May 24, 2022

Walter Bareiss in provenances of European artworks in American museums

 

The Bend in the Road by Cézanne, Exhibited at the Bignou Gallery in New York in 1940*

Walter Bareiss was, along with Baron Leon Lambert, Eugene Victor Thaw, David Carritt, Count Christian zu Salm-Reifferscheidt, Philippe R. Stoclet, Count Artur Strachwitz, Heinz Berggruen and Baron Alexis de Rede,  on the board of the art trading syndicate Artemis S.A.  

(Artist and social critic Hans Haacke included information about Artemis S.A. and its board members in his installation work. See Framing and Begin Unframed page 108 to 112)


In this series of posts, we look at artworks owned by members of the Artemis syndicate.


Born in Tubingen, Germany, living in the USA, Walter Bareiss was a businessman and art collector with connections to both German and American museums. He was chairman of the Gallery Association  of the Bavarian State Museum, Munich and a trustee at the Museum of Modern Art, New York, 1964-73, where he also served as acting director 1969-70.

Below are some of the museum artworks that mention Walter Bareiss in the provenance.


Source UrlTitleArtistProvenance
https://www.moma.org/collection/works/72378Bowling Alley (Kegelbahn). (1920) | MoMAErnst Ludwig KirchnerProvenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Kirchner Estate (Erna Schilling), June 15, 1938, Davos-Frauenkirch, to Kunstsammlung Basel, 1946-1947, to Gutekunst & Klipstein, Bern, 1949.;Walter Bareiss, New York, [?], given to The Museum of Modern Art, New York, 1956;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019
https://www.moma.org/collection/works/65898Streetlife in Dresden (Strassenleben in Dresden). (1908) | MoMAErnst Ludwig KirchnerProvenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Gift of the artist to the Kunstverein Jena, Germany, May 1918 [1], removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2], sold via exchange to Ferdinand Möller, Berlin, 1940. Molly and Walter Bareiss, New York, to The Museum of Modern Art, New York, 1957.;[1] One of 251 prints given in memory of the artist's friend and patron, Botho Graef (1857-1917). Collection stamp "Kunstverein / Jena" on verso. Inventory no. 139.;[2] EK no. 13145: Dresdener Straßenleben;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019
https://www.moma.org/collection/works/72678Insects (Insekten) for the deluxe periodical Münchner Blätter für Dichtung und Graphik, vol. 1, no. 9 (September 1919). 1919 | MoMAPaul KleeProvenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.;Walter Bareiss, New York, to The Museum of Modern Art, New York, 1956;Provenance research is a work in progress, and is frequently updated with new information. If you have any questions or information to provide about the listed works, please email [email protected] or write to;Provenance Research Project;The Museum of Modern Art;11 West 53 Street;New York, NY 10019
http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1979.05.PThe Laundress, c. 1873Edgar Degas;;Georges de Bellio, Paris, purchased possibly in 1876 - until 1894, to;Dr. E. and Mrs. Victorine Donop de Monchy (nee de Bellio), 1894-until at least 1897.;M. and Mme Jacques Doucet, Neuilly sur Seine, by 1924, still in 1938;[Hector Brâme, Paris, possibly in partnership with];[Cesar de Hauke, Paris and New York, in partnership with];[Jacques Seligmann, New York, by 1939, sold by 1945].;Walter Bareiss, New York, sold 8 January 1953 to;[Paul Rosenberg & Co., New York, stock no. 5476, sold February 1953 to];Mr. and Mrs. John Barry Ryan, New York, still in 1977;[William Beadleston, Inc., New York, offered 8 December 1978 and subsequently sold 17 January 1979 to];Norton Simon Art Foundation.
https://artgallery.yale.edu/collections/objects/15861Saint GangolfPeter Strüb the Younger (Master of Messkirch), German, ca. 1500–1543Stadtpfarrkirche St. Martin, Messkirch, Baden-Württemberg, Germany [see note 1]. Joseph Otto Entres (1804–1870), Munich, by inheritance to Dr. Franz Ludwig von Baumann (1846–1915), Donaueschingen, the late 1880s [see note 2]. Professor Schleibner, Munich. M. Orterer Collection, Munich. with Julius Böhler, Munich, by 1918, sold to the Bum Collection (Fabrikant Bum), Cottbus, Germany, later Terrebonne, Montreal, by 1922, and by descent, sale, Parke-Bernet Galleries, New York, 5 November 1942, lot 45, Walter Bareiss (1919 –2007), New York, by 1954, given to the Yale University Art Gallery, New Haven, Conn., 1954;Note 1: Saint Gangolf oginally formed part of the side altar of the church, alongside Saint Gregory the Great (YUAG 1954.43.1). The panels were either sold in the late 17th century or removed during the baroque renovations of the church in 1772;Note 2: Dr. von Baumann was married to the daughter of Joseph Entres, Silvanie von Baumann (née Entres) (1848–1924), in 1973;Bibliography;Heinrich Feurstein, Der Meister von Messkirch im Lichte der letzten Funde und Forschungen (Freiburg Im Breisgau, Germany: Lais Systems GmbH, 1936), 146, no. 74, fig. 56.;Parke-Bernet Galleries, Inc., New York, Paintings by Old Masters: The Private Collection of a Czechoslovakian Gentleman, sale cat. (November 5, 1942), lot 45.;Edzard Baumann, “Two Panels by the Master of Messkirch from the Collegiate Church of Messkirch,” Yale Art Gallery Bulletin 27 (April, 1962): 49–54, fig. 1.;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.;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.
https://artgallery.yale.edu/collections/objects/15881Saint Gregory the GreatPeter Strüb the Younger (Master of Messkirch), German, ca. 1500–1543Stadtpfarrkirche St. Martin, Messkirch, Baden-Württemberg, Germany [see note 1]. Joseph Otto Entres (1804–1870), Munich, by inheritance to Dr. Franz Ludwig von Baumann (1846–1915), Donaueschingen, the late 1880s [see note 2]. Professor Schleibner, Munich. M. Orterer Collection, Munich. with Julius Böhler, Munich, by 1918, sold to the Bum Collection (Fabrikant Bum), Cottbus, Germany, later Terrebonne, Montreal, by 1922, and by descent, sale, Parke-Bernet Galleries, New York, 5 November 1942, lot 45, Walter Bareiss (1919 –2007), New York, by 1954, given to the Yale University Art Gallery, New Haven, Conn., 1954;Note 1: Saint Gregory the Great originally formed part of the side altar of the church, alongside Saint Gangolf (YUAG 1954.3.1). The panels were either sold in the late 17th century or removed during the baroque renovations of the church in 1772;Note 2: Dr. von Baumann was married to the daughter of Joseph Entres, Silvanie von Baumann (née Entres) (1848–1924), in 1973;Bibliography;Heinrich Feurstein, Der Meister von Messkirch im Lichte der letzten Funde und Forschungen (Freiburg Im Breisgau, Germany: Lais Systems GmbH, 1936), 146, no. 73, fig. 55.;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.;Parke-Bernet Galleries, Inc., New York, Paintings by Old Masters: The Private Collection of a Czechoslovakian Gentleman, sale cat. (November 5, 1942), Lot 45.;Edzard Baumann, “Two Panels by the Master of Messkirch from the Collegiate Church of Messkirch,” Yale Art Gallery Bulletin 27 (April, 1962): 49–54, fig. 2.;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/43421Landscape with a WaterfallGustave Courbet, French, 1819–1877Dealers Ferdinand & Julien Tempelaere, Paris, purchased from a doctor that cared for Courbet (see letter from Paul Brame, dated January 16, 1963), dealer Hector Brame (1831–99), Paris, Richard Goetz Collection, Paris and New York, brought to United States at the beginning of WWII, passed through Richard Zinser, New York (see letter of Mr. Zinser, dated 6 December 1962), Walter Bareiss Collection, New York, purchased from the Goetz estate in 1955–56.;Richard Goetz was a German national living in Paris at the outbreak of World War I. His collection was sequestered and sold by the French government at Hotel Drouot, Paris on 23 February 1922.
https://artgallery.yale.edu/collections/objects/48173AnnunciationMaurice Denis, French, 1870–1943The artist, Paris, sold to the Galerie Druet (Eugène Druet, dealer), Paris, 1908 (stock no. 4667), sold to Albert Pra, Paris, 1908, sale, Galerie Charpentier, Paris, June 17, 1938, lot 37, sold to J.J. Puritz, New York, June 17, 1938, sale, Parke-Bernet Galleries, New York, January 17–18, 1945, lot 187, sold to Molly Bareiss (née Stimson, 1920–2006) and Walter Bareiss (1919–2007), New York, January 17–18, 1945, given to the Yale University Art Gallery, New Haven, Conn., 1947
https://artgallery.yale.edu/collections/objects/49741Landscape with Water MillPaul Cézanne, French, 1839–1906Ambroise 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://www.clevelandart.org/art/1958.51Study for "Bathers at Asnières"Georges SeuratTc. 1883/1884-1891
Estate of the artist, distributed to Théo van Rysselberghe1 1
1891-?
Théo van Rysselberghe [1862-1926], Saint-Clair, Var, France 2
Until 1929
Felix Fénéon [1861-1944], Paris, sold to Anson Conger Goodyear through de Hauke & Co 3
1929-
Anson Conger Goodyear [1877-1964], Old Westbury, NY
?
(Paul Rosenberg & Co., New York)
?
Walter Bareiss [1919-2007], Greenwich, CT
(Paul Rosenberg & Co., New York, sold to Leonard C. Hanna, Jr.)
1952-1958
(Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art)
1958-
The Cleveland Museum of Art, Cleveland, OHhe Cleveland Museum of Art, Cleveland, OH;Provenance Footnotes 1 Upon Seurat’s death in 1891, the artist's family appointed Paul Signac, Félix Fénéon, and Maximilien Luce to inventory the contents of the his studio and to distribute works to his friends and colleagues. This painting was No. 80 in the posthumous inventory, dated May 3, 1891. 2 Belgian Neo-Impressionist and friend of Seurat, Théo van Rysselberghe received a number of works from Seurat’s estate, among them, this painting. 3 On August 4, 1929, Fénéon wrote to de Hauke, offering three works by Seurat, including the Cleveland picture, ultimately selling it, as indicated by the correspondence among Fénéon, de Hauke, and Goodyear in the Seligmann/de Hauke & Co. records, to Goodyear in a sale brokered by de Hauke & Co. De Hauke invoiced Goodyear for the Seurat study on October 22, 1929.;Citations;d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1999.;Anson Conger Goodyear, letter to de Hauke & Co., Oct. 29, 1929. Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution. [Box 385, folder 23, page 39 – digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530].;de Hauke, César M. Seurat et son œuvre. Paris: Gründ, 1962.;Anson Conger Goodyear, letter to de Hauke & Co., Oct. 29, 1929. Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution. [Box 385, folder 23, page 39 – digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530 ].;Félix Fénéon, letter to de Hauke & Co., Aug. 4, 1929. Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974, 9.1.3: Foreign Correspondence, 1925-1940, undated, Archives of American Art, Smithsonian Institution. [Box 393, folder 24, page 16 – digitzed: http://www.aaa.si.edu/collections/container/viewer/F%C3%A9n%C3%A9on-Felix--293794].;De Hauke & Co., invoice to Anson Conger Goodyear, Oct. 22, 1929. Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution. [Box 385, folder 23, page 42 – digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530].;de Hauke, César M. Seurat et son œuvre. Paris: Gründ, 1962.;De Hauke & Co., invoice to Anson Conger Goodyear, Oct. 22, 1929. Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution. [Box 385, folder 23, page 42 – digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530].;d'Argencourt, Louise,Roger Diederen, and Alisa Luxenberg. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1999.;de Hauke, César M. Seurat et son œuvre. Paris: Gründ, 1962.;d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1999.;d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1999.;Cleveland Museum of Art. In Memoriam: Leonard C. Hanna, Jr. Cleveland: Cleveland Museum of Art, 1958. Reproduced: no. 35;Dorra, Henri, Georges Wildenstein, John Rewald, and Félix Fénéon. Seurat. Paris, France: Les Beaux-arts, 1959.;The Bulletin of The Cleveland Museum of Art LXVI, no. 6 (June, 1959): 122. Mentioned: p. 122;Hauke, César M. de. Seurat et son œuvre. Paris, France: Grund, 1961. Reproduced: p. 198;Hauke, César M. de. Seurat et son œuvre. Paris, France: Grund, 1961.;Russell, John. Seurat. London, United Kingdom: Thames and Hudson, 1965. Reproduced: fig. 123;The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. Reproduced: p. 180 archive.org;Courthion, Pierre, and Norbert Guterman. Georges Seurat. New York, NY: H.N. Abrams, 1968. Reproduced: p. 23;The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. Reproduced: p. 180 archive.org;Minervino, Fiorella. L'opera completa di Seurat. Milano, Italy: Rizzoli, 1972. Reproduced: p. 90;The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 223 archive.org;Monneret, Sophie. L'impressionnisme et son époque: dictionnaire international illustré. Paris, France: Denoël, 1978. Reproduced: p. 242, vol. 2;Alexandrian, Sarane. Seurat. Norwalk, CT: Easton Press, 1983. Reproduced: p. 22;Clark, T. J. The Painting of Modern Life: Paris in the Art of Manet and His Followers. New York, NY: Knopf, 1984. Reproduced: p. 157-158. fig. 58;Rewald, John. Seurat: A Biography. New York, NY: Harry N. Abrams, 1990. Reproduced: p. 65;Herbert, Robert L., and Georges Seurat. Georges Seurat, 1859-1891. New York, NY: Metropolitan Museum of Art, 1991.;Zimmermann, Michael F. Seurat and the Art Theory of His Time. Antwerp, Belgium: Fonds Mercator, 1991. Reproduced: p. 158, fig. 296;Fohr, Robert. "Une Baignade, Asnieres." Dossier de l'Art (April/May 1991): 10-15. Reproduced: p. 14;Chong, Alan. European & American Painting in the Cleveland Museum of Art: A Summary Catalogue. Cleveland, Ohio: Cleveland Museum of Art, 1993. Reproduced: p. 221;Robinson, Fred Miller. The Man in the Bowler Hat: His History and Iconography. Chapel Hill, NC: University of North Carolina Press, 1993. Reproduced: p. 35, fig. 7;Leighton, John, and Richard Thomson. Seurat and the Bathers. London, United Kingdom: National Gallery Publications, 1997. Reproduced: p. 155, Mentioned: p. 58-60;Prette, Maria Carla, and Alfonso De Giorgis. Leggere l'arte: storia, linguaggi, epoche, stili. Firenze, Italy: Giunti, 1999. Reproduced: p. 126, no. 3;D' Argencourt, Louise, and Roger Diederen. Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1974. Mentioned and reproduced: vol. 2, p. 589-592, no. 207;Clark, T. J. The Painting of Modern Life: Paris in the Art of Manet and His Followers. Princeton, N.J.: Princeton University Press, 1999. Reproduced: p. 157, no. 58
https://www.clevelandart.org/art/1985.57Bull Skull, Fruit, PitcherPablo Picasso(P. Rosenberg, New York, NY)
1950
Walter Bareiss [1919-2007] Greenwich, CT
1985
(E. V. Thaw, New York, NY, 1985, sold to the Cleveland Museum of Art)
1985-
The Cleveland Museum of Art, Cleveland, OH The Cleveland Museum of Art, Cleveland, OH;Citations;Henning, Edward B. Creativity in Art and Science, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987. Mentioned and reproduced: P. 118, no. 26;Boggs, Jean Sutherland, Brigitte Léal, and Marie-Laure Bernadac. Picasso and Things: The Still Lifes of Picasso. Cleveland: Cleveland Museum of Art, 1992. Mentioned and reproduced: P. 258-259, no. 102;Boggs, Jean Sutherland. "Evan Turner: Colleague and Friend." The Bulletin of the Cleveland Museum of Art 80, no. 4 (1993): 118-21. Mentioned: p. 121 www.jstor.org;Herschel Browning Chipp, Alan Wofsy, and Fernand Mourlot. Picasso's paintings, watercolors, drawings and sculpture: a comprehensive illustrated catalogue, 1885-1973. San Francisco, CA: Alan Wofsy Fine Arts, 1995. Reproduced: p. 216;Nash, Steven A., Robert Rosenblum, and Brigitte Baer. Picasso and the War Years, 1937-1945. New York, NY.: Thames and Hudson, 1998. Reproduced: no. 27;Warncke, Carsten-Peter, Ingo F. Walther, and Michael Hulse. Pablo Picasso: 1881-1973. Koln, Germany: Taschen, 1998. Mentioned: p. 37, Reproduced: p. 39;Ocaña, Naria-Teresa. Picasso: Indoor & Outdoor Landscapes. Madrid, Spain: Electa, 1999. Reproduced: p. 39;Robinson, William H., Jordi Falgàs, Carmen Belen Lord, and Josefina Alix Trueba. Barcelona and Modernity: Picasso, Gaudí, Miró, Dalí. Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, 2006. Reproduced: p. 478;Kelly, Raymond J. To Be, or Not to Be: Four Hundred Years of Vanitas Painting. Flint, MI: Flint Institute of Arts, 2006. Reproduced: p. 45, fig. 20;Fundación Mapfre, Antonia Castaño, M. Teresa Ocaña, Neil Cox, Brigitte Léal, Valeriano Bozal Fernández, and Christopher Green. Picasso en el taller: Madrid, Spain: Fundación MAPFRE, Instituto de Cultura, 2014.;Fundación Mapfre, Antonia Castaño, M. Teresa Ocaña, Neil Cox, Brigitte Léal, Valeriano Bozal Fernández, Christopher Green, and Pablo Picasso. Picasso en el taller: 12 febrero-11 mayo 2014. Madrid, Spain: Fundación MAPFRE, Instituto de Cultura, 2014. Mentioned and reproduced: p. 170-171;Robinson, William H. "Guernica and the War Years." In Picasso and Paper. William H. Robinson, et al., 202-241. London: Royal Academy of Arts, 2020. Reproduced: P. 218-219, cat. no. 212
https://www.metmuseum.org/art/collection/search/383908The Raising of LazarusMatthias Deigle | The Raising of Lazarus | The Metropolitan Museum of ArtWalter Bareiss (German American), his sale, Karl & Faber, November 30, 2007, lot 226, Vendor: Katrin Bellinger Kunsthandel, Munich;References;Karl & Faber Arbeiten auf papier des 18. und 19. Jahrhunderts: Werke der Sammlung Walter Bareiss und aus anderem bedeutenden Besitz. Sale cat. November 30, 2007, cat. no. 226, ill.
https://www.metmuseum.org/art/collection/search/490023Man with a LollipopPablo Picasso | Man with a Lollipop | The Metropolitan Museum of Art[Galerie Käte Perls, Paris and Perls Galleries (Klaus and Frank Perls), New York, from 1938, acquired in 1938 from the artist, sold to Ault], Lee Ault, New York (by 1944–62, sold in 1962 to Thaw), [E. V. Thaw & Co., New York, 1962–ca. 1963, sold ca. 1963 to Bareiss], Walter Bareiss, Greenwich, Conn. (ca. 1963–73, exchanged for another work of art ca. 1973 to Thaw), [E. V. Thaw & Co., New York, ca. 1973–77, sold on February 16, 1977 to Gelman], Jacques and Natasha Gelman, Mexico City and New York (1977–his d. 1986), Natasha Gelman, Mexico City and New York (1986–d. 1998, her bequest to MMA);Exhibition History;New York. Valentine Gallery. "Modern Paintings: The Lee Ault Collection," April 10–29, 1944, no. 44.;New York. New Gallery. "Picasso: An American Tribute," April 25–May 12, 1962, no. 37.;New Haven. Yale University Art Gallery. "Picasso Drawings from the Collection of Mr. and Mrs. Walter Bareiss," November 4, 1971–January 2, 1972, no. 15.;Kunsthalle Tübingen. "Picasso: Pastelle, Zeichnungen, Aquarelle," April 5–May 25, 1986, no. 177.;Düsseldorf. Kunstsammlung Nordrhein-Westfalen. "Picasso: Pastelle, Zeichnungen, Aquarelle," June 6–July 27, 1986, no. 177.;New York. The Metropolitan Museum of Art. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," December 12, 1989–April 1, 1990, unnumbered cat. (p. 207).;London. Royal Academy of Arts. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," April 19–July 15, 1990, unnumbered cat.;Martigny. Fondation Pierre Gianadda. "De Matisse à Picasso: Collection Jacques et Natasha Gelman," June 18–November 1, 1994, unnumbered cat. (p. 231).;New York. The Metropolitan Museum of Art. "Picasso in The Metropolitan Museum of Art," April 27–August 1, 2010, no. 83.;New York. Acquavella Galleries. "Picasso: Seven Decades of Drawing," October 7–December 3, 2021, unnumbered cat. (pl. 58, as "Homme à la sucette [Man with Lollipop]").;References;Christian Zervos. "Tableaux magiques de Picasso." Cahiers d'art 13, nos. 3–10 (1938), p. 164, ill.;Juan Merli. Picasso: El artista y la obra de nuestro tiempo. Buenos Aires, 1942, p. 301, ill. p. 290.;Christian Zervos. Pablo Picasso. Vol. 9, Works from 1937 to 1939. Paris, 1958, p. 90, no. 188, ill.;Pierre Daix. La Vie de peintre de Pablo Picasso. Paris, 1977, pp. 287, 290 n. 19.;Mariel Jardines. The Picasso Project: Picasso's Paintings, Watercolours, Drawings, and Sculpture, A Comprehensive Illustrated Catalogue, 1885–1973. Ed. Herschel B. Chipp and Alan Wofsy. Vol. 6, Spanish Civil War, 1937–1939. San Francisco, 1997, pp. xv, 175, no. 38-131, ill.;Julia May Boddewyn in Michael FitzGerald. Picasso and American Art. Exh. cat., Whitney Museum of American Art. New York, 2006, p. 359.;Gary Tinterow in Picasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 12.;Sabine Rewald in Picasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, pp. 227–28, no. 83, ill. (color).;Rachel Mustalish in Picasso in The Metropolitan Museum of Art. Ed. Gary Tinterow and Susan Alyson Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2010, p. 227.
https://www.nga.gov/collection/art-object-page.140072.htmlMusicians Traveling through a Forest, c. 1780Balthasar Anton Dunker;(artist)Walter 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/collection/art-object-page.140073.htmlThe Happy Squire and His Bride, 1840sEugen Napoleon Neureuther;(artist)Walter 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/collection/art-object-page.66406.html*The Bend in the Road, 1900/1906Paul Cézanne;(artist)(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.artic.edu/artworks/151548/the-three-judgesThe Three JudgesHonoré-Victorin DaumierProvenance;Possibly M. Guyotin, by 1888 [according to Alexandre 1888]. Behrens, Hamburg [according to Fuchs 1927]. Baron von Simolin, Berlin, by 1927 [according to Fuchs 1927]. Knoedler and Company, New York [according to Paris 1999]. Sold, Gutekunst & Klipstein, Bern, November 24, 1955, lot 5, to Conrad Bareiss, Zurich [according to a letter from Walter Bareiss dated March 19, 2003 in curatorial file], given by Conrad Bareiss to his son, Walter Bareiss, Greenwich, Conn., 1958 [according to Walter Bareiss], Walter Bareiss, to around 1968 [according to Walter Bareiss]. Sold by E. V. Thaw and Company, New York, to the Art Institute, 1968.

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