notzing, 1862 - 1929 (Munich, Germany, Paris, France) -;Galerie Bernheim Jeune (Paris, France);Source: sticker on back of painting. - 1969;Julius Böhler Gallery (Munich, Germany, Lucerne, Switzerland), sold to the J. Paul Getty Museum, 1969.
https://www.getty.edu/art/collection/objects/120/jean-francois-millet-man-with-a-hoe-french-about-1860-1862/Provenance March 12, 1874;Féral Collection -;Verdier Collection, Paris -;Anne Wertheimer, German, 1898 - 1981 -;Christian Humann, Switzerland 1982;Bruce Livie, [Arnoldi-Livie, Munich] -;Heirs of William H. Crocker, American, 1861 - 1937
https://www.getty.edu/art/collection/objects/127290/andrea-lilio-figures-tending-to-the-wounded-saint-sebastian-italian-about-1596/Provenance -;Hermann Voss, German, 1884 - 1969 (Weisbaden) -;Private Collection [sold, Karl & Faber, Munich. November 16-27, 1981, lot 148, to private collection.] -;Private Collection -;Yvonne Tan Bunzl Old Master Drawings (London) -;Private Collection -;Katrin Bellinger Kunsthandel (Munich), sold to the J. Paul Getty Museum, 1999.
https://www.getty.edu/art/collection/objects/806/jacques-louis-david-the-farewell-of-telemachus-and-eucharis-french-1818/Provenance 1818 - 1840;Count Franz Erwein von Schönborn, German, 1776 - 1840 (Schloss Reicharthausen, Rheingau, Germany), purchased from the artist, 1818, by inheritance to his son, Erwein von Schönborn-Wiesentheid, 1840. 1840 - 1865;Erwein von Schönborn-Wiesentheid, 1805 - 1865 [sold, Schönborn-Wiesentheid sale, Montmorillon'sche Kunsthandlung, Schönborn palace, Munich, October 9, 1865, lot 46, probably to C.-E. Weber de Truenfels.] 1865 - 1867;C.-E. Weber de Truenfels (Antwerp, Belgium) [sold, Weber de Truenfels sale, Petit, Drouot, Paris, April 9, 1867, lot 57.] - 1897;Baron de Hirsch (London, England) [sold, Hirsch sale, Christie's, London, February 6, 1897, lot 30, to E. M. Hodgkins.];Source: Getty Research Institute, annotated copy of Hirsch sale catalogue. 1897 -;Edwin Marriott Hodgkins, British, 1860 - 1932 (London, England) - 1919;Baron Denys Cochin, 1851 - 1922 (Paris, France) [sold, Cochin sale, Lair-Dubreuil, Galerie Georges Petit, Paris, March 26, 1919, lot 8, to Galerie Bernheim Jeune.];Source: Getty Research Institute, annotated copy of Cochin sale catalogue. 1919 -;Galerie Bernheim Jeune (Paris, France) by 1941 - 1950;Jacques Léon Stern (Paris, France, New York, New York) [sold, Stern sale, Parke-Bernet, New York, November 3-4, 1950, lot 57, possibly to N. de Koenigsberg, La Passe, Ltd.] by 1951 -;La Passe, Ltd. (New York, New York);Source: JPGM, Paintings department, curatorial files, notes from Frick Library, 1987. - still in 1962;Private Collection (Uruguay), by inheritance from father to son, 1962, possibly sold to Pedro Soarin Bosch. by 1986 - 1987;Pedro Soarin Bosch [sold, Sotheby's, New York, February 24, 1987, lot 126, to the J. Paul Getty Museum.]
https://www.getty.edu/art/collection/objects/5782/attributed-to-andre-charles-boulle-table-french-about-1680-1690/Provenance 1920s;Bernheimer Fine Arts Ltd. (Munich, Germany) - 1931;Graf Adolf Friedrich von Arnim-Muskau, German, 1875 - 1931 (Schloss Muskau, Saxony) 1931 - 1983;Graf Hermann von Arnim, German, 1903 - 1997 (Schloss Muskau, Saxony), taken to Munich, 1945, sold to the J. Paul Getty Museum, 1983.
https://www.getty.edu/art/collection/objects/127262/after-designs-by-guy-louis-vernansal-and-jean-baptiste-monnoyer-and-jean-baptiste-belin-de-fontenay-et-al-tapestry-l'embarquement-de-l'imperatrice-from-l'histoire-de-l'empereur-de-la-chine-series-french-design-about-1690-weave-about-1697-1705/Provenance by 1705 - 1737;Louis-Alexandre de Bourbon, comte de Toulouse and duc de Penthièvre, French, 1678 - 1737 (at the Château de Rambouillet by 1718), by inheritance to his son, Louis-Jean-Marie de Bourbon. 1737 - 1793;Louis-Jean-Marie de Bourbon, duc de Penthièvre, French, 1725 - 1793, by inheritance to his daughter, Louise-Marie-Adélaïde de Bourbon. 1793 - 1821;Louise-Marie-Adélaïde de Bourbon, French, 1753 - 1821, by inheritance to her son, Louis-Philippe d'Orléans. 1821 - 1852;Louis-Philippe d'Orléans, king of France, 1773 - 1850 [sold, Catalogue des Tapisseries Anciennes...Tapis provenant de la succession du feu roi Louis-Phillippe, Domaine de Monceaux, Paris, January 28, 1852, lot 13, as one of two tapestries.] by 1940 - by 1943;Baronne Miriam Caroline Alexandrine de Rothschild, French, 1884 - 1965 (2 Rue Leonardo da Vinci, Paris, France), confiscated by the Nazis.;Source: The tapestry is #132 in volume 2 of the Lists of Property Removed from France During the War (NARA M1949, RG 260, Roll 32);Einsatzstab Reichsleiter Rosenberg card for ERR number R 244 (NARA M1943 RG 260 Reel 17). by 1943 - 1945;In the possession of the Nazis (stored at the German Embassy in Paris, transferred to the Jeu de Paume, Paris, sent to Kremsmünster, Austria to a holding location for artworks destined for the Führermuseum on May 20, 1943, sent to the salt mines at Altaussee, Austria), recovered by the Allied Forces, 1945.;Source: Einsatzstab Reichsleiter Rosenberg database for ERR number R 244;Database on the Linzmuseum, Deutsches Historisches Museum for Linz #1501;Records for artworks recovered from the Altaussee salt mines, Aussee #8813 (NARA M1926 RG 260 Reel 150). 1945 - 1948;In the custody of the Allied Forces (the salt mines at Altaussee, Austria, transferred to the Munich Central Collecting Point on June 27, 1946), repatriated to the French government, January 21, 1948.;Source: Munich Central Collecting Point card for Munich number 33905 (Database on Munich Central Collecting Point, Deutsches Historisches Museum), NARA M1946 RG 260 Reel 231, Bundesarchiv, B323/634 and B323/682. 1948 -;French government, restituted to Baronne Miriam Caroline Alexandrine de Rothschild.;Source: Receipt F-84 from the French government, May 5, 1948, for French claim number 356 (NARA M1926 RG 260 Reel 45 and 155). - 1965;Baronne Miriam Caroline Alexandrine de Rothschild, French, 1884 - 1965, by inheritance to her nephew, Baron Edmond de Rothschild. 1965 - 1967;Baron Edmond Adolphe Maurice Jules Jacques de Rothschild, French, 1926 - 1997 [sold, Tableaux Anciens, Antiques - Haute Époque, Art d'Asie, Bel Ameublement du XVIIIe Siècle, Palais Galliera, Paris, March 7, 1967, lot 152, for 42,000 francs] by 1990;Galerie Achkar-Charrière (Paris, France) 1998 - 1999;Galerie Perpitch and Galerie Chevalier (Paris, France), sold to the J. Paul Getty Museum, 1999.
https://www.getty.edu/art/collection/objects/60/adolf-von-menzel-figure-studies-german-1872/Provenance -;Private Collection (Switzerland) - 1984;Galerie Arnoldi-Livie (Munich, Germany), sold to the J. Paul Getty Museum, 1984.
https://www.getty.edu/art/collection/objects/733/pieter-de-hooch-a-woman-preparing-bread-and-butter-for-a-boy-dutch-about-1660-1663/Provenance - 1750;Private Collection [sold, Amsterdam, April 16, 1750, lot 4.] by 1794/1795 - 1800;Jan Jansz. Gildemeester (Amsterdam, The Netherlands) [sold, Gildemeester sale, Schley, Bosch, Yver, Roos, Pruysenaar, Amsterdam, June 11, 1800, lot 74, to Jan Yver.];Source: Inventory of 1794/1795 (painting of Gildemeester's gallery) 1800 -;Jan Yver, born 1747 - 1823;Anton Meynts, died 1823 (Amsterdam, The Netherlands) [sold, Meynts sale, de Vries...Roos, Amsterdam, July 15, 1823, lot 44, through Albertus Brondgeest (Amsterdam, The Netherlands) to Johan Gijsbert Verstolk van Soelen.] 1823 - 1845;Johan Gijsbert, baron Verstolk van Soelen (L.2490), 1776 - 1845 (The Hague, The Netherlands), upon his death, held in trust by the estate. 1845 - 1846;Estate of Johan Gijsbert, baron Verstolk van Soelen (L.2490), 1776 - 1845, sold to Humphrey Saint-John Mildmay, 1846. 1846 - 1853;Humphrey Saint-John Mildmay, 1794 - 1853 (Shoreham Place, Kent, England), by inheritance to Humphrey Francis Mildmay, 1853. 1853 - 1866;Humphrey Francis Mildmay, 1825 - 1866 (Shoreham Place, Kent, England), by inheritance to Henry Bingham Mildmay, 1866. 1866 - 1893;Henry Bingham Mildmay, 1828 - 1905 (Shoreham Place, Kent, England) [sold, Mildmay sale, Christie's, London, June 24, 1893, lot 30, to Lawrie and Co. and Colnaghi.] 1893;Lawrie and Co. (London, England) and Colnaghi (London, England), sold to George A. Drummond, 1893. 1893 - 1910;Sir George A. Drummond, 1829 - 1910 (Montreal, Canada), by inheritance to his wife, Julia Drummond, 1910. 1910 - 1919;Lady Julia Drummond, 1860 - 1942 (Montreal, Canada) [sold, Drummond sale, Christie's, London, June 26, 1919, lot 185, to Knoedler & Company.];Source: GRI, M. Knoedler & Co. records, stock book 6, p. 199, no. 14755. 1919 - 1920;M. Knoedler & Co. (New York), founded 1846, dissolved 2011 (London, England, New York, New York, Paris, France), sold to Andrew W. Mellon, June 1920.;Source: GRI, M. Knoedler & Co. records, sales book 11, p. 355, no.14755. 1920 - 1929;Andrew W. Mellon, 1855 - 1937 (Pittsburgh, Pennsylvania, Washington, D. C.), sold to M. Knoedler & Co., 1929. 1929;M. Knoedler & Co. (New York), founded 1846, dissolved 2011, sold to Julius Böhler Gallery, 1929.;Source: GRI, M. Knoedler & Co. records, stock book 8, p. 68, no. A522. 1929;Julius Böhler Gallery (Munich, Germany, Lucerne, Switzerland), sold to Heinrich von Thyssen-Bornemisza, 1929.;Source: GRI, M. Knoedler & Co. records, stock book 8, p. 68, no. A522. 1929 - 1947;Baron Heinrich von Thyssen-Bornemisza, German, 1875 - 1947 (Schloss Rohoncz, Rechnitz, Austria, Villa Favorita, Castagnola, Switzerland), by inheritance to his daughter, Gabrielle Thyssen-Bornemisza Bentinck, 1947. 1947 - 1984;Baroness Gabrielle Thyssen-Bornemisza Bentinck (Paris, France, Düsseldorf, Germany), sold to Edward Speelman, Ltd., 1984. 1984;Edward Speelman, Ltd. (London, England), sold to the J. Paul Getty Museum, 1984.
https://www.getty.edu/art/collection/objects/536/gerard-hoet-the-banquet-of-cleopatra-dutch-late-17th-early-18th-century/Provenance - 1823;Private Collection [sold, Fonthill Abbey sale, Phillips, April 10-15, 1823, lot 261.] -;Private Dealer (Munich, Germany) - 1969;Julius Böhler Gallery (Munich, Germany, Lucerne, Switzerland), sold to the J. Paul Getty Museum, 1969.
https://www.getty.edu/art/collection/objects/219656/jean-baptiste-pillement-market-scene-in-an-imaginary-oriental-port-french-about-1764/Provenance by 1911 - 1933;Madame Heidelbach [sold, Madame Heidelbach sale, Bellier, Paris, December 16, 1933, lot 18, to Baron Cassel (Jean Germain Léon Cassel).] 1933 - 1943;Jean Germain Léon Cassel, Baron Cassel, Belgian, 1882 - 1952 (possibly Paris, France, Ruoms or Cannes, France), confiscated by the Nazis in France, 1943. 1943 - 1945;In the possession of the Nazis (Paris, France, Altaussee, Austria), recovered by the Allied Forces in Altaussee.;Source: Card for Munich no. 9773, Deutsches Historiches Museum (DHM), Munich Central Collecting Point database. 1945 - 1946;In the custody of the Allied Forces (Altaussee, Austria, transferred to the Central Collecting Point, Munich, Germany, October 1945), repatriated to France, May 1946.;Source: French Receipt No. F-6, May 23, 1946, National Archives and Records Administration (NARA), publication no. M1926, record group 260, roll 0037, entry for Munich no. 9773, DHM, Munich Central Collecting Point database. 1946 - before 1954;French government, restituted to Jean Germaine Léon Cassel or his estate, before 1954. - 1954;Jean Germain Léon Cassel, Baron Cassel, Belgian, 1882 - 1952 [sold, Cassel sale, Galerie Charpentier, Paris, March 9, 1954, lot 41, to Marcel Bissey.] 1954 -;Marcel Bissey, born 1901 (Paris, France);Source: JPGM, Paintings Department, curatorial files, Binoche, letter of February 11, 2003. - 2002;Heirs of Marcel Bissey, born 1901 [sold, Importants Tableaux, Meubles, Objets d'art, Binoche, Paris, March 21, 2002, lot 12, to Jean-Luc Baroni, Ltd.] 2002-2003;Jean-Luc Baroni, Ltd. (London, England), sold to the J. Paul Getty Museum, 2003.
https://www.getty.edu/art/collection/objects/946/unknown-maker-green-painted-dish-with-an-interlace-pattern-italian-15th-century/Provenance by 1913 - 1938;Alfred Pringsheim, 1850 - 1941 (Munich, Germany), looted by the Nazis during Kristallnacht, November 9, 1938. 1938 - 1939;In the possession of the Nazis [sold, Sotheby's, London, July 19, 1939, to E. L. Paget.] 1939 -;E. L. Paget (London, England);Source: This information comes from an annotated Sotheby's catalogue. -;A. Kauffmann (London, England), sold to Rainer Zietz Limited. - 1984;Rainer Zietz Limited, sold to the J. Paul Getty Museum, 1984.
https://www.getty.edu/art/collection/objects/219842/rosalba-carriera-a-muse-italian-mid-1720s/Provenance -;Frederick Augustus III, elector of Saxony and King of Poland, 1696 - 1763, [or a member of his court, presumably purchased directly from the artist] -;Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister 1921;Hugo Helbing, Munich, [exchanged for a portrait of Mrs. Schäuffelen by Hans von Marées];Source: Henning, Andreas. "Rosalba Carriera e la collezione dei suoi pastelli a Dresda." In Rosalba Carriera, 1673-1757. Atti del Convegno Internazionale di Studi 26-28 aprile 2007, Venezia, Fondazione Giorgio Cini (Verona: Scripta, 2007), p. 341. -;Private Collection (United Kingdom, since 1973) [sold, Bonham's, London, July 8, 2002, lot 96.] October 2002;Thomas Williams Fine Art Ltd., purchase
https://www.getty.edu/art/collection/objects/327733/christoph-murer-ecce-homo-the-king-caspar-the-virgin-and-child-and-the-arms-of-the-families-kundig-and-pfyffer-swiss-1592/Provenance 1880;Friedrich Schneider (Munich) 1926;Hollstein & Puppel, sold to Hugo von Zeigler, 1926. 1926-1966;Hugo von Ziegler, Swiss, 1890 - 1966, by inheritance within the Ziegler family, 1966. 1966-2017;Heirs of Hugo von Ziegler, Swiss, 1890 - 1966 [sold, Collection von Ziegler-Schindler, Drouot, Paris, December 13, 2017, lot 13, to the J. Paul Getty Museum.]
https://www.getty.edu/art/collection/objects/271/attributed-to-workshop-of-master-lcz-view-of-a-walled-city-in-a-river-landscape-german-about-1485/Provenance -;Art Market Munich -;Art Market Boston
https://www.getty.edu/art/collection/objects/5693/cabinet-by-jacques-dubois-clock-movement-by-etienne-le-noir-ii-clock-dial-enameled-by-antoine-nicolas-martiniere-et-al-corner-cupboard-french-paris-about-1744-1755-clock-dial-1744/Provenance 1752 or 1753 - 1771;Ordered by General Mokronowski for Count Jan Klemens Branicki, Polish, 1689 - 1771 (Warsaw, Poland), through the marchand-mercier Lullier of Warsaw, by inheritance to the count's sisters, 1771.;Source: Correspondence between Jan Klemens Branicki and Mr. Koziebrodski, November 23, 1752, Teke Glinki, 320f., 85v, Inventory of Jan Klemens Branicki, October 20, 1772, 82f., 536v. Both in the Central Archives of Historial Records in Warsaw. 1771 - late 18th century;Branicki Family, possibly by inheritance to Marianna Szymanowska, late 18th century. late 18th century - 1837;Possibly Marianna Szymanowska, Polish, 1780 - 1837, great-granddaughter of Krystyna (Branicka) Sapieha, sister of Jan Klemens Branicka.;Source: Correspondence in the files of the J. Paul Getty Museum with Dr. Bozenna Majewska-Maszkowska, Curator of Art Collections, Royal Castle in Warsaw, July 28, 1981. before 1903;Szymanowski Family, sold to Baron Nathaniel (Mayer) von Rothschild.;Source: Inventory of Baron Nathaniel (Mayer) von Rothschild in the collection of the library of the Museum für angewandte Kunst in Vienna. Notizen über einige meiner Kunstgegenstände, 1903, no. 80. by 1903 - 1905;Baron Nathaniel Mayer (Puggy) von Rothschild, Austrian, 1836 - 1905 (Vienna, Austria), by inheritance to his nephew, Baron Alphonse (Mayer) von Rothschild, 1905.;Source: Inventory in collection of the library of the Museum für angewandte Kunst in Vienna. Notizen über einige meiner Kunstgegenstände, 1903, no. 80. 1905 - 1938;Baron Alphonse Mayer von Rothschild, Austrian, 1878 - 1942 (in the Régence (or Rote) Salon, Theresianum Gasse 16-18, Vienna), confiscated by the Nazis, 1938.;Source: Correspondence in the files of the J. Paul Getty Museum with Bettina de Rothschild Looram, September 9, 1991. 1938 - 1945;In the possession of the Nazis (stored at Das Zentraldepot für beschlagnahmte Sammlungen, Saal 6, Neuen Berg, Vienna, from autumn 1938 until May 25, 1941, moved to Hohenfurth Monastery, Vyšší Brod, Czech Republic, a Führermuseum holding location, later transferred to Altausee salt mines), recovered by the Allied Forces, June 30, 1945.;Source: Kunsthistorisches Museum Zentral Depot database record of the Zentralstelle für Denkmalschutz, under number AR653, Katalog Beschlagnahmungen, Sammlung A.R., p. 13, number 653, correspondence with Bettina de Rothschild Looram, September 9, 1991. 1945 - 1948;In custody of the Allied Forces (salt mines at Altaussee, Austria, transferred to Central Collecting Point, Munich, Germany), repatriated to the Republic of Austria on May 5, 1948.;Source: Deutsches Historisches Museum digitized records under number 1855, Control Number File 609, Bundesarchiv B 323/609, Restitution Card File 652, Bundesarchiv B 323/652. 1948;Austrian government, restituted to widow of Baron Alphonse Mayer von Rothschild, Baronin Clarice von Rothschild, 1948. 1948 -;Baronin Clarice von Rothschild, Austrian, 1894 - 1967 (Vienna, Austria, sent to New York, NY soon after 1948), sold to Rosenberg & Stiebel.;Source: Correspondence in the files of the J. Paul Getty Museum with Bettina de Rothschild Looram, September 9, 1991. - 1950;Rosenberg & Stiebel, Inc. (New York, NY), sold to Wildenstein & Co., 1950.;Source: Conversation with Wildenstein & Co, October 4, 1991. 1950 -;Wildenstein & Co. (New York) (New York, NY) - 1963;Georges Wildenstein, French, 1892 - 1963 (New York, New York), by inheritance to his son, Daniel Wildenstein, 1963. 1963 - 1977;Daniel Wildenstein, French, 1917 - 2001 (New York, New York), sold through Sotheby Parke Bernet (London, England) to Akram Ojjeh, 1977. 1977 - 1979;Akram Ojjeh, Saudi Arabian, 1918 - 1991 [sold, Magnifique ensemble de meubles et objets d’art français, Sotheby Parke Bernet, Monaco, June 25-26, 1979, lot 60, to the J. Paul Getty Museum]
https://www.getty.edu/art/collection/objects/226156/francesco-guardi-the-grand-canal-in-venice-with-palazzo-bembo-italian-about-1768/Provenance about 1768 -;Possibly commissioned by Carlo Spinola Marchese de Rocca Forte, Italian, about 1768. 1880s - 1933;John Jaffé, died 1933, by inheritance to his wife, Anna Jaffé. 1933 - 1942;Anna Jaffé, died 1942, looted by the Vichy government of France, 1942. 1942 - 1943;In the possession of the Vichy government of France, [sold, Hotel Savoy, Nice, July 12-13, 1943, lot 99, to Mrs. Bonfils.] 1943 - 1944;Mrs. Bonfils, sold through Hildebrandt Gurlitt to the Führermuseum, 1944. 1944 - 1945;Führermuseum (Linz, Austria), recovered in Altaussee, Austria and transferred to the Central Collecting Point, Munich, 1945. 1945 - 1946;Central Collecting Point, Munich, repatriated to the French Government, 1946. 1946 - 1950;In the possession of the French government (Paris, France), placed on deposit at the Musée du Louvre, Paris, France, 1950. 1950 - 1952;Musée du Louvre, in exchange for another work by Francesco Guardi to the Musée des Augustins, Toulouse, France, 1952.;Source: Paris, France 1952 - 2005;Musée des Augustins (Toulouse, France), restituted to the heirs of Anna Jaffé, 2005. 2005;Heirs of Anna Jaffé, died 1942, [sold, Christie's, London, July 8, 2005, lot 48, to the J. Paul Getty Museum.]
https://www.getty.edu/art/collection/objects/105121/martin-schongauer-madonna-and-child-in-a-window-german-about-1485-1490/Provenance -;Klinkosch (Vienna, Austria) -;Baron Edmond James de Rothschild, Austrian, 1845 - 1934 (Paris, France) - 1938;Rudolf von Gutmann, German, 1880 - 1966 (Vienna, Austria), sold under pressure to Baroness von Ferstl, 1938. 1938;Baroness von Ferstl (Vienna, Austria), possibly sold under pressure to Hubert Pugl, 1938. 1938;Hubert Pugl (Graz, Austria), sold to the Bayerische Staatsgemäldesammlungen, 1938. 1938 - 1945;Bayerische Staatsgemäldesammlungen (Munich, Germany) 1945 - 1947;Military Government of Bavaria (Germany), restituted to the Austrian government, 1947. 1947 - early 1950s;Austrian government, restituted to the heirs of Rudolf von Gutmann, early 1950s. early 1950s - mid 1950s;Rudolf von Gutmann, German, 1880 - 1966 (Canada), transferred to Gutmann Foundation, mid 1950s. mid 1950s - 1997;Leo and Karen Gutmann Foundation, sold through Alte Kunst Stiftung (Amsterdam, The Netherlands) to the J. Paul Getty Museum, 1997.
https://www.getty.edu/art/collection/objects/762/peter-paul-rubens-the-virgin-as-the-woman-of-the-apocalypse-flemish-about-1623-1624/Provenance about 1623/1624 - 1803;Kloster Neustift (Freising, Germany) - 1820;Benjamin West, American, 1738 - 1820 (London, England) [sold, West sale, Christie's, London, June 24, 1820, lot 75, to Baker.] 1820 -;Baker (London, England) 1822;Private Collection [unsold, Christie's, June 10, 1822.] 1824;Private Collection [sold, West sale, Christie's, London, May 28, 1824, lot 70.] by 1868 - 1887;Edmund M. Blood (London, England), sold through Wilhelm von Bode (Berlin, Germany) to Eduard Friedrich Weber. 1887 - 1912;Eduard Friedrich Weber, German, 1830 - 1907 (Hamburg, Germany) [sold, Weber sale, Lepke, Berlin, February 20, 1912, lot 191, to Marczell de Nemes von Janoshaza.] 1912 - 1913;Marczell de Nemes von Janoshaza, Hungarian, 1866 - 1930 (Budapest, Hungary, Munich, Germany) [sold, Marczell de Nemes sale, Lair-Dubreuil, Baudoin, at Galerie Manzi-Joyant, Paris, June 17, 1913, lot 72.] by 1917 -;Federico Gentili di Giuseppe, 1868 - 1940 (Paris, France) by 1919 -;Bousquart (Paris, France) - 1938;Walter M. Feilchenfeldt (Berlin, Germany, London, England, Zurich, Switzerland) and Galerie Paul Cassirer (Berlin, Germany, London, England, Zurich, Switzerland), sold to Alfred Hausamann, 1938. 1938 - 1984;Alfred Hausamann (Zürich, Switzerland), sold through Walter Feilchenfeldt (Zurich, Switzerland) to the J. Paul Getty Museum, 1984.
https://www.getty.edu/art/collection/objects/244792/cornelis-troost-a-mother-showing-her-weeping-son-his-shoe-of-switches-dutch-mid-18th-century/Provenance 1843;Private Collection [sold, Rotterdam, October 18, 1843, lot A62, to Hoogeway.] 1843;Hoogeway;Source: Annotated auction catalog, Rijksmuseum Library: Lamme, Dirk A. Catalogus van eene aanzienlijke verzameling schilderijen door oude en hedendeaagsche meesters, als mede teekeningen en prenten […] (Rotterdam: 1843), p. 21. before 1845 - 1847;Johan Gijsbert, baron Verstolk van Soelen (L.2490), 1776 - 1845 [sold, Johan Gijsbert Baron Verstolk van Soelen sale, Amsterdam, March 22, 1847, lot T620 to Roos.] 1847;Roos;Source: Annotated auction catalog, RKD: Vries, Jérome de... Corneille François Roos. Catalogue du célèbre cabinet de dessins, laissé par feu son excellence Monsieur Jean Gisbert Baron Verstolk de Soelen [...] (Amsterdam: G. Lamberts, 1847), p. 88. 1867;Anna Henriette Elisabeth, baroness van Pallandt, Dutch, 1785 - 1866 (Klarenbeck, the Netherlands) [sold, Amsterdam, November 4, 1867, lot 43, to Jonkers.] 1867;Jonkers;Source: Annotated auction catalog, RKD: Catalogue de dessins, anciens et modernes, gravures et eaux fortes […] (Amsterdam: Brakke Grond, 1867), p. 4. by 1871;William Mayor (L.2799), British, died 1874 by 1877;Jeffrey Whitehead, British, born around 1832;Source: Winter Exhibition of Drawings by the Old Masters and Watercolor Drawings by Deceased Artists of the British School, exh. cat. (London: Grosvenor Gallery, with Chatto & Windus, 1877), p. 139. 1949;Private Collection [sold, Maurice Delacre and others sale, Gutekunst and Klipstein, Berne, June 21-22, 1949, lot 688.] 1956;Private Collection [sold, Munich, April 17-18, 1956, lot 189, to a private collector.] 1956-;Private Collection, by descent within the family. -2008;Private Collection, sold to the J. Paul Getty Museum.
https://www.getty.edu/art/collection/objects/109/federico-barocci-the-entombment-italian-about-1579-1582/Provenance 1729;William Cavendish, 2nd Duke of Devonshire, English, 1673 - 1729 (Chatsworth, Derbyshire, England), by inheritance to his son William Cavendish, third duke of Devonshire, 1729 1729-1755;William Cavendish, 3rd Duke of Devonshire, English, 1698 - 1755 (Chatsworth, Derbyshire, England), by inheritance to his son William Cavendish, fourth duke of Devonshire, 1755. 1755-1764;William Cavendish, 4th Duke of Devonshire, 1720 - 1764 (Chatsworth, Derbyshire, England), by inheritance to his son William Cavendish, fifth duke of Devonshire, 1764. 1764-1811;William Cavendish, 5th Duke of Devonshire, 1748 - 1811 (Chatsworth, Derbyshire, England), by inheritance to his son William George Spencer Cavendish, fifth duke of Devonshire, 1811. 1811-1858;William George Spencer Cavendish, 6th Duke of Devonshire, 1790 - 1858 (Chatsworth, Derbyshire, England), by inheritance to his cousin, William Cavendish, seventh duke of Devonshire, 1858. 1858-1891;William Cavendish, 7th Duke of Devonshire, 1808 - 1891 (Chatsworth, Derbyshire, England), by inheritance to his son, Spencer Compton Cavendish, seventh duke of Devonshire, 1891. 1891-1908;Spencer Compton Cavendish, 8th Duke of Devonshire, 1833 - 1908 (Chatsworth, Derbyshire, England), by inheritance to his nephew, Victor Christian WIlliam Cavendish, ninth duke of Devonshire, 1908. 1908-1938;Victor Christian William Cavendish, 9th Duke of Devonshire, 1868 - 1938 (Chatsworth, Derbyshire, England), by inheritance to his son Edward William Spencer Cavendish, tenth duke of Devonshire, 1938. 1938-1950;Edward William Spencer Cavendish, 10th Duke of Devonshire, 1895 - 1950 (Chatsworth, Derbyshire, England), by inheritance to his son Andrew Roburt Buxton Cavendish, eleventh duke of Devonshire, 1950. 1950-1984;Andrew Robert Buxton Cavendish, 11th Duke of Devonshire, 1920 - 2004 (Chatsworth, Derbyshire, England) and Chatsworth Settlement Trustees, British [sold, Christie's, London, July, 3, 1984, lot 2, to John Morton Morris and the Galerie Arnoldi - Livie in a half-shares ownership] 1984;Morton Morris & Company Ltd and Galerie Arnoldi-Livie, owned in half-shares. Sold to the J. Paul Getty Museum, 1985 with an invoice for the drawing from the Galerie Arnoldi - Livie (Munich) on behalf of both owners.
https://www.getty.edu/art/collection/objects/129874/francesco-zuccarelli-a-landscape-with-shepherds-resting-under-a-tree-by-a-cascade-recto-sketch-of-a-landscape-verso-italian-mid-1700s/Provenance -;Pierre-François Basan (L.221), French, 1723 - 1798 -;Private Collection [sold, Christie's London, July 4, 2000, lot 130, to Katrin Bellinger Kunsthandel.] 2000;Katrin Bellinger Kunsthandel (Munich and London), sold to the J. Paul Getty Museum, 2000.
https://www.getty.edu/art/collection/objects/240209/franz-xaver-messerschmidt-the-vexed-man-german-1771-1783/Provenance 1770 - 1783;Franz Xaver Messerschmidt, German, 1736 - 1783 (Vienna, Austria), by inheritance to his brother, Johann Adam Messerschmidt, 1783. 1783 - still in 1791;Johann Adam Messerschmidt, German, Austrian (Pressburg [Bratislava], Slovakia), sold to Mr. Strantz. by 1793;Mr. Strantz, Slovakian (Pressburg [Bratislava], Slovakia, Prague, Czech Republic, by 1793 in Vienna, Austria) by late 1800s;Camillo Sitte, Austrian, 1843 - 1903 (Vienna, Austria) by 1920s;Josef Hofstätter, Austrian, 1890 - 1984 (Vienna, Austria) by 1960s - 1977;Wolfgang Hofstätter (younger son of Joseph), Austrian, died 1977 (Vienna, Austria), by inheritance to his son, Gabriel Hofstätter, 1977. 1977 - 1990;Gabriel Hofstätter, Austrian,, sold to his uncle (brother of Wolfgang), Reinhold Hofstätter, 1990. 1990 - 2008;Reinhold Hofstätter, Austrian, 1928 - 2013 (Vienna, Austria), on consignment to Sascha Mehringer (Munich), sold to the J. Paul Getty Museum, 2008.
https://www.getty.edu/art/collection/objects/225527/unknown-maker-southern-german-or-austrian-the-fall-of-the-rebel-angels-austrian-or-german-1715-1725/Provenance by 1994 - 2004;Private Collection (The Netherlands), sold to Private Collection (South Germany). 2004;Private Collection (South Germany), sold to Sascha Mehringer. 2004 - 2005;Sascha Mehringer (Munich, Germany), sold to Julius Böhler in February, 2005. 2005;Julius Böhler Gallery (Munich, Germany), sold to the J. Paul Getty Museum, 2005.
https://www.getty.edu/art/collection/objects/956/unknown-maker-drug-jar-for-syrup-of-lemon-juice-italian-about-1480/Provenance by 1913 - 1938;Alfred Pringsheim, 1850 - 1941 (Munich, Germany), looted by the Nazis on Kristallnacht, November 9, 1938. 1938 - 1939;In the possession of the Nazis [sold, Sotheby's, London, June 7, 1939, lot 9, to "A. Recher."] 1939 -;Possibly Recher;Source: This information comes from an annotated Sotheby's catalogue. by 1944;Charles Damiron (Lyons, France), by inheritance to Paul Damiron. - 1983;Paul Damiron [sold, Sotheby's, London, November 22, 1983, lot 212.] - 1984;Rainer Zietz Limited, sold to the J. Paul Getty Museum, 1984.
https://www.getty.edu/art/collection/objects/240912/claude-lorrain-claude-gellee-coast-view-with-the-abduction-of-europa-french-1645-/Provenance about 1645;Private Collection (Paris, France);Source: "Tableaux faict pour paris," Liber Veritatis, no. 111 by 1771;Sir Joshua Reynolds (L.2364, L.3016a), British, 1723 - 1792 (London, England) -;Probably Robert Smith, 1st Baron Carrington, 1752 - 1838, by inheritance to his son, Robert John (Smith) Carrington, by 1842. by 1842;Robert John (Smith) Carrington, 2nd baron Carrington, British, 1796 - 1868 (Wycombe Abbey, Buckinghamshire, England), by inheritance within the family.;Source: John Smith. Supplement to the Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters [...]. 9 vols. (London: Smith and Son, 1829-42), vol. 9 (1842), p. 807, no. 13. - 1930;Rupert Clement George Carington, 4th Baron Carrington, 1852 - 1929 [upon his death, sold, Christie's, London, May 9, 1930, lot 14 (1250 gns.) to Jacques Goudstikker.] 1930 - 1940;Jacques Goudstikker, 1897 - 1940 (Amsterdam, the Netherlands), looted by the Nazis, under the direction of Hermann Göring, around May 1940. With Göring on July 13, 1940.;Source: Amsterdam Gemeentearchief, Archive of Jacques Goudstikker and Desi Goudstikker-Halban, inventory no. 1341, file no. 38, p. 124 (A11078000078), no. 2563, https://archief.amsterdam/inventarissen/inventaris/1341.nl.html# 1940 - 1945;In the possession of Hermann Göring, 1893 - 1946, recovered by the Allies, 1945.;Source: Deutsche Historiches Museum, Munich Central Collecting Point database, Munich (Mü) no. 5304 / B'Gaden (Berchtesgaden) 259. 1948;In the custody of The State of the Netherlands (Stichting Nederlands Kunstbezit, The Hague), inv. no. NK 1431. 1948 - 1975;Dienst voor's Rijks Verspreide Kunstvoorwerpen, The Hague, inv. no. NK 1431. 1975 - 1985;Dienst Verspreide Rijkscollectie, The Hague, inv. no. NK 1431. 1985 - 1997;Rijksdienst Beeldende Kunst, The Hague, inv. no. NK 1431. 1997 - 2006;Institute Collectie Amsterdam, inv. no. NK 1431, on loan to the Museum Boijmans Van Beuningen, Rotterdam until 2006. Restituted to Marei von Saher, February 6, 2006.;Source: List of paintings restituted by the Netherlands to Marei von Saher in 2006 and 2007 in Pieter den Hollander. Roofkunst: De Zaak Goudstikker (Amsterdam: J. M. Meulenhoff, 2007), p. 361, no. 10. 2006 - 2007;Marei von Saher (London, England), sold through Simon C. Dickinson, Ltd. to the J. Paul Getty Museum, 2007.
https://www.getty.edu/art/collection/objects/537/jan-steen-the-satyr-and-the-peasant-family-dutch-about-1660-1662/Provenance - 1802;Hendrik van Eyl Sluyter, 1739 - 1814 (Amsterdam, The Netherlands) [sold, Sluyter sale, Paillet, Delaroche, Paris, January 25, 1802, lot 163, to Jean-Louis Laneuville.] 1802 -;Jean-Louis Laneuville, 1748 - 1826 (Paris, France) - 1812;Charles Jacques Chapelain de Séréville, 1747 - 1826 (Paris, France) [sold, Séréville sale, Paillet, Laneuville, Paris, January 22, 1812, lot 47, through Hubert to Joseph Emmerich.] 1812 - 1817;Joseph Emmerich, duc de Dalberg, 1773 - 1833 (Paris, France) [unsold, Dalberg sale, Christie's, London, June 13, 1817, lot 58.] - 1827;Chevalier Féréol de Bonnemaison, 1770 - 1827 (Paris, France) [sold, Bonnemaison sale, Lacoste, Paris, April 2-7, 1827, lot 75.] - 1837;François-Xavier de Robiano, comte de Robiano, 1778 - 1836 (Brussels, Belgium) [sold, Robiano sale, Barbé, Brussels, May 1, 1837, lot 621, to Joseph Woodin.] 1837 -;Joseph Woodin, 1787 - 1870 (London, England) - 1849;William Williams Hope, 1802 - 1855 (Rushton Hall, Northamptonshire, England) [sold, Hope sale, Christie's, London, June 14, 1849, lot 108, probably to Jones.];Source: GRI annotated copy of sale catalog, Christie's, London. Catalogue of the Beautiful Collection of Pictures of the Very Highest Class, of William Williams Hope, Esq., partly from Rushton Hall, Northamptonshire [...]. June 14-16, 1849 p. 28, lot. 108 1849 -;Probably Jones - 1863;George Blamire, 1788 - 1863 (London, England) [sold, Blamire sale, Christie's, London, November 7-9, 1863, lot 63, probably to William Goldsmith.] 1863 -;Probably William Goldsmith (London, England);Source: annotated GRI copy of sale catalog, Christie's, London. Catalogue of the Choice Collection of Ancient & Modern Pictures, including Many of High Class, the Property of George Blamire, Esq., Deceased [...]. November 7, 9, 1863 p. 10, lot 63. by 1885 -;Walter Childe Alers Hankey, 1839 - 1921 (Beaulieu, Hastings, Sussex, England), sold to Martin H. Colnaghi (among a group of old master paintings) before January 1899.;Source: Exhibition of Works by the Old Masters [...] (London: Royal Academy of Arts, 1885), no. 124. - 1899;Martin H. Colnaghi, 1821 - 1908 (London, England), sold to Charles Sedelmeyer (with at least 16 other Hankey paintings) in January 1899.;Source: Ripps, Michael J. "Bond Street Picture Dealers[...]" Ph.D. diss. (University of Oxford, 2010), p. 36. 1899;Charles Sedelmeyer, 1837 - 1925 (Paris, France), sold to Cornelius Wilhelm Heyl in February 1899 for 8,000 marks.;Source: annotation in RKD copy of Sedelmeyer Gallery. Illustrated Catalogue [...] (Paris: Chas. Sedelmeyer, 1899), no. 50. 1899;Cornelius Wilhelm Heyl, Freiherr von Heyl zu Herrnsheim, 1843 - 1923 (Worms, Germany), returned to Sedelmeyer in February 1899 for 7,500 marks.;Source: annotation in RKD copy of Sedelmeyer Gallery. Illustrated Catalogue [...] (Paris: Chas. Sedelmeyer, 1899), no. 50. 1899;Charles Sedelmeyer, 1837 - 1925 (Paris, France), sold to Franz M.A. Philippson in April 1899 for 8,000 francs.;Source: annotation in RKD copy of Sedelmeyer Gallery. Illustrated Catalogue [...] (Paris: Chas. Sedelmeyer, 1899), no. 50. 1899 - 1929;Franz M.A. Philippson, 1851 - 1929 (Brussels, Belgium, Château de Seneffe, Seneffe, Belgium), by inheritance to his son, Moritz Philippson, 1929. by 1935 - 1938;Moritz Philippson, 1877 - 1938 (Brussels, Belgium, Château de Seneffe, Seneffe, Belgium), probably by inheritance to his son, Paul Philippson, 1938.;Source: Exposition d'art ancien (Brussels: Exposition Universelle et Internationale), no. 777 (M. Philipson [sic]). 1938 - 1939;Probably Paul Philippson, 1910 - 1978 (Brussels, Belgium, Château de Seneffe, Belgium), looted by the Nazis, probably in 1940. probably 1940 -;In the possession of the Nazis;Source: Répertoire d'oeuvres d'art dont la Belgique a été spoliée durant la guerre 1939-45 (1948), no. 243, as looted from Philippson collection. - 1941;Fritz Rothmann (London, England), sold to W. E. Duits, Ltd., October 15, 1941. 1941 - 1942;W. E. Duits, Ltd. (London, England), sold to John Enrico Fattorini, January 30, 1942.;Source: Duits Gallery Records, Getty Research Institute, Special Collections, Acc. No. 860290. Painting assigned inv. no. 7434 in 1941/42 (index cards, Box 36). See Boxes 7 (194-ledger, p. 1, right) and 22 (stockbook). 1942 -;John Enrico Fattorini, 1878 - 1949 (Bradford, Wiltshire, England), by gift to his daughter, Agnes Elizabeth (Fattorini) Roach, by 1945.;Source: Exhibition of Works by Dutch Masters of the Seventeenth Century (Liverpool: Liverpool City School of Art, 1944), no. 18. - 1945;Agnes Elizabeth (Fattorini) Roach, 1908 - 1995, sold to W. E. Duits, Ltd., November 2, 1945. 1945 - 1946;W. E. Duits, Ltd. (London, England), sold to Martin B. Asscher, February 28, 1946.;Source: Duits Gallery Records, Getty Research Institute, Special Collections, Acc. No. 860290, inv. no. 7699 (1945/46), Box 21, Stockbook no. 73, p. 83. 1946 -;Martin B. Asscher (London, England) by 1947 -;Eugene Slatter Gallery (London, England);Source: 1947 Exhibition of Dutch and Flemish Masters, exh. cat. (London: Eugene Slatter), no. 22. - 1948;Sir Bernard Eckstein, second Bart., 1894 - 1948 (Oldlands Hall, Sussex, England) [sold, Eckstein sale, Sotheby's, London, December 8, 1948, lot 25, to Spink & Son, Ltd.] 1948 -;Spink & Son, Ltd. (London, England) - 1969;Julius Böhler Gallery (Munich, Germany), sold to the J. Paul Getty Museum, 1969.
https://www.getty.edu/art/collection/objects/951/unknown-maker-armorial-jar-italian-about-1460-1490/Provenance by 1913 - 1938;Alfred Pringsheim, 1850 - 1941 (Munich, Germany), looted by the Nazis on Kristallnacht, November 9, 1938. 1938 - 1939;In the possession of the Nazis [sold, Sotheby's, London, June 7, 1939, lot 3, to Alfred Spero.] 1939 -;Alfred Spero (London, England);Source: This information comes from an annotated Sotheby's catalogue. - 1984;Rainer Zietz Limited, sold to the J. Paul Getty Museum, 1984.
https://www.getty.edu/art/collection/objects/102108/annibale-carracci-self-portrait-italian-early-1580s/Provenance -;Francesco Maria Niccolò Gabburri, Italian, died 1742 acquired 1766 or 1767;Wiliam Kent, English 1711 - 1784;Charles Rogers, English, 1711 - 1784 -;Private Collection (Oxfordshire, England) -;Richard Day, English -;Katrin Bellinger Kunsthandel (Munich, Germany)
https://www.getty.edu/art/collection/objects/224526/gaspare-diziani-the-crowned-madonna-and-child-in-glory-with-saints-sebastian-roch-jerome-and-john-nepomuk-italian-about-1718/Provenance before 1895;Boguslaw Jolles (L.381a) (Dresden and Vienna) [sold, his sale, Hugo Helbing, Munich, October 28-31, 1895, lot 161, as Caspar de Crayer to Michael Berolzheimer.] -;Michael Berolzheimer, looted by the Nazi, 1938. 1938;In the possession of the Nazis [sold, Münchener Kunstversteigerungshaus Adolf Weinmüller, Munich, November 1-December 2, 1938 to Ackermann & Sauerwein.] -;Ackermann & Sauerwein before 2002;Ingeborg Tremmel, 1925 - 2002 (Furstenfeldbruck, near Munich) [sold, The Tremmel Collection, Ketterer Kunst, Munich, May 5-6, 2003, lot 261 (as South German School, 18th c.).] -;Jean-Luc Baroni, Ltd., sold to the J. Paul Getty Museum, 2004.
https://www.getty.edu/art/collection/objects/133683/jacques-joseph-tissot-young-woman-in-a-rocking-chair-study-for-the-painting-the-last-evening-french-about-1873/Provenance -;Private Collection (USA) 1999-2000;with Dickinson Roundell, Inc. (NYC), on behalf of a private collector -;Private Collection (Switzerland) [sold, Christie's, London, November 28, 2001, lot 22, to Katrin Bellinger] 2001;Katrin Bellinger Kunsthandel (Munich), sold to the J. Paul Getty Museum, 2002.
https://www.getty.edu/art/collection/objects/936/giambologna-giovanni-da-bologna-or-jean-de-boulogne-female-figure-possibly-venus-formerly-titled-bathsheba-flemish-1571-1573/Provenance -;Probably sent by Francesco de' Medici, from Florence to the duke of Bavaria. -;duke of Bavaria (Munich), either Albrecht V, Crown Prince Wilhelm, or his brother Ferdinand. by 1632;King Gustavus II Adolphus of Sweden, Swedish, 1594 - 1632, taken to Nuremberg in 1632 and sent to Stockholm. by 1703;Johan Gabriel Stenbock, 1640 - 1705 (Akero, county of Sodermanland, Sweden), by 1703. -;Maria Elisabet Stenbock, died 1694 (Akero, county of Sodermanland, Sweden), and her husband, Axel Lillie, by descent to Christina Beata Lillie. -;Christina Beata Lillie, 1677 - 1727 (Akero, county of Sodermanland, Sweden), and her husband, Eric Sparre, by descent to Ulrika Lovisa Sparre. -;Ulrika Lovisa Sparre (Akero, county of Sodermanland, Sweden), and her husband, Carl Gustaf Tessin. mid-1700s - early 1980s;Unknown (remained in Akero, county of Sodermanland, Sweden), through successive owners, from the eighteenth century to the late twentieth century. - 1982;Daniel Katz Ltd. (London, England), sold to the J. Paul Getty Museum, 1982.
https://www.getty.edu/art/collection/objects/1086/benvenuto-cellini-cast-by-an-unknown-satyr-italian-1543-1545/Provenance - 1918;Drey Gallery (Munich), sold to August Lederer. 1918 - 1936;August Lederer, 1857 - 1936 (Vienna, Austria), by inheritance to his widow, Serena Lederer. 1936 - until at least November 26, 1938;Serena Lederer, 1867 - 1943 (Bartensteingasse 8, Vienna I, Austria), confiscated by the Gestapo (at the direction of the Zentralstelle für Denkmalscuhtz), per the order of the Wiener Magistrat, Magistratsabteilung 2, dated November 26, 1938.;Source: Archive of the Bundesdenkmalamt (BDA) – Archive, Box 9, Lederer 1940-1946, No. 1, p. 1, no. 9. after November 26, 1938 - 1945;In the possession of the Nazis, valued at 200 Reichsmarks and, by autumn 1939, stored at Zentraldepot at Neue Burg, Vienna, moved to Wollzeile (Vienna I, Austria), then moved on January 29, 1944, to Thürntal Palace, Fels am Wagram (Lower Austria), a location under the control of the Allied Russian troops as of May 8, 1945, released to the Republic of Austria.;Source: Index card of the Nazi administration/Zentralstelle für Denkmalschutz, SL/Sammlung Lederer/collection Lederer number 9: "Atlas, Bleilegierung. Italien." by June 14, 1946 - June 22, 1948;Austrian government, returned to Wollzeile 1 (Vienna I, Austria) by June 14, 1946 and restituted to the son of Serena Lederer, Erich Lederer, on June 22, 1948. June 22, 1948 - 1985;Erich Lederer, 1896 - 1985 (Geneva, Switzerland), by inheritance to his widow, Elisabeth Lederer. 1985;Mrs. Elisabeth Lederer, 1908 - 1995 (Geneva, Switzerland), sold to the J. Paul Getty Museum.
https://www.getty.edu/art/collection/objects/763/giovanni-girolamo-savoldo-shepherd-with-a-flute-italian-about-1525/Provenance by late 19th century - about 1927;Duke of Anhalt (Wörlitz, Germany), sold to Galerie Paul Cassirer and Julius Böhler Gallery jointly, about 1927. about 1927;Galerie Paul Cassirer (Munich, Germany, Lucerne, Switzerland, Berlin, Germany, London, England) and Julius Böhler Gallery (Munich, Germany, Lucerne, Switzerland, Berlin, Germany, London, England) about 1927 - 1955;Count Alessandro Contini-Bonacossi, Italian, 1878 - 1955 (Florence, Italy, Rome, Italy), by inheritance within the Contini-Bonacossi family, 1955. 1955 - about 1970;Contini-Bonacossi Family (Florence, Italy, Rome, Italy), sold to Eugene Thaw, about 1970. about 1970 - 1984;Eugene Thaw, American, 1927 - 2018 (New York, New York), sold to Carlsen-Postma Co. [Daniel Varsano], 1984. 1984 - 1985;Carlsen-Postma Co. (Connecticut, England), sold through P & D Colnaghi & Co. Ltd. (New York) to the J. Paul Getty Museum, 1985.
https://www.getty.edu/art/collection/objects/704/gherardo-starnina-master-of-the-bambino-vispo-madonna-and-child-with-musical-angels-italian-about-1410/Provenance by 1927 - 1928;Marczell de Nemes von Janoshaza, Hungarian, 1866 - 1930 (Budapest, Hungary, Munich, Germany) [sold, Nemes sale, Frederik Muller & Cie., Amsterdam, November 13, 1928, lot 10, to Harold Sidney Harmsworth.] 1928 - 1940;Harold Sidney Harmsworth, 1st viscount Rothermere, 1868 - 1940 (Stody Lodge, Norfolk, England), by inheritance to Esmond Cecil Harmsworth, second viscount Rothermere, 1940. 1940 - 1946;Esmond Cecil Harmsworth, 2nd viscount Rothermere, 1898 - 1978 (Daylesford, Gloucestershire, England) [sold, Rothermere sale, Christie's, London, August 2, 1946, lot 22, to Alfred Scharf.] 1946 -;Alfred Scharf, British, born Germany, 1900 - 1965 (London, England) - 1977;Baron Paul Hatvany, 1899 - 1977 (London, England), upon his death, held in trust by the estate. 1977 - 1980;Estate of Baron Paul Hatvany, 1899 - 1977 [sold, Hatvany sale, Christie's, London, July 11, 1980, lot 18, to Norman Leitman.] 1980 - 1982;Norman Leitman (London, England), sold to the J. Paul Getty Museum, 1982.
https://www.getty.edu/art/collection/objects/244695/guido-cagnacci-david-with-the-head-of-goliath-italian-about-1645-1650/Provenance by 2004;Private Collection (Germany) [Neumeister, Munich, December 2, 2004, lot 2847] 2004 -;Private Collection (Germany) after 2004;Moretti Fine Art, Ltd. (London) - 2008;Adam Williams Fine Art, Ltd. (London), sold to the J. Paul Getty Museum, 2008.
https://www.getty.edu/art/collection/objects/558/studio-of-lorenzo-di-credi-lorenzo-d'andrea-d'oderigo-madonna-and-child-italian-about-1490-1500/Provenance - 1891;Private Collection (Florence, Italy), sold to the Bayerische Staatsgemäldesammlungen, Alte Pinakothek, 1891. 1891 - 1939;Bayerische Staatsgemäldesammlungen, Alte Pinakothek (Munich, Germany), by exchange with Jacques Vial for another painting, 1939. 1939 -;Jacques Vial (Paris, France) - 1953;Rosenberg & Stiebel, Inc. (New York, New York), sold to J. Paul Getty, 1953. 1953 - 1970;J. Paul Getty, American, 1892 - 1976 (Sutton Place, Surrey, England), donated to the J. Paul Getty Museum, 1970.
https://www.getty.edu/art/collection/objects/250519/arnold-bocklin-spring-in-a-narrow-gorge-quell-in-einer-felsschluct-swiss-1881/Provenance 1881 - still in 1885;Kunsthandlung Fritz Gurlitt (Berlin, Germany) by 1892;Friedrich C. Wilke (Guben, Germany) by 1897;Theodor Wilke (Guben, Germany) 1914;Max Wilke (Guben, Germany) - probably 1945;Erich Wolf, 1886 - 1958 (Guben, Germany) -;Elisabeth (Wilke) Wolf (Guben, Germany), placed on deposit in Krakow Museum after outbreak of war.;Source: JPGM Paintings Department, curatorial file, Hans Holenweg annotations (July 1, 2010) on letter to Holenweg from the Guben city council, January 26, 1959. probably 1945 - 1946;Krakow Museum (Krakow, Poland), on deposit from Elisabeth Wolf.;Source: JPGM Paintings Department, curatorial file, letter from Alexander Wax to Hans Holenweg, December 5, 1982. 1946 - 1976;Alexander Wax (1946-1950, Krakow, Poland, 1950-1976, Israel);Source: JPGM Paintings Department, curatorial file, letter from Alexander Wax to Hans Holenweg, December 5, 1982. 1976;Galerie Wenzel (Nuremberg, Germany);Source: JPGM Paintings Department, curatorial file, fax from Wolfgang Schuller to Scott Schaefer, April 20, 2010. 1976 - 1977;Wolfgang Schuller Kunsthandel (Wertheim, Germany), sold to Dr. h.c. Hans Holenweg, December 15, 1977.;Source: JPGM Paintings Department, curatorial file, fax from Wolfgang Schuller to Scott Schaefer, April 20, 2010. 1977 - 2010;Dr. h. c. Hans Holenweg (Pratteln, Switzerland), sold to the J. Paul Getty Museum, 2010, through the agency of Daxer & Marschall, Munich.
https://www.getty.edu/art/collection/objects/9/peter-paul-rubens-studies-of-women-flemish-1628/Provenance -;Prosper Henry Lankrink (London, England) (L.2090), possibly 1628 - 1692 (London, England) -;Nicolaas Beets (Amsterdam, Netherlands), Dutch, 1878 - 1963 (Amsterdam, Netherlands) -;Aaron S. Drey, German, (Munich, Germany) -;Dr. Gollnow (Stettin, Germany) - 1982;Dr. Anton Schrafl (Zurich, Switzerland) [sold, Christie's, London, December 9, 1982, lot 78, to the J. Paul Getty Museum.]
https://www.getty.edu/art/collection/objects/132367/cristoforo-roncalli-il-pomarancio-an-angel-holding-a-book-recto-three-studies-of-a-falling-male-figure-verso-italian-about-1583-1586/Provenance -;Unknown (Paris) [sold, Tajan, Paris, March 27, 2001, lot 16, to Katrin Bellinger Kunsthandel, Munich.] -;Katrin Bellinger Kunsthandel, sold to the J. Paul Getty Museum, 2001.
https://www.getty.edu/art/collection/objects/132997/roelant-roghman-the-castle-giessenburg-near-gorinchem-dutch-1646-1647/Provenance - 1701;Albert Bentes, Dutch, 1643 - 1701 (Amsterdam, Netherlands), by inheritance to his son, Hildebrand Bentes, 1701. 1701-1708;Hildebrand Bentes, Dutch, 1677 - 1708 (Amsterdam, Netherlands);Source: Bentes list: no. 88 (Giessen) after 1708;Christiaan van Hoeck, by inheritance to his son, Anthonie van Hoeck. -;Anthonie van Hoeck, by inheritance to his nephew, Jean de Wolff. -;Jean de Wolff - 1800;Cornelis Ploos van Amstel (L.2034, L.2117, L.2118, L.2118a, L.2725, L.3002, L.3003, L.3004), Dutch, 1726 - 1798 (Amsterdam, Netherlands) [sold, Amstel sale, Philippe van der Schley, Amsterdam, March 3, 1800, probably Kunsboek KK, lot 2, to Roos.] 1800;Roos;Source: Annotated catalog (RKD): Schley, Philippe van der, et al. Catalogus der Teekeningen, Prenten, Schilderyen…van wylen den Heer Cornelis Ploos van Amstel, vol. 1. March 3, 1800, pp. 187-189. -;Private Collection (Netherlands) - 2002;Katrin Bellinger Kunsthandel (Munich, Germany), sold to the J. Paul Getty Museum, 2002.
https://www.getty.edu/art/collection/objects/1143/medici-porcelain-factory-pilgrim-flask-italian-1580s/Provenance - 1857;William Blundell Spence (Florence, Italy), sold to A. Foresi, 1857. 1857 -;Alessandro Foresi (Florence, Italy) -;Giovanni Freppa (Florence, Italy), sold to E. Piot. - 1860;Eugène Piot, French, 1812 - 1890 (Paris, France) [sold, Hôtel des Commissaires-Priseurs, Paris, March 19, 1860, lot 82, to Baron (Mayer) Alphonse de Rothschild.] - 1905;Baron (Mayer) Alphonse de Rothschild, French, 1827 - 1905 (Paris, France), by descent to Edouard (Alphonse James) de Rothschild, 1905. 1905 - by 1942;Baron Édouard (Alphonse James) de Rothschild, French, 1868 - 1949 (Paris, France), looted by the Nazis. by 1942 -;In the possession of the Nazis (initially at Bedel et Cie., Paris, France, transferred to Bruno Lohse (art adviser for Nazi official Hermann Göring) and Henry Mann, transferred to the Jeu de Paume, Paris, France on September 19, 1942, transferred to the salt mines at Altaussee, Austria), recovered by the Allied Forces. - 1946;In custody of the Allied Forces (arrived at the Munich Central Collecting Point, Munich, Germany, on June 23, 1946), repatriated to the French government, January 9, 1946. 1946 -;French government, restituted to Baron Édouard Alphonse James de Rothschild. - 1949;Baron Édouard (Alphonse James) de Rothschild, French, 1868 - 1949 (Paris, France), by inheritance to Guy Édouard Alphonse Paul de Rothschild, 1949. 1949 -;Baron Guy Édouard Alphonse Paul de Rothschild, French, 1909 - 2007 (Paris, France), sold to Curarrow Corporation N.V. - 1986;Curarrow Corporation N.V. (Curacao, Antilles), sold to the J. Paul Getty Museum, 1986.
https://www.getty.edu/art/collection/objects/5797/bernard-ii-van-risenburgh-movement-by-etienne-le-noir-ii-face-painted-by-jacques-decla-cartonnier-with-bout-de-bureau-and-clock-french-cabinet-about-1740-clock-1746/Provenance - 1751;possibly Joseph Antoine Crozat de Thugny, French, 1699 - 1751;Source: Probate inventory of Joseph Antoine Crozat de Thugny, January 12, 1751, item 397 (Paris, Archives nationales de France, Minutier Central, XXX, 320). - 1768;possibly Louis Jean Gaignat, French, 1697 - 1768, upon his death, held in trust by the estate, 1768.;Source: Sealing of the estate of Louis Jean Gaignat at his death, April 11, 1768 (Paris, Archives nationales de France, Y 13961). 1768 – 1769;possibly the heirs of Louis Jean Gaignat, French, 1697 - 1768 [sold, Paris, Pierre Rémy, February 14-22, 1769, lot 179, to Paul Louis de Mondran] 1769 -;possibly Paul Louis de Mondran, French, 1734 - 1795 - 1835;possibly Harriot Beauclerk, duchess of St. Albans, English, 1777 - 1837 (London, England), by gift to her step-granddaughter on her twenty-first birthday, Angela Burdett-Coutts, 1835.;Source: Reginald Colby, “Eminent Banker in the Strand: Thomas Coutts and His Family ̶ II.” Country Life 139, no. 3617 (June 30, 1966). 1835 - 1906;Baroness Angela Burdett-Coutts, English, 1814 - 1906 (London, England), by inheritance to her husband, Hon. William Bartlett Burdett-Coutts.;Source: "The Collection of... the late Barnoss Burdett-Coutts... Now sold by Order of the Executors of the Rt. Hon. W. Burdett-Coutts. M.P.," Porcelain, Objects of Art and Decorative Furniture, Christie, Manson & Woods, London, May 9, 1922. 1906 - 1921;Hon. William Bartlett Burdett-Coutts MP, American, 1851 - 1921 (London, England), upon his death, held in trust by the estate, 1921. 1921 - 1922;Estate of Hon. William Bartlett Burdett-Coutts MP, American, 1851 - 1921 (London, England;[sold, Porcelain, Objects of Art and Decorative Furniture, Christie, Manson & Woods, London, May 9, 1922, lot 144, for 4,200 guineas to H.J. Simmons.] 1922 -;H. J. Simmons - 1941;Baronne Miriam Caroline Alexandrine de Rothschild, French, 1884 - 1965 (Chateau de Boulogne-sur-Seine, France), confiscated by the Nazis, 1941. 1941 - 1945;In the possession of the Nazis (Jeu de Paume Nazi holding point, April 1941, transferred to the salt mines at Altaussee, Austria, June 18, 1941), recovered by the Allied Forces, 1945.;Source: Einsatzstab Reichsleiter Rosenberg card for R 910 (NARA M1943 RG 260 Reel 18), Bundesarchiv B323/280. 1945 - 1946;In the custody of the Allied Forces (Munich Central Collecting Point, Munich, Germany), repatriated to the French government, March 27, 1946 and August 23, 1946.;Source: Munich Central Collecting Point card for Munich numbers 22082 and 22382 (Database on Munich Central Collecting Point, Deutsches Historisches Museum), Bundesarchiv, B323/625. 1946;French government, restituted to Baronne Miriam Caroline Alexandrine de Rothschild, November 18, 1946.;Source: Einsatzstab Reichsleiter Rosenberg database for ERR number R 910. 1946 - 1965;Baronne Miriam Caroline Alexandrine de Rothschild, French, 1884 - 1965 (Paris, France), by inheritance to her nephew and heir, Baron Edmond Adolphe Maurice Jules Jacques de Rothschild, 1965. 1965 - before 1968;Baron Edmond Adolphe Maurice Jules Jacques de Rothschild, French, 1926 - 1997 (Paris, France) - 1968;José Ribeiro Espírito Santo Silva, Portuguese, 1895 - 1968 (Lausanne, Switzerland), by inheritance to his wife, Vera Lillian Morais Sarmento Cohen Espírito Santo Silva, 1968.;1968 - 1983;Vera Lillian Morais Sarmento Cohen Espírito Santo Silva, Portuguese, 1904 - 1995 (Lausanne, Switzerland), sold through Didier Aaron & Cie to the J. Paul Getty Museum, 1983.
https://www.getty.edu/art/collection/objects/800/frans-van-mieris-the-elder-the-doctor's-visit-dutch-1667/Provenance 1667-1694;Probably commissioned by Cornelis Paets, Netherlandish, 1636 - 1694, sold for 1500 guilders.;Source: Houbraken, De groote schouburgh [...]. 3 vols. (Amsterdam: Gedrukt voor de Weduqe des Autheurs, 1718-21), vol. 3 (1721), p. 4. before 1716;Johann Wilhelm, Elector Palatine of the Rhine and count Palatine of Neuberg, 1658 - 1716 (Düsseldorf, Germany), by inheritance to Karl Philipp, 1716.;Source: Hoogstraten, et al. Groot algemeen [...]. 7 vols. (Amsterdam: Brunel, 1725-32), vol. 7 (1732), 246. 1716-1742;Karl Philipp, Elector Palatine of the Rhine, 1661 - 1742 (Düsseldorf, Germany, Mannheim, Germany, from 1731-), probably by descent to Karl Theodor, Elector Palatine of the Rhine, 1742 1742 - 1799;Probably Karl Theodor, Elector Palatine of the Rhine (Elector of Bavaria from 1777), German, 1724 - 1799 (Mannheim, Germany, from 1742-1777, Munich, Germany, from 1777-1799), probably by inheritance to Maximilien IV Joseph, Elector of Bavaria 1799 -;Probably Maximilien IV Joseph, Elector of Bavaria (Maximilien I Joseph, King of Bavaria, from 1805), German, died 1825 (Munich, Germany), from the royal Hofgartengalerie to the Alte Pinakothek 1836 - 1935;Bayerische Staatsgemäldesammlungen, Alte Pinakothek (Munich, Germany), sold to A. G. Zurich, 1935. 1935 - 1937;A. G. Zurich (Eindhoven, The Netherlands) 1937-1938;Kunsthandel Firma D. Katz (Dieren, The Netherlands, Basel, Switzerland, The Hague, The Netherlands) by 1952;Sidney van den Bergh-Myers (The Hague, The Netherlands) by 1960;Hendrikus Egbertus ten Cate (L.533b), Dutch, 1868 - 1955 (Almelo, The Netherlands) -;J. van Duijvendijk (Scheveningen, The Netherlands) by 1967 -;H. Kastengren (Stockholm, Sweden) - 1975;Private Collection [sold, Sotheby's, London, March 19, 1975, lot 13, to Joseph Leegenhoek.] 1975 - 1977;Joseph Leegenhoek (Paris, France), sold to Jean-Louis Dupré, 1977. 1977 - 1986;Jean-Louis Dupré (Paris, France) [sold, Dupré sale, Sotheby's, Monte Carlo, June 19, 1986, lot 26, to the J. Paul Getty Museum.];Source: Letter from Jacques Leegenhoek, February 21, 1987, in curatorial files.
https://www.getty.edu/art/collection/objects/825/edouard-manet-the-rue-mosnier-with-flags-french-1878/Provenance 1879 -;Possibly Roger de Portalis (Paris, France) 1879 -;or Fernand Barroil (Marseille, France) by 1894 - 1898;Jean-Baptiste Faure, French, 1830 - 1914 (Paris, France), on consignment to Durand-Ruel & Cie, 1894. 1898;Durand-Ruel & Cie (New York, New York, Paris, France), sold to Auguste Pellerin, 1898. 1898 - still in 1910;Auguste Pellerin, 1852 - 1929 (Paris, France) by 1911 - 1913;Marczell de Nemes von Janoshaza, Hungarian, 1866 - 1930 (Budapest, Hungary, Munich, Germany) [sold, Nemes sale, Galerie Manzi, Joyant, Paris, June 18, 1913, lot 110, through G. Biermann to Baron Herzog.];Source: GRI, annotated Nemes sale catalogue 1913 -;Baron Herzog (Budapest, Hungary) by 1932 - 1955;Jakob Goldschmidt, died 1955 (Berlin, Germany, New York, New York), 1955. 1955 - 1958;Estate of Jakob Goldschmidt, died 1955 [sold, Goldschmidt sale, Sotheby's, London, October 15, 1958, lot 3, through G. Keller to Paul Mellon.];Source: GRI, annotated Goldschmidt sale catalogue. 1958 - 1989;Paul Mellon, 1907 - 1999 (Upperville, Virginia) [sold, Mellon sale, Christie's, New York, November 14, 1989, lot 7, to the J. Paul Getty Museum 1989.]
https://www.getty.edu/art/collection/objects/683/masaccio-tommaso-di-giovanni-guidi-saint-andrew-italian-1426/Provenance 1426 - late 16th century;Santa Maria del Carmine (Pisa, Italy), commisioned from the artist by Ser Giuliano di Colino di Pietro degli Scarsi di San Giusto, 1426. by 1892;Adolph Bayersdorfer, 1842 - 1901 (Munich, Germany), by gift to Karol Lanckoronski.;Source: Rowlands, Eliot W. Masaccio: Saint Andrew and The Pisa Altarpiece (Los Angeles: J. Paul Getty Museum, 2003), pp. 94-95, 108n268. after 1892 - 1933;Count Karol Lanckoronski, 1848 - 1933 (Vienna, Austria), by inheritance to his son, Antoni Lanckoronski, and his two daughters, Karolina Lanckoronska and Adelheid Lanckoronska, 1933. 1933 - 1939;Antoni Lanckoronski, 1883 - 1965 (Vienna, Austria) and Karolina Lanckoronska, 1898 - 2002 (Vienna, Austria) and Countess Adelheid Lanckoronska, 1903 - 1980 (Vienna, Austria), looted by the Nazis, 1939. 1939 - 1945;In the possession of the Nazis (Schloss Stiesberg, near Wiener-Neustadt, Austria), restituted to Antoni Lanckoronski, Karolina Lanckoronska, and Adelheid Lanckoronska, 1945. 1945 - 1979;Antoni Lanckoronski, 1883 - 1965 (Vienna, Austria, Vorarlberg, Austria, Zurich, Switzerland) and Karolina Lanckoronska, 1898 - 2002 (Vienna, Austria, Vorarlberg, Austria, Zurich, Switzerland) and Countess Adelheid Lanckoronska, 1903 - 1980 (Vienna, Austria, Vorarlberg, Austria, Zurich, Switzerland), sold by Karolina Lanckoronska, through the Heim Gallery (London, England), to the J. Paul Getty Museum, 1979.
https://www.getty.edu/art/collection/objects/5842/by-johannes-andreas-beo-with-clock-movement-by-christian-mollinger-secretaire-german-about-1798-1799/Provenance about 1802 -;Frederick William III, king of Prussia, 1770 - 1840 (Schloss Potsdam, near Berlin, Germany) -;Private Collection (Berlin, Germany);Source: Private correspondence dated October 20, 1987. In the files of the J. Paul Getty Museum, Department of Sculpture and Decorative Arts. -;Ragaller (Munich, Germany);Source: Private correspondence dated October 20, 1987. In the files of the J. Paul Getty Museum, Department of Sculpture and Decorative Arts. - 1956;Private Collection [sold, Weinmüller, Munich, May 2-4, 1956, lot 1111.] - 1974;Private Collection [sold, Weinmüller (Neumeister), Munich, October 23-24, 1974, lot 861.] - 1983;Private Collection (Munich, Germany), sold to Juan Portela Antiques, 1983. 1983 - 1984;Juan Portela Antiques (New York, New York), sold to the J. Paul Getty Museum, 1984.;Source: advertised in catalogue for the thirtieth Winter Antiques Show, a benefit for East Side House Settlement, January 21-29, 1984, p. 254.
http://www.moma.org/collection/works/105745Rafael Efrat, ?; sold through Galerie Thomas, Munich, to Theobald Jennings Gallery, London, 2006; sold to The Museum of Modern Art, New York, 2006
http://www.moma.org/collection/works/33938Acquired 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</blockquote
http://www.moma.org/collection/works/34169Galerie Goltz,f Munich. September 23, 1920Galerie Alfred Flechtheim (d.1937)Mayor Gallery, London. From Alfred Flechtheim, December 21, 1933[Leicester Gallery, London. From Mayor Gallery, March 5, 1936]Auction sale, Estate of Alfred Flechtheim, Mak van Waay, Amsterdam, February 1-2, 1938, no. 335[Brandt, Amsterdam. Purchased at auction, February 1938]Dr. Tannenbaum, Amsterdam, 1939Dr. William Landman, Toronto, Canada. Purchased from Dr. Tannenbaum, 1939 – 1946The Museum of Modern Art, New York. Purchased from Landman, February 1946
http://www.moma.org/collection/works/34734[Marcel Duchamp. By 1926]Friedrich Vordemberge-Gildewart, Stuttgart, Germany. By 1967Auction, Moderne Kunst, Galerie Wolfgang Ketterer, Munich, May 17-18, 1968Allan Frumkin Gallery, New York. Purchased at Ketterer auction, May 18, 1968 - December 1968Joan and Lester Avnet. Purchased from Allan Frumkin Gallery, December 1968 – 1978The Museum of Modern Art, New York. The Joan and Lester Avnet Collection, 1978
http://www.moma.org/collection/works/34885Acquired by Katherine S. Dreier, West Redding and Milford, CT, 1922 [1]; bequeathed to The Museum of Modern Art, New York, 1953. [1] Per Vivian E. Barnett. Kandinsky Watercolours: Catalogue Raisonné. Ithaca, N.Y.: Cornell University Press, 1992, no. 329. Probably acquired from the artist. See also Vivian E. Barnett and Armin Zweite, eds. Kandinsky, kleine Freuden: Aquarelle und Zeichnungen, Munich: Prestel, 1992, no. 22.
http://www.moma.org/collection/works/34897Acquired by Katherine S. Dreier, West Redding and Milford, CT, 1922 [1]; bequeathed to The Museum of Modern Art, New York, 1953. [1] Per Vivian E. Barnett. Kandinsky Watercolours: Catalogue Raisonné. Ithaca, N.Y: Cornell University Press, 1992, no. 354. Probably acquired from the artist. See also Vivian E. Barnett and Armin Zweite, eds. Kandinsky, kleine Freuden: Aquarelle und Zeichnungen, Munich: Prestel, 1992, no. 29.
http://www.moma.org/collection/works/35731Graphisches 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 Sohnes
http://www.moma.org/collection/works/35742Graphisches 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 Sohn
http://www.moma.org/collection/works/35752Graphisches 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 Sohnes
http://www.moma.org/collection/works/35765Graphisches 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 Schweinen
http://www.moma.org/collection/works/36971Erwin Petermann (1904-1989), Stuttgart; Willy Hahn (1896-1988), Stuttgart; Kunsthandel Rainer Horstmann, Hamburg; Allan Frumkin Gallery, New York; Private collection, Chicago; Galerie Thomas Borgmann, Cologne; Galerie Stefan Lennert, Munich, 1978; Serge Sabarsky (1912-1996), New York, 1980 [1]; acquired by the Museum of Modern Art, New York (Gift of Jo Carole and Ronald S. Lauder), 1986.[1] Above sequence of ownership provided by the Nachlass Erich Heckel, Hemmenhofen, Germany.
http://www.moma.org/collection/works/37347Acquired 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., 
http://www.moma.org/collection/works/59763Hans 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 Hoffnung
http://www.moma.org/collection/works/62215Ilse Schweinsteiger, Munich; sold to Garton European Prints, London, 1989; given to The Museum of Modern Art, 1991
http://www.moma.org/collection/works/64218Probably Fred Jahn, Munich, ?. David Nolan, New York, ? ; sold to The Museum of Modern Art, New York, 1986
http://www.moma.org/collection/works/64399Hans 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, 1942
http://www.moma.org/collection/works/64612Galerie Michael Hasenclever, Munich; sold to The Museum of Modern Art, 1990
http://www.moma.org/collection/works/67068Hans 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: Komiker
http://www.moma.org/collection/works/67083Hans 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 Haupt
http://www.moma.org/collection/works/67110Hans 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: Radierung
http://www.moma.org/collection/works/67142Hans 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 Baum
http://www.moma.org/collection/works/67500Hermann Bünemann (1928-1968), Munich; sold to Gutekunst &amp; Klipstein, Bern, Switzerland; sold to William S. Lieberman, winter 1949-50 for acquisition by The Museum of Modern Art, New York, 1951.
http://www.moma.org/collection/works/73391Ilse Schweinsteiger, Munich; to Garton European Prints PLC, London, 1992; to Charles M. Young Fine Prints and Drawings, Glastonbury, Connecticut, [?]; to The Museum of Modern Art, New York, 1995
http://www.moma.org/collection/works/78434Acquired 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 Meisterwerk
http://www.moma.org/collection/works/78616Amedée Schuffenecker, Paris [1]; Galerie Miethke (Carl Moll), Vienna, 1907 [2]. Acquired by Thea Sternheim (1883-1971), Munich/Brussels/Paris, 1912 [3]; on extended loan to The Museum of Modern Art, New York, April 4, 1939 [4]; seized by Alien Property Custodian, New York, July 1944; returned to Thea Sternheim, Paris, May 1951; sold (through Paul Rosenberg &amp; Co., New York) to The Museum of Modern Art, New York, May 1952. [1] Catalogue raisonne Wildenstein 2002, vol. 2, no. 311.[2] Offered for sale at Gauguin exhibition at Galerie Miethke, Vienna (March 15-April 28, 1907), no. 35.[3] Offered for sale at the "Internationale Kunstausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler," Cologne, May 1912-September 30, 1912 (cat. no. 155: Tisch mit 3 fressenden Hündchen, 1888. Acquired from there by Thea Sternheim in 1912.It is plausible that this work passed through Ambroise Vollard"s hands at some stage before Sternheim"s acquisition. See James Laver, French Painting and the Nineteenth Century. With Notes on Artists and Pictures by Michael Sevier and a Postscript by Alfred Flechtheim, New York: Charles Scribner"s, 1937, p. 94, no. 129: "From the collection of M. Ambroise Vollard. / Coll.: Mme. Carl Sternheim, Paris."Included in the auction "Van Gogh Gauguin - Renoir: Collection Mme Théa Sternheim," Frederik Muller &amp; Cie, Amsterdam, February 11, 1919, lot 2. Unsold.[4] Included in the exhibition Art in Our Time: 10th Anniversary Exhibition
http://www.moma.org/collection/works/78578Galerie Kahnweiler (Daniel-Henry Kahnweiler), Paris [1]; acquired by Alfred Flechtheim (1878-1937), Düsseldorf, 1912 [2]; sold Paul Cassirer, Berlin and Hugo Helbing, Munich to Christian Tetzen-Lund (1852-1936), Copenhagen, Denmark, June 5, 1917 [3]; sold through Den Frie, Copenhagen, May 18/19, 1925 [4]. E. and A. Silberman Galleries, Inc., New York by 1958 [5]; sold to Adele R. Levy (1892-1960), New York, February 1958 [6]; acquired by The Museum of Modern Art, New York, 1960 (Mrs. David M. Levy Bequest) [7].[1] Label on verso: Galerie Kahnweiler, 28, rue Vignon, no. 1023.[2] Per Pierre Daix, Picasso: The Cubist Years, Boston: New York Graphic Society, 1979, no. 482. On loan from Flechtheim to the exhibition II. Gesamtausstellung, Galerie Hans Goltz, Munich, August-September 1913, no. 125.[3] Auct. cat. Galerie Flechtheim: Moderne Gemälde, Paul Cassirer, Berlin &amp; Hugo Helbing, Munich, June 5, 1917 no. 207 (Stilleben mit Violine
http://www.moma.org/collection/works/788791913, Franz Marc, Munich, Germany.July 6, 1913 - at least 1940, Willem Wolff Beffie (1880-1950), Amsterdam/Brussels/Brooklyn, purchased from the artist.1940 (?) - 1946, Nierendorf Gallery, New York, probably acquired from Willem Wolff Beffie.1946 - 1988, Solomon R. Guggenheim Museum, New York, purchased from Nierendorf Gallery.1988, The Museum of Modern Art, New York, acquired by exchange with Solomon R. Guggenheim Museum.
http://www.moma.org/collection/works/80391[Maurice de Vlaminck, Paris, 1908] [1]. Acquired by Alfred Flechtheim, Düsseldorf, by 1912 [2]; sold through Paul Cassirer, Berlin and Hugo Helbing, Munich to Sally Falk, Mannheim (1888-1962), June 5, 1917 [3]; sold to Paul Cassirer, Berlin, April 11, 1918 [4]; sold to Oskar Moll (1875-1947), Breslau , April 20, 1918 [5]. Acquired by Alfred Gold (1875-1958), Berlin, Paris and New York, by 1932 [6]. Justin K. Thannhauser (1892-1976), New York [7]; sold to Samuel A. Marx and Florene M. Marx (later Schoenborn), New York, 1951 [8]; acquired by The Museum of Modern Art, New York, 1996 (Florene May Schoenborn Bequest).[1] Per Pierre Daix, Picasso: The Cubist Years, Boston: New York Graphic Society, 1979, no. 105.[2] Ibid. Included in the "Internationale Kunstausstellung" of the Sonderbund Cologne, May 25-September 30, 1912 (no. 217: Frauenkopf), . Lender: Alfred Flechtheim.[3] See auction catalogue Galerie Flechtheim: Moderne Gemälde, Paul Cassirer, Berlin and Hugo Helbing, Munich, June 5, 1917 (no. 203).[4] Roland Dorn et al., Stiftung und Sammlung Sally Falk, Mannheim: Städtische Kunsthalle, 1994, p. 185, no. 297.
http://www.moma.org/collection/works/79016The 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.
http://www.moma.org/collection/works/79117Hugo Perls (1886-1977), Berlin, 1914 [1]; acquired by Hans Purrmann (1880-1966), Berlin, Florence and Zurich, 1916. Sold to Walter Feilchenfeldt, Zurich; sold to Paul Rosenberg Gallery, New York; sold to Betsey Cushing Whitney and John Hay Whitney, New York, 1948 [2]; given to The Museum of Modern Art, New York, 1955.[1] Hugo Perls, Warum ist Kamilla schön?, Munich: List, 1962, p. 80. Acquired in Berlin. Before Perls"s acquisition the painting was included in the exhibition Second Post-Impressionist Exhibition, Grafton Galleries, London, October 5 - December 31, 1912, no. 37 ("Les Poissons"). Lender: "Madame M."[2] Included in the exhibition Henri Matisse: Retrospective Exhibtion of Paintings, Drawings, and Sculpture, Philadelphia Museum of Art, April 3-May 9, 1948 (no. 24: "Collection John Hay Whitney, NY.").
http://www.moma.org/collection/works/79354The 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).
http://www.moma.org/collection/works/80394The artist, Paris; sold through Daniel-Henry Kahnweiler (1884-1979) to Alfred Flechtheim (1878-1937), Düsseldorf, Berlin, and London, 1912 [1]; [on loan to Alex Reid &amp; Lefevre, London] [2]; acquired by Douglas Cooper (1911-1984), London, 1934 or after [3]; acquired by Pierre Matisse Gallery, New York, March 1937 [4]; sold to Walter P. Chrysler, Jr., New York, 1937 [5]; acquired by Florene (1903-1995) and Samuel A. Marx (1948-1964), Chicago, 1955 [6]; acquired by The Museum of Modern Art, New York, 1996 (Florene May Schoenborn Bequest). [1] See Das Kunstblattvol. 15 (January 1931), p. 13, qtd. in Ottfried Dascher, Alfred Flechtheim: Sammler, Kunsthändler, Verleger, Wädenswil: Nimbus, 2011, p. 432.Included in the exhibition Ausstellung Pablo Picasso, Moderne Galerie Heinrich Thannhauser, Munich, February 1913 (no. 52: Frauenkopf, reproduced). See Carl Einstein, 
http://www.moma.org/collection/works/79494Kunsthalle Hamburg, 1918 [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 [3]; sold to Wilhelm Reinhold Valentiner (1880–1958), Detroit, 1939 [4]; acquired by The Museum of Modern Art, New York, 1955 (Gift of Dr. W. R. Valentiner). [1] See Katalog der Neueren Meister, Kunsthalle zu Hamburg, 1927, p. 170, no. 1683. Included in the XVIth Venice Biennialof 1928 (cat. no. 30).[2] EK no.: 15946 (Christus und die Kinder). See Beschlagnahmeinventar "Entartete Kunst," "Degenerate Art" Research Center, FU Berlin). Included in the exhibition Entartete Kunst, Munich (July 19-November 30, 1937) and other venues (Berlin, Leipzig, Düsseldorf, Salzburg). See Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin. [3] Collection files 341.1955, Department of Painting and Sculpture, The Museum of Modern Art, New York. On loan from Valentin to the exhibition Art in Our Time
http://www.moma.org/collection/works/79759The 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).</blockquote
http://www.moma.org/collection/works/80314Saulnier. Until November 10, 1910Galerie Bernheim, Paris. Purchased from Saulnier, November 10, 1910 – December 5, 1916Kunstnerforbundet, Oslo, Norway. Purchased from Bernheim-Jeune, December 5, 1916 –[Galerien Thannhauser, Berlin/Lucerne/Munich. By 1930 ?]Lennart Heijne, Stockholm. By 1954Auction sale, "Tableaux modernes," Palais Galliera, Paris, March 13, 1961Richard Feigen Gallery, New York. [1961?] - 1966Mr. and Mrs. Warren Brandt, New York. Purchased from Feigen, December 1966 - 1976The Museum of Modern Art, New York. Gift of Mr. and Mrs. Warren Brandt, 1976
http://www.moma.org/collection/works/80514[Galerie Klihm, Munich, by 1961] [1]. Acquired by the McCrory Corporation (Meshulam Riklis), by 1977 [2]; The Museum of Modern Art, New York, 1983 (The Riklis Collection of McCrory Corporation).[1] Likely on loan from Klihm to the exhibition Moholy-Nagy, Kunsthalle Mannheim, July 14-August 13, 1961 (no. 19). Also lender to the exhibition Moholy-Nagy, Stedelijk van Abbemuseum Eindhoven, January 20-March 5, 1967 (no. A17).[3] Included in the exhibition Aspekte Konstruktiver Kunst Aspekte Konstruktiver Kunst: Sammlung MccCrory Corporation, Kunsthaus Zurich, January 14 to February 27, 1977 (no. 119). See also Rotzler, Willy, ed. Constructivism and the Geometric Tradition: Selections from the McCrory Corporation Collection. Buffalo: Albright-Knox Art Gallery, 1979 (no. 132).</blockquote
https://www.metmuseum.org/art/collection/search/749639the artist, Munich (until at least 1914), private collection (in 1924), [Galerie Wimmer & Co., Munich, by 1929–33, probably stock no. 110, sold for 6,500 marks to Strafella], Dr. Strafella, Vienna (from 1933), the artist's daughter and son-in-law, Mary Heilmann-Stuck and Albert Heilmann, Villa Stuck, Munich (possibly by 1938–until at least 1948, deposited at the Bayerische Staatsgemäldesammlungen, Munich, probably by April 1944, transferred to depot at Raitenhaslach [844] during World War II, transferred to Munich collecting point [16563] on December 11, 1945, returned to Heilmann on November 17, 1948), [Karl + Faber, Munich, in 1982], private collection (by 1995–97, sale, Christie's, London, October 9, 1997, no. 64), Seymour Stein, New York (until 2003, his sale, Sotheby's, New York, December 11, 2003, no. 169, to private collection), private collection, New York (2003–17)
https://www.metmuseum.org/art/collection/search/634108Hans Beat Wieland, Munich, later Schwyz (bought from the artist, 1896–1920, sold to Kunsthandlung Rath), [Kunsthandlung Rath, Basel, 1920–21, sold for CHF 40,000 to private collection, Basel], private collection, Basel (by family descent, 1921–2013, sale, Christie's, Zürich, December 11, 2013, no. 34, to MMA)
https://www.metmuseum.org/art/collection/search/490131the artist, Davos, Dr. Stoeckli, Davos (in 1952), [Gutekunst & Klipstein, Bern and Otto Stangl, Munich, until 1959, purchased jointly from an unknown seller, for SFr 16,200, sale, Gutekunst & Klipstein, Bern, June 6, 1959, no. 365, sold for SFr 20,000 to Schwarz], François L. Schwarz, New York (1959–at least 1968), Ruth A. Mueller (by 1995–d. 2015, her bequest to MMA)
https://www.metmuseum.org/art/collection/search/488473[with Moderne Galerie (Heinrich Thannhauser), Munich, 1913–14, probably sold on March 31, 1914 to Basler], [Adolphe Basler, Paris, 1914–15, left with Stieglitz in December 1914 as collateral for a loan, upon default of loan on August 15, 1915, acquired by Stieglitz], Alfred Stieglitz, New York (1915–d. 1946, his estate, 1946–49, gift to MMA)
https://www.metmuseum.org/art/collection/search/485185Otto Ralfs, Braunschweig, Ida Bienert, Dresden and Munich (1933–at least 1956), [Marlborough Fine Art Ltd., London, 1966–67], Otto Preminger, New York (from 1967), Heinz Berggruen, Paris and Berlin (1979–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/484877[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)
https://www.metmuseum.org/art/collection/search/484876the artist, Munich (1921–ca. 1922, his gift, probably in spring 1922, to Jawlensky), Alexej von Jawlensky, Wiesbaden (ca. 1922–probably until d. 1941), probably his son, Andreas Nesnakomoff Jawlensky, Switzerland (from 1941), Richard Doetsch-Benziger, Basel (until d. 1958, his estate, from 1958, sold to Kornfeld), Eberhard W. Kornfeld, Bern (until 1962, sale, Klipstein & Kornfeld, Bern, May 24, 1962, no. 126, sold to Granz), Norman Granz, London, Breganzona, Switz., Los Angeles, and Geneva (1962–at least 1970), sale, Sotheby's, New York, November 2, 1978, no. 141, sold to Berggruen, Heinz Berggruen, Paris and Berlin (1978–87, his gift to MMA)
https://www.metmuseum.org/art/collection/search/484863[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)
https://www.metmuseum.org/art/collection/search/484862Ida Bienert, Dresden and Munich (by 1933–d. 1965, sold by her heirs to Galerie Nathan), [Galerie Nathan, Zurich, until 1976, sold in 1976 to Berggruen], Heinz Berggruen, Paris and Berlin (1976–87, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483184the 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)
https://www.metmuseum.org/art/collection/search/483180the artist, Munich (1914–20, sold in May or June 1920 to Goltz), [Galerie Neue Kunst Hans Goltz, Munich, from 1920], Ida Bienert, Dresden and Munich, [Willi Raeber, Basel, until 1948, sale, Gutekunst & Klipstein, Bern, November 27, 1948, no. 156, as "Farbige Komposition," sold for SFr 350], [Galerie Gérald Cramer, Geneva, from 1948], [Galerie Saqqarah, Gstaad], sale, Sotheby's, London, July 3, 1974, no. 170, as "Aquarell, Deutsches Bütten," sold to Acquavella, [Acquavella Galleries, New York, 1974], Heinz Berggruen, Paris and Berlin (1974–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483176the 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)
https://www.metmuseum.org/art/collection/search/483171the artist (1929–37, on consignment to Galerie Alfred Flechtheim, Berlin, 1929–32, on consignment to Galerie Simon [Daniel Henry Kahnweiler], Paris, probably 1933–until 1937, in 1937 to Nierendorf), [Karl Nierendorf, New York, 1937–38, sold in 1938 to Mies van der Rohe], Ludwig Mies van der Rohe, Chicago (1938–50, gift on December 24, 1950 to Georgia van der Rohe), his daughter, Georgia van der Rohe, Munich (from 1950), Heinz;Berggruen, Paris and Berlin (1980–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483170Lily 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)
https://www.metmuseum.org/art/collection/search/483160Heinrich and Antonie Kirchhoff, Wiesbaden (probably 1926–his d. 1934), Antonie Kirchhoff, Wiesbaden (1934–at least 1937, on consignment to Galerie Ferdinand Möller, Berlin, July 31, 1936, returned by Möller to Kirchhoff, July 1, 1937), Theodor and Woty Werner, Berlin and Munich (in 1953), [Marlborough Fine Art Limited, London, until 1959, sold in 1959 to Janis], [Sidney Janis Gallery, New York, 1959, sold to Berggruen], [Galerie Berggruen, Paris, from 1959], Mr. and Mrs. Peter Bensinger, Chicago (by 1962–at least 1965), [Stephen Hahn, New York, from 1973], Heinz Berggruen, Paris and Berlin (1974–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483144the 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)
https://www.metmuseum.org/art/collection/search/483143[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)
https://www.metmuseum.org/art/collection/search/483139the artist, Munich (1920–21, sold in December 1921 to Goltz), [Galerie Neue Kunst Hans Goltz, Munich, from 1921], private collection, Chicago (until ca.1937/40, sold between 1937 and 1940, for $100, to Berggruen), Heinz Berggruen, San Francisco, Paris, and Berlin (by 1940–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483134[Galerie Neue Kunst Hans Goltz, Munich, from 1921], Nate H. Sherman, Chicago (until 1961, sale, Klipstein und Kornfeld, Bern, June 8, 1961, no. 54, sold to Berggruen), Heinz Berggruen, Paris and Berlin (1961–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483132Werner Vowinckel, Cologne and Munich (by 1931–d. 1943), his widow, Edith Vowinckel-Diel, Cologne and Munich (1943–d. 1964, her estate, Cologne, 1964–81), [Dr. Ewald Rathke, Frankfurt, 1981], Heinz Berggruen, Paris and Berlin (1981–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/483127the 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)
https://www.metmuseum.org/art/collection/search/483043[Moderne Galerie Heinrich Thannhäuser, Munich], [Galerie Alfred Flechtheim, Berlin], possibly Morris Hillquit, New York (d. 1933), Mrs. Morris Hillquit, New York (until 1948, her sale, Kende Galleries at Gimbel Brothers, New York, April 1, 1948, no. 38), James Johnson Sweeney, New York (until 1959, sold in December 1959, for $6,000, to Knoedler), [M. Knoedler & Co., Inc., New York, 1959–60, stock no. WCA 2376, sold on April 7, 1960 to Berggruen], Heinz Berggruen, Paris and Berlin (1960–84, gift to MMA)
https://www.metmuseum.org/art/collection/search/479796[ Galerie Fischer, Lucerne, June 18-22, 1963, no. 1258)], [ Galerie Ilas Neufert, Munich (from 1963)], Dr. Hans Mayer(by 1970, c and d only), [ Jan Morsink Ikonen, Amsterdam (sold 2013)]
https://www.metmuseum.org/art/collection/search/479794Abraham Merzbacher, Munich, donated to Stadtbibliothek, Frankfurt am Main(by 1920–1950), Private Collection, Frankfurt and United States (1950–sold 2007), Mr. and Mrs. Michael Steinhardt(2007–13), Steinhardt Judaica Collection sale, Sotheby's, New York (American)(April 29, 2013, lot no. 55)
https://www.metmuseum.org/art/collection/search/479580Chapter of Lübeck Cathedral, Lübeck, Germany (1478–1803/5), Grand Dukes of Oldenburg, Schloss Eutin, Germany (1803/5–sold 1932), Leopold Salomon, Dresden and The Hague (1932–d. 1935), by descent to his widow, Kätchen Henny Alma Auguste Carstens (1935–sold 1941 to Posse under threat of exportation), acquired by Hans Posse (December 23, 1941), stored in Altaussee Salt Mine [Linz inv. no. 2206] (until 1945), held at the Munich Collecting Point [MCCP inv. no. 9658/1] (October 1945–April 29, 1946), transferred to the custody of the Dutch state collection, Stichting Nederlands Kunstbezit [inv. no. NK738] (1946–2008, lent to Limburgs Museum, Venlo), restituted to the heirs of Kätchen Henny Alma Auguste Carstens (2008–10), Kunsthaus Lempertz, Cologne (November 19, 2010, lot 299), [ Rainer Zietz Limited, London (2010–11)]
https://www.metmuseum.org/art/collection/search/477751Wilhelm Clemens, Cologne, Johannes Jantzen, Bremen, [ A. S. Drey, Munich (sold 1936)], [ Paul Graupe, Berlin (June 17-18, 1936, lot 188)], Kunstgewerbemuseum, Staatliche Museen zu Berlin(1936–2006), Restituted to the heirs of the Drey Family(2006), [ Sotheby's, London (British)(December 8, 2006, lot 14)]
https://www.metmuseum.org/art/collection/search/471995Richard Oertel, Munich (by 1913–at least 1924), Private Collection, Southern France, [ Jacqueline Boccador and Edouard Bresset, Paris (1975–sold 1976)]
https://www.metmuseum.org/art/collection/search/471917Alfred Rütschi, Zurich, [ Julius Böhler Kunsthandlung, Munich (sold 1963)]
https://www.metmuseum.org/art/collection/search/470308Piero de Medici, Florence (in 1464?), Earls of Arundel, England (from 1585?-until 1889?), Karl Thewalt, Cologne (by 1900-1903), [ Jacques Seligmann, Paris and New York (purchased 1903)], J. Pierpont Morgan American, London and New York (by 1908 - 1928?), [ Duveen Brothers, London, Paris and New York (sold 1928)], [ Julius Böhler Kunsthandlung, Munich (1928)], Alfred Rütschi, Zurich (before 1929 - by descent to 1952), [ Rosenberg & Stiebel, New York (in 1952)]
https://www.metmuseum.org/art/collection/search/461561Leopold Iklé, Sankt Gallen, Switzerland, [Gebrueder Bernheimer, Munich]. Acquired by Philip Lehman through Bernheimer in September 1930.
https://www.metmuseum.org/art/collection/search/461298[A.S. Drey, Munich]. Acquired by Robert Lehman from Drey in 1924.
https://www.metmuseum.org/art/collection/search/461256Arthur Löbbecke, Braunschweig, Löbbecke sale, Emil & Jacob Hirsch, Munich, 26 November 1908, lot 54, Adalbert von Lanna, Prague, Lanna sale, Rudolph;Lepke, Berlin, 13 – 15 May 1911, lot 93, Henry Oppenheimer, London, Oppenheimer sale, Christie’s, London, 27 July 1936, lot 76 (to [John Hunt, London]). Acquired by Robert Lehman through Hunt from the Oppenheimer sale.
https://www.metmuseum.org/art/collection/search/461122Santa Maria della Scala, Siena, [M. Drey, Munich (1914)], Luigi Grassi, Florence, Marczell de Nemes (sale, Frederick Muller et Cie., November 13-14, 1928, lot 103, ill. [as Sano di Pietro]), Anton W. M. Mensing, Amsterdam (Mensing sale, November 23-25, 1937, lot 8, ill. [as attributed to Sano di Pietro]). Acquired by Robert Lehman through Harold Beenhouwer on 23 November 1937.
https://www.metmuseum.org/art/collection/search/460203Albert Gérard, Paris (sale, Hôtel Drouot, Paris, June 18-23, 1900, lot 222), Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, June 8, 1939, lot 185, [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/460165Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, June 8, 1939, lot 130, ill., [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/459198Isabella d'Este, marchioness of Mantua, Frédéric Spitzer, Paris, Spitzer sale, 1893, lot 1705, ill., Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, June 8, 1939, lot 190, ill., [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/440393the artist, Bassano del Grappa (until d. 1592, inv., 1592, no. 64), by descent to his great-grandson, Carlo Scajaro, Bassano del Grappa (by 1648–d. 1651), his sisters, Marietta and Anna Scajaro, Bassano del Grappa (1651–73, sold through Marietta's husband, Amadio Grossa, with six other pictures for 300 ducats to Stecchini), Giacomo and Pietro Stecchini, Romano d'Ezzelino, Bassano, and Venice (from 1673), Giacomo Ignazio Stecchini, Venice (in ca. 1775),?Guarini-Torelli collection, Forlì (in 1893), [Schnackenberg, Munich, by 1931–37, sold to Huldschinsky], Paul Huldschinsky, Santa Monica, Calif. (1937–d. 1947, his estate, New York, until 1964, sold for $10,000 to Virch), Claus Virch, New York, later Paris (1964–2009), private collection (from 2009)
https://www.metmuseum.org/art/collection/search/440351[Günther Franke, Munich], [Thomas le Claire Kunsthandel, Hamburg, in 2005], Eugene V. Thaw, New York (until 2009)
https://www.metmuseum.org/art/collection/search/437970William à Court, 1st Baron Heytesbury, Heytesbury House, Wiltshire (probably by 1823–d. 1860, purchased in Madrid), his son, William Henry Ashe Holmes à Court, 2nd Baron Heytesbury, Heytesbury House (1860–d. 1891), his grandson, William Frederick Holmes-à Court, 3rd Baron Heytesbury, Heytesbury House (1891–d. 1903), his widow, Margaret Anna, Lady Heytesbury, Heytesbury House (1903–d. 1920, her estate, 1920–26, her estate sale, Hampton & Sons and Edens, Heytesbury, April 27, 1926, no. 1329, for £39.18), [Julius Böhler, Munich, and F. Steinmeyer, Lucerne, by 1927–50, sold to Kleinberger], [Kleinberger, New York, 1950–75, bequeathed by Harry G. Sperling, last surviving partner of firm, to MMA]
https://www.metmuseum.org/art/collection/search/437909church of Santi Giovanni e Paolo, Venice, Giovanni Vianelli, Chioggia (in 1790, cat., 1790, as by Bartolomeo Vivarini), Achillito Chiesa, Milan (until 1927, sale, American Art Association, New York, November 22–23, 1927, no. 109, as "The Miracle of St. Domenico," by Jacopo Bellini, for $2,400 to Steinmeyer), [F. Steinmeyer, Lucerne, 1927], [F. Steinmeyer, Lucerne, and Julius Böhler, Munich, 1927–29, sold to Lugt], [Frits Lugt, Amsterdam, from 1929], [Martin Asscher, London, until 1937], [conte Alessandro Contini Bonacossi, Florence, 1937, as by Antonio Vivarini, sold to Kress], Samuel H. Kress, New York (1937)
https://www.metmuseum.org/art/collection/search/437828comte Arthur de Vogüé, château de Commarin, near Dijon, his daughter-in-law, comtesse Charles de Vogüé, château de Commarin (?sold to Loebl), [Loebl, Paris, sold to Abdy], Sir Robert Henry Edward Abdy, Newton Ferrers, Callington, Cornwall, [A. S. Drey, Munich, 1925–27, as by Titian, sold to MMA]
https://www.metmuseum.org/art/collection/search/437062?Dr. Carvalho, Paris, René della Faille de Waerloos, Antwerp (until 1903, sale, Frederik Muller, Amsterdam, July 7, 1903, no. 3, as by Hans Memling), [Bourgeois Frères, Cologne, until 1904, their sale, Krings and Lempertz, Cologne, October 27–29, 1904, no. 53, as by the Master of the Ursula Legend, for 13,300 marks to Böhler], [Julius Böhler, Munich, from 1904], Richard von Kaufmann, Berlin (until d. 1908, his estate sale, Cassirer & Helbing, Berlin, December 4ff., 1917, no. 70, as by Memling, for 135,000 marks to Beskow), [Beskow, Sweden (presumably Axel Beskow, partner to Julius Weitzner ca. 1924), from 1917], [Duveen, Paris, London, and New York, until 1928, sold for $150,000 to Bache], Jules S. Bache, New York (1928–d. 1944, his estate, 1944–49, cats., 1929, unnumbered, 1937, no. 23, 1943, no. 22)
https://www.metmuseum.org/art/collection/search/436967?sacristy of the church of the Spedale degli Incurabili, Venice (by 1664–at least 1797), Pietro d'Aiuti, Munich (in mid-1880s) and Naples, conte Agosto d'Aiuti, Naples (until 1902, sold to Dowdeswell), [Dowdeswell & Dowdeswell, London, 1902–3, sold for £4,000 to Weber], Eduard F. Weber, Hamburg (1903–d. 1912, his estate, 1907–12, cat., 1907, no. 20, his estate sale, Lepke's, Berlin, February 20–22, no. 20, for 590,000 marks to Kleinberger), [Kleinberger, Paris and New York, 1912, sold for $162,706 to Altman], Benjamin Altman, New York (1912–d. 1913)
https://www.metmuseum.org/art/collection/search/436698private collection, France (sale, Dorotheum, Vienna, December 5, 1960, no. 50, bought in), [J. R. Bier, Haarlem, in 1962], [Brod Gallery, London, in 1962], William Drown, London (until 1964, sold to Böhler), [Julius Böhler, Munich, 1964, sold to MMA]
https://www.metmuseum.org/art/collection/search/436648Joshua Charles Vanneck, 4th Baron Huntingfield of Heveningham Hall, Yoxford, Suffolk (until d. 1915), [Asscher & Welker, London, in 1933], [D. Katz, Dieren, The Netherlands, in 1934], [W. E. Duits, Amsterdam, in 1935], [Galerie Sanct Lucas, Vienna, sold to Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (by 1937–d. 1959, seized in Paris by the Nazis, held at Alt Aussee [1167/2] and at Munich collecting point [1368], returned to France October 30, 1946, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–64, life interest, 1964–d. 1984)
https://www.metmuseum.org/art/collection/search/436512Dominican chapel, church of San Domenico, Siena (1445–about 1525/49), Guelfi chapel, San Domenico (about 1525/49–1628), refectory of the convent of San Domenico (from about 1628), the Palmieri Nuti brothers, Siena (by 1904–6), [Böhler, Munich, 1906], [Georges Brauer, Florence, 1906, sold to MMA]
https://www.metmuseum.org/art/collection/search/436244Leonhard Tucher, Nuremberg (from about 1519–d. 1568), his son, Paul IV Tucher, Nuremberg (1568–d. 1603, inv., 1604, presumably this picture), his son, Leonhard II Tucher, Nuremberg (from 1603), Gabriel III Tucher, Nuremberg (until d. 1628), Hans von Furtenbach, Nuremberg (1628–30, sold to Maximilian), Maximilian I, Elector of Bavaria, Munich (1630–d. 1651), Electors of Bavaria, later [from 1806] Kings of Bavaria, Residenz, Munich, later Schloß Schleißheim, Oberschleißheim, Germany (1651–1852, their sale, Munich, April 13–23, 1852, no. 128, for fl. 50 to Entres), [Joseph Otto Entres, Munich, 1852–67, sold for Fr 46,000 to Kuris], Ivan Iraklievich Kuris, Odessa (1867–d. 1898), his widow, Liubov' Ivanovna Kuris, Odessa and Dresden (1898–1911, sold to Duveen), [Duveen, New York, 1911, sold for $228,890 to Altman], Benjamin Altman, New York (1911–d. 1913)
https://www.metmuseum.org/art/collection/search/436037Freiherr von Lüttwitz, Lüttwitzhof, Mittelsteine, Glatz, Silesia (until 1889/90, sale, Lepke's, Berlin, 1889/90), Freiherr Konrad von Falkenhausen, Schloss Wallisfurth, Wallisfurth, Glatz (d. 1898), Fräulein E. Hubrich, Breslau, Silesia (by 1899–1900), [Georg Voss, Berlin], Marczell von Nemes, Munich (by 1922, on loan to the Germanisches Nationalmuseum, Nuremberg, 1922–24, his sale, Frederik Muller & Cie, Amsterdam, November 13–14, 1928, no. 51, sold to MMA)
https://www.metmuseum.org/art/collection/search/436034D. Schevitch, Paris (until 1906, his sale, Galerie Georges Petit, Paris, April 4–7, 1906, no. 3, as by Cranach, for Fr 1,350 to Drey),?[A. S. Drey, Paris and Munich, from 1906], Gustav von Gerhardt, Budapest (until 1911, his estate sale, Lepke's, Berlin, November 10, 1911, no. 81, as by Lucas Cranach the Younger, bought in, his estate, from 1911), sale, American Art Association, New York, February 2–3, 1928, no. 108, "To be sold to close an Estate," for $500, [R. Ederheimer, New York, until 1936], Henry Schniewind, New York (from 1936), Mrs. Arthur Corwin, Greenwich, Conn. (by 1945–55, sold to Newhouse), [Newhouse Galleries, New York, 1955, sold to Linsky], Mr. and Mrs. Jack Linsky, New York (1955–his d. 1980), Mrs. Jack Linsky, New York (1980–82)
https://www.metmuseum.org/art/collection/search/435680?Jan Vincent Coster, Amsterdam (in 1622), John Andrews (until 1832, his estate sale, Christie's, London, March 3, 1832, no. 65, for £8.8 to Tuck), Isidor Sachs, Vienna (until d. 1871, his estate sale, Posonyi, Vienna, December 17, 1872, no. 97), [H. O. Miethke, Vienna, about 1889–92], Carl Franze, Tetschen (until 1916, posthumous sale, Lepke's, Berlin, November 7, 1916, no. 63), Prof. Curt Glaser, Berlin (by 1928–33, his anonymous sale, Internationales Kunst- und Auktions-Haus, Berlin, May 9, 1933, no. 241, to Gurlitt), [Wolfgang Gurlitt, Munich, 1933–at least 1962], [Adolphe Stein, Paris, until 1965, sold for $8,000 to Kleinberger], [Kleinberger, New York, 1965–66, sold to Reid], Bagley Reid, New York (1966–72, sold to MMA)
https://www.metmuseum.org/art/collection/search/435585[Steinmeyer, Munich, until 1912, sold to MMA]
https://www.metmuseum.org/art/collection/search/417605Thomas le Claire Kunsthandel, Hamburg, ca. 1986, Private Collection, Germany, sale, Kunsthaus Lempertz, May 12, 2012, lot 1501, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/405474Joseph Wopfner (Austrian), possibly Franz Defregger (Austrian), possibly Wilhelm von Borscht (German), sale, Kunsthaus Lempertz, November 19, 2011, lot 1411, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/398243Sale, Dorotheum (Austrian), March 24, 2011, lot 64, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/395221Prince Charles de Ligne (Austrian), A. Klein (German), (1880 - 1951), Frankfurt, Lugt 2786 b, Private Collection, Switzerland, sale, Koller Auktionen (Swiss), 17 Sep 2010, lot 03327, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/395059probably Hendrik van Eyl Sluyter (Dutch), and his sale, Amsterdam, September 26, 1814 and following days, album C, no. 57, Oskar Huldschinsky, his sale, Graupe, November 3, 1931, lot 55, sale, Sotheby's, London (British), July 6, 2010, lot 150, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/394486Lucien Goldschmidt, 1983, sale, Dorotheum (Austrian), June 2, 2010, lot 84, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/394484Probably previously owned by Jurié von Lavandal, before 1931, sale, Dorotheum (Austrian), June 2, 2010, lot 142(as by Bartholomeus Breenbergh), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/394483Tiroler Landesmuseum Ferdinandeum, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/393554Private Collection, Vienna, sale, Dorotheum (Austrian), April 20, 2010, lot 178, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/388400sale, Kunsthaus Lempertz, May 16, 2009, lot 1220, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/385245Dorotheum (Austrian), May 18, 1911, Kornfeld and Klipstein, June 16, 1960, Haldi Collection, August Laube, Zürich, Karl & Faber, May 28, 2008, lot 403, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/385241Galerie Fischer, Lucerne, Karl & Faber, May 28, 2008, lot 189, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/385072Sammlung Lumnitzer-Brünn, Sale Dorotheum (Austrian), September 29, 2004, lot 181, Sale Christie's, London, December 10, 2008, lot 1, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/383934Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/383932Graupe, 1928, Graupe, April 17, 1929, lot 172, sale, Kunsthaus Lempertz, November 17, 2007, lot 1433, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/383908Walter Bareiss (German American), his sale, Karl & Faber, November 30, 2007, lot 226, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/382344Heinrich Kaspar Lempertz (German), possibly his sale, Heberle, Cologne (German), October 17-20, 1905 or Feb 26-28, 1908, sale, Ketterer Kunst, Hamburg, March 21, 2007, lot 1110(as by an anonymous seventeenth- or eighteenth-century South-German artist), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/382341Descendants of the artist, Manfred Gorke, C. G. Boerner, Leipzig (German), 1938, no. 112, Karl Vötterle (German), Private Collection, Switzerland, Christie's, London, May 20, 1993, lot 331, Kunsthaus Lempertz, May, 19, 2007, lot 1435, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/376767Heinrich Kaspar Lempertz (German), sale, Karl & Faber, December 7, 2006, lot 295, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/373908Pupil of Adam Gutmann, Ernst Heinrich Ehlers (German), his sale, C. G. Boerner, Dusseldorf (German), May 25, 1938, lot 18(as by the artist Hans Guttman), Rosgartenmuseum Konstanz(acc. to annotated Boerner's catalogue), sale, Christie's, London, July 4, 2006, lot 50, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/373691Galerie Bassenge (German), December 1, 2005, lot 5582, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/372646Carl Morgenstern (German), Kunsthaus Lempertz, May 22, 2004, lot 1321 (as J.F. Morgenstern), Reiss & Sohn, October 27, 2006, lot 5964 (as J.F.M), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/368569Galerie Fischer, Lucerne Sale, November 17, 2004, lot 1306, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/366226Carl Heumann (German), Carl Heumann's heirs (German), Kornfeld and Klipstein sale June 17, 2004, lot 78, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/366224Friedrich Salathé (Swiss)(sold in artist's estate sale, 1913, no. 33), Carl Heumann (German), Carl Heumann's heirs (German), Kornfeld and Klipstein sale June 17, 2004, lot 67, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/366205Carl Heumann (German), Carl Heumann's heirs (German), Kornfeld and Klipstein Sale June 17, 2004, lot 40, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/366202Carl Heumann (German), Carl Heumann's heirs (German), Kornfeld and Klipstein, June 17, 2004, lot 19, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/366201Carl Heumann (German)Chemnitz, Germany, Carl Heumann's heirs (German), Kornfeld and Klipstein, June 17, 2004, lot 4, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/343415Leo Blumenreich, Franz Koenigs, Sale: Sotheby's, New York (American)January 23, 2001, lot 12, Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich Donor: Pat and John Rosenwald Gift Donor: Gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family
https://www.metmuseum.org/art/collection/search/343414Henry Oppenheimer (British), his sale, Christie's, London, July 10, 13–14, 1936, lot 388 (£48 6s to How), Franz Koenigs, The descendants of Franz Koenigs, Their sale, Sotheby's, New York (American), January 23, 2001, lot 8, Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/343413J. G. H. Winckler, sale, F.A.C. Prestel, Frankfurt (German), November 10-16, 1920, lot 2032, pl. 5, Franz Koenigs(remaining in family until 2001), sale, Sotheby's, New York (American), Januay 23, 2001, lot 6, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/343412Eugène Rodrigues, Frederik Muller & Cie (Dutch), July 12-13, 1921, lot 31 (to Cassirer), Leo Blumenreich, Franz Koenigs(remaining in the family until 2001), sale, Sotheby's, New York (American), January 23, 2001, lot 4, Vendor: Katrin Bellinger Kunsthandel, Munich Donor: Eugene Victor Thaw Gift
https://www.metmuseum.org/art/collection/search/335426William Mayor (British), J. W. Collection (British), London, Sale, Helbing, Munich, 19 June 1897, lot 435, Gaston Ritter von Mallman, Berlin, sale Rudolph Lepke, 13–14 June 1918, lot 54, János Scholz (Hungarian)
https://www.metmuseum.org/art/collection/search/334697Peter Vischer, Defer-Dumesnil (French), Sale Hôtel Drouot, Paris, May 10–12, 1900, lot 42 as Hans Baldung Grien, Sale Hôtel Drouot, Paris, November 21, 1997, lot 35 as German School, 16th cent, Donor: Gift of Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/32782Richard Zschille, Großenhain, Saxony, Germany (until 1897, The Collection of Armour and Arms and hunting equipments of Herr Richard Zschille of Grossenhain, Christie, Manson & Woods, London, January 25–February 1, 1897, no. 161, sold, for for £14 10 sh., to Forrer), Robert Forrer, Straßburg, German Empire (now Strasbourg, France) (from 1897), [Ehemalig R. Zschille’sche Waffensammlung, Rudolph Lepke, Berlin, March 21–22, 1900, no. 52], [Kunstauktions-Katalog der vorzüglichen Sammlungen Hofrat Dr. G. J. von R. In K., Gustav Böhler, Mühlhausen i. E., Galerie Hugo Helbing, Munich, April 28–30, 1902, no. 798], [unknown dealer, London, until 1905, sold to Keasbey], Henry Griffith Keasbey, Eastbourne, Sussex, England (1905–25, his sale, The Henry Griffith Keasbey Collection, American Art Galleries, New York, November 27–28, 1925, no. 97, sold, for $170, to Pratt), George D. Pratt, Glen Cove, Long Island, NY (1925, his gift to MMA).
https://www.metmuseum.org/art/collection/search/29626Richard Zschille, Großenhain, Saxony, Germany (by 1892), [Sale, Ehemalig R. Zschille’sche Waffensammlung, Rudolph Lepke, Berlin, March 21–22, 1900, no. 57], [Sale, Kunstauktions-Katalog der vorzüglichen Sammlungen Hofrat Dr. G. J. von R. In K., Gustav Böhler, Mühlhausen i. E., Galerie Hugo Helbing, Munich, April 28–30, 1902, no. 800], Frank Gair Macomber, Boston (1920–36, his sale, The Frank Gair Macomber Collection, American Art Association, New York, December 10–12, 1936, no. 422, sold, for $45, to Zabriskie), Christian A. Zabriskie, New York (1936, his gift to MMA).
https://www.metmuseum.org/art/collection/search/23944Count Franz I zu Erbach-Erbach, Schloss Erbach im Odenwald, Germany (by 1807–d. 1823, said to originate from Amberg, by descent through the family to Count Conrad zu Erbach-Erbach), Count Conrad zu Erbach-Erbach, Schloss Erbach im Odenwald (1920–1933, sold to Drey, 1933), [A. S. Drey, Munich, 1933, sold to MMA, December 18, 1933].
https://www.metmuseum.org/art/collection/search/219735[ L. Bernheimer, Munich, until 1914, sold to MMA ]
https://www.metmuseum.org/art/collection/search/219734[ L. Bernheimer, Munich, until 1914, sold to MMA ]
https://www.metmuseum.org/art/collection/search/219733[ L. Bernheimer, Munich, until 1914, sold to MMA ]
https://www.metmuseum.org/art/collection/search/209314[ sale, Christie's, London, June 20, 1972, no. 116 ], Dr. Gustav Rau, [ sale, Sotheby's, London, July 2, 1997, no. 101 ], [ Julius Böhler, Munich (1998–99, sold to MMA) ]
https://www.metmuseum.org/art/collection/search/200918Mr. Eugen Gutmann, Berlin, von Pannwitz (until 1905, his sale, Galerie Hugo Helbing, Munich, October 23–24, 1905, no. 387, sold to Rothberger), Heinrich Rothberger, Vienna (1905–36, sold to Ball), [ Alex Ball, New York, around 1936–July 1946, sold to Mr. Wilson], R. Thornton Wilson (1946–50, to MMA)
https://www.metmuseum.org/art/collection/search/197763Arthur Löbbecke (until 1908, sale, Hirsche, Munich, November 26, 1908, no. 84), Adalbert von Lanna (until 1911, his sale, Rudolph Lepke's Kunst-Auctions-Haus, Berlin, May 16–19, 1911, no. 223), Henry Oppenheimer (until 1936, sale, Christie, Manson and Woods, July 27, 1936, no. 120, sold to MMA)
https://www.metmuseum.org/art/collection/search/193467possibly Lorenz Gedon, Munich (until 1884, his sale, J. M. Heberle, Munich, June 17–21, 1884, no. 131), Mr. Eugen Gutmann, Berlin (before 1907), J. Pierpont Morgan (until 1917, to MMA)
https://www.metmuseum.org/art/collection/search/203286Bunal (1857), probably Salomon, Dresden, Margarete Oppenheim (until 1936, sale, J. Boehler, Munich, May, 1936, no. 559), Irwin Untermyer, New York (until 1964, to MMA)
https://www.metmuseum.org/art/collection/search/22860[Thomas Gwennap, London, 1816–33], A. C. Lafontaine, England (until 1914, sold to Böhler), [Julius Böhler, Munich, 1914, sold to Germanisches Nationalmuseum], Germanisches Nationalmuseum, Nuremberg (1914–22, sold to a private collector), private collection, Holland (1922–23, sold through Julius Goldshmidt to MMA).
https://www.metmuseum.org/art/collection/search/27960Count Gino Cittadella Vigodarzere, Villa Soanara near Padua (before 1913, sold to Grassi), [Luigi Grassi, Florence, by 1913, sold to A.S. Drey];[A.S. Drey, Munich, 1913, sold to Böhler], [Julius Böhler, Munich, from 1913, sold to Whawell], [Samuel James Whawell, London, by about 1915], Sir Guy Francis Laking, London (until d. 1919, The Collection of Arms and Armour and Objects of Art formed by Sir Guy Francis Laking sale, Christies, April 19–22, 1920, no. 40, sold to Mackay, for 1200 gns.), Clarence Mackay, Roslyn, NY (1920–d. 1938, his estate, sold through Jacques Seligmann & Co. to Grancsay), Stephen Grancsay, New York (by January 14, 1941–42, his gift to MMA).
https://www.metmuseum.org/art/collection/search/336016Ownership unconfirmed: M. Ducornet (French), Unconfirmed: Claude Roger-Marx (French), Ownership unconfirmed: Etienne-François Haro, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/336111Private Collection, Munich, Didier Aaron, Inc. (French), Private collection, France, Sotheby's, London (British)June 17, 1976, lot 186, as Clerisseau., Vendor: Galerie de Bayser, Paris
https://www.metmuseum.org/art/collection/search/337930Possibly previously owned by Emperor Rudolf II, Adalbert Freiherr von Lanna (Bohemian), his sale H. G. Gutekunst, Stuttgart (German), May 6-11, 1910, lot 596, Frau Toni Straus-Negbaur, her sale, Bruno Cassirer (German), November 25-26, 1930, lot 111, Private Collection, Germany, With Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/338133sale, Hôtel Drouot, Paris, April 9, 1999, lot 1, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/338789William Pitcairn Knowles, sale, Frederik Muller & Cie (Dutch), June 25–26,1895, lot 494, Anton W. Mensing, sale, Frederik Muller & Cie (Dutch), June 15, 1926, lot 414, Comte de Robiano, Alfred Normand (French), Christie's, London, July 6, 1999, lot 131, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/341676Hôtel Drouot, Paris, Drouot Richelieu sale 31 March 2000, lot 103, Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/343544Jean Denis Lempereur (French), Henry Oppenheimer (British), his sale, Christie's, London, July 10, 13–14, 1936, lot 319B, Carel Emil Duits, Sotheby's, Amsterdam, November 8, 2000, lot 64, Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/344987Général Comte Antoine François Andreossy, his sale, Laneuville, France, April 1864, lot 144, Eugène Rodrigues, sale, Frederik Muller & Cie (Dutch), July 12, 1921, lot 75, Anton W. Mensing, Frederik Muller & Cie (Dutch), April 27–29, 1937, lot 366, Charles Albert de Burlet, Hans Schaeffer, Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/345072Pierre Crozat (French)(?) (according to inscription on mount), Peter Vischer, Jean-Marc Du Pan (Swiss), his Sale, Paris, March 26-28, 1840 (as Anonymous Master), Charles Louis Fleury Panckoucke (French)(according to the inscription on the mount), sale, Christie's, LondonJuly 10, 2001, lot 149, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/347515possibly in sale, L'Illustration (French), Amsterdam, December 9, 1776, Kbk. E, no.320, possibly in sale, L'Illustration (French), Metayer, Amsterdam, December 16, 1799, Kbk. I,no.4, sale, I. Schmidt and Hagedorn, Amsterdam, April 24, 1820, KbK. F, no.21, possibly in sale, I. van Idsinga, Amsterdam, November 2 1840, Kbk. H, no. 4, P. Langerhuizen sale, Muller, April 29, 1919, no. 544 [fl.100], Henry Oppenheimer (British), his sale, Christie's, London, July 10, 13–14, 1936, lot 270A (£25 to Goldschmidt), Previously possibly owned by Ernst Goldschmidt, Sale, Ader Tajan, Paris, October 28, 1994, lot 32, ill, William Pitcairn Knowles, Johan Goll van Franckenstein Sr., Pieter Langerhuizen, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/347694D. Vis Blokhuyzen, W. C. P. van Reede van Oudtshoorn, William Pitcairn Knowles, Pieter Langerhuizen, Anton W. Mensing, Possibly previously owned by Ernst Goldschmidt, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/348161William Roscoe (British), William Esdaile (British), Ernst Goldschmidt, Anton W. Mensing (to Hirschmann), his sale, Frederik Muller & Cie (Dutch), April 27–29, 1937, lot 676, Ader Tajan, sale, Paris, October 28, 1994, lot 39, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/354279Everhard Jabach (German), Pierre Crozat (French), his sale, Paris, April 10, 1741, lot 797, Jean-Baptiste Glomy (French), Paris (?), Mr. Pascalis, Marseille, and his sale, Marseille, December 20, 1869, Didier Aaron, Inc. (French), Private collection, France, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/358045Pierre Jean Mariette (French), his sale, Paris, Nov. 15, 1775 - Jan. 30, 1776, possibly part of lot 1332., Philippe de Chennevières (French)sale, Hôtel Drouot, Paris, April 4-7 1900, part of lot 226. Sold to Lemeilleur for 11 francs (according to Louis-Antoine Prat, Chennevières exh. cat, 2007)., Lemeilleur, Louis Deglatigny (French), sale, Hôtel Drouot, Paris, June 14-15, 1937, lot 83., Hôtel Drouot, Paris, April 12, 2002, lot 24, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/358051Sale, Sotheby's, London (British), July 10, 2002, lot 105 (circle of Altdorfer), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/358054Mrs. Vivian Neal, sale, Sotheby's, London (British), March 28, 1968, lot 119(as attributed to A. Claesz), sale, Sotheby's, London (British), July 10, 2002, lot 104lot 104, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/359455Christie's, New YorkJanuary 22, 2003, lot 119 illustrated, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/359456Christie's, New York, January 22, 2003, lot 197 (i) ill., Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/359471Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/359572Christie's, New York, January 22, 2003, lot 197 (ii) ill., Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/359579The artist's wife, Harriet Hilton De Wint (British), The artist's daughter, Helen De Wint Tatlock (British), The artist's grand-daughter, Miss Harriet Helen Tatlock (British), Miss Muriel Grace Bostock (British), companion of the preceding, Sir Geoffrey Harmsworth, 3rd Baronet (British), Private Collection, England, Andrew Wyld (British), in 1979, Stanhope Shelton (British), Anonymous sale, Christie's, London, April 7, 1998, lot 55, Thomas Agnew & Sons, Ltd., in 1999, Monsieur and Madame Gérald Bauer, Christie's, London, Jan. 22, 2003, lot 44, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/359580The artist's sale (Lugt 1734), Christie's, London, March 13-15, 1884, Cornish Torbock (British)(sold at the following), Sale, Sotheby's, London (British), April 14, 1994, lot 214, Monsieur and Madame Gérald Bauer(sold at the following), Sale, Christie's, London, Jan. 22, 2003, lot 47, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/363486Robert Cadell (British)(1825 or 1826), Lewis Brown (British)(1831)Probably bought the drawing from Cadell., Christie's, London, May 28, 1835, lot 48 (bought Alnutt)Bought Allnutt, Sir Thomas Alnutt, 2nd Earl of Brassey (British), and by descent, Christie's, London, November 17, 1987, lot 95 (bought Feigen)Bought Feigen., Richard L. Feigen && Co., New York;Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/366736Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/368548Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/381954Paul Frantz Marcou, Catherine Dumas (French), Marcou sale, Hôtel Drouot, Paris, May 23, 2007, lot 140, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/385267Wilhelm Adam Thierry (German), Meiningen, later to his his descendants, art market, Coburg, Ernst Friedrich Redslob (German), Weimar, acquired in 1910, sale, Gilhofer & RanschburgJune 28, 1934, lot 5, sale, Hollstein und Puppel, BerlinFebruary 27-28, 1933, lot 574, Private Collection, Berlin, 1940, Dr. Hugo von Ziegler, his sale, Sotheby's, New York (American), 28 January 2009, lot 9, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/388920Paul and Marianne Gourary, Gourary sale, Christie's, New York, June 12, 2009, lot 96, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/395794Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/396854Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/399223sale, Hôtel Drouot, Paris, May 13, 2011, lot 29(as by an anonymous Northern artist of the 17th century), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/406958Carel Emil Duits, Galerie Bassenge (German), November 25, 2011, lot 6237, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/408990Collection of the artist, Jacques Louis David (French), included in his inventaire après décès, Feb. 27, 1826, estate sale of Jacques Louis David (French), Paris, April 17, 1826, no. 59, purchased by M. Guéret (French), Baron Roger Portalis (French), Paris, sale, Hôtel des Ventes du Vieux Palais, Rouen, October 20, 1996, no. 64 (no catalogue), Private collection, France, sale, Sotheby's, New York (American), January 23, 2001, no. 317, Katrin Bellinger Kunsthandel, Munich, sold to Wrightsman, Mrs. Charles Wrightsman, New York, from 2001, Donor: Jayne Wrightsman
https://www.metmuseum.org/art/collection/search/418340Galerie de la Scala, Paris, ca. 2006, sale, Piasa, Paris, 28 March 2012, lot 86, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/418342possibly Samuel van Huls (Dutch), possibly his sale, Amsterdam, May 14, 1736 and following days, part of lot 5, 6, or 7, Jean-Jacques Senon (French), his sale, Hôtel Drouot, Paris, April 2, 2012, lot 1(as attributed to Vellert), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/418343Jean-Jacques Senon (French), his sale, Hôtel Drouot, Paris, April 2, 2012, lot 11(as by an artist from the circle of Pieter Coecke van Aelst), Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/418344Jean-Jacques Senon (French), his sale, Hôtel Drouot, Paris, April 2, 2012, lot 13, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/418345sale, Hôtel Drouot, Paris, June 30, 1995, lot 18, Jean-Jacques Senon (French), his sale, Hôtel Drouot, Paris, April 2, 2012, lot 47, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/420445Christie's, London, 4 July 1978, lot 62, Sotheby's, London (British), 4 July 2012, lot 35, Vendor: Katrin Bellinger Kunsthandel, Munich
https://www.metmuseum.org/art/collection/search/435574Friedrich August von Kaulbach, Munich (about 1892–1912), [Böhler, Munich, 1912, sold to MMA]
https://www.metmuseum.org/art/collection/search/435663[Galerie Sanct Lucas, Vienna, sold to Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (by 1938–d. 1959, seized in Paris by the Nazis, held at Alt Aussee [1074/3] and at Munich collecting point [1275], returned to France October 30, 1946, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–71)
https://www.metmuseum.org/art/collection/search/435665Palazzo Torrigiani, Florence, [Stefano Bardini, Florence, until 1899, his sale, Christie's, London, June 5, 1899, no. 360, as by "Pesellino?"], [Colnaghi, London, 1899], Leopold II, King of Belgium, Brussels (1899–1909), [Julius Böhler, Munich, 1909], [Julius Böhler, Munich, and Kleinberger, Paris, 1909, sold for £5,000 to Morgan], J. Pierpont Morgan, New York (1909)
https://www.metmuseum.org/art/collection/search/435678Heinz Kisters, Kreuzlingen, Switzerland (in 1965), private collection (until 1968, sold to Böhler), [Julius Böhler, Munich, 1968–1969, sold to Kleinberger], [Kleinberger, New York, 1969–75, bequeathed by Harry G. Sperling, last surviving partner of firm, to MMA]
https://www.metmuseum.org/art/collection/search/435765[Bricken, Cologne, sold to A. Müller for a prince of Hohenzollern-Sigmaringen], Fürst Karl Anton von Hohenzollern-Sigmaringen (by 1868–d. 1885), Fürsten von Hohenzollern, Fürstlich Hohenzollern’sches Museum, Sigmaringen (from 1885), [A. S. Drey, Munich and New York, by 1928–29], Ernst Rosenfeld, New York (1929–d. 1937, his estate 1937–43), Mr. and Mrs. Jack Linsky, New York (1943–his d. 1980), The Jack and Belle Linsky Foundation, New York (1980–82)
https://www.metmuseum.org/art/collection/search/435766Gabriel Johann Peter Weyer, Cologne (in 1852, cat., [1852], no. 180?), Prince Karl Anton von Hohenzollern-Sigmaringen (in 1871, cat., 1871, no. 29), the Princes of Hohenzollern, Königliches Museum, Sigmaringen, [A. S. Drey, Munich and New York, by 1925–28], [Duveen, Paris and New York, 1928, sold for $200,000 to Bache], Jules S. Bache, New York (1928–d. 1944, his estate, 1944–49, cats., 1929, unnumbered, 1937, no. 19, 1943, no. 18)
https://www.metmuseum.org/art/collection/search/435835?[art market, Berlin, by 1927–at least 1928], private collection, Berlin (in 1933), [Galerie Sanct Lucas, Vienna, until 1938, exchanged with Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (1938–d. 1959, seized in Paris by the Nazis, held at Alt Aussee [1267/2] and at Munich collecting point [1468], returned to France October 30, 1946, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–63)
https://www.metmuseum.org/art/collection/search/435874the artist (until ca. 1899, sold for Fr 350 through Paul Cézanne fils to Vollard), [Ambroise Vollard, Paris, ca. 1899–1900, stock book A, no. 4141 (as "La maison fendue—peinture à l'huile—une maison sur la montagne," valued at Fr 2,000), traded together with two other Cézannes, an oil (Rewald 1996, no. 729, valued at Fr 1,800) and a watercolor (possibly Rewald 1983, no. 371), for one Degas pastel (possibly Lemoisne 1946–49, no. 1335, valued at Fr 3,900) on January 6, 1900, to Pellerin], [Auguste Pellerin, Paris, 1900–1911, traded together with another Cézanne (Rewald 1996, no. 858) and one Monet (Wildenstein 1996, no. 280) plus an unspecified sum of currency, for a single Cézanne (Rewald 1996, no. 157) on February 7, 1911 to Bernheim-Jeune], [Bernheim-Jeune, Paris, 1911, stock no. 18563, sold on February 10 to Vollard], [Ambroise Vollard, Paris, 1911–12, stock no. 5143, shipped on March 30 and sold on May 8, 1912 for Fr 23,000 to Cassirer], [Paul Cassirer, Berlin, 1912, stock no. 11734, sold on May 8 to Rothermundt], Adolph Rothermundt, Dresden (from 1912, probably sold in June 1914 to Perls and Caspari), [Hugo Perls, Berlin, and Georg Caspari, Munich, probably 1914–21, siezed from Caspari in Paris by French government in November 1920, then returned, sold together with one Cézanne (Rewald 1996, no. 493) on August 19, 1921, for 1,875,000 marks to Cassirer], [Paul Cassirer, Berlin, 1921, stock no. 18042, sold together with same Cézanne (Rewald 1996, no. 493) on August 19 for 2,100,000 marks to Matsukata], [baron] Kojiro Matsukata, Kobe (1921–30, sold to Wada), Kyuzaemon Wada, Kobe and Osaka (1930–51, sold through Fujikawa Galleries, Osaka, on February 26, 1951 to Wildenstein), [Wildenstein, New York, 1951, sold on May 4 to Haupt], Mr. and Mrs. Ira Haupt, New York (1951–his d. 1963), Mrs. Enid A. Haupt, New York (1963–83, sold in 1983 to Annenberg), her brother and his wife, Walter H. and Leonore Annenberg, Rancho Mirage, Calif. (1983–93, jointly with MMA, 1993–his d. 2002)
https://www.metmuseum.org/art/collection/search/435902[Louis Varisco, Paris, in 1811, cat., 1811, unnumbered, pp. 7–8, as by Giovanni Bellini], Josephine Bonaparte, Empress of France, Malmaison (until d. 1814, inv., 1814, no. 1162, as by Bellini), her son, Eugène de Beauharnais, Viceroy of Italy, later Herzog von Leuchtenberg, Munich and St. Petersburg (1814–d. 1824, sale, Augsburg, 1819, no. 31, as by Bellini, not sold, sale, Augsburg, 1820, no. 24, as by Bellini, not sold, cat., 1825, no. 63, as by Gian Francesco Caroto), Herzogen von Leuchtenberg, Munich and St. Petersburg (from 1824, cat., 1851, no. 49, as by Caroto), George, Herzog von Leuchtenberg, Prince Romanovsky, St. Petersburg (by 1903–until at least 1905), [Sulley and Co., London, until 1907, sold to MMA]
https://www.metmuseum.org/art/collection/search/436039parish church, Goseck, near Naumburg (sold to Zech-Burkersroda), Grafen von Zech-Burkersroda, chapel of Schloß Goseck, Goseck (possibly from 1840, definitely by 1844), by descent in the Zech-Burkersroda family, Schloß Goseck, later Munich (until 1956, sold by Margarethe Gräfin von Zech-Burkersroda or her sister-in-law, Baronin Elisabeth Gräfin von Zech-Burkersroda, to Böhler), [Böhler, Munich, from 1956], [Hougershofer, Zurich, sold to Rosenberg && Stiebel];[Rosenberg & Stiebel, New York, until 1957, sold to MMA]
https://www.metmuseum.org/art/collection/search/436061Mrs. Edward Romilly, London (until d. 1878, posthumous sale, Christie's, London, March 23, 1878, no. 128, for 290 gns. to Colnaghi), [Colnaghi, London, from 1878], Étienne Martin, baron de Beurnonville, Paris (until 1881, his sale, Pillet, Paris, May 9–16, 1881, no. 247, as "Paysage, soleil couchant," for Fr 10,050 to Sedelmeyer), [Sedelmeyer, Paris, from 1881, cat., 1898, no. 10, sold to Kann], Rodolphe Kann, Paris (by 1898–d. 1905, his estate, 1905–7, cat., 1907, vol. 1, no. 34, sold to Duveen), [Duveen, London and New York, 1907–15, their sale, American Art Association, New York, April 29, 1915, no. 9, for $4,000 to Knoedler], [Knoedler, New York, 1915–27, sale, Christie's, London, July 8, 1927, no. 114, for £441 to Duits], [Duits, London, from 1927], [A. S. Drey, Munich, in 1931], Mrs. Siegfried (Josephine) Bieber, Berlin and New York (until d. 1970)
https://www.metmuseum.org/art/collection/search/436097[Drey or Böhler, Munich, bought in Spain], Otto H. Kahn, New York (in 1911), [Duveen, London and New York, until 1912, sold to Altman], Benjamin Altman, New York (1912–d. 1913)
https://www.metmuseum.org/art/collection/search/436243?Estate of Albrecht Dürer, Nuremberg, sold by Ursula Dürer to Imhoff, Willibald Imhoff, Nuremberg (by 1573 [probably before 1564]–d. 1580, inv., 1573–74, no. 2, inv., 1580, no. 2), Imhoff family, Nuremberg (1580–1750, by descent through marriage to Haller), Christoph Joachim Freiherr Haller von Hallerstein, Nuremberg (1750–d. 1792), his son, Hans Christoph Joachim Freiherr Haller von Hallerstein, Nuremberg (1792–d. 1814), his brother, Johann Sigmund Christoph Joachim Freiherr Haller von Hallerstein, Nuremberg (1814–d. 1838, his estate, 1838–61, sold to Geuder), [Georg Friedrich Geuder, Nuremberg, 1861, sold for fl. 40 to Finke], [Gustav Finke, Bamberg, 1861], Franz R. Reichardt, Munich (1861–69), Alexander Posonyi, Vienna (1869–at least 1873), Eugen Ferdinand Felix, Leipzig (by 1880–d. 1888), his son, Hans E. C. Felix, Leipzig (1888–about 1904), Charles Fairfax Murray, London (by 1906–14, on loan to Fitzwilliam Museum, Cambridge, 1911–14, his sale, Galerie Georges Petit, Paris, June 15, 1914, no. 8, for Fr 2,000 to Kleinberger), [Kleinberger, Paris and New York, 1914–21, sold to Friedsam], Michael Friedsam, New York (1921–d. 1931)
https://www.metmuseum.org/art/collection/search/436443Muzzarelli chapel, church of the convent of Sant'Andrea Apostolo, Ferrara (until at least 1787), Prince Eugène de Beauharnais, Herzog von Leuchtenberg, Munich (until d. 1824, cat., 1825, no. 40), Herzogen von Leuchtenberg, Munich and St. Petersburg (from 1824, cat., 1851, no. 36), George, Herzog von Leuchtenberg, Prince Romanovsky, St. Petersburg (until at least 1903), [Sulley and Co., London, until 1907], J. Pierpont Morgan, New York (1907–d. 1913, his estate, 1913–17)
https://www.metmuseum.org/art/collection/search/436476?Kloster Gutenzell, Baden-Württemberg (until 1803, to Braun),?Braun, Gutenzell (1803–d.),?his son, Pfarrer [Pastor] Johann Baptist Braun, Dietenheim (until d. 1904),?his nephew, Pfarrer [Pastor] Albert Baur, Walpertshofen (1904–d. 1920), [Julius Böhler, Munich, before 1925], [Steinmeyer, Lucerne, until 1924, sold to Kleinberger], [Kleinberger, Paris and New York, 1924, as by Conrad Witz, sold to Friedsam], Michael Friedsam, New York (1924–d. 1931)
https://www.metmuseum.org/art/collection/search/436490private collection, Italy (until 1829), Königliche Museen, later Kaiser Friedrich Museum, Berlin (1829–1924, bought through Rumohr, Wagen, cat., 1837, no. 196, as by Domenico Ghirlandaio, Bode, cats., 1898, 1906, no. 85, as by Sebastiano Mainardi, Posse, cat., 1909, no. 85, as by Mainardi), [Julius Böhler, Munich, 1924, sold to Kleinberger], [Kleinberger, Paris and New York, 1924–25, sold to Friedsam], Michael Friedsam, New York (1925–d. 1931)
https://www.metmuseum.org/art/collection/search/436559?private collection, England (in 1792),?private collection (until 1912, estate sale, Christie's, London, April 26, 1912, no. 102, as "The Castle and Town of Nimeguen," for £1,050 to Pawsey && Payne];?[Pawsey & Payne, London, from 1912], Sir Samuel Hoare, London (until 1934, sale, Sotheby's, London, November 21, 1934, no. 99, as "River Scene with a turreted water castle on the right," for £610 to Collings), [Galerie Sanct Lucas, Vienna, in 1935, sold to Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (by 1938–d. 1959, seized in Paris by the Nazis, held at Alt Aussee [1080/2] and at Munich collecting point [1281], returned to France October 30, 1946, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–64, life interest, 1964–d. 1984)
https://www.metmuseum.org/art/collection/search/436577Rafael García, Madrid (in 1907), Guillermo Vogel, Madrid and Munich (1910–at least 1931, lent to Alte Pinakothek, Munich, September–November 1928, where it was never exhibited),?[Paul Lindpaintner, Berlin], Kurt and Margit Leimer von Opel, Partenkirchen, Germany (until 1953, sold to Knoedler and Pinakos, Inc.), [Knoedler, New York, and Pinakos, Inc. (Rudolf J. Heinemann), 1953–54, sold to Clark], Stephen C. Clark, New York (1954–d. 1960)
https://www.metmuseum.org/art/collection/search/436617Julia, Countess of Dartrey, London, [A. H. Buttery, London, in 1923], [Barbizon House, London, until 1925], [Julius Böhler, Munich, 1925, sold half share to Kleinberger], [Julius Böhler, Munich, and Kleinberger, Paris and New York, 1925–26, sold to Lucerne Fine Art], [Lucerne Fine Art Co. Ltd., 1926], Gaston Neumans, Brussels (1926, sold for $121,176.25 to Bache), Jules S. Bache, New York (1926–d. 1944, his estate, 1944–49, cats., 1937, no. 35, 1944, no. 34)
https://www.metmuseum.org/art/collection/search/436679David P. Sellar, London (until 1894, sale, Christie's, London, March 17, 1894, no. 111, for £105 to A. Smith), M. van Slochem, New York (in 1912), M. van Gelder, Uccle, near Brussels (in 1929), John Ringling, Sarasota (until 1930, sold to Böhler), [Julius Böhler, Munich, 1930, sold to Neuerburg], Hermann Neuerburg, Hamburg (from 1930), Gottfried Neuerburg, Cologne (until 1961, sold to Böhler), [Julius Böhler, Munich, 1961–67, sold to Kleinberger], [Kleinberger, New York, 1967–75, bequeathed by Harry G. Sperling, last surviving partner of firm, to MMA]
https://www.metmuseum.org/art/collection/search/436781Richard von Kaufmann, Berlin (until 1917, sale, Paul Cassirer, Berlin, December 4 and following days, 1917, no. 110, as by "Jan Joest van Calcar?," to Haniel), F. Haniel, Düsseldorf (1917–after 1964), Mrs. Lieven (until 1967, [apparently with Herbert Ritter, Munich, acting as agent] sale, Christie's, London, June 23, 1967, no. 73, as by the Master of Frankfurt, to Linsky), Jack and Belle Linsky, New York (1967–his d. 1980), The Jack and Belle Linsky Foundation (1980–82)
https://www.metmuseum.org/art/collection/search/436818[Nikolaus Steinmeyer, Cologne, until 1911, sold to Kleinberger], [Kleinberger, Paris, 1911–12, sold for Fr 47,500 to Knoedler], [Knoedler, New York and London, 1912–20, sold for $7,000 to Antik], [A. B. Antik, Stockholm, from 1920], Osborn Kling, Stockholm (by 1928–35, his sale, Christie's, London, June 28, 1935, no. 39, for £483 to Cumming), [Galerie Sanct Lucas, Vienna, until 1935/36, sold to Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (1935/36–d. 1959, seized in Paris by the Nazis, held at Munich collecting point, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–64, life interest, 1964–d. 1984)
https://www.metmuseum.org/art/collection/search/436832?sale, London, early 1930s, to Galerie Sanct Lucas, [Galerie Sanct Lucas, Vienna, until 1934/38, sold to Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (1934/38–d. 1959, seized in Paris by the Nazis, held at Alt Aussee [1081] and at Munich collecting point [1282], returned to France October 30, 1946, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–63)
https://www.metmuseum.org/art/collection/search/436835Frau Professor Dorner, Schweinfurt (in 1884 [or 1824]), government assessor Dorner, Amberg (in 1918), Herr Stallforth, Wiesbaden (until 1919, sale, Galerie Helbing, Munich, October 1, 1919, no. 109), [Julius Böhler, Munich, sold to Beskow], [Axel Beskow, New York, until 1921, sold to MMA]
https://www.metmuseum.org/art/collection/search/436884?[art dealer, Munich], Maitland F. Griggs, New York (1926–d. 1943)
https://www.metmuseum.org/art/collection/search/436910marchesi Pucci, Palazzo Pucci, Florence (by 1896), marchese Emilio Pucci, Florence (until at least 1912),?[A. S. Drey, Munich, about 1912], [Arthur Ruck, London, until 1920, sold to Duveen], [Duveen, London and New York, 1920–25, sold to Brixey], Richard De Wolfe Brixey, New York (1925–d. 1943)
https://www.metmuseum.org/art/collection/search/436941Count Toggenburg, Bolzano, Toggenburg family, Bolzano, later Frankfurt (sold to Drey), [A. S. Drey, Munich,?by 1924–26, sold to Kleinberger], [Kleinberger, Paris and New York, 1926, sold for $7,000 to Friedsam], Michael Friedsam, New York (1926–d. 1931)
https://www.metmuseum.org/art/collection/search/436994Palazzo Torrigiani, Florence, [Stefano Bardini, Florence, until 1899, his sale, Christie's, London, June 5, 1899, no. 364, as by "Pesellino?"], [Colnaghi, London, 1899], Leopold II, King of Belgium, Brussels (1899–1909), [Julius Böhler, Munich, 1909], [Julius Böhler, Munich, and Kleinberger, Paris, 1909, sold for £5,000 to Morgan], J. Pierpont Morgan, New York (1909)
https://www.metmuseum.org/art/collection/search/437039Graf Karol Lanckoronski, Vienna (until d. 1933), Lanckoronski family or Gräfin Adelajda Lanckoronska, Vienna, Vorarlberg, and later Zurich (1933–67, seized by the Nazis in 1939, held at Alt Aussee [676] and at Munich collecting point [767], returned to Austria June 25, 1945, restituted, sale, Christie's, London, June 23, 1967, no. 76, as "Figures and Dogs on a Terrace with a Pool and Statues," by La Hyre, for £367.10.0 to Stein), [Adolphe Stein, London, 1967–68, sold for $4,000 to Kleinberger], [Kleinberger, New York, 1968–75, bequeathed by Harry G. Sperling, last surviving partner of firm, to MMA]
https://www.metmuseum.org/art/collection/search/437059Ganniba Collection, Turin (until early 1870s), Wilhelm von Bode, Berlin (early 1870s, purchased in Florence for a good friend, presumably Vieweg), Heinrich Vieweg, Braunschweig (from early 1870s–d. 1890), Vieweg family, Braunschweig (1890–1926), [Teppelmann, Braunschweig, 1926], [Paul Cassirer, Berlin, 1926], [Julius Böhler, Munich, 1926], [Kleinberger, Paris and New York, 1926, sold for $55,000 to Bache], Jules S. Bache, New York (1926–d. 1944, his estate, 1944–49, cats., 1929, unnumbered, 1937, no. 24, 1943, no. 23)
https://www.metmuseum.org/art/collection/search/437174?unverified sale ["Zubieta" according to Angulo Iñiguez], London, June 12, 1874, as "Don Pedro Núñez de Villavicencio, friend and disciple of Murillo and knight of a military order," for £178.10 to Palmer, Julian Williams, Seville (about 1883) described by Curtis as "a full-length portrait of Villavicencio, about thirty-five years of age, with hooked nose, moustache, and long black hair, wearing a black dress with open sleeves, a hat in his hand, a sword at his side", Francisco Merry y Colom Gaite y Osorio, 1st Conde de Benomar, London [d. 1899],?sale, Christie's, London, July 6, 1899, for £210 to Lesser, [Lesser, London, 1899–1912, posthumous sale, Christie's, London, February 10, 1912, no. 18, as "Don Pedro Nuñez de Villavicencio, in black dress with braided sleeves, and white stockings, standing, holding his glove and hat, and wearing the Riband and Order of Saint John of Jerusalem ([sic] our sitter wears the ribbon and order of the knights of Alcántara or Calatrava), 75 in. by 48 in." for £81.18.0 to Nicholson], [(?A. L.) Nicholson, from 1912], [Rudolf J. Heinemann, Munich, in 1927],?[Fleischmann, Munich, by 1928–at least 1930],?[F. Mont, New York, in 1950], [Pinakos Inc. (Rudolf J. Heinemann), until 1954]
https://www.metmuseum.org/art/collection/search/437535Maximilian II Emanuel, Elector of Bavaria, Munich (until 1706, seized by Emperor Joseph I and presented to Churchill), John Churchill, 1st Duke of Marlborough, Blenheim Palace, Woodstock, Oxfordshire (1706–d. 1722), the Dukes of Marlborough, Blenheim Palace (1722–1883, inv., 1740, cat., 1861, p. 27), George Charles Spencer-Churchill, 8th Duke of Marlborough, Blenheim Palace (1883–d. 1892, his sale, Christie's, London, July 24 and 26, 1886, no. 75, for £7,560, bought in by Agnew for Marlborough), his widow, Lilian Warren, Dowager Duchess of Marlborough, later Lady William Leslie de la Poer Beresford (1892–d. 1909), Colonel Oliver Payne, New York (1909–d. 1917), his nephew, Harry Payne Bingham (1917–37, on loan to MMA, 1920–37)
https://www.metmuseum.org/art/collection/search/437740Marczell de Nemes, Budapest and Munich (until 1928, his sale, Frederik Muller, Amsterdam, November 13–14, 1928, no. 37, as by a French painter, about 1440, for £1,416), Michael Friedsam, New York (until d. 1931)
https://www.metmuseum.org/art/collection/search/437777?Saxe-Coburg and Gotha family, Vienna, [Galerie Sanct Lucas, Vienna, until 1938, exchanged with Neuman], Baron Karl Neuman (Charles Neuman de Végvár), Vienna, later Greenwich, Conn. (1938–d. 1959, seized in Paris by the Nazis, held at Alt Aussee [1080/1] and at Munich collecting point [1281], returned to France October 30, 1946, restituted), his widow, Mrs. Charles (Edith) Neuman de Végvár, Greenwich (1959–64, life interest, 1964–d. 1984)
https://www.metmuseum.org/art/collection/search/437830the artist's son, Pomponio Vecellio, Venice (until 1581, sold to Barbarigo), Cristoforo Barbarigo, Venice (from 1581, as by Titian), by descent to the Barbarigo della Terrazza family, San Polo, Venice, by descent to conte Sebastiano Giustiniani Barbarigo, Padua (by 1861–at least 1881, sold to Lenbach), Franz von Lenbach, Munich (sold to Von Heyl), General Baron von Heyl zu Herrnsheim, Darmstadt (?in 1910), [Kleinberger, Paris, in 1914], Michael Friedsam, New York (by about 1929–d. 1931)
https://www.metmuseum.org/art/collection/search/438016François Depeaux, Rouen (until 1901, his sale, Hôtel Drouot, Paris, April 25, 1901, no. 61, for Fr 2,100 to Meier-Graefe), Julius Meier-Graefe, Berlin (from 1901), Seré de Rivières, Paris (in 1902), [Heim, Munich, until 1913, sale, Hôtel Drouot, Paris, April 30, 1913, no. 2, for Fr 9,800 to Lévêque], Jean-Jacques Lévêque, Paris (from 1913), sale, Galerie Georges Petit, Paris, December 10, 1920, no. 119, for Fr 17,500 to Wildenstein and Rosenberg, [Wildenstein, New York and Paul Rosenberg, Paris, from 1920, Rosenberg sold share to Wildenstein], [Wildenstein, New York, sold to Elias], Dr. Julius Elias, Berlin (until d. 1927), his widow, Mrs. Julius (Julie) Elias, Berlin, later Switzerland, finally Norway (1927–d. 1943, her estate, 1943–49, safeguarded by her lawyer, Eilif Moe, Lillehammer, Norway), her niece, Mrs. C. Levy, London (1949, sold to Partridge), [Frank Partridge & Sons, London, 1949, sold on June 10 to Wildenstein], [Wildenstein, 1949–57, sold on February 9, 1957 to Annenberg], Walter H. and Leonore Annenberg, Rancho Mirage, Calif. (1957–his d. 2002)
https://www.metmuseum.org/art/collection/search/438338abbate Astorre di Vincenzo Sampieri, Bologna (from 1595), Sampieri collection, Bologna (until 1811, cat., 1795, p. 19, sold to Beauharnais), Prince Eugène de Beauharnais, Viceroy of Italy, later Herzog von Leuchtenberg, Munich (1811–d. 1824, cat., 1825, no. 15), Herzogen von Leuchtenberg, Munich and St. Petersburg (1824–at least 1870, cat., 1851, no. 69), [Schwarz, Philadelphia, bought in Philadelphia before 1965, until 1990, sold to Osuna], [Osuna Gallery, Washington, D.C., 1990–at least 1992, as by Badalocchio], sale, Christie's, New York, May 22, 1998, no. 74, as Attributed to Sisto Badalocchio, to Katrin Bellinger for MMA
https://www.metmuseum.org/art/collection/search/438953William Karmann, Cincinnati (until d. 1902),?Cincinnati Art Museum, Michael D. Grünwald, Munich (by 1997–2002, consigned to Artemis Fine Arts Ltd., London, 2001–2, sold to Thaw), Eugene V. Thaw, New York (2002–7)
https://www.metmuseum.org/art/collection/search/438954Jørgen Hansen Koch, Copenhagen (by December 14, 1830, bought from the artist with another painting, probably "Autumn Landscape near Dresden" [private collection, Copenhagen, Bang 1987, no. 605], as pendants, for 20 species each, as a gift for his wife), his wife, Mrs. Jørgen Hansen Koch, Copenhagen (from 1830), N. Sontum, Bergen (in 1937), Ingrid Sontum, Håkon Mehren, Oslo (until about 1981, sold to Arnoldi-Livie), [Galerie Arnoldi-Livie, Munich, about 1981, sold to Stebbins], Theodore Ellis Stebbins Jr., Boston, Mass. (from about 1981), sale, Sotheby's, New York, October 12, 1994, no. 336, as "Figures on a Beach by Moonlight", Eugene Victor Thaw, Santa Fe (by 2001–7)
https://www.metmuseum.org/art/collection/search/439350?[Galerie Ernst Arnold, Dresden, in 1918], Theodor Schall, Baden-Baden and Berlin (until 1926, his sale, Paul Cassirer and Hugo Helbing, Berlin, October 26, 1926, no. 1, as "Partie aus dem Berliner Tiergarten," for 1,600 marks, probably to Janus), Albert Janus, Essen (probably 1926–?until d. 1949), private collection, southern Germany, sale, Villa Grisebach, Berlin, November 25, 2005, no. 3, as "Im Berliner Tiergarten," for €59,000 ($69,575), [Kunsthandel Katrin Bellinger, Munich], Eugene V. Thaw, New York (until 2009)
https://www.metmuseum.org/art/collection/search/439364the artist's son, Johann Siegwald Dahl, Dresden, sale, Sotheby's, Munich, June 22, 1999, no. 30, as "Wolkenstudie," for 57,600 marks ($30,407), Eugene V. Thaw, New York (by 2001–9)
https://www.metmuseum.org/art/collection/search/439369[Galerie Zinckgraf, Munich, ca. 1949–54, stock no. 22075], Dr. Eugen Roth, Munich (by 1961–d. 1976), by descent to private collection (1976–at least 1991), [Daxer & Marschall, Munich, in 2000], Eugene V. Thaw, New York (by 2002–9)
https://www.metmuseum.org/art/collection/search/439370sale, Neumeister, Munich, March 19, 2003, no. 543, as "Der Nemi-See mit Blick auf Genzano," for €5,000 ($5,512), [Katrin Bellinger at Colnaghi, London, in 2003], [Jean-François Heim, Paris], Eugene V. Thaw, New York (until 2009)
https://www.metmuseum.org/art/collection/search/439393Georg Schäfer, Schweinfurt (until d. 1975), his estate, 1975–77, Schäfer Foundation, Schweinfurt (1977–2005, inv. no. 521, their sale, Neumeister, Munich, February 24, 2005, no. 75, for 28,000 euros [$37,041]), Eugene V. Thaw, New York (until 2009)
https://www.metmuseum.org/art/collection/search/440354the artist (until d. 1853), by descent to his daughter Auguste, and her husband, Franz von Schilcher, Dietramszell, von Schilcher family, Dietramszell, private collection, Munich, Georg Schäfer, Schweinfurt (by 1968–d. 1975), Schäfer family (1975–77, to Foundation), Georg Schäfer Foundation, Schweinfurt (1977–2005, their sale, Neumeister, Munich, February 24, 2005, no. 48), Eugene V. Thaw, New York (until 2009)
https://www.metmuseum.org/art/collection/search/440360the artist, Frankfurt am Main (until d. 1893), his son, Ernst Morgenstern, Frankfurt (until d. 1919, his estate), Günter Scharnowski, Munich, [Bruno Meissner, Zürich], [Walter Feilchenfeldt, Zürich], Eugene V. Thaw, New York (until 2009)
https://www.metmuseum.org/art/collection/search/440361Georg Schäfer, Schweinfurt (until d. 1975), his heirs (1975–77, to Foundation), Georg Schäfer Foundation, Schweinfurt (1977–2005, its sale, Neumeister, Munich, February 25, 2005, no. 590, as "'Antike römische Ruinen' [Caracalla—Thermen?]"), Eugene V. Thaw, New York (from 2005)
https://www.metmuseum.org/art/collection/search/441672?art market, Munich (about 1838), Augustus Welby Northmore Pugin, London (by 1844–d. 1852, his estate sale, Sotheby and Wilkinson, London, April 7, 1853, no. 202, for £52 to Hardman), John Hardman, Birmingham (from 1853), his nephew and Pugin's son-in-law, John Hardman Powell, Birmingham or Cheltenham (until d. 1895, his estate, 1895–1969, on loan to Saint Chad's Cathedral, Birmingham, 1927–69), by descent to H. G. Rowland, Birmingham or Cheltenham (until 1970, his sale, Christie's, London, June 26, 1970, no. 52, for 10,000 gns. to Holstein), [Xavier Scheidwimmer, Munich, from 1970], Georg Schäfer, Schweinfurt, private collection, Germany (1978–2011, sale, Sotheby's, London, July 6, 2011, no. 36, to Naumann), [Otto Naumann, New York, 2011, sold to MMA]
https://www.metmuseum.org/art/collection/search/459244Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, July 19, 1939, lot 247, [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/460201T. M. Whitehead, London, 1850, Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, June 8, 1939, lot 184, ill., [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/460202Albert Gérard, Paris (sale, Hôtel Drouot, Paris, June 18-23, 1900, lot 233, ill.), Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, July 19, 1939, lot 295, ill., [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/460257Alfred Israel Pringsheim, Munich, later Zurich (1850-1941), sale*, Sotheby's, London, 1939, lot 168, [Julius Goldschmidt, London, for Lehman], acquired by Robert Lehman through Goldschmidt Galleries, New York, 1939.;*Alfred Pringsheim was a German Jewish collector. During Kristallnacht, in November 1938, the SS seized Pringsheim’s majolica collection from his home in Munich. It was stored in the annex to the Bayerishches National Museum, Munich. In March 1939, the German Ministry of Trade authorized export of Pringsheim's majolica collection to London for auction at Sotheby's, provided that 80% of the proceeds up to £ 20,000 and 70% of the remainder be paid to the German Gold Discount Bank in foreign currency. Pringsheim was to receive the remaining proceeds. In exchange, Pringsheim and his wife were allowed to emigrate to Switzerland. See Timothy Wilson, "Alfred Pringsheim and his Collection of Italian Maiolica," in Otto von Falke, Die Majolikasammlung Alfred Pringsheim, augmented reprint with articles by Tjark Hausman, Carmen Ravanelli-Guidotti and Timothy Wilson, Ferrara 1994, vol. 3, pp. 85-87. After the war, the Pringsheim heirs received restitution of the sale proceeds paid to the Reichsbank pursuant to a settlement agreement with the German government. Minutes of a closed session of the Reparation Claims Office I for Upper Bavaria, Munich, March 11, 1955.
https://www.metmuseum.org/art/collection/search/460520Marczell von Nemes, Nemes sale, Mensing & Sohn, Amsterdam, Paul Cassirer, Berlin, and Hugo Helbing, Munich, 16 – 19 June 1931 (sale held at Tonhalle, Munich), lot 501, pl. 90, [Arnold Seligmann, Rey & Company, Paris and New York]. Acquired by Robert Lehman through Arnold Seligmann, Rey & Company in May 1933.
https://www.metmuseum.org/art/collection/search/461205Marczell von Nemes, Nemes sale, Mensing & Sohn, Amsterdam, Paul Cassirer, Berlin, and Hugo Helbing, Munich, 16 – 19 June 1931 (sale held at Tonhalle, Munich), lot 500, pl. 90, [Mensing et Fils, Amsterdam], Mensing et Fils sale, Frederik Muller & Cie, Amsterdam, 16 November 1936, lot 137, ill. (to Harold W. A. Beenhouwer, Amsterdam, for [Hallgarten & Company, New York]). Acquired by Robert Lehman through Hallgarten & Company from the Mensing sale.
https://www.metmuseum.org/art/collection/search/464019Ferenc Pulszky, Pest (in 1896), Julius Campe, Hamburg, [ Julius Böhler, Munich], [ George Brauer, Paris (sold 1909)], J. Pierpont Morgan (American), London and New York (until 1917)
https://www.metmuseum.org/art/collection/search/464020Ferenc Pulszky, Pest (in 1896), Julius Campe, Hamburg, [ Julius Böhler, Munich], [ George Brauer, Paris (sold 1909)], J. Pierpont Morgan (American), London and New York (1909–1913)
https://www.metmuseum.org/art/collection/search/471357Lorenz Gedon, Munich, his sale, J. M. Heberle, Cologne (June 17–21, 1884, no. 1088, to Figdor), Dr. Albert Figdor, Vienna (until d. 1927), his posthumous sale, Paul Cassirer at Hotel Esplanade, Berlin (Sept. 29-30, 1930, vol. 5, n. 305), Oscar Bondy, Vienna (1930–collection confiscated by Nazi officials in 1938), restituted to his widow, Elizabeth Bondy, New York (by 1950), [ Blumka Gallery, New York (sold 1950)]
https://www.metmuseum.org/art/collection/search/471903Brownlow Cecil, 9th Earl of Exeter, Burghley House, near Stamford, Northamptonshire (by 1847), William Alleyne Cecil, 3rd Marquis of Exeter 1825–1895, Burghley House, near Stamford Northamptonshire (until 1888), Marquis of Exeter sale, Christie, Manson & Woods, London (June 9, 1888, no. 295, to Murray), Charles Fairfax Murray British, London 1849–1919 London (in 1888), Charles Butler, London (in 1891), anonymous sale, Hôtel Drouot, Paris (June 16, 1892), Comtesse de Béarn, Paris (after 1895), [ Nikolaus Steinmeyer, Cologne (1901)], Charles T. Yerkes, New York (1901–10), his sale, American Art Association, New York (April 5–8, 1910, no. 18, to Böhler), [ Julius Wilhelm Böhler, Munich (in 1910)], [possibly Fritz von Ansbach, Frankfurt (in 1910)?], Fritz von Gans, Frankfurt (before 1921), [ Kurt Walter Bachstitz, The Hague (1921–24)], Alfred W. Erickson, New York (1925–d. 1936), his widow, Anna E. Erickson, New York (1936–d. 1961), her estate sale, Park-Bernet, New York American (November 11–14, 1961, no. 10)
https://www.metmuseum.org/art/collection/search/483046[Galerie Neue Kunst Hans Goltz, Munich], [César de Hauke, Paris], [Galerie Europe, Paris, until 1970], Heinz Berggruen, Paris and Berlin (1970–84, his gift to MMA)
https://www.metmuseum.org/art/collection/search/488872[J. B. Neumann, Munich and New York, 1930–31, sold in January 1931 to Clark], Stephen C. Clark, New York (1931–41, his anonymous gift in 1941 to MoMA), Museum of Modern Art, New York (1941–51, sold to MMA)
https://www.metmuseum.org/art/collection/search/489124[possibly William Uhde, Paris, until ca. 1906, sold to Suermondt], Edwin Suermondt, Aachen (by 1906–1912 or 1913), [Der Neue Kunstsalon (Max Dietzel), Munich, by 1913, consigned in 1913 and sold by 1916 to Thannhauser], [Heinrich Thannhauser, Munich, by 1916–at least 1918, and probably until 1922, stock no. 5041, sold to Rosenberg], [Paul Rosenberg, 1922, sold in May 1922 for Fr 18,000 ($1,700) to Quinn], John Quinn, New York (1922–d. 1924), his sister, Julia Quinn Anderson, New York (1924–30 or slightly later), her daughter, Mary Anderson, New York (until 1936, sold in May 1936, together with Seurat's "Les Poseuses," through Mrs. Cornelius J. Sullivan, to McIlhenny), Henry P. McIlhenny, Philadelphia (1936, in November 1936 to Wintersteen), his sister, Mrs. John (Bernice) Wintersteen, Villanova, Pennsylvania (1936, sold in December 1936, through Cesar M. de Hauke of Jacques Seligmann & Co., to Clifford), Mr. and Mrs. Henry Clifford, Radnor, Pennsylvania (1936–60, sold in July 1960, through M. Knoedler & Co., to MMA)
https://www.metmuseum.org/art/collection/search/631142given by the artist to Christian Buchner, Dresden (German), Alessandro Abondio, Prague and Munich, sale, Neumeister Münchener Kunstauktionshaus, Munich, March 27, 2013, lot 421 (as attributed to Fröschl), Vendor: Katrin Bellinger Kunsthandel
https://www.metmuseum.org/art/collection/search/695500[Galerie Erich Beckmann, Hanover], private collection, Paris, [Katrin Bellinger Kunsthandel], David Lachenmann, Munich (until at least 2011, gift to Thaw), Eugene V. Thaw, New York (until 2016)
https://www.metmuseum.org/art/collection/search/695534[Katrin Bellinger, Munich, sold to Thaw], Eugene V. Thaw, New York (until 2016)
https://www.metmuseum.org/art/collection/search/695536[David Lachenmann, Munich, sold to Thaw], Eugene V. Thaw, New York (until 2016)
https://www.metmuseum.org/art/collection/search/713073Dr. Albert Figdor, Vienna (until d. 1927), his posthumous sale, Paul Cassirer at Hotel Esplanade, Berlin (Sept. 29-30, 1930, vol. I, no. 214), Julius Böhler Kunsthandlung, Munich and Starnberg (1930–2016)]
https://www.metmuseum.org/art/collection/search/769294private collection, Vienna (in 1927), [Galerie Sanct Lucas, Vienna, until ca. 1930], private collection, Munich, by descent (ca. 1930–2014, sale Karl & Faber, Munich, May 9, 2014, no. 2, as by Girolamo da Carpi, to Canesso), [Galerie Canesso, Paris, 2014–17], Maurizio Canesso, Paris (2017)
https://www.metmuseum.org/art/collection/search/771456Galerie de Bayser, Paris, 1989, Didier Aaron, Inc., 1993, Private Collection, Como, Christie's, Paris, March 22, 2017 (lot 53), acquired at the sale by Katrin Bellinger Kunsthandel, Munich, Vendor: Katrin Bellinger Kunsthandel

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