| url | Provenance | accnum |
| https://www.philamuseum.org/collections/permanent/49978.html | A. E. Gallatin, New York, probably acquired from the artist, spring-summer 1933 [1], gift to PMA, 1945.;1. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, vol. 1, p. 249-250, vol. 7, p. 119. | 1945-91-2 |
| https://www.philamuseum.org/collections/permanent/49979.html | Gift of the artist to A. E. Gallatin, New York, 1934 [1], gift to PMA, 1945.;1. As per Hélion's Cahier, 1933-1937, p. 8, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, vol. 7, p. 121. | 1945-91-3 |
| https://www.philamuseum.org/collections/permanent/49980.html | Acquired from the artist by A. E. Gallatin, New York, by October 1939 [1], gift to PMA, 1945.;1. See letter from Ben Nicholson to Gallatin, February 16, [1939] with a sketch of the painting (Gallatin Papers, New-York Historical Society, microfilm, cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 8, p. 207). Gallatin announced the acquisition in a Museum of Living Art press release, October 28-29, 1939. | 1945-91-4 |
| https://www.philamuseum.org/collections/permanent/50379.html | Purchased from the artist by A. E. Gallatin, New York, summer 1933 [1], gift to PMA, 1947.;1. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. diss., New York University], 1990, v. 1, p. 248, and v. 6, p. 4. The acquisition was announced in a Gallery of Living Art press release, December 9, 1933.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1947-88-2 |
| https://www.philamuseum.org/collections/permanent/50380.html | A. E. Gallatin, New York, acquired from the artist or a Paris gallery, summer 1934 [1], gift to PMA, 1947.;1. See Arp letter of July 23, 1934: "j'ai reprie le relief de la galerie car je l'ai du repeindre entièrement. J'avertirai Chenu [presumably the shipping company of that name] qu'il vienne le prendre chez moi. J'ai fait faire une nouvelle photographie de votre relief" (Gallatin Papers, New-York Historical Society, microfilm, reel 1, frame 5). Gallatin acquired most of his works by Arp directly from the artist. | 1947-88-3 |
| https://www.philamuseum.org/collections/permanent/51730.html | With Theodore Schempp, Paris, by 1937, sold to Louise and Walter C. Arensberg, Los Angeles, February 3, 1937 [1], gift to PMA, 1950.;1. See copy of dated Schempp receipt to Arensberg in curatorial file. The Arensbergs' provenance notes dated December 1, 1951, record that the painting was purchased from Schempp, Paris (PMA, Arensberg Archives California Use Tax files). Hélion made the painting in Virginia, where he established a studio at Rockbridge Baths in 1933. The Arensbergs may have seen the painting in a show in Los Angeles, as Hélion wrote to A. E. Gallatin on 26 January 1937 that "I also have pictures in Hollywood, always in a position to be sold", and in an earlier letter of 2 January 1936 he had mentioned contacts with Marcel Duchamp and Howard Putzel with regard to exhibiting his works in Hollywood (Gallatin Papers, New-York Historical Society, microfilm, reel 1). The Putzel Gallery held exhibitions of Hélion there in 1936 and 1937 (the latter show also traveled to the San Francisco Museum of Art). | 1950-134-99 |
| https://www.philamuseum.org/collections/permanent/53848.html | With Galerie Simon, Paris, sold to A. E. Gallatin, 1933 [1], bequest to PMA, 1952.;1. As per letter of September 18, 1987, from Maurice Jardot, Galerie Louise Leiris, to Gail Stavitsky, see Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 6, p. 38. | 1952-61-10 |
| https://www.philamuseum.org/collections/permanent/53861.html | With Galerie Kahnweiler, Paris, French government, sequestered Kahnweiler stock, 1914-21, 1st Kahnweiler sequestration sale, Hotel Drouot, Paris, June 13-14, 1921, lot 139 (5 bronze casts sold as one lot) [1]. With Galerie Simon, Paris, sold to A. E. Gallatin, New York, 1935 [2], bequest to PMA, 1952.;1. According to Daix and Rosselet, Picasso: The Cubist Years, 1907-1916, Boston, 1979, no. 757, p. 332. Owing to Kahnweiler's German citizenship, the French government declared him an ‘enemy alien’ and seized his stock as enemy property. After WWI he re-opened his gallery as Galerie Simon.;2. Letter of Maurice Jardot, Galerie Louise Leiris, September 18, 1987 (stock no. 12131, photo numbers 390, 391), cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 232.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-114 |
| https://www.philamuseum.org/collections/permanent/53863.html | A. E. Gallatin, New York, by March 1936, probably purchased from the artist during the summer of 1935 through Jean (Hans) Arp [1], bequest to PMA, 1952.;1. The work appears in the MoMA exhibition catalogue, "Cubism and Abstract Art," published April 1936, as a loan from Gallatin. According to Jean Hélion, "it was through Jean (Hans) Arp that Gallatin got in touch with Schwitters" (Gail Stavitsky, interview with Hélion, 1986, quoted in The Development, Institutionalization, and Impact of the A.E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 1, p. 289, see also v. 9, p. 269).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-117 |
| https://www.philamuseum.org/collections/permanent/53867.html | Gift to the Philadelphia Museum of Art as part of the A. E. Gallatin Collection, by Jean (Hans) Arp, husband of the artist, 1949 [1], bequest to PMA, 1952.;1. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 278, citing Arp's letter of April 6 and August 28, 1948 to Gallatin, and Gallatin's letter of May 24, 1949 to Fiske Kimball, director of the PMA.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-120 |
| https://www.philamuseum.org/collections/permanent/53868.html | With Galerie Pierre, Paris, by 1934, sold to A. E. Gallatin, New York, June 1934 [1], bequest to PMA, 1952.;1. As per letter of October 27, 1934, from Gallatin to Torres-Garcia, cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 279. | 1952-61-121 |
| https://www.philamuseum.org/collections/permanent/53871.html | Nelly van Doesburg (widow of the artist), sold to A. E. Gallatin, 1938 [1], bequest to PMA, 1952.;1. Acquired by Gallatin from Nelly van Doesburg after the painting's appearance in the Stedelijk Museum exhibition in April 1938 (see sticker on verso "E. Robinot Frères, Paris/ Exposition de Amsterdam/ Madame Doesburg"), probably during Gallatin's trip to Europe in summer 1938. He announced the acquisition in a press release of November 19, 1938. A major proportion of van Doesburg's oeuvre remained in his widow's possession after his death, she helped to organize the Amsterdam exhibition (see Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 285, and Els Hoek, ed., Theo van Doesburg: oeuvre catalogue, Utrecht, 2000, no. 855, p. 527).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-124 |
| https://www.philamuseum.org/collections/permanent/53872.html | Purchased from the artist by A. E. Gallatin, New York, by November 1938 [1], bequest to PMA, 1952.;1. Probably purchased by Gallatin in Paris during the summer, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 2, p. 379, v. 9, p. 287.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-125 |
| https://www.philamuseum.org/collections/permanent/53895.html | Purchased from the artist by A. E. Gallatin, New York, April 1936 [1], bequest to PMA, 1952.;1. Acquired shortly after the painting appeared in a small exhibition of Domela's works at Gallatin's Gallery of Living Art from 30 March to 6 April (see GLA press release of 22 April 1936, and Museum of Living Art 1936 catalogue). A photo of the painting hanging in the exhibition is in the Domela Archives, Paris. Gallatin was a friend of Domela's, and apparently purchased the work directly from him. A letter of April 24, 1936, from Jean Hélion to Gallatin praises him for giving Domela a show and buying one of his works (Gallatin Papers, New-York Historical Society, microfilm).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-23 |
| https://www.philamuseum.org/collections/permanent/53903.html | A. E. Gallatin, New York, acquired before the end of 1936 [1], bequest to PMA, 1952.;1. Museum of Living Art catalogue, 1936, no. 7. The purchase may have resulted from Gallatin's visit to Brancusi in his studio in summer of 1936, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A.E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 1, p. 308, v. 6, p. 25.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-3 |
| https://www.philamuseum.org/collections/permanent/53905.html | A. E. Gallatin, New York, acquired by February 1935 (possibly summer 1934), probably from a Paris gallery [1], bequest to PMA, 1952.;1. Gail Stavitsky suggests that Gallatin may have purchased it from Galerie Jeanne Bucher, Galerie Pierre, or Galerie Pierre Colle (see The Development, Institutionalization, and Impact of the A.E. Gallatin Collection of Modern Art, [Ph.D. dissertation, New York University], 1990, v. 7, p. 89, and v. 1, p. 263). | 1952-61-30 |
| https://www.philamuseum.org/collections/permanent/53906.html | Purchased from the artist in Paris by A. E. Gallatin, New York, August 24, 1935 [1], bequest to PMA, 1952.;1. Dated receipt in Gallatin Papers, New York Historical Society, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. diss., New York University], 1990, v. 7, p. 93.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-32 |
| https://www.philamuseum.org/collections/permanent/53907.html | With Galerie Kahnweiler, Paris (no. 1444, photo no. 5047), until 1914, French government, sequestered Kahnweiler stock, 1914-23, 4th Kahnweiler sequestration sale, Hôtel Drouot, Paris, May 7-8 1923, no. 291, private collection, Paris?, or Galerie Simon [1], Alfred Flechtheim (1878-1937), Berlin, private collection, by 1933 [2], with Galerie Simon, Paris, by 1935 (no. 8915, photo no. 5017) [3], sold to A. E. Gallatin, New York, by October 1935 [4], bequest to PMA, 1952.;1. Bought together with two other works by Gris. The Gazette de l'Hôtel Drouot did not record buyers for the fourth Kahnweiler sale. See also note 4.;2. Zürich, Kunsthaus, "Juan Gris," 1933, no. 36, lent by Alfred Flechtheim, Berlin. According to the catalog, apparently in the dealer Flechtheim's private collection and not for sale at this date. Flechtheim had a significant personal collection of works by Gris, however, this painting is not listed in the inventory of Flechtheim's private collection in Ottfried Dascher, "Es ist was Wahnsinniges mit der Kunst": Alfred Flechtheim, Sammler, Kunsthändler, Verleger, Wädenswil, 2011, "Die Private Sammlung Alfred Flechtheim," pp. 423-425.;3. Flechtheim was closely associated with the dealer Daniel-Henry Kahnweiler, (1884-1979) who provided him with paintings. Upon the closing of his galleries in Düsseldorf and Berlin in November 1933, Flechtheim apparently sent much of his stock to Kahnweiler's Galerie Simon in Paris (see Nancy Yeide, AAM Guide to Provenance Research, "Flechtheim", p. 223, and Pierre Assouline, An Artful Life: A Biography of D. H. Kahnweiler, 1884-1979, New York, 1990, p. 231-232).;4. In a letter to Gallatin dated October 12, 1935 Kahnweiler states that after the Hôtel Drouot sale in 1923 the painting had been bought by someone in Paris (from this sale?) and that it had belonged to a small (private?) collection in Paris, from which he bought it back through an intermediary, who did not disclose the name of the collector (Gallatin Papers, New York Historical Society, microfilm). He makes no mention of Flechtheim. | 1952-61-34 |
| https://www.philamuseum.org/collections/permanent/53908.html | With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5327) [1], Pierre Faure, Paris [2], with Galerie Simon, Paris, as of 1937, and possibly by 1933 (stock no. 0456) [3], sold to A. E. Gallatin, New York, June 1937 [4], bequest to PMA, 1952.;1. Stock number L.R. 5327 on verso of painting (see also Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, no. 208).;2. Label on back of painting. According to Douglas Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich Gris exhibition (all pre-1920). Cooper states that the entire collection was acquired by the Galerie Simon in 1933 (Cooper, The Essential Cubism, 1983, pp. 25, 31).;3. For the stock number see Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, no. 208.;4. Letter from Daniel-Henry Kahnweiler to Gallatin dated June 10, 1937, noting the purchase of this painting and "Dish of Fruit" (1952-61-36) also by Gris. See also Gallatin's letter of August 1 [1937] to George L.K. Morris: "…Kahnweiler recently bought a fine collection of about 18 Gris. Two of them (topping) you will see in New York" (cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 7, p. 105). This group of 18 works probably represented a portion of Faure's private collection, which comprised about 26 paintings by Gris as well as works by other Cubists. According to Cooper's catalogue raisonné, 16 paintings by Gris are known to have gone directly from Faure to Kahnweiler's Galerie Simon. | 1952-61-35 |
| https://www.philamuseum.org/collections/permanent/53909.html | With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris (stock no. 5177), until at least c. 1920 [1], Pierre Faure, Paris, after 1920 [2], with Galerie Simon, Paris, as of 1937, and possibly by 1933 (stock no. 0460) [3], sold to A. E. Gallatin, New York, June 1937 [4], bequest to PMA, 1952.;1. Stock number L.R. 5177 on verso of painting. Rosenberg owned the painting at least until c. 1920, when it was reproduced in the Paris periodical Action as "Collection L. Rosenberg.;2. Faure is listed as a previous owner in Douglas Cooper's catalogue raisonné, but this information cannot be confirmed by examination of the painting because any marks or labels were lost when it was reframed. According to Cooper, Faure formed his large collection of 26 paintings by Gris between 1915 and 1927, buying from Léonce Rosenberg. Some 21 oil paintings owned by Faure appeared in the 1933 Zürich Gris exhibition (all pre-1920). Cooper states that the entire collection was acquired by the Galerie Simon in 1933 (Cooper, The Essential Cubism, 1983, pp. 25, 31).;3. For the stock number see Douglas Cooper, Juan Gris, Paris, 1977, vol. 1, no. 204, p. 304.;4. Letter from Daniel-Henry Kahnweiler to Gallatin dated June 10, 1937, noting the purchase of this painting and "Coffee-Pot" (1952-61-35) also by Gris. See also Gallatin's letter of August 1 [1937] to George L.K. Morris: "…Kahnweiler recently bought a fine collection of about 18 Gris. Two of them (topping) you will see in New York" (cited by Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 7, p. 105). This group of 18 works probably represented a portion of Faure's private collection, which comprised about 26 paintings by Gris as well as works by other Cubists. According to Cooper's catalogue raisonné, 16 paintings by Gris are known to have gone directly from Faure to Kahnweiler's Galerie Simon. | 1952-61-36 |
| https://www.philamuseum.org/collections/permanent/53913.html | With Léonce Rosenberg, Galerie de l'Effort Moderne, Paris, sold to A. E. Gallatin, New York, by the end of 1933 [1], bequest to PMA, 1952.;1. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 7, p. 113. The painting was published in the Gallery of Living Art catalogue, 1933, no. 41 (illus.). | 1952-61-39 |
| https://www.philamuseum.org/collections/permanent/53916.html | With Galerie Simon, Paris (no. 9697), with Galerie Jeanne Bucher, Paris, as of 1928 [1], Mme Baudin, Nantes, by 1933, sale, Hôtel Drouot, Paris June 23, 1933, lot 54 (illus.), purchased by A. E. Gallatin, New York [2], bequest to PMA, 1952.;1. A reproduction of the painting is featured in an advertisement for the Galerie Jeanne Bucher, Cahiers d'Art, 1928, nos. 5-6, between pages 180-181.;2. Annotated copy of sale catalog in Frick Art Reference Library indicates Gallatin as buyer. | 1952-61-41 |
| https://www.philamuseum.org/collections/permanent/53920.html | Léonce Rosenberg, Galerie de L'Effort Moderne, Paris, private collection, Paris, sale, Hôtel Drouot, Paris, March 26, 1928, lot 96 [1], with Galerie Simon, Paris (stock no. 10402, photo no. 5730), probably 1928 and certainly by 1931 [2], sold to A. E. Gallatin, New York, summer 1934 [3], bequest to PMA, 1952.;1. Sale listed in Cooper, Juan Gris: catalogue raisonné, Paris, 1977, v. 2, p. 442-443, but not verified.;2. Exhibited at the 1928 Galerie Simon Gris retrospective, no collection listed, so presumably it was purchased by Kahnweiler from the 1928 auction. The 1931 edition of Carl Einstein's Die Kunst des 20. Jahrhunderts lists the owner as Galerie Simon. A Galerie Simon label was formerly on the bottom of sculpture (see note in curatorial file).;3. See letters to Gallatin from Rosenberg, August 20, 1934 and Kahnweiler, August 17 and 20, 1934, concerning the provenance of the sculpture (Gallatin Papers, New York Historical Society, microfilm, copies in curatorial file). | 1952-61-45 |
| https://www.philamuseum.org/collections/permanent/53921.html | Purchased from the artist by A. E. Gallatin, New York, summer 1938 [1], bequest to PMA, 1952.;1. Gallatin visited Hartung's Paris studio in June 1938, where he chose "Composition". See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 2, p. 377-378, and v. 7, p. 116, and Museum of Living Art press release, November 19, 1938. | 1952-61-46 |
| https://www.philamuseum.org/collections/permanent/53928.html | A. E. Gallatin, New York, purchased from the artist, with the assistance of George L. K. Morris, 1936 [1], bequest to PMA, 1952.;1. See letter of January 1937 in which Léger informs Gallatin that the painting has been shipped (Gallatin Papers, New York Historical Society, microfilm). Morris owned a half share of the painting (along with Picasso's "Three Musicians"), which he later sold to the Gallatin estate, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 2, p. 356-357, and v. 7, p. 143.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-58 |
| https://www.philamuseum.org/collections/permanent/53930.html | A. E. Gallatin, New York, 1936, probably acquired directly from the artist [1], bequest to PMA, 1952.;1. See Braque's dedication on the front of the painting "à M. Gallatin/ G. Braque/ 1918", and also Gallatin's Museum of Living Art press release of October 27, 1936 stating that the new acquisition came from Braque's studio: the artist "for many years refused to part with it. It hung always over the door of his studio in Paris, and not until this year could he be persuaded to allow it to pass into an American museum. | 1952-61-6 |
| https://www.philamuseum.org/collections/permanent/53933.html | With Léonce Rosenberg, Galerie L'Effort Moderne, Paris, 1927 [1], A. E. Gallatin, New York, by the end of 1934, probably during the summer [2], bequest to PMA, 1952.;1. Label on verso with date 1927 and stock no. 8913, also a label reading "Léger/Gallatin/Remise/Rosenberg" (Léonce Rosenberg, owner of Galerie L'Effort Moderne).;2. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 1, p. 267-268. | 1952-61-63 |
| https://www.philamuseum.org/collections/permanent/53939.html | Städtisches Museum Halle, Germany, purchased 1929 [1], Hanover Provinzialmuseum/Landesmuseum, Germany, on loan from Städtisches Museum Halle, 1929(?)-1937 [2], German government, confiscated by the National Socialist authorities (Reichsministerium für Volksaufklärung und Propaganda), Berlin, July 8, 1937-January 27, 1939 [3], sold on commission to Karl Buchholz, Buchholz Gallery, Berlin, 1939, transferred to Curt Valentin, Buchholz Gallery, New York, 1939 [4], sold to A. E. Gallatin, New York, 1939 [5], bequest to PMA, 1952.;1. See Andreas Hüneke, Die faschistische Aktion "Entartete Kunst" 1937 in Halle (Staatliche Galerie Moritzburg Halle, 1987), p. 38, no. 42, and Peter Nisbet, ed., El Lissitzky 1890-1941, exh. cat., 1987, Proun inventory no. 14, p. 160. The acquisition is also noted and illustrated in Museum der Gegenwart 1 (1930/1931), p. 13. The painting was one in a total of 46 oil paintings, drawings, and watercolors by Lissitzky purchased by the Halle museum in that year (see Im Kampf um die moderne Kunst: Das Schicksal einer Sammlung in der 1.Hälfte des 20. Jahrhunderts, exh. cat., Staatliche Galerie Moritzburg, [1985], p. 48 and p. 52).;2. Alexander Dorner, the director of the Hanover Provinzialmuseum until his forced resignation by the Nazis in 1936, recollected that Mondrian's "Composition in Blue" (1952-61-87) and Lissitzky's "Proun 2C," both later purchased by Gallatin, hung in the famous Abstract Gallery (Abstraktes Kabinett) of the Hanover museum designed 1927-28 by Lissitzky (Cauman, The Living Museum, 1958, p. 55, repr. p. 62 and p. 63, respectively, both horizontally). The information that the painting was on loan to, rather than owned by, the Hanover museum is supplied by a 1958 Art News article in which the author, Ella Winter, quotes a letter from Dorner's widow stating that 'the Lissitzkys you refer to hung in the Abstract Gallery, it [the gallery] was destroyed by the Nazis while my husband was opening the first Munich exhibition in London. When he returned he found that unique and beautiful room dismantled and himself accused of promoting "degenerate" art. The Lissitzky on loan was sold... and is now in the Philadelphia Museum' [ellipsis is the author's] (see "Lissitzky: A Revolutionary Out of Favor," April 1958, p. 63). In addition, this painting is not listed in the 1930 catalog of works owned by the Hanover Provinzialmuseum (Katalog der Kunstsammlungen im Provinzialmuseum zu Hannover, Bd. 1, 1930).;3. Assigned the EK (Entartete Kunst) inventory no. 14283 ("Entartete Kunst" typescript inventory, c. 1941/1942, Victoria and Albert Museum National Art Library, Fischer Collection, see also Beschlagnahmeinventar "Entartete Kunst", "Degenerate Art" Research Center, FU Berlin, http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=118954&viewType=detailView) (copy of inventory entry in curatorial file). This number is stamped on a sticker on the back of the painting. It is clear from the letter quoted in the Art News article cited above that the Nazis confiscated the painting from the Hanover museum. It is not certain where the painting was stored after confiscation, Mondrian's "Composition with Blue" (PMA 1952-61-87), also confiscated from Hanover, was stored at the Schloss Niederschönhausen, the Nazi sales repository for "Entartete Kunst" confiscated from museums.;4. Four prominent German dealers were appointed to market the inventory of confiscated works, including Karl Buchholz. According to the EK register, this painting was assigned to Buchholz, owner of the Buchholz Gallery in Berlin. Buchholz was the mentor and pre-war partner of Curt Valentin (1902-1954) who named the New York gallery he opened in 1937 in Buchholz' honor. Between 1934 and 1937 Valentin ran his own gallery in Buchholz' dealership in Berlin (Nicholas, Rape of Europa, p. 3, 24, Yeide, AAM Guide to Provenance Research, p. 239, 290). Valentin, a German citizen, left Germany in 1937 to go into exile. However, he maintained contact with Buchholz, frequently travelling to Germany, where he acquired works from the Schloss Niederschönhausen and the Lucerne 1939 auction. According to Nicholas he "was able to obtain from this source [Germany] much of the inventory which established him as a major New York dealer" (Nicholas, p. 24). Hüneke, underscoring the connection between Buchholz and Valentin, refers to the latter's New York gallery as "a ready-made platform from which Buchholz could sell to America" (see "Missing Masterpieces," in Degenerate Art, p. 129).;5. Receipt from the Buchholz Gallery/Curt Valentin to Gallatin dated August 24, 1939, for purchase of both the Lissitzky and Mondrian's "Composition with Blue" (stamped "Paid" August 31, 1939).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-72 |
| https://www.philamuseum.org/collections/permanent/53948.html | With Galerie Jacques Bonjean, Paris? [1]. With Léonce Rosenberg, Galerie l'Effort Moderne, Paris, by 1935 [2], sold to A. E. Gallatin, by October 1935 [3], bequest to PMA, 1952.;1. A torn dealer label on the back of the painting reads "Bonjean", with a partial address in French. Galerie Bonjean was apparently in operation from the late 19th century to at least 1935 (see Getty Provenance Index and Grove Dictionary of Art, among other sources). The important dealer Étienne Bignou was a stepson of a Paris dealer named Bonjean, possibly related, whose gallery and stock he inherited (see Douglas Cooper, Alex Reid & Lefèvre, 1926-1976, London, 1976, p. 17).;2. Paris, Galerie des Beaux-Arts, "Les créateurs du cubisme," March-April 1935, catalog by Raymond Cogniat, no. 134, "Collection de M. Léonce Rosenberg.;3. A Gallery of Living Art press release of October 28, 1935 includes this work as a new acquisition. Gail Stavitsky notes that Gallatin was in Paris during the summer of 1935 and probably bought the painting then (see The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 1, p. 290). | 1952-61-81 |
| https://www.philamuseum.org/collections/permanent/53952.html | With Galerie Pierre, Paris, by 1934 [1], sold to A. E. Gallatin, New York, by the end of 1936 [1], bequest to PMA, 1952.;1. See Cahiers d'Art, nos. 1-4, 1934, fig. 32, p. 50 (owner: Galerie Pierre).;2. See Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph.D. dissertation, New York University], 1990, v. 8, p. 192, and Carolyn Lanchner, Joan Miró (exh. cat. Museum of Modern Art, New York), New York, 1993, no. 105.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-84a--g |
| https://www.philamuseum.org/collections/permanent/53953.html | With Pierre Matisse Gallery, New York, by December 1933, sold to A. E. Gallatin, New York, January 11, 1935 [1], bequest to PMA, 1952.;1. The Matisse Gallery stockbook, 1931-1942 records the sale of the painting, entitled "Composition", stock no. 288, to Gallatin on this date (Pierre Matisse Gallery Archives, The Morgan Library, New York, Box 171, file 34). The official date of the Matisse Gallery's purchase from Miró is listed as January 11, 1935, also, however, Carolyn Lanchner gives the acquisition date as c. December 1933, based on the fact that the Matisse Gallery exhibited the work at that time (see Lanchner, Joan Miró [exh. cat., Museum of Modern Art, New York], New York, 1993, no. 106).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-85 |
| https://www.philamuseum.org/collections/permanent/53954.html | Consigned by the artist to Sophie Küppers (1891-1978), Hanover, Germany, 1926(?) [1], Hanover Provinzialmuseum/Landesmuseum, Hanover, Germany, 1926(?)-1937 [2], confiscated in 1937 by the National Socialist authorities and stored in Schloss Niederschönhausen, EK inventory number 7035 [3], with Karl Buchholz, Berlin, with Curt Valentin, Buchholz Gallery, New York, 1939 [4], sold to A. E. Gallatin (1881-1952), New York, August 24, 1939 [5], bequest to PMA, 1952.;1. Sophie Küppers (later Küppers-Lissitzky, after she married the artist El Lissitzky in 1927) was a German citizen resident in Hanover and widow of Paul Küppers (d. 1922), artistic director of the Kestner Society. She became interested in promoting Mondrian's work in 1924 and asked him to send work on consignment for her to sell in Germany. He sent four canvases, which she showed to Alexander Dorner, the director of the Hanover Provinzialmuseum, Dorner purchased one of them for the museum (see S. Küppers-Lissitzky, El Lissitzky, 1968, p. 52). According to Joop Joosten (letter of November 15, 2001 in curatorial file, and Mondrian: Catalogue Raisonné, 1998, vol. 2, p. 133, 324, see also "Piet Mondrian", exh. cat., 1994, p. 52), "Composition with Blue" must have likewise been consigned to Küppers in Hanover after it was shown in the "Onafhankelijken" exhibition in Amsterdam in 1926, she and Lissitzky had visited Holland in the summer of 1926 and would have seen the exhibition.;2. Alexander Dorner (1893-1957) recalled that Mondrian's "Composition in Blue" along with Lissitzky's "Proun 2C", both later purchased by Gallatin, were both displayed in the famous Abstract Gallery (Abstraktes Kabinett) of the Hanover museum designed 1927-28 by Lissitzky (Samuel Cauman, The Living Museum, 1958, p. 55, repr. p. 62 and p. 63, respectively, no known installation photo of the Abstraktes Kabinett shows these paintings actually hanging on the wall). However, there is no evidence that the museum owned "Composition in Blue." In a letter of May 14, 1983 in the curatorial file, Joosten notes that the painting is not in the records of the Hanover museum. The painting is not listed in the 1930 catalog of the museum's holdings, nor does it appear on the official list of works owned by museum at the time of the Nazi seizures. Only one Mondrian is listed, this is almost certainly the painting purchased from Küppers in 1924, Joosten's no. B149, which was sent to the Nazi-organized "Entartete Kunst" exhibition in Munich in 1937 and is now lost (see Landesmuseum Hanover, Beschlagnahme-Aktion im Landesmuseum Hannover, 1937, Hanover, 1983, "Gemälde aus dem Besitz der Landesgalerie Hannover").;Oddly, "Composition with Blue" also does not appear on the list of confiscated works on loan to the museum at the time. Again, only one Mondrian is listed as a loan, this is most likely Joosten's no. B174 (now lost), a 1926 painting entitled "Schilderij No. 2" that also appeared in the "Onafhenkelijken" exhibition, and is listed in the museum's 1930 catalog as a "Leihgabe" (loan) from the Sophie Küppers collection (Dorner, Katalog der Kunstsammlungen im Provinzialmuseum zu Hannover, Bd. 1, 1930, p. 274, no. 433). Together with "Composition with Blue," this work was confiscated from the museum in 1937 and stored at Schloss Niederschönhausen (see below, note 3), where it was registered under #7034, the number preceding "Composition with Blue." Since there is no doubt that "Composition with Blue" was at the Hanover museum in 1937, it must have been present as an unofficial loan of some sort. Joosten suggests that before leaving Germany for Russia in 1927 Küppers asked Dorner to keep "Composition with Blue" in storage, hoping for a chance to sell it to the museum in the future (Joosten letter of November 15, 2001).;If the work was in fact on consignment to Küppers, as seems most likely, then Mondrian himself remained the owner, with Küppers simply acting as intermediary. This was her typical practice: a 1925 letter from El Lissitzky to Küppers, for example, reports that Mondrian needs cash and is anxiously awaiting the fruits of her success in selling his paintings in Dresden (see Küppers-Lissitzky, El Lissitzky, 68, Joosten believes that she never asked for, or received, a commission on these sales).;The Hanover Provinzialmuseum is now known as the Niedersächsisches Landesmuseum, the modern art collections are housed at the Sprengel Museum. Sophie Küppers-Lissitzky lent 13 works by various artists to the Hanover Provinzialmuseum in 1926 before she moved to Russia, all of which were confiscated by the Nazis in 1937 as part of the "degenerate art" campaign (see Art News, Summer 1992, Apr. 2001, and Sept. 2001). The Lissitzkys' son and heir, Jen Lissitzky, has recently sought the return of three confiscated works from his mother's collection now belonging to other museums (one of which has been returned). The 13 paintings in question are listed in a document written by Sophie Küppers entitled "Sammlung Dr. P. E. Küppers als Leihgabe übergeben zu Händen von Dr. Alexander Dorner an das Provinzial-Museum der Stadt Hannover, 1926." Only one Mondrian appears on the list, this is almost certainly the painting "Schilderij No. 2" that appears in the museum's 1930 catalog as her loan, the whereabouts of which are now unknown.;3. The painting's verso bears a paper label stamped "7035". As a major proponent of modern abstract and Expressionist art in Germany, Dorner was forced by the Nazi government to resign his position as director of the Hanover Provinzialmuseum (also known as the Landesmuseum) in 1936. He became director of the RISD art museum in 1938. In 1937, as part of its campaign against "Degenerate Art" the Nazi government dismantled the Abstraktes Kabinett and confiscated some 270 works from the museum (Cauman, The Living Museum, p. 119). This "purification" of German museums continued until March 1938.;The Entartete Kunst (EK) inventory gives the title of "Composition with Blue" as "Abstrakte Komposition", records that it was assigned to dealer Karl Buchholz, and under "Location" gives the abbreviation "K", denoting "ehemaliger Kommissionsbestand in Verwahrung des Reichsministeriums für Volksaufklärung und Propaganda" (former commission inventory in custody of the Reich Ministry of Public Enlightenment and Propaganda).;Joosten has determined that "Composition in Blue" was sent to Schloss Niederschönhausen outside of Berlin, where a salesroom was set up to dispose of the most "exploitable" works of art (i.e., those with the highest potential resale value on the international art market), totalling 780 paintings and 3,500 works of art on paper (Joosten, Catalogue Raisonné, vol. 2, p. 323-324, see also Lynn Nicholas, Rape of Europa, 1995, p. 24-25, and Stephanie Barron, ed., Degenerate Art, exh. cat., 1991, p. 125, 128-129). It's unclear why the final version of the EK inventory (c. 1942) wasn't updated to reflect the sale by Buchholz.;4. Four prominent German dealers, including Karl Buchholz, were appointed to market the inventory of confiscated works. According to the EK register, this painting was assigned to Buchholz, owner of the Buchholz Gallery in Berlin (the original register is housed at the Zentrales Staatsarchiv Potsdam, see Barron, ed., "Degenerate Art", exh. cat., 1991, p. 132, n. 15). He was the mentor and pre-war partner of Curt Valentin (1902-1954) who named the New York gallery he opened in 1937 in Buchholz' honor. Between 1934 and 1937 Valentin ran his own gallery in Buchholz' dealership in Berlin (Rape of Europa, p. 3, 24, Yeide, AAM Guide to Provenance Research, p. 239, 290). Valentin, a German citizen, left Germany in 1937 to go into exile in the U.S. However, he maintained contact with Buchholz, frequently travelling to Germany, where he acquired works from the Schloss Niederschönhausen and the Lucerne auction. According to Nicholas he "was able to obtain from this source much of the inventory which established him as a major New York dealer" (Rape of Europa, p. 24). Andreas Hüneke, underscoring the connection between Buchholz and Valentin, refers to the latter's New York gallery as "a ready-made platform from which Buchholz could sell to America" ("Missing Masterpieces," in Barron, ed., Degenerate Art, p. 129).;Correspondence between Alexander Dorner and Curt Valentin in March 1939 (copy in the curatorial files) refers to a Mondrian offered for sale to RISD by Valentin that, Dorner writes, "is not the picture that belonged to our Museum [the Hanover Provinzialmuseum]" but rather "a private one [that] belonged to a private person. So it really is a stolen picture" (March 14, 1939). Joosten believes it likely that this privately-owned Mondrian was "Composition with Blue," although alternatively Dorner may have been recalling "Schilderij No. 2" (Joosten B174) the painting lent to Hanover from Sophie Küppers' collection.;5. Receipt in PMA Archives, Gallatin files, from Buchholz Gallery/Curt Valentin dated August 24, 1939 recording the purchase of the Mondrian and the Lissitzky by Gallatin (stamped "Paid" August 31, 1939). Mondrian wrote to Ben Nicholson on December 6, 1939, regarding the acquisition: "[Gallatin] has bought also one of my two Hannover museums pictures, rejected by Hitler" (see Joosten, Catalogue Raisonné, vol. 2, p. 323).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-87 |
| https://www.philamuseum.org/collections/permanent/53955.html | Purchased from the artist by A. E. Gallatin, New York, c. June 1, 1933 [1], bequest to PMA, 1952.;1. See letter from Mondrian to Gallatin, dated June 1, 1933: "[...] Je viens de reçevoir votre chèque dont je vous remercie beaucoup. [...] Demain le cadre du tableau sera ici et je vous l'apporterai" (Gallatin Papers, New-York Historical Society, see also letter of June 5, 1933, to Carola Giedion-Welcker: "[...] Ces jours-ci j'avais le plaisir et la satisfaction que Mr. Gallatin, directeur d'un musée moderne à New-York a montré beaucoup de sympathie pour mon oeuvre neo-plasticienne et acheté un petit tableau pour son musée, il n'y avait pas assez d'argent pour acheter un tableau plus grand" (quoted in Joop Joosten, Piet Mondrian: Catalogue Raisonné, 1998, v. 2, p. 365).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-88 |
| https://www.philamuseum.org/collections/permanent/53956.html | Consigned by the artist to the Valentine Gallery (Valentine Dudensing), New York, 1936, sold to A. E. Gallatin, New York, December 14, 1936 [1], bequest to PMA, 1952.;1. Stock no. 1362C in ledger book. Communication from Julia May Boddewyn, March 15, 2017 (in curatorial file), originals: Valentine Dudensing Ledger Books, The Museum of Modern Art Archives, New York. In March of 1936 Mondrian had accepted an offer from Dudensing for the New York gallery to be Mondrian's exclusive representative in America for one year (Joop Joosten, Piet Mondrian: Catalogue Raisonné, 1998, v. 2, p. 163). Mondrian wrote to Winifred Nicholson on Nov. 5, 1936: "Je l'ai envoyé [another painting] à New York avec deux autres que je viens de terminer [including 1952-61-89]. Je les expose chez la galerie qui a cet été vendu le grand tableau" (see Joosten, v. 2, p. 385). On February 15, 1937, Mondrian wrote to Gallatin that he was pleased that a better painting of his was now in Gallatin's museum: "Je vous remercie bien du beau livre que je viens de reçevoir et pour votre appreciation de mon oeuvre. Je suis très content que maintenant une meilleure chose de moi est dans votre musée" (letter in Gallatin Papers, New York Historical Society, microfilm, copy in Mondrian general curatorial file).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-89 |
| https://www.philamuseum.org/collections/permanent/53958.html | Consigned by the artist to Valentine Gallery (Valentine Dudensing), New York, probably sold to A. E. Gallatin, New York, January 17, 1939 [1], bequest to PMA, 1952.;1. Probably stock no. 1891C. Communications from Julia May Boddewyn, March 6 and March 24, 2017 (in curatorial file), originals: Valentine Dudensing Ledger Books, The Museum of Modern Art Archives, New York. The Valentine Gallery sales records do not give titles, however, because there are only two Mondrians listed in the records as having been sold to Gallatin or the Gallery of Living Art, and the other work has been identified as "Composition with White and Red" (1952-61-89), this painting is most likely to be the one sold on this date. In addition, Joop Joosten states that the paintings Mondrian was working to finish in December 1937 to be sent to the United States, including "Opposition of Lines: Red and Yellow" (see his letter to Winifred Nicholson, Dec. 27), were intended for Valentine Dudensing in New York (Joosten, Piet Mondrian: Catalogue Raisonné, 1998, p. 391). Gail Stavitsky argues that the painting could have been acquired directly from the artist during Gallatin's trip to Europe in the summer of 1938, she points to a visit to Mondrian in July recorded in Gallatin's appointment book (Gail Stavitsky, The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 8, p. 203). However, it seems more likely that Gallatin acquired the painting from Dudensing. The acquisition was first announced by the Museum of Living Art in a press release of October 28, 1939.;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-90 |
| https://www.philamuseum.org/collections/permanent/53963.html | Consigned by the artist to Galerie Paul Rosenberg, Paris, January 21, 1925 [1], with Rosenberg until c. 1927 (exchanged it and other paintings with Reber for a Cézanne), Dr. Gottlieb Friedrich Reber (1880-1959), Lausanne, 1927-1936 (possibly in the possession of a creditor 1934-1936) [2], with Zwemmer Gallery, London, sold to A. E. Gallatin and George L. K. Morris, NY, September 18, 1936 [3], bequest of A. E. Gallatin to PMA, 1952.;1. Elizabeth Hutton Turner, Duncan Phillips Collects: Paris Between the Wars, Washington, DC, 1991, p. 43-45 and n. 92, citing Paul Rosenberg Papers, Pierpont Morgan Library.;2. Reber underwent financial difficulties as a result of the Depression: Alfred H. Barr wrote to MOMA trustee Stephen C. Clark on July 13, 1934, that the painting 'formerly in the Reber Collection, is now apparently in the possession of a bank following Reber's recent collapse on the Paris bourse', see Dorothy Kosinski, "G. F. Reber: Collector of Cubism," Burlington Magazine, v. 133, August 1991, p. 526.;3. The Zwemmer Gallery ledger records the sale to Gallatin on September 18, 1936, with a note that the work was being sent to New York directly from Lausanne, see Nigel Vaux Halliday, More Than a Bookshop: Zwemmer's and Art in the 20th Century, London, 1991, p. 183. In addition, a letter of Alfred Barr (who was campaigning to acquire the painting for MOMA at the time) dated July 31, 1936, notes that Zwemmer was offering the painting.;The Mayor Gallery in London may also have been involved in the sale: Morris' painted receipt (Gallatin Papers, New York Historical Society) for his half of the payment for the painting refers to the Mayor Gallery and not to Zwemmer, repro. in Susan Larsen, "Albert Gallatin: the 'Park Avenue Cubist' Who Went Downtown," Art News, December 1978, p. 80. The Mayor Gallery, however, has no record of this transaction, as indicated to Gail Stavitsky by Andrew Murray, Director, letter of April 21, 1989, and by Dorothy Kosinski, curator of the Douglas Cooper Collection, see Gail Stavitsky, The Development, Institutionalization, and Impact of the A.E. Gallatin Collection of Modern Art [Ph. D. dissertation, New York University], 1990, v. 9, p. 240, and letter from Stavitsky dated 19 October 1989 in curatorial file. Nevertheless the Mayor Gallery's connection with Reber is well documented, Douglas Cooper, who was one of the gallery's directors from 1933 to 1937 or 1938, bought fifteen works from Reber in the 1930's (see Dorothy Kosinski, Picasso, Braque, Gris, Léger: Douglas Cooper Collecting Cubism, Houston, 1990, p. 22).;* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. | 1952-61-96 |
| https://www.philamuseum.org/collections/permanent/53964.html | Jacques Zoubaloff (1876-1941), Paris, probably by 1929 [1], sale, Zoubaloff Collection, Hôtel Drouot, Paris, November 27 & 28, 1935, lot no. 164 (as "Nature morte"), purchased by Douglas Cooper, Mayor Gallery, London (Mayor Gallery, no. 1848), sold to A. E. Gallatin, New York, June 13, 1936 [2], bequest to PMA, 1952.;1. Guillaume Janneau, L'Art Cubiste, Paris, 1929, pl. 43 as "Peinture". Janneau acted as adviser to Zoubaloff in the formation of his collection, and most of the works illustrated in L'Art Cubiste belonged to the Zoubaloff collection.;2. See Kosinski, Picasso, Braque, Gris, Léger: Douglas Cooper Collecting Cubism, 1990, p. 17. | 1952-61-97 |
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