E. & A. Silberman Galleries was an art dealership owned by Abris and Elkin Silberman. This dataset includes artworks in American museums that mention Silberman in the ownership history.
View DATASET
See details below:
| Source Url | Title | Artist | Acc Num | Provenance | Credit Line |
| https://collections.mfa.org/objects/34014/mandolin-and-fruit-dish | Mandolin and Fruit Dish | Juan Gris | 67.1161 | 1925, Galerie Simon, Paris (stock no. 9011), November 20, 1925, sold by the Galerie Simon to Gottlieb Friedrich Reber (b. 1880 - d. 1959), Lausanne, by 1933, sold by Reber to Paul de Frassari Adamidi Bey (b. 1901/02 - d. mid-1980s), Geneva [see note 1]. 1951, with the Galerie Charpentier, Paris [see note 2]. Galerie Kleinmann, Paris. By 1960, George David Thompson (b. 1899 - d. 1965), Pittsburgh [see note 3]. Silberman Galleries, New York (?) [see note 4]. 1961, Joseph Pulitzer, Jr., St. Louis, MO, 1967, gift of Pulitzer to the MFA. (Accession Date: December 13, 1967); NOTES;[1] Gottlieb Friedrich Reber was an important collector of Cubist art who purchased twenty-eight pictures by Gris at the Galerie Simon on November 20, 1925. He sold this painting to Paul de Frassari Adamidi Bey, see Dorothy Kosinksi, "G. F. Reber: collector of Cubism," Burlington Magazine 133 (August 1991): p. 530. Bey lent the painting to the exhibition "Juan Gris," Kunsthaus, Zurich, April 2-26, 1933, cat. no. 127.;[2] According to Douglas Cooper, "Juan Gris, catalogue raisonné de l'oeuvre peint," vol. 2 (Paris, 1977), cat. no. 531, p. 356, the painting was included in the exhibition "Natures Mortes Françaises," Galerie Charpentier, Paris, 1951 (cat. no. 78, "La guitarre," no lender named).;[3] According to information provided by the Beyeler Gallery, Basel (August 4, 2004), Thompson consigned the work to the gallery and it was returned to him. While on consignment, the painting was included in the exhibition "Thompson Collection," Kunsthaus, Zurich (October 15 - November 27, 1960), Kunstmuseum, Düsseldorf (December 14, 1960 - January 29, 1961), and Gemeentemuseum, The Hague (February 17 - April 9, 1961).;[4] "Silberman" is written in chalk on the reverse of the painting stretcher. | Gift of Joseph Pulitzer, Jr. |
| https://www.metmuseum.org/art/collection/search/437545 | Landscape with a Village in the Distance | Jacob van Ruisdael | Landscape with a Village in the Distance | The Metropolitan Museum of Art | 65.181.10 | Nathaniel Thayer, Boston (by 1912–d. 1927, his estate, 1927–35, posthumous sale, American Art Association-Anderson Galleries, New York, April 25, 1935, no. 62, as "Landscape with Figures," by Hobbema, for $1,150 to Plaza Curiosity Shop), [Karl Loevenich and Frank Schnittjer, Plaza Curiosity Shop, New York, 1935–36, sold to Kleinberger], [Kleinberger, New York, 1936, sold to Silberman], [E. and A. Silberman Galleries, New York, 1936–37, sold to Lehman], Adele L. (Mrs. Arthur) Lehman, New York (1937–d. 1965); Exhibition History;Cleveland Museum of Art. "Twentieth Anniversary Exhibition," June 26–October 4, 1936, no. 240 (lent by E. and A. Silberman Galleries, Inc., New York).;Montreal Museum of Fine Arts. "Six Centuries of Landscape," March 7–April 13, 1952, no. 30 (lent by Mrs. Arthur Lehman).;Hamburger Kunsthalle. "Jacob van Ruisdael: Die Revolution der Landschaft," January 18–April 1, 2002, no. 8.;Haarlem. Frans Halsmuseum. "Jacob van Ruisdael: Die Revolution der Landschaft," April 27–July 29, 2002, no. 8.;New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.;References;Cornelis Hofstede de Groot. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Ed. Edward G. Hawke. Vol. 4, London, 1912, p. 6, as by Gerrit van Hees, as in the Thayer collection, Boston.;Georges Broulhiet. Meindert Hobbema (1638–1709). Paris, 1938, p. 443, no. 507, ill. p. 353, as by Hobbema, calls it inspired by a drawing by Ruisdael in the Louvre.;Wolfgang Stechow. Salomon van Ruysdael: Eine Einführung in seine Kunst. Berlin, 1938, p. 58, as by Jacob Salomonsz. van Ruysdael [a cousin of Ruisdael].;Claus Virch. The Adele and Arthur Lehman Collection. New York, 1965, pp. 50–51, ill., disagrees with Broulhiet [see Ref. 1938], finding that there is "no more than a general, generic similiarity [sic]" between the MMA painting and the Louvre drawing Broulhiet mentions as the inspiration for it.;Seymour Slive. Letter to John Walsh. February 15, 1971, judging from a photograph, writes that it "stands a very good chance of being an early original" by Ruisdael.;Wolfgang Stechow. Salomon van Ruysdael: Eine Einführung in seine Kunst. 2nd, rev., enl. ed. Berlin, 1975, p. 58.;Peter C. Sutton. A Guide to Dutch Art in America. Grand Rapids, Mich., 1986, p. 191, suggests that it may be by Jacob Salomonsz van Ruysdael.;Walter Liedtke. "Dutch and Flemish Paintings from the Hermitage: Some Notes to an Exhibition Catalogue, with Special Attention to Rembrandt, Van Dyck and Jordaens." Oud-Holland 103, no. 3 (1989), pp. 160, 168 nn. 41–42, fig. 9, compares it to Ruisdael's "Small House in a Grove" (Hermitage, St. Petersburg), also signed and dated 1646, finding that the two works "are entirely consistent in execution".;Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 331, ill.;Seymour Slive. Jacob van Ruisdael: A Complete Catalogue of His Paintings, Drawings and Etchings. New Haven, 2001, pp. 5, 428–29, 432, no. 609.;Walter Liedtke et al. in Jacob van Ruisdael: Die Revolution der Landschaft. Exh. cat., Hamburger Kunsthalle. Zwolle, The Netherlands, 2002, pp. 31, 64–65, 86, no. 8, ill. (color).;Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, p. 500, vol. 2, pp. 786–90, no. 179, colorpl. 179. | Bequest of Adele L. Lehman, in memory of Arthur Lehman, 1965 |
| https://www.moma.org/collection/works/80111 | Pablo Picasso. Two Nudes. Paris, late 1906 | MoMA | sameAs": "https://www.moma.org/artists/4609";name": "Pablo Picasso | 621.1959 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.; Ambroise Vollard (1867-1939), Paris. Until 1915;John Quinn, New York. Acquired from Vollard through Carroll Galleries, New York, April 1915 - 1924;Quinn Estate, 1924 - 1926;Paul Rosenberg, Paris. By 1932;Rosenberg and Helft, London. By 1939 - until 1946 at least. (In Rosenberg collection, by 1932 - at least 1946);Keith Warner, Vermont;E. and A. Silberman Galleries, New York. By January 1953 - at least until end of 1953;G. David Thompson, Pittsburgh. By 1955 - 1959;The Museum of Modern Art, New York. Gift of G. David Thompson in honor of Alfred H. Barr, Jr., 1959; 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 | Gift of G. David Thompson in honor of Alfred H. Barr, Jr. |
| https://www.metmuseum.org/art/collection/search/489246 | Georges de Miré | Roger de la Fresnaye | Georges de Miré | The Metropolitan Museum of Art | 62.261 | the sitter, Paris (from 1910), [Galerie Pierre, Paris, until 1930, sold on May 25, 1930, for Fr 80,000, to René Gimpel, Paris, for the Toledo Museum of Art], Toledo Museum of Art (1930–55, accession no. 30.210, on consignment 1951–55 to M. Knoedler & Co., Inc., New York, consignment no. CA 3955, sold by Knoedler on April 14, 1955, for $7,000, to Chrysler), Walter P. Chrysler, Jr., New York and Warrenton, Va. (from 1955), [E. and A. Silberman Galleries, Inc., New York, in 1960, sold to Cummings], Mr. and Mrs. Nathan Cummings, Chicago (until 1962, their gift to MMA); Exhibition History;Paris. Grand Palais des Champs-Élysées. "Salon d'Automne," October 1–November 8, 1910, no. 435 (as "Portrait de M. G. de Miré," lent by M. de Miré).;New York. Buchholz Gallery, Curt Valentin. "Roger de la Fresnaye, 1885–1925," October 23–November 10, 1945, no. 15 (as "Portrait of Georges de Mire," possibly 1917, lent anonymously).;Washington. National Gallery of Art. "Selections from the Nathan Cummings Collection," June 28–September 11, 1970, no. 21.;New York. The Metropolitan Museum of Art. "Summer Loan 1971: Paintings from New York Collections. Nathan Cummings Collection," July 1–September 7, 1971, no. 21 (New York venue, brochure no. 30).;Art Institute of Chicago. "Major Works from the Collection of Nathan Cummings," October 20–December 9, 1973, no. 50.;Canberra. Australian National Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," March 1–April 27, 1986, unnumbered cat. (p. 11).;Brisbane. Queensland Art Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," May 7–July 1, 1986, unnumbered cat.;New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, unnumbered cat. (p. 28).;References;André Salmon. "L'Oeuvre de Roger de la Fresnaye." L'Art vivant 2 (December 1, 1926), ill. p. 887, calls it "Portrait de M. de Miré".;Blake-More Godwin. The Toledo Museum of Art: Catalogue of European Paintings. Toledo, 1939, pp. 274–75, ill., calls it "Portrait".;Germain Seligman. Roger de la Fresnaye. New York, 1945, pp. 12, 42, no. 27, pl. XV, calls it "Georges de Miré, Portrait" and tentatively dates it about 1917, erroneously locates it in a private collection.;Burlington Magazine 102 (May 1960), ill. p. xxi (advertisement for E. A. Silberman Galleries).;Germain Seligman. Roger de la Fresnaye, with a Catalogue Raisonné. Greenwich, Conn., 1969, pp. 76, 138, no. 76, ill., calls it "Portrait: Georges de Miré", reproduces a charcoal study for this painting (location unknown).;Carol Cutler. Selections from the Nathan Cummings Collection. Exh. cat., National Gallery of Art. Washington, 1970, p. 36, no. 21, ill.;Michael Lloyd in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, p. 11, ill. (color), dates it about 1910.;Roger Bevan. "Exhibition Reviews: The Metropolitan Museum: A New Wing for Modern Art." Apollo 127 (January 1988), p. 41. | Gift of Mr. and Mrs. Nathan Cummings, 1962 |
| https://collections.mfa.org/objects/33673/the-artists-grandmother | The Artist's Grandmother | Emile Bernard | 61.165 | Probably by descent from the artist to his son-in-law, Clément Altarriba, Paris, 1950, still in Altarriba's possession [see note 1]. November 25, 1959, anonymous sale, Sotheby's, London, lot 53 [see note 2], to E. and A. Silberman Galleries, New York, 1961, sold by Silberman Galleries to the MFA for $7,500. (Accession Date: October 8, 1961) ;NOTES;[1] Lent by him to the exhibition "Eugène Carrière et le Symbolisme," Orangerie des Tuileries, Paris, December, 1949 - January, 1950, cat. no. 213. [2] The painting is said in the auction catalogue to be the property of a gentleman. Whether Mr. Altarriba was this seller has not been determined. A letter from Abris Silberman, Silberman Galleries, to Thomas M. Maytham, MFA (March 10, 1961, in MFA curatorial file) suggests that Dr. E. Cassirer -- one of the sellers at the November 25 auction -- had been the owner of the painting, however, this seems unlikely, as Dr. Cassirer's name is not withheld from the other lots he consigned at this time. | Francis Welch Fund |
| https://collections.mfa.org/objects/33551/mountain-landscape-from-clavadel | Mountain Landscape from Clavadel | Ernst Ludwig Kirchner | 56.13 | August, 1954, sold by the Kirchner estate, Biberach an der Riss, Germany, to the Galerie Beyeler, Basel [see note 1], 1956, sold by Beyeler to E. and A. Silberman Galleries, New York, 1956, sold by Silberman Galleries to the MFA. (Accession Date: January 12, 1956); NOTES;[1] According to a letter from Abris Silberman (January 31, 1956) to W.G. Constable of the MFA, the painting "came directly from the Kirchner Estate through Mr. Beyeler in Switzerland." Details of the transaction kindly confirmed by the Beyeler Foundation. | Tompkins Collection—Arthur Gordon Tompkins Fund |
| https://www.metmuseum.org/art/collection/search/201422 | Standing salt with cover | Standing salt with cover | British, London | The Metropolitan Museum of Art | 52.134a–e | Augustus Frederick, Duke of Sussex and Earl of Inverness (until d. 1843, his sale, Christie & Manson, London, June 22–23, 26–27, 1843, no. 620), J. Pierpont Morgan (until 1947, sale, Parke-Bernet Galleries, New York, November 1, 1947, no. 461, sold for $4,000 to E. & A. Silberman Galleries, Inc.), [ E. & A. Silberman Galleries, Inc., from 1947 ], Chester D. Tripp (until 1952, to MMA); Exhibition History;New York. Parke-Bernet. "Art Treasures Exhibition," May 24, 1967–June 7, 1967.;Hartford, Conn. Wadsworth Atheneum Museum of Art. "Morgan: Mind of the Collector," September 23–December 31, 2017, no catalog. | Gift of Chester D. Tripp, 1952 |
| https://collections.mfa.org/objects/33412/dormition-of-the-virgin | Dormition of the Virgin | 50.2716 | By 1420, possibly the nobles of Weitmuehl, Kosátsky Castle, near Jungbunzlau (now Mladá Boleslav, Czech Republic) [see note 1], by the late 15th century, the counts of Kolowrat, Kosátsky Castle [see note 2], until 1950, by descent within the family to Henry Kolowrat, New York, 1950, sold by Henry Kolowrat to Henry Pearlman (b. 1895 - d. 1974), New York [see note 3], 1950, probably sold by Mr. Pearlman to E. and A. Silberman Galleries, New York [see note 4], 1950, sold by Silberman to the MFA for $36,000. (Accession Date: June 8, 1950); NOTES;[1] This was suggested by Kuchynka in "Památky Archaeologické," 33 (1923), for the reference, see Antonin Matejcek, "Ceska Malba Gotika Deskova Malirstvi" (Prague, 1940), p. 57, no. 17 (English translation in MFA curatorial file).;[2] If the work had been owned by the nobles of Weitmuehl, as suggested above, it would have been obtained through marriage by the counts of Kolowrat, who acquired Kosátsky Castle in the late 15th century. In a letter from Henry Kolowrat to Henry Pearlman (January 6, 1950), the painting is said to have been in the possession of his family for about 500 years, though he does not specify how it was acquired. From 1934 to 1939, it was on loan from Kolowrat to the National Museum, Prague (inv. no. OP2110).;[3] In the letter from Kolowrat to Pearlman (see above, n. 2) the author writes "I am glad to have sold you the Bohemian panel painting, 'Death of the Virgin.;[4] According to correspondence in the MFA curatorial file, the painting was with Silberman by early May, 1950. In an interoffice memorandum from W. G. Constable to George Edgell of the MFA (May 31, 1950), Silberman is said to have acquired the painting fully on May 26. | William Francis Warden Fund, Seth K. Sweetser Fund, The Henry C. and Martha B. Angell Collection, Juliana Cheney Edwards Collection, Gift of Martin Brimmer, and Gift of Reverend and Mrs. Frederick Frothingham, by exchange | |
| https://www.metmuseum.org/art/collection/search/468331 | Lectern | Lectern | Spanish | The Metropolitan Museum of Art | 50.158 | E & A Silberman Galleries (until 1950); References;The Metropolitan Museum of Art. "Eighty-First Annual Report of the Trustees for the Fiscal Year 1950." The Metropolitan Museum of Art Bulletin, n.s., 10, no. 1 (Summer 1951). p. 26. | Gift of Silberman Galleries, 1950 |
| https://www.metmuseum.org/art/collection/search/468204 | Chariot Mount with Three Figures | Chariot Mount with Three Figures | Late Roman or Byzantine | The Metropolitan Museum of Art | 47.100.42 | Baronet de Forrer, Strasbourg (until 1780), Count Hans Wilczek, Burg Kreuzenstein, Austria (from 1780), [ E & A Silberman Galleries, New York (sold 1941)], [ Brummer Gallery, Paris and New York (1941–1947)] Exhibition History;Kunsthistorisches Museum, Vienna. "Alte Und Neue Katholische Kunst. Führer Durch Die Ausstellungen," 1933.;Baltimore Museum of Art. "Early Christian and Byzantine art, an exhibition held at the Baltimore Museum of Art," April 25–June 22, 1947.;Museum of Fine Arts, Boston. "Romans and Barbarians," December 17, 1976–February 27, 1977.;State Pushkin Museum of Fine Arts. "Dekorativno-Prikladnoe Iskusstvo ot Pozdnei Antichnosti do Pozdnei Gotiki," June–December 1989.;State Hermitage Museum, Leningrad. "Dekorativno-Prikladnoe Iskusstvo ot Pozdnei Antichnosti do Pozdnei Gotiki," February–July 1990.;References;Strzygowski, Josef. "Bronzeaufsatz im Besitz von Hans Grafen Wilczek in Wien." Jahreshefte des Österreichischen Archäologischen Institutes in Wien 4 (1901). pp. 189–203, fig. 204, 205, pl. VII.;Cumont, Franz. "Pièce de Bronze, orné d'un Buste de Minèrve découvert en Flandre." Annales de la Société d'archéologie de Bruxelles 21, no. 7 (1907). pp. 299, 302 n. 5.;Villefosse, Héron de. "Douilles en bronze de l'époque romaine flanquées de deux supports annulaires." Mémoires de la société nationale des antiquaires de France 67 (1907). pp. 278–80, fig. 3.;Villefosse, Héron de. "Communication." Bulletin de la société nationale des antiquaires de France (1916). p. 244.;Alte und neue katholische Kunst: Führer durch die Ausstellungen Albertina, Diözesanmuseum, Hagenbund, Künstlerhaus, Kunsthistorisches Museum, Österreichisches Museum, Secession, Volkskundemuseum. Vienna: Kunsthistorisches Museum, 1933. no. 107, p. 67.;Poglayen-Neuwall, Stefan. "Kirchliche Kunst Österreichs." Die Weltkunst 7, no. 38 (September 17, 1933). p. 1, ill.;Miner, Dorothy, ed. Early Christian and Byzantine Art: An Exhibition Held at the Baltimore Museum of Art. Baltimore: Walters Art Museum, 1947. no. 212, p. 58, pl. XXXVII.;Fernández de Aviles, Augusto. "Pasarriendas y Otros Bronces de Carro, Romans, Hallados en España." Archivo Español de Arqueología 31 (1958). pp. 9 n. 32, 20, 43.;Romans & Barbarians. Boston: Museum of Fine Arts, Boston, 1976. no. 169, pp. 138–39.;Brown, Katharine R. "The Wilczek Bronze Reconsidered." In Byzantine Studies Conference Abstracts of Papers. Madison, Wis.: Byzantine Studies Conference, 1982. p. 24.;Brown, Katharine R. "The Wilczek Bronze Reconsidered." Pantheon 41 (1983). pp. 3–6, fig. 1–6.;Pushkin Museum and State Hermitage Museum. Dekorativno-Prikladnoe Iskusstvo ot Pozdnei Antichnosti do Pozdnei Gotiki: Kratkii Katalog Vystavki. Moscow: Pushkin Museum, 1990. no. 3, pp. 10, 16, fig. 3.;State Hermitage Museum. Dekorativno-Prikladnoe Iskusstvo ot Pozdnei Antichnosti do Pozdnei Gotiki. St. Petersburg: State Hermitage Museum, 1990. no. 3, pp. 8, 14–15.;Brown, Katharine R. Migration Art, A.D. 300-800. New York: The Metropolitan Museum of Art, 1995. no. 7, p. 17.;Treasure hunt for book lovers: a self-guided tour of the Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 2011. no. 5, ill. | Fletcher Fund, 1947 |
| https://collections.mfa.org/objects/32816/portrait-of-a-man-and-woman-in-an-interior | Portrait of a Man and Woman in an Interior | Eglon van der Neer | 41.935 | February 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. | Seth K. Sweetser Fund |
| https://www.moma.org/collection/works/78578 | Pablo Picasso. Violin and Grapes. Céret and Sorgues, spring-summer 1912 | MoMA | sameAs": "https://www.moma.org/artists/4609";name": "Pablo Picasso | 32.1960 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection. ;Galerie 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 & Hugo Helbing, Munich, June 5, 1917 no. 207 (Stilleben mit Violine), repr. in Monika Flacke-Knoch and Stephan von Wiese, "Der Lebensfilm von Alfred Flechtheim," Alfred Flechtheim: Sammler. Kunsthändler. Verleger, ed. by Hans Albert Peters, exh. cat. Kunstmuseum Düsseldorf, 1987, p. 296. See also Ottfried Dascher, Alfred Flechtheim: Sammler, Kunsthändler, Verleger, Wädenswil: Nimbus, 2011, p. 434.; [4] Auct. cat. Tetzen-Lunds Samlinger, Den Frie Udstillings Lokaler, May 18-19, 1925, no. 96 (Le Violon). Buyer not known.; [5] Label on verso: E. and A. Silberman Galleries, 1014 Madison Avenue, NY, no. 2392A (Still Life with Violin). Collection files, Department of Painting and Sculpture, The Museum of Modernn Art, New York.; [6] Collection files, Department of Painting and Sculpture, The Museum of Modernn Art, New York.;[7] Included in the exhibition The Mrs. Adele R. Levy Collection - A Memorial Exhibition, The Museum of Modern Art, New York, June 9-July 16, 1961, pp. 8, 11, 28.;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 | Mrs. David M. Levy Bequest |
| https://www.moma.org/collection/works/79322 | Pablo Picasso. Fruit Dish. Paris, winter 1908-09 | MoMA | sameAs": "https://www.moma.org/artists/4609";name": "Pablo Picasso | 263.1944 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.; Harry Stevenson Southam, C. M. G., Ottawa, Ontario;Bignou Gallery, Paris. By 1939;E. and A. Silberman Galleries, New York;The Museum of Modern Art, New York. Purchased from the Silberman Galleries through the Lillie P. Bliss Bequest, 1944; 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 | Acquired through the Lillie P. Bliss Bequest (by exchange) |
| https://www.moma.org/collection/works/80707 | Oskar Kokoschka. Doctor Emma Veronika Sanders. 1909 | MoMA | sameAs": "https://www.moma.org/artists/3197";name": "Oskar Kokoschka | 2414.1967 | Provenance Research Project;This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.; Adolf Loos (1870-1933), Vienna. By 1915-16;Otto Kallir-Nirenstein (founder of the Neue Galerie), Vienna. 1925-27 – 1939;[Possibly brought by Otto Kallir to New York, where he opened Gallery St. Etienne in 1939. Or sold in Europe before Kallir left, in 1938-39? The painting was not in Kallir’s collection any more by 1940.];Blanche Bonestell / Bonestell Gallery, New York;Curt Valentin Gallery, New York. By 1949;Henry (1895-1974) and Rose Pearlman, New York. [Likely acquired from Curt Valentin], by 1949 – 1953;A. & E. Silberman Galleries, New York. [Purchased from Henry Pearlman in 1953];William S. Rubin, New York. Purchased from Silberman, by 1957. (In his collection in 1958);Mr. and Mrs. William Mazer, New York. By 1966 – until 1967;The Museum of Modern Art, New York. Gift of Mr. and Mrs. William Mazer, 1967; 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 | Gift of Mr. and Mrs. William Mazer |
| https://www.artic.edu/artworks/153699/woman-at-an-easel-green-screen | Woman at an Easel (Green Screen) | Georges Braque | 1999.367 | Provenance;Paul Rosenberg (1881–1959), probably acquired directly from the artist, Paris and New York, by 1937 until at least 1941 [Paris 1937, Chicago 1941 checklist]. Keith Warner, New York [Bretell 1986]. E. and A. Silberman Galleries, New York, by 1953 [this and the following, Sara Lee Corporation collection records, copy in curatorial file], sold to Nathan Cummings (1896–1985), Chicago, 1953, given to his son, Herbert K. Cummings (1923–1992), Phoenix, about 1978, sold to Consolidated Foods Corporation (later, The Sara Lee Corporation), 1981, given to the Art Institute of Chicago, 1999. | A Millennium Gift of Sara Lee Corporation |
| https://www.artic.edu/artworks/153799/woman-bathing-her-feet-in-a-brook | Woman Bathing Her Feet in a Brook | Camille Pissarro | 1999.364 | Provenance;Albert Pontremoli, Paris, by April, 1904 [per Pissarro and Snollaerts, 2005], sold Albert Pontremoli Sale, Hôtel Drouot, Paris, June 11, 1924, lot 136 (ill.) to Dr. Janos Plesch, Berlin, for 37,700 francs [per Hôtel Drouot sale cat. 1924], Paul Rosenberg and Co., New York, by 1939 [this and the three following per material prepared by Richard-Raymond Alasko, May 1985, curatorial object file and Pissarro and Snollaerts, 2005], sold to Mrs. John Astor, New York. E and A. Silberman Gallery, New York, by 1951, sold to Nathan Cummings, Chicago, January 25, 1952, transferred to Consolidated Foods Nathan Cummings Collection (Sara Lee Corporation), 1980, given to the Art Institute of Chicago, 1999. | A Millennium Gift of Sara Lee Corporation |
| https://www.metmuseum.org/art/collection/search/337067 | Two Satyrs in a Landscape | Titian (Tiziano Vecellio) | Two Satyrs in a Landscape | The Metropolitan Museum of Art | 1999.28 | Possibly acquired by Thomas Herbert, 8th Earl of Pembroke (British), Henry Herbert, 10th Earl of Pembroke (British), by 1772-73 (was in Pembroke volume XU.1., dated Nov. 23, 1773), by descent to Reginald Herbert, 15th Earl of Pembroke (British), Pembroke sale, Sotheby's, London, July 5-10, 1917, lot 318 (as Venetian school), Henry Oppenheimer (British), his sale, Christie's, London, July 10, 13–14, 1936, lot 42 as Domenico Campagnola, E. and A. Silberman(New York, by 1936), Curtis O. Baer, Yvette Baer Collection, Vendor: Katrin Bellinger Kunsthandel; Exhibition History;Montreal Museum of Fine Arts. "Five Centuries of Drawings," October 1953–November 1953.;National Gallery of Art, Washington D.C. "Venetian Drawings from American Collections," September 29, 1974–November 24, 1974.;Kimbell Art Museum, Fort Worth. "Venetian Drawings from American Collections," December 7, 1974–February 9, 1975.;Saint Louis Art Museum. "Venetian Drawings from American Collections," February 6, 1975–April 6, 1975.;New York. The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," May 3, 1999–July 25, 1999.;New York. The Metropolitan Museum of Art. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009.;New York. The Metropolitan Museum of Art. "Paper Chase: Two Decades of Collecting Drawings and Prints," December 9, 2014–March 16, 2015.;Frankfurt. Städel Museum. "Tizian und die Renaissance in Venedig," February 13–May 26, 2019.;References;Sandford Arthur Strong Reproductions in Facsimile of Drawings by the Old Masters in the Collection of the Earl of Pembroke and Montgomery at Wilton House. London, 1900, part VI, no. 54, repr. (as Venetian school).;Hans Tietze Tizian: Leben und Werk. vols. 1, 2, Vienna, 1936, cat. no. p. 319, fig. no. 7, pp. 84, 156, 239, ill.;Hans Tietze, Erica Tietze-Conrat "Tizian Studien." Jahrbuch der Kunsthistorischen Sammlungen in Wien. vol. 10, Vienna, 1936, pp. 137-192.;Hans Tietze, Erica Tietze-Conrat The Drawings of the Venetian Painters in the 15th and 16th Centuries. New York, 1944 (reprinted 1970, 1979), cat. no. no. 1948, pp. 322-323.;Erwin Panofsky Problems in Titian, Mostly Iconographic. New York, 1969, pp. 192-193.;Konrad Oberhuber, Jay A. Levenson, Jacquelyn L. Sheehan Early Italian Engravings from the National Gallery of Art [Published in conjunction with the Prints of the Italian Renaissance, an exhibition held at the National Gallery of Art, June 24-Oct. 7, 1973]. National Gallery of Art, Washington D.C., 1973, p. 415.;Terisio Pignatti Venetian Drawings from American Collections. A Loan Exhibition. Exh. cat., The National Gallery of Art, Washington D.C., Kimbell Art Museum, Forth Worth, and Saint Louis Art Museum. Washington, D. C., 1974-75, pp. 9-10, no. 8 (listed as collection Yvette Baer).;Harold E. Wethey The Paintings of Titian, III, The Mythological and Historical Paintings. London, 1975, p. 56.;Terisio Pignatti "Disegni di Tiziano: tre mostra a Firenze e a Venezia." in Arte Veneta. vol. 30, Venice, 1976, p. 268.;William R. Rearick Tiziano e il disegno veneziano del suo tempo Exh. cat. Florence, Gabinetto disegni e stampe degli Uffizi. Florence, 1976, pp. 40-43.;Terisio Pignatti "Fondazione Giorgio Cini. Esposizioni: Disegni di Tiziano e della sua cerchia. Tiziano e la silografia veneziana del Cinquecento." Pantheon. 1977, p. 168.;William R. Rearick Tiziano nel quarto centenario della sua morte, 1576-1976 Titian's Drawings, 1510-1512. Venice, Ateneo Veneto, 1977, pp. 182-185.;Michelangelo Muraro Grafica tizianesca. Tiziano e il Manierismo europeo. Ed. by Rodolfo Pallucchini, Florence, 1978, p. 140.;Konrad Oberhuber Tiziano disegnatore di paesaggi. Tiziano e il Manierismo europeo. Ed. by Rodolfo Pallucchini, Florence, 1978, pp. 112-113.;Terisio Pignatti Tiziano, Disegni. Florence, 1979, cat. no. 7, p. 7.;David Rosand "Titian Drawings: A Crisis of Connoisseurship." Master Drawings. vol. 19, no. 3, New York, 1981, p. 307 (n. 17).;Maria Agnese Chiari Moretto Wiel Incisioni da Tiziano, Catalogo del fondo grafico a stampa del Museo Correr Exh. cat. Venice, 1982, p. 8 (n. 13).;E. Saccomani "Domenico Campagnola disegnatore di "paesi" dagli esordi alla prima maturità." Arte Veneta. vol. 36, Venice, 1982, pp. 81, 93.;Harold E. Wethey Titian and His Drawings with Reference to Giorgione and Some Close Contemporaries. Princeton, 1987, pp. 18, 151, 159, 167-68, no. 54.;Maria Agnese Chiari Moretto Wiel "Per un catalogo ragionato dei disegni di Tiziano." Saggi e Memorie di Storia dell'Arte. Vol.16, Italy, 1988, pp. 29, 38, no. 6.;David Rosand "Eidos" L'Assunta. vol. 3, 1988, p. 74.;Maria Agnese Chiari Moretto Wiel Tiziano. Corpus dei Disegni Autografi. Milan, 1989, pp. 14, 82-83, no. 6.;William R. Rearick "Titian Drawings: A Progress Report." in Artibus et Historiae. vol. 12, no. 23, Venice and Florence, 1991, p. 17.;Konrad Oberhuber, Terisio Pignatti, William R. Rearick Le siècle de Titien: L'âge d'or de la peinture à Venise. Exh. cat., Galeries Nationales du Grand Palais (9 March - 14 June, 1993). Paris, 1993, p. 109, no. 99 (entry by Konrad Oberhuber), ill.;Alessandro Ballarin, Alessandra Pattanaro, Vittoria Romani, Sergio Momesso Dosso Dossi: la pittura a Ferrara negli anni del Ducato di Alfonso I. Vol. 1, Cittadella (Padua), 1994-95, (vol. 2), fig. 253 (as Titian, circa 1511, Stone Mountain, collezione Yvette Baer).;Carmen C. Bambach, Colta Ives, Perrin Stein, Nadine Orenstein "Recent Acquisitions, A Selection: 1998-1999." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 57, no. 2, Autumn 1999, p. 26 (entry by Carmen C. Bambach).;William R. Rearick Il disegno veneziano del Cinquecento. Milan, 2001, pp. 10, 41, 44, 53, 69, 141, 215, fig. 17.;William R. Rearick Il disegno veneziano del Cinquecento. Milan, 2001, pp. 41-44, fig. 17 (as Titian).;Alessandro Ballarin Il camerino delle pitture di Alfonso I. Padua, 2007, p. 374.;Furio Rinaldi "Bernardino Luini 'Mediolanensis', Aurelio Luini e Giovanni Paolo Lomazzo: Disegni firmati tra autografia e documento" Horti Hesperidum, vol. 2, 2014 ('Studi sul disegno italiano tra connoisseurship e collezionismo'). Ed. by Francesco Grisolia, Rome, 2014, p. 12n. | Rogers Fund, 1999 |
| https://www.nga.gov/collection/art-object-page.81934.html | Door Pull in the Form of a Lion's Head | South German 16th Century;(sculptor) | 1993.42.1 | Graf von Wilczek, Kreuzenstein, Austria. (E. and A. Silberman Galleries, Inc., New York), by 1940, sold to Janos Scholz [d. 1993], by 1968, bequest 1993 to NGA.[1];[1] Provenance from curator's acquisition proposal. | Gift of Janos Scholz |
| https://www.metmuseum.org/art/collection/search/485728 | Two Women Embracing | Egon Schiele | Two Women Embracing | The Metropolitan Museum of Art | 1991.179 | [E. and A. Silberman Galleries, New York, until 1960, sold in 1960 to Feilchenfeldt], [Walter Feilchenfeldt, Zurich, 1960–62, sold in 1962 to Serger], Helen Serger, New York (1962–d. 1989, her bequest to MMA);Exhibition History;New York. La Boetie, Inc. "Women by Leading Painters and Sculptors," November 10–December 31, 1964, no. 29 (as "Two Women," lent by a private collection) [possibly this picture].;New York. La Boetie. "Egon Schiele and his Circle," May–June 1971, no. 23 (as "Two Friends," lent by a private collection).;Des Moines Art Center. "Egon Schiele and the Human Form: Drawings and Watercolors," September 20–October 31, 1971, no. 34 (as "Two Friends," lent by Mrs. Helen Serger, New York).;Columbus Gallery of Fine Arts. "Egon Schiele and the Human Form: Drawings and Watercolors," November 15–December 19, 1971, no. 34.;Art Institute of Chicago. "Egon Schiele and the Human Form: Drawings and Watercolors," January 3–February 13, 1972, no. 34.;Birmingham, Ala. Birmingham Museum of Art. "Austrian Art: Viennese Art from 1890 to 1918," April 16–May 22, 1977, no. 60 (as "Two Friends," lent by Mrs Frederick Serger, New York).;Vienna. Akademie der bildenden Künste. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," January–March 1984, no. 72 (as "Freundinnen").;Milan. Accademia di Belle Arti di Brera. "Egon Schiele da allievo a maestro: Disegni e acquarelli 1906–1918," March 16–May 20, 1984, no. 72.;Rome. Pinacoteca Capitolina, Campidoglio. "Egon Schiele," June 21–August 5, 1984, no. 120 (as "Le amiche").;Venice. Museo d'Arte Moderna Ca' Pesaro. "Egon Schiele," August 26–November 25, 1984, no. 120.;Palermo. Villa Zito. "Egon Schiele da allievo a maestro: Disegni e acquarelli 1906–1918," February 28–April 14, 1985, no. 72 (as "Le amiche").;The Tel Aviv Museum of Art. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," April 20–May 23, 1985, no. 72.;Hamburger Kunsthalle. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," May 31–July 14, 1985, no. 72.;Salzburg. Museum der Moderne Rupertinum. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," July 27–September 29, 1985, no. 72.;Graz. Schloss Plankenwirth. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," October–November 1985, no. 72.;Innsbruck. Tiroler Landesmuseum Ferdinandeum. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," January 7–February 9, 1986, no. 72.;Bottrop. Josef Albers Museum. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," February 16–April 13, 1986, no. 72.;Nuremberg. Kunsthalle Nürnberg. "Egon Schiele vom Schüler zum Meister: Zeichnungen und Aquarelle 1906–1918," April 23–June 22, 1986, no. 72.;New York. Helen Serger / La Boetie, Inc. "Helen Serger 1901–1989: A Memorial Exhibition," December 22, 1989–February 10, 1990, unnum. brochure (as "Freundinnen").;New York. The Metropolitan Museum of Art. "Drawings: Additions to the Collection," May 23–September 29, 1991, no catalogue.;Martigny. Fondation Pierre Gianadda. "Schiele," February 3–May 14, 1995, no. 83 (as "Deux femmes enlacées").;References;John David Farmer in Austrian Art: Viennese Art from 1890 to 1918. Exh. cat., Birmingham Museum of Art. [Birmingham, Ala.], 1977, unpaginated, no. 60, ill.;Jane Kallir. Egon Schiele. The Complete Works Including a Biography and Catalogue Raisonné. Expanded edition (1st ed., 1990). New York, 1998, p. 498, no. D.1283, ill. and fig. 67, calls it "Girlfriends (Freundinnen)" and locates it in a private collection. | The Frederick and Helen Serger Collection, Bequest of Helen Serger, in honor of William S. Lieberman, 1989 |
| https://www.artic.edu/artworks/93450/winter-scene | Winter Scene | Francisco José de Goya y Lucientes | 1990.558 | Provenance;One of six oil sketches as preparations for cartoons for tapestries that were to decorate the dining room of the Prince of Asturias in the royal palace of El Pardo near Madrid, 1786, the set of sketches sold by Goya to the Duke and Duchess of Osuna, La Alameda, 1798/1799 [for documentation relating to this sale, see Gassier-Wilson 1970, pp. 383-4], by descent, the dukes of Osuna, sold Madrid, M. Tello, May 11, 1896, no. 74 to Dr. Cerbera, Madrid. Desparmet Fitz-Gerald, Paris, about 1910 [according to Juliet Wilson Bareau in Madrid/London/Chicago 1993/94]. Demotte, Paris and New York [letter of December 9, 1957 from Abris Silberman to Hans Huth in curatorial file states that Silberman acquired the painting “directly from the Demott [sic] Estate,” presumably referring to the stock of this gallery after the death of Lucien Demotte in 1934], E. and A. Silberman Galleries, New York, by 1941 [lent to Chicago, 1941], sold to Everett D. Graff (died 1964), Winnetka, 1942 [letter of April 23, 1942 to Silberman, copy in curatorial file], his widow, Verde C. Graff (died 1989), Winnetka, bequeathed to the Art Institute, 1990. | Bequest of Verde C. Graff |
| https://www.artic.edu/artworks/70044/the-visitation | The Visitation | 1987.252 | Provenance;E. and A. Silberman Galleries, New York [according to a label removed from the back of the painting and preserved in curatorial file]. Chester D. Tripp (died 1974), Evanston, Illinois, and Chicago, at his death to his widow, Jane B. Tripp, bequeathed to Art Institute, 1987. | Bequest of Chester D. Tripp | |
| https://www.metmuseum.org/art/collection/search/483159 | A Pride of Lions (Take Note!) | Paul Klee | A Pride of Lions (Take Note!) | The Metropolitan Museum of Art | 1984.315.40 | Otto Ralfs, Brunswick (by 1930–at least 1931), [Buchholz Gallery (Curt Valentin), New York, 1946, sold in 1946 to Odets], Clifford Odets, New York and Los Angeles (from 1946), [J. B. Neumann, New York, from 1953], G. David Thompson, Pittsburgh, [E. & A. Silberman Galleries, Inc. and Saidenberg Gallery, New York, 1955–57, owned jointly from May 1955, sold in November 1957 to Woolworth], Robert F. Woolworth, San Francisco (1957), his former wife, Elizabeth Ann Coleman Woolworth, San Francisco (until 1966, sale, Parke Bernet Galleries, New York, May 19, 1966, no. 2), James Shapiro, New York, Heinz Berggruen, Paris and Berlin (1979–84, gift to MMA); Exhibition History;Munich. Hans Goltz. "Paul Klee: 2. Gesamtausstellung 1920/1925," May–June 1925, no. 175.;Brunswick. Schlossmuseum. "Paul-Klee-Ausstellung," January 10–February 14, 1926, no. 84 (as for sale, Mk. 500).;Oldenburg. Elisabethstrasse 2. "Vereinigung für junge Kunst," October 6–26, 1926, no catalogue.;Berlin. Nationalgalerie. "Zeichnungen von Paul Klee aus der Sammlung Otto Ralfs, Braunschweig," opened April 4, 1930, no. 38.;Hannover. Kestnergesellschaft. "Paul Klee: Gemälde, Aquarelle, Graphik 1903 bis 1930," March 7–April 5, 1931, unnumbered cat. (as "Löwengruppe," lent by Ralfs, Braunschweig).;New York. Saidenberg Gallery. "Paul Klee," October 10–November 19, 1955, no. 16 (as "Loewengruppe zu beachten [Group of lions to look at]").;Tokyo. Fuji Television Gallery. "Exhibition of Paul Klee," October 23–November 21, 1981, no. 13 (as "Löwengruppe—Zu beachten! [Group of Lions—Please Note!]," lent by Heinz Berggruen).;Osaka. Gallery Kasahara. "Exhibition of Paul Klee," November 27–December 12, 1981, no catalogue.;New York. The Metropolitan Museum of Art. "Paul Klee: The Berggruen Klee Collection in The Metropolitan Museum of Art," May 6–July 31, 1988, unnumbered cat. (p. 193).;Kunsthalle Tübingen. "Paul Klee: Die Sammlung Berggruen im Metropolitan Museum of Art, New York und im Musée National d'Art Moderne, Paris," January 22–April 16, 1989, unnumbered cat. (p. 203).;London. Tate Gallery. "Paul Klee: The Berggruen Collection in The Metropolitan Museum of Art, New York and the Musée National d'Art Moderne, Paris," May 17–August 13, 1989, unnumbered cat. (p. 203).;Staatliche Museen zu Berlin. Sammlung Berggruen. "Klee aus New York: Hauptwerke der Sammlung Berggruen im Metropolitan Museum of Art," June 4–October 18, 1998, no. 29.;Jena. Stadtmuseum Göhre. "Paul Klee in Jena 1924," March 14–April 25, 1999, unnumbered cat. (p. 275).;New York. The Metropolitan Museum of Art [The Met Breuer]. "Humor and Fantasy: The Berggruen Paul Klee Collection," September 1, 2016–January 2, 2017, no catalogue.;Ottawa. National Gallery of Canada. "Paul Klee: The Berggruen Collection from the Metropolitan Museum of Art," November 16, 2018–March 17, 2019, no catalogue.;References;James Smith Pierce. Paul Klee and Primitive Art. PhD diss., Institute of Fine Arts, New York University. New York, 1976, pp. 123, 177 n. 86.;Haruo Arikawa in Exhibition of Paul Klee. Exh. cat., Fuji Television Gallery. Tokyo, 1981, p. 68, no. 13, ill. p. 38.;Sabine Rewald. Paul Klee: The Berggruen Klee Collection in The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 192–93, 283, 318, ill. (color and bw), notes that the same group of lions appears in the 1923 watercolor "Lions, Take Note of Them!" (Kunstsammlung Nordrhein-Westfalen, Düsseldorf, HR 3249).;Annegret Janda. Das Schicksal einer Sammlung: Aufbau und Zerstörung der neuen Abteilung der Nationalgalerie im ehemaligen Kronprinzen-Palais unter den Linden, 1918–1945. Exh. cat., Neue Nationalgalerie, Staatliche Museen zu Berlin. Berlin, 1988, p. 53, notes that this picture was among those lent by Ralfs to the Nationalgalerie, Berlin in 1930, adding that in 1931 Ralfs offered his collection for sale but the Nationalgalerie declined because of insufficient funds.;Josef Helfenstein and Christian Rümelin, ed. Paul Klee: Catalogue Raisonné. Ed. Paul Klee Foundation, Museum of Fine Arts, Berne. Vol. 4, 1923–1926. New York, 2000, pp. 113, 142, 243, no. 3565, ill., call it "Löwengruppe 'zu beachten!' (Group of Lions 'Attention Please!')".;Vivian Endicott Barnett. The Blue Four Collection at the Norton Simon Museum. [Pasadena], 2002, p. 326.;Marie Kakinuma in Wolfgang Kersten Osamu Okuda and Marie Kakinuma. Paul Klee—Sonderklasse, unverkäuflich. Exh. cat., Zentrum Paul Klee, Bern. Cologne, 2015, p. 291, fig. 55 (color). | The Berggruen Klee Collection, 1984 |
| https://www.metmuseum.org/art/collection/search/482403 | Cup | Gustav Gaudernack | Cup | The Metropolitan Museum of Art | 1981.78 | [Fred Silberman, New York, until 1981, sold to MMA];References;Penelope Hunter-Stiebel in "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1980–1981. New York, 1981, pp. 63–64, ill.;R. Craig Miller. Modern Design in The Metropolitan Museum of Art 1890–1990. New York, 1990, p. 68, ill. | Purchase, Friends of Twentieth Century Decorative Arts Gifts, 1981 |
| https://www.artic.edu/artworks/53058/foret-de-compiegne | Forêt de Compiègne | Berthe Morisot | 1978.422 | Provenance;Mme Ernest Rouart (née Julie Manet, the artist’s daughter, died 1966), Paris. E. and A. Silberman Galleries, Inc., New York, sold Sotheby’s Parke & Bernet, New York, April 17, 1969, lot 125 (ill.) to Estelle P. McCormick, Philadelphia, bequeathed to the Art Institute, 1978. | Bequest of Estelle McCormick |
| https://www.metmuseum.org/art/collection/search/481636 | Candlestick | Vally Wieselthier | Candlestick | The Metropolitan Museum of Art | 1977.129 | [Fred Silberman, New York, until 1977, sold to MMA] | Purchase, Mrs. Muriel Palitz Gift, 1977 |
| https://www.artic.edu/artworks/48776/man-in-armour | Man in Armour | Antonio Puga | 1975.213 | Provenance;E. & A. Silberman Galleries, New York [label on painting’s stretcher], Chester D. Tripp, Chicago, by 1975, bequest to Art Institute, 1975. | Bequest of Chester D. Tripp |
| https://www.metmuseum.org/art/collection/search/459571 | Shepherd and His Flock | After Jean-François Millet | Shepherd and His Flock | The Metropolitan Museum of Art | 1975.1.670 | [E. and A. Silberman Galleries, New York], Acquired by Robert Lehman from SIlberman through Lock Galleries, New York in February 1962. | Robert Lehman Collection, 1975 |
| https://collections.mfa.org/objects/34173/two-nudes-lovers | Two Nudes (Lovers) | Oskar Kokoschka | 1973.196 | July, 1913, sold by the artist to Franz Hauer (b. 1867 – d. 1914), Vienna [see note 1]. Probably about 1914/1915, acquired Oskar Reichel (b. 1869 - d. 1943), Vienna [see note 2], February, 1939, transferred by Reichel to Otto Kallir (b. 1894 - d. 1978), Galerie St. Etienne, Paris and New York [see note 3], 1945, sold by Galerie St. Etienne, New York, to the Nierendorf Gallery, New York, 1945, sold by Nierendorf to Silberman Galleries, New York, 1947/1948, probably sold by Silberman to Sarah Reed (Mrs. John) Blodgett, later Sarah Reed Platt (d. by 1972), Grand Rapids, Portland, Oregon and Santa Barbara, 1973, bequest of Sarah Reed Platt to the MFA. (Accession Date: April 11, 1973); NOTES;[1] Kokoschka wrote to Franz Hauer on July 21, 1913 outlining the terms of Hauer’s acquisition of the painting Lovers (“Liebespaar”) the following day. After Hauer’s death in 1914, the painting was listed in an inventory of his estate as the Dancing Nude Couple (“Akt Tanzender Paar”). Many thanks to Christian Bauer of the State Gallery of Lower Austria and Katharina Erling of the Kokoschka catalogue raisonné project for supplying this information. Also see Bernadette Reinhold, "Art Enthusiast and Enfant Most Terrible," in Franz Hauer: Self-Made Man and Art Collector (exh. cat., Landesgalerie Niederösterreich, 2019), pp. 94-95.;[2] Dr. Oskar Reichel was an admirer, collector, and patron of Kokoschka's work. Tobias G. Natter, Die Welt von Klimt, Schiele und Kokoschka: Sammler und Mäzene (Cologne, 2003), 254, suggests he acquired the painting around 1914/1915. It was first published as being in Dr. Reichel's collection by Paul Westheim in Das Kunstblatt 1 (1917), p. 319.;[3] On February 1, 1939, Reichel transferred the painting--along with four other Kokoschka paintings--to the dealer Otto Kallir, who at that time ran the Galerie St. Etienne in Paris. Kallir exhibited it in Paris that spring and brought it to the United States later that year. After his arrival in the United States, he paid Reichel's two sons, who had already immigrated to North and South America, for the paintings. Kallir opened a branch of his Galerie St. Etienne in New York and exhibited this work often between 1940 and 1945.;For further information, please see "Resolved Claims" at http://www.mfa.org/collections/provenance/nazi-era-provenance-research | Bequest of Sarah Reed Platt |
| https://www.artic.edu/artworks/28876/portrait-of-a-girl | Portrait of a Girl | Francesco Solimena | 1968.97 | Provenance;E. and A. Silberman Galleries, New York [unsubstantiated note in curatorial file]. John J. Ireland (died 1968), Chicago, by 1968, bequest to the Art Institute, 1968. | Bequest of Dr. John J. Ireland |
| https://www.artic.edu/artworks/28874/st-albert-of-louvain | St. Albert of Louvain | Peter Paul Rubens | 1968.96 | Provenance;Matthäus Merian d. Ä., Basel, to 1650, by descent in Merian family to 1796, sold Basel, 1796, no. 27, for F10. Grazio Enea Lanfranconi, Bratislava, by 1895, sold Lempertz, Cologne, 21–23 October 1895, no. 174 as St. Jerome. Dr. Leo Cohn, Paris [according to Puyvelde 1940, no. 38]. Dr. Leo Charles Collins, New York [he lent the picture to Schaeffer and Brandt 1942, a Collins, an émigré, who was active both as a lawyer and art historian, was probably identical with Dr. Leo Cohn, originally of Vienna, see the introduction to Leo C. Collins, Hercules Seghers, Chicago, 1953]. E. and A. Silberman Galleries, New York. John J. Ireland (died 1968), Chicago, by 1955 [lent to New York 1955], bequeathed to the Art Institute, 1968. | Bequest of Dr. John J. Ireland |
| https://www.artic.edu/artworks/28862/a-peasant-woman-digging-in-front-of-her-cottage | A Peasant Woman Digging in Front of Her Cottage | Vincent van Gogh | 1968.92 | Provenance;The artist, his mother, Mrs. A. C. Van Gogh Carbentus, Neunen and Breda, around 1885 [ according to a letter from Martha Op de Coul, Rijksbureau voor Kunsthistorische Documentatie, The Hague, Netherlands, Aug. 23, 2000], given to the carpenter, Schrauwen, Breda, 1886 [this and the following according to Stokvis 1926, 5-6], transferred to Jan and Rien Couvreur, Breda, 1903, sold to C. Mouwen, Jr., Breda, sold, Frederik Muller, Amsterdam, May 3, 1904, lot 13, for 205 fl. to Van Gelder [according to annotated copy of sale catalogue, in curatorial object file]. Mejevrouw K. Cosman, The Hague, by June 1935 [this and the following according to La Faille, 1970, 617, and the E. J. Van Wisselingh and Co. stock book, Rijksbureau voor Kunsthistorische Documentatie, The Hague], sold to E. J. Van Wisselingh and Co., Amsterdam, by June 1935, sold to Harry S. Southam, Ottawa, June 24, 1935 until about 1944 [according to letter from Michael Pantazzi, National Gallery of Canada, July 26, 2000]. E. and A. Silberman, New York, sold to Dr. John J. Ireland (died 1968), Chicago, about 1964, bequeathed to the Art Institute, 1968. | Bequest of Dr. John J. Ireland |
| https://www.artic.edu/artworks/28853/river-boat | River Boat | Charles François Daubigny | 1968.89 | Provenance;In the possession of the artist, Charles François Daubigny (died 1878), sold, his estate sale, Hôtel Drouot, Paris, May 6, 1878, lot 172, as Remorqueur près du Havre. Robert Churchill Vose and Nathaniel Morton Vose, Boston, by 1917, sold, American Art Galleries, New York, April 4, 1917, lot 91, as French Tug-Boat, for $280 to Francis Ralston Welsh, Devon, Penn. [American Art Association record book for 1917], sold, Parke-Bernet, New York, May 26, 1938, lot 500 to Hannah D. Rabinowitz [according to Sotheby’s fax dated September 16, 2003, in curatorial file]. E. and A. Silberman Galleries, New York, sold, Parke-Bernet, New York, March 1, 1945, lot 126, to Fine Arts Associates [according to Sotheby’s fax cited above]. E. and A. Silberman Galleries, New York, by October 1945 [see New York 1945 exh. cat.]. John J. Ireland (died 1968), Chicago, bequeathed to the Art Institute, 1968. | Bequest of Dr. John J. Ireland |
| https://harvardartmuseums.org/art/228065 | Head of Christ | 1964.172 | [E. and A. Silberman Galleries, New York, (by 1939) sold], to Thomas Mitchell, Los Angeles (1940-1962). [Paul Kantor Gallery, Los Angeles, sold] to William A. Coolidge, gift, to Fogg Art Museum, 1964.;Notes;Silberman suggested that the painting came from a Polish collection. | Harvard Art Museums/Fogg Museum, Gift of William A. Coolidge | |
| https://www.artic.edu/artworks/15698/portrait-of-isabella-of-bourbon | Portrait of Isabella of Bourbon | Peter Paul Rubens | 1962.958 | Provenance;Probably Quincy Adams Shaw (died 1908), Boston [according to Valentiner 1947, Valentiner knew the picture as early as 1931, since he wrote an expertise dated Detroit, April 25, 1931, on the back of a photo in the curatorial file]. A. and E. Silberman Galleries, New York, by 1946 [according to Valentiner 1947], Chester D. Tripp, Chicago, given to the Art Institute, 1962. | Gift of Chester D. Tripp |
| https://www.nga.gov/collection/art-object-page.46140.html | Bishop Alvise Grimani | Bernardo Strozzi;(artist) | 1961.9.41 | Possibly Countess Lauredana Gatterburg-Morosini [d. 1884], Venice, (her sale, Palazzo Morosini, Venice, 15-22 May 1894, no. 635).[1] (Stefano Bardini [1836-1922], Florence), (his sales, Christie, Manson & Woods, London, 26-30 May 1902, no. 603, as by Van Dyck, Portrait of a Cardinal [2] and American Art Galleries, New York, 23-27 April 1918, 3rd day, no. 465, as Italian School, Portrait of a Spanish Cardinal).[3] (E. & A. Silberman Galleries, New York),[4] purchased 1946 by the Samuel H. Kress Foundation, New York,[5] gift 1961 to NGA.;[1] The catalogue gives no dimensions, but describes the picture as a "portrait d'un évêque, représenté en pied, de face, grandeur nature, tenant un livre d'heures." Although no inscription is mentioned, this could also be the copy now in Genoa (see note 9). Many of the items in the sale came from the Grimani collection, as the last member of the Grimani family had married a Morosini in the eighteenth century, as noted in the introduction to the catalogue and by Cesare Augusto Levi, Le collezioni veneziane d'arte e d'antichità dal secolo XIV ai nostri giorni, Venice, 1900: lv.;[2] No. 676 in the French edition of the catalogue. Both catalogues gave incorrect dimensions (187 x 185 cm or 78 x 53 in.).;[3] No documentation survives for the provenances of paintings purchased by Bardini, his surviving papers cover only the period 1905-1915. The Grimani portrait does not appear in earlier Bardini sales. Fiorenza Scalia and Cristina De Benedictis, Il Museo Bardini a Firenze, Milan, 1984: 65, 79.;[4] According to a note from Silberman (NGA curatorial files), the painting was in the Royal Palace, Budapest, until it was sold at auction in 1868, it subsequently passed to Count Ambroszy-Migaszy, Budapest, before being brought to the United States at an unknown date. It has not been possible to locate sales or other catalogues for these collections, and this information remains unverified.;[5] According to Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools XVI-XVIII Century, London, 1973: 88, and Fern Rusk Shapley, Catalogue of Italian Paintings, 2 vols., Washington, D.C., 1979: 1:136-137, and to notes in NGA curatorial files. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/392. | Samuel H. Kress Collection |
| https://artgallery.yale.edu/collections/objects/14863 | Saint Paul | Lucas van Leyden, Netherlandish, 1494–1533 | 1961.52 | D. H. Lijversberg, Cologne, Germany. Sale, Rudolph Lepke’s Kunstauktionshaus, Berlin, April 25, 1911, lot 134 (as attr. to Albrecht Dürer). Dr. Paul Esch, Cologne, Germany, by 1922 to at least 1929. With Galerie Max Stern, Düsseldorf, sold to P. de Boer (Kunsthandel de Boer, dealer), Amsterdam, April 1936 (stock no. 2172), sold to E.A. Silberman Galleries, Inc. (Elkan and Abris Silberman, dealers), New York, March 1937, probably sold to Jane Tripp (née Bancroft Shiverick, 1889–1988) and Chester Dudley Tripp (died 1974), Chicago, by 1955, given to the Yale University Art Gallery, New Haven, Conn., 1961 [see note 2];Note 1: The painting was exhibited at the New York World’s Fair in 1939 and at the Art Association of Indianapolis in 1950. In both instances, the painting was loaned from an American private collection through E. A. Silberman Galleries. The painting was later exhibited at E. A. Silberman in 1955 as a loan from Mr. and Mrs. Chester Dudley Tripp. It’s possible that the private collection referred to in 1939 and 1950 may be the Tripp’s and that the painting was sold to them as early as 1939. The Gallery is conducting further research to confirm.;Note 2: At the time of Chester Dudley Tripp’s donation to the Gallery, donors were permitted to retain possession during their lifetime. After Tripp died in 1974, the painting was retained by his widow, Jane Tripp. The Gallery did not take physical possession of St. Paul until 1976.;Bibliography;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 26, no. 14, ill.;This work appears on our "Artworks with Nazi-Era Provenance Documentation Gaps" page. | Gift of Chester D. Tripp, B.S. 1903 |
| https://www.artic.edu/artworks/12895/view-of-pirna-with-the-fortress-of-sonnenstein | View of Pirna with the Fortress of Sonnenstein | Bernardo Bellotto | 1961.44 | Provenance;Oliver 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. | Clyde M. Carr Fund |
| https://artgallery.yale.edu/collections/objects/52426 | Saturn Devouring a Child;Hercules Slaying the Hydra;Hercules Lifting Antaeus;Hercules Erecting the Columns of Calpe and Abyla | Maerten van Heemskerck, Dutch, 1498–1574 | 1960.50a-d | Lord Kinnaird Collection, Rossie Priory, Inchture, Perth, Scotland, Grete Ring Collection, London, Christie's Sale, London, (21 June 1946), E. and A. Silberman Galleries, New York, Chester D. Tripp Collection, Chicago, Illinois.;Bibliography;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 27, no. 15, as “The Battles of Hercules”. | Gift of Chester D. Tripp, B.S. 1903 |
| https://artgallery.yale.edu/collections/objects/43501 | Amorous Hunt | Master of Charles of Durazzo (possibly Francesco di Michele), Italian, active 1381–1400 | 1959.15.8 | Rabinowitz Collection, Sands Point, Long Island, before 1945-1959. Probably purchased by Rabinowitz from E.A. Silberman Galleries, NY, whose label was formerly on the back of the panel.;Bibliography;Louis M. Rabinowitz, Rabinowitz Collection (New York: The Twin Editions, 1945), 19.;Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 20–21, 54.;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), 135–37, no. 93.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 222, 601.;Paul F. Watson, Garden of Love in Tuscan Art of the Early Renaissance (Philadelphia: Philadelphia, 1979), 93–95, 105.;Everett Fahy, “Review of Early Italian Paintings in the Yale University Art Gallery,” Art Bulletin 56, no. 2 (June 1974): 283–285.;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),.;Miklos Boskovits, “Il Maestro di Incisa Scapaccino e alcuni problemi di pittura tardogotica in Italia,” Pargone 501 (1991): 35–53, note 14.;M Friedman, “The Falcon and the Hunt,” Moshe Lazar and Norris J. Lacy. The Poetics of Love in the Middle Ages (1989): 165–69.;Yale University Art Gallery, Yale University Art Gallery Bulletin, 26, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1960), 53. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43499 | The Annunciation | Fra Angelico, Italian, ca. 1395–1455 | 1959.15.6 | Albertini Collection, Pistoia (according to dealer's record), Sir Charles Townley Collection, England (1877), Lady Crossley Collection, "Burton-Pynsent," Yeovil, Somerset, England, Koetser Gallery, New York, (May 1939) (according to a photograph in the Richard Offner photoarchives), E. and A. Silberman Galleries*, New York (1940), the Rabinowitz Collection, Sands Point, Long Island (ca. 1944–1959), Yale University Art Gallery, New Haven, Conn.;*According to the Richard Offner photoarchives, as well as 1955 Silberman exhibition publication;Bibliography;Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 18–19, 54.;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), 132–34.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 221, 601.;F. Clancy, Primitives: The Case History of A Collection and Its Conservation (New Haven, Conn.: Yale University Press, 1972), 54.;Miklos Boskovits, Un’Adorazione dei Magi e gli inizi dell’Angelico (Bern, Switzerland: Abegg-Stiftung, 1976), 38,41, p. 50 (note 27), 52 (note 41) (early Angelico).;Giorgio Bonsanti and Beato Angelico, Beato Angelico: catalogo completo (Florence: Octavo Franco Cantini, 1998), 115.;Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 134.;Miklos Boskovits, “La fase tarda del Beato Angelico: una proposta di interpretazione,” Arte Cristiana 71 (1983): 11–24, no. 694.;Laurence Kanter and Carl Strehlke, Rediscovering Fra Angelico: A Fragmentary History (New Haven, Conn.: Yale University Art Gallery, 2001).;Laurence Kanter and Pia Palladino, Fra Angelico (New York and New Haven, Conn.: The Metropolitan Museum of Art, 2005).;Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 134, 137, fig. 134.;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 15, no. 3, as Fra Filippo Lippi, ill. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43498 | Virgin Annunciate | Sassetta, Italian, Siena, 1392–1450 | 1959.15.5 | Believed to have been in Italy, perhaps at Chiusdino, Langton Douglas Collection, London, Dan Fellows Platt Collection, Englewood, New Jersey (ca. 1911–36), E. and A. Silberman Galleries, New York, NY, Rabinowitz Collection, Sands Point, Long Island (ca. 1944–59).;In 1911 Mason Perkins discovered two pinnacles, one with the Angel Gabriel now in Massa Marittima and the other with the Virgin Annunciate now in New Haven (figs. 20, 21). Mason Perkins, followed by Pope-Hennessy, suggested that they were the lateral crowning elements of the Madonna della Neve. A missing Salvator would have gone in between the Annunciation pinnacles. In 1956, Zeri pointed out that this reconstruction was architecturally and stylistically incongruous and associated the Annunciation instead with the Arte della Lana altarpiece. This suggestion was rightly rejected by Christiansen, who, however, subsequently reproposed a Madonna della Neve provenance. Yet Blauwkuip's findings had already clarified the situation. The pinnacles cannot be associated with any other known work of Sassetta, and must therefore be considered as the only remnants of an altarpiece of so far unknown provenance" (Israëls 2003, pp. 60-61).;Bibliography;F. Mason Perkins, “Dipinti Italiani nella Raccolta Platt, Parte I,” Rassegna d’Arte 11 (1911): 5, fig. 7.;F. Mason Perkins, “La Pala d’altare del Sassetta a Chiusdino,” Rassegna d’Arte 12 (1912): 196.;F. Mason Perkins, “A Proposito della Pala del Sassetta a Chiusdino,” Rassegna d’Arte 13 (1913): 40, Sassetta, part of the Madonna della Neve altarpiece.;Raimond van Marle, Development of the Italian Schools of Painting, 1, 3, 9, 17 (The Hague: M. Nijhoff, 1923), 334–335, Sassetta, Dan Fellow Platt Collection, pinnacles to Madonna della Neve altarpiece, fig. 211.;Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), pl. CXI;Sassetta, Dan Fellow Platt Collection.;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), 512, Sassetta, Dan Fellow Platt Collection.;George Harold Edgell, A History of Sienese Painting (New York: Dial Press, Inc., 1932), 192, (Sassetta, Dan Fellow Platt Collection, part of Madonna della Neve altarpiece), fig. 252.;Lionello Venturi, Italian Paintings in America, 1 (New York: E. Weyhe, Inc., 1933), pl. 144;Sassetta, Dan Fellow Platt Collection.;Bernard Berenson, Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi (Milan, Italy: Libreria Antiquaria Hoepli, 1936), 440, (Sassetta, Dan Fellow Platt Collection, ca. 1430–32).;Louis M. Rabinowitz, Rabinowitz Collection (New York: The Twin Editions, 1945), 13–14, pl. VII, fig. 2;Sassetta, part of Madonna della Neve altarpiece.;Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places, 3 (London: Phaidon Press, 1968), vol. 1, p. 386.;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), 207, 209, no. 156, fig. 156.;Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass.: Harvard University Press, 1972), 183, 601.;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 9.;Everett Fahy, “Review of Early Italian Paintings in the Yale University Art Gallery,” Art Bulletin 56, no. 2 (June 1974): 284.;Nicola da Giacomo, “Sassetta between 1423 and 1433- II,” Burlington Magazine 23 (1913): 278, pl. IV, Q;Sassetta, Dan Fellow Platt Collection, as cusp on the sinister side crowning the Madonna della Neve altarpiece in the Duomo of Siena.;Joseph Archer Crowe and Giovanni Battista Cavalcaselle, A history of painting in Italy, Umbria, Florence and Siena, from the second to the sixteenth century (London: London, 1914), 169–170, note 1;Sassetta, Dan Fellow Platt Collection, as one of three cusps crowning the Madonna della Neve altarpiece.;John Pope-Hennessy, Sassetta (London: London, 1939), 27, 53, note 69;Sassetta, as lateral panel with Massa Marittima Angel contiguous to panel of the Redeemer in Madonna della Neve altarpiece.;John Pope-Hennessy, Sienese Quattrocento Painting (London: London, 1947), 25.;Enzo Carli, Sassetta e il Maestro dell’ Osservanza (Milan: Aldo Martello Editore, 1957), 12.;Henk van Os, Sienese altarpieces, 1215-1460: form, content, function (Groningen, The Netherlands: Bouma’s Boekhuis, 1984-1990), 167–168.;Bernard Berenson, “A Sienese Painter of the Franciscan Legend,” Burlington Magazine 2 and 4 (1903): 179–180, discusses Sassetta’s Madonna della Neve altarpiece.;Federico Zeri, “Towards a Reconstruction of Sassetta’s Arte della Lana Triptych (1423-6),” Burlington Magazine 98 (1956): 36–39.;L. Blauwkuip, Sassetta’s Madonna della Neve altaarstuk (Groningen, Germany: Rijksuniversiteit Groningen, 1980), 13.;Machtelt Israëls, Sassetta’s Madonna della Neve: An Image of Patronage (Leiden: Primavera Pers, 2003), 60–62, fig. 21.;John Pope-Hennessy, “Rethinking Sassetta,” Burlington Magazine 98 (1956): 364–70.;Machtelt Israëls, “New documents for Sassetta and Sano di Pietro at the Porta Romana, Siena,” Burlington Magazine (1998): 436–444.;Lionello Venturi, “The Rabinowitz Collection,” Art Quarterly 7 (1945): pl. CXI.;Keith Christiansen, Laurence Kanter, and Carl Strehlke, The Arte della Lana altarpiece (New York: The Metropolitan Museum of Art, 1988), 65.;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 16, no. 4, ill. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43518 | The Art of Music | 1959.15.25 | E. and A. Silberman Galleries, New York (as Primaticcio, "Expulsion of Avarice"), Rabinowitz Collection, Sands Point, Long Island, (before 1945–1959), Yale University Art Gallery (1959–);Bibliography;Louis M. Rabinowitz, Rabinowitz Collection (New York: The Twin Editions, 1945), 71–2, pl. XXXIII, figs. 18–20.;Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 44.;Francoise Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1968), 9. | Gift of Hannah D. and Louis M. Rabinowitz | |
| https://artgallery.yale.edu/collections/objects/43516 | The Crucifixion with the Converted Centurion | Lucas Cranach the Elder, German, 1472–1553 | 1959.15.23 | Count Wilczek Collection, Burg Kreuzenstein at the Danube, E. & A. Silberman Galleries, New York, Rabinowitz Collection, Sands Point, Long Island (purchased between 1940-1945).;Bibliography;Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 134, 136, 156, fig. 133. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43515 | An Allegory of Intemperance | Hieronymus Bosch, Netherlandish, ca. 1450–1516 | 1959.15.22 | Clary Collection (Christie's sale, London, 11 May 1928, no. 31), Galerie Malmedè, Cologne, Keulen, E. and A. Silberman Galleries, New York, NY, Rabinowitz Collection, Sands Point, Long Island.;Bibliography;Artists on Art: Observations by Yale Faculty on Selections from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 1999), 16–19, ill.;Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 134–35, 156, fig. 132.;John Varriano, Wine: A Cultural History, exh. cat. (London: Reaktion Books, 2010), 135, no. 60, ill.;Charles Seymour, “Louis Mayer Rabinowitz,” Bulletin of the Associates in Fine Arts at Yale University 23 (September 1957): 11–12, fig. 1.;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 20, no. 8, ill.;Noordbrabants Museum, Jheronimus Bosch: Visioenen van een genie, exh. cat. (’s-Hertogenbosch, Netherlands: Fonds Mercator, February 13–May 8, 2016), 20–21, 22 (detail), no. 3, ill.;Pilar Silva Maroto, ed., Bosch: The 5th Centenary Exhibition, exh. cat. (Madrid: Museo del Prado, 2016), 292–301, no. 38, ill.;This work appears on our "Artworks with Nazi-Era Provenance Documentation Gaps" page. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43494 | The Apostles Saint Andrew and Saint James the Lesser, with a Prophet | Pietro Lorenzetti, Italian, Siena, active ca. 1306–1348 | 1959.15.1a-c | S. Maria Carmine, Siena, until the 19th century, E. and A. Silberman Galleries, New York, Rabinowitz Collection, Sands Point, Lond Island, (before 1945–1959).;Bibliography;Louis M. Rabinowitz, Rabinowitz Collection (New York: The Twin Editions, 1945), 3–4.;Enzo Carli, Capolavori dell’arte senese (Florence: Florence, 1947), 44.;Enzo Carli, Les Primitifs Siennois (Paris: Éditions Braun, 1957), 38.;Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 12–13, 55.;Bernard Berenson, Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places, 3 (London: Phaidon Press, 1968), vol. 1, p. 219.;Piero Torriti, La Pinacoteca Nazionale di Siena: I dipinti dal XII al XV secolo (Genoa, Italy: Genoa, 1977), 97–99.;Eve Borsook and Fiorella Superbi Gioffredi, Italian altarpieces 1250-1550: function and design, 33 (Oxford, England: Clarendon Press, 1994).;Eliot W Rowlands, Masaccio: Saint Andrew and the Pisa Altarpiece (Los Angeles, Calif.: J. Paul Getty Museum, 2003), 77–78.;Eliot W Rowlands, Masaccio: Saint Andrew and The Pisa Altarpiece (Los Angeles, Calif: J. Paul Getty Museum, 2003), 77–78.;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.;Theodore Sizer, “The Mabel Brady Garvan Collection of American Arts and Crafts,” Bulletin of the Associates in Fine Arts at Yale University 4 (December 1930): 54, P. Lorenzetti with assistance.;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), 75–77, no. 51a–c.;Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 133.;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 14, no. 2. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43509 | Virgin and Child with Saints Jerome and Francis of Assisi | Bernardino di Betto, called Pinturicchio, Italian, Perugia, active in Siena, ca.1454–1513 | 1959.15.16 | Quincy Shaw (1877-1908) Collection, Boston, Mrs. Pauline Shaw Fenno and E. and A. Silberman Galleries, Rabinowitz Collection, Sands Point, Long Island, before 1945-1959.;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. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43505 | Virgin and Child Enthroned | Antonio Vivarini, Italian, ca. 1415–1476/84 | 1959.15.12 | Possibly Aloisi-Vicoli-Caccialupi family, San Severino Marche, possibly by descent to Count Augusto Caccialupi Olivieri Collection, Macerata (by 1870), Robert I. Nevin Collection, Rome (sale, Rome, Apr. 22–27, 1907), Ellis Collection, Chicago, Dan Fellows Platt (1873–1938) Collection, Englewood, New Jersey, Rabinowitz Collection, Sands Point, Long Island, (before 1945–59), Yale University Art Gallery (1959–);Bibliography;Mauro Minardi, “Studi sulla collezione Nevin: i dipinti veneti del XIV e XV secolo,” Saggi e memorie di storia dell’arte 36 (2012): 326–32, fig. 23.;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.;Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 138, as Bartolommeo Vivarini, 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. 12, as Bartolommeo Vivarini, fig. colorplate 3.;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), 247–48, no. 186, as Bartolommeo Vivarini.;Rodolfo Pallucchini, I Vivarini (Antonio, Bartolomeo, Alvise) (Venice: Neri Pozza Editore, 1961), 42, 117, no. 139, fig. 139.;Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 24–25, as Bartolomeo Vivarini, ill.;Yale University Art Gallery, Yale University Art Gallery Bulletin, 26, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1960), 54, as Bartolomeo Vivarini.;Charles Seymour, “Louis Mayer Rabinowitz,” Bulletin of the Associates in Fine Arts at Yale University 23 (September 1957): 12–13, fig. 5.;Bernard Berenson, Italian Pictures of the Renaissance, 1 (London: Phaidon Press, 1957), 202.;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. LXXXIX, as Bartolomeo Vivarini.;Lionello Venturi, “The Rabinowitz Collection,” Art Quarterly 7 (1945): 35–36.;Ulrich Thieme et al., Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, 34 (Leipzig, Germany: W. Engelmann, 1940), 451.;Bernard Berenson, Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere, con un indice dei luoghi (Milan, Italy: Libreria Antiquaria Hoepli, 1936), 517.;Lionello Venturi, Italian Paintings in America, 1 (New York: E. Weyhe, Inc., 1933), fig. pl.357.;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), 601.;Lionello Venturi, Pitture Italiane in America, 2 (Milan, Italy: Libreria Antiquaria Hoepli, 1931), fig. tav. CCLXVII.;Bernard Berenson, Venetian Painting in America, the Fifteenth Century (New York: Frederic Fairchild Sherman, 1916), 13–15, fig. 7.;Adolfo Venturi, Storia dell’arte Italiana, 7 (Milan: Libreria Antiquaria Hoepli, 1914), 323, fig. 247.;F. Mason Perkins, “Una Tavola di Bartolomeo Vivarini,” Rassegna d’Arte (1908): 145, ill.;F. Mason Perkins, “Dipinti Italiani nella Raccolta Platt, Parte II,” Rassegna d’Arte 11 (September 1911): 146, ill.;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 17, no. 5, as Bartolomeo Vivarini, ill. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/43503 | Virgin and Child: The Gambaro Madonna | Francesco Francia, Italian, Bologna, ca. 1450–1517 | 1959.15.10 | Lord Dudley Ward (1838–ca. 1868), London, Marchese di Pulci Doria, Naples (sold between 1890–95), Sedelmeyer, Paris (–1898), Quincy Adams Shaw, Boston (1877-1908), E. and A. Silberman Galleries, 1014 Madison Avenue, New York (–1941), Rabinowitz, Sands Point, Long Island, (1941–59), Rabinowitz Collection, Yale University Art Gallery (on loan, 1953, Deed of Gift, 1959).;Bibliography;Gustav Friedrich Waagen, Kunstwerke und Kunstler in England and Paris (Berlin: Berlin, 1838), 204.;Gustav Friedrich Waagen, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings Drawings, Sculptures, Illuminated MSS, 3 (London: London, 1854), 199.;Joseph Archer Crowe and Giovanni Battista Cavalcaselle, A history of painting in north Italy, Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the fourteenth to the sixteenth century (London: London, 1871), 274, no.2.;Julia Cartwright, Mantegna and Francia (New York: Scribner & Welford, 1881), 116, 118.;Adolfo Venturi, “La Pittura Bolognese nel Secolo XV,” Domenico Gnoli. Archivio Storico dell’ arte (1890): 293, note 2.;George C Williamson, Francesco Raibolini called Francia (London: London, G. Bell & Sons, 1901), 39, 143.;Gaetano Milanesi, Le vite de’ più eccellenti pittori, scultori ed architettori (Florence, Italy: Giulio Cesare Sansoni, 1906), 556, no. 3;Vol. 3.;Adolfo Venturi, Storia dell’arte Italiana, 7 (Milan: Libreria Antiquaria Hoepli, 1914), 854, 881.;Bernard Berenson, Venetian Painting in America, the Fifteenth Century (New York: Frederic Fairchild Sherman, 1916), 262–263.;Louis M. Rabinowitz, Rabinowitz Collection (New York: The Twin Editions, 1945), 29–31.;Charles Seymour Jr., The Rabinowitz Collection of European Paintings (New Haven, Conn.: Yale University Press, 1961), 28–29, 55.;Bernard Berenson, Italian Pictures of the Renaissance, 1 (London: Phaidon Press, 1957), 148.;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), 220–22, no. 165.;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.;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), 40–41, no. 32, (as Il Francia [Francesco di Marco di Giacomo Raibolini], “Gambaro Madonna,” 1495).;Katherine Neilson and Andrew Carnduff Ritchie, Selected Paintings and Sculpture from the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1972), no. 15.;Giuseppe Lipparini, Francesco Francia (Bergamo, Italy: Istituto Italiano D’arti Gracfiche, 1913), 44.;Ulrich Thieme, Felix Becker, and Georg Gronau, Allgemeines Lexikon der bildenden Ku¨nstler von der Antike bis zur Gegenwart (Leipzig, Germany: E. A. Seemann, 1916), 321.;Filippini Zucchini, Minatori e pittori a Bologna Documenti del secolo XV (Rome: Rome, 1968), 62.;Stagni, “Franco Francia,” Pittura Bolognese del ‘500, a cura di V. Fortunati Pietrantonio (1986): 8.;Marzia Faietti, “Attorno a Marcantonio: figure della sua giovinezza e prima maturita,” Bologna e l’Umanesimo 1490-1510 (1988): 226.;Marzia Faietti, “Protoclassicismo e cultura umanistica nei disegni di Francesco Francia,” Il Classicismo Medioevo Rinascimento Barocco, Atti del Colloquio Cesare Gnudi (1986) (1993): 175, no. 24.;M Ferretti, “In cerca di Guido Aspertini,” Arte a Bologna: bollettino dei musei civici d’arte antica 3 (1993): 44.;Emilio Negro and Nicosetta Roio, “Francesco Francia e la sua scuola,” Modena: Artioli Editore (1998): 164–179, no. 35.;Emilio Negro and Nicosetta Roio, “Lorenzo Costa, 1460-1535,” Modena: Artioli Editore (2001): 41,47, note 108, fig. 71.;Arduino Colasanti and Tibor Gerevich, “I quadri italiani nelle collezioni del conte Pa´lffy in Ungheria,” Rassegna d’Arte 12 (1912): 168–169, n.1.;G. Agosti et al., Quattro pezzi lombardi (per Maria Teresa Binaghi) (Brescia, Italy: Brescia, 1998), 63.;Salomon Reinach, Repertoire de Peintures: du Moyen Age et de la Renaissance (1280–1580), 5 (Paris: Ernest Leroux, 1922), 273.;Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 136.;Clay M. Dean, A Selection of Early Italian Paintings from the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2003), 11, 40–41, no. 13.;Edna Perkel, An Exhibition of Paintings: for the Benefit of the Research Fund of Art and Archaeology, The Spanish Institute, Inc., exh. cat. (New York: E. and A. Silberman Galleries, Inc., October 12–November 1, 1955), 21, no. 9, ill. | Gift of Hannah D. and Louis M. Rabinowitz |
| https://www.artic.edu/artworks/110871/portrait-of-a-gentleman | Portrait of a Gentleman | 1954.195 | Provenance;E. and A. Silberman Galleries, New York, sold to Chester D. Tripp, Chicago, 1945 [according to letter of March 2, 1945 from Silberman to Tripp], given to The Art Institute of Chicago, 1954. | Gift of Mr. Chester D. Tripp | |
| https://www.artic.edu/artworks/79774/portrait-of-a-man | Portrait of a Man | Corneille de Lyon | 1953.466 | Provenance;Paul Ganz, Basel, by 1932, until 1937 [lent by him to London 1932 and Paris 1937], sold to E. and A. Silberman Galleries, Vienna and New York, probably in 1937 [a letter from Everett D. Graff to Louise Lutz, September 18, 1953, Art Institute Archives, refers to correspondance between Ganz and Silberman dated April 27, 1937], sold to Everett D. Graff, Winnetka, presumably in 1939 [the letter cited above refers to a receipt from Silberman dated January 24, 1939, “covering the payment for this painting at that time”], given to the Art Institute, 1953. | Gift of Everett D. Graff |
| https://www.artic.edu/artworks/68369/the-tub | The Tub | Hilaire Germain Edgar Degas | 1950.114 | Provenance;Commissioned by the Degas heirs from the Hébrard Foundry, Paris, May 1918, René DeGas Family, Paris, by 1921 [see Czestochowski and Pingeot, p. 15], DeGas-Musson Family, New Orleans, by 1949 [see source cited above, p. 173], sold to Elkin and Albris Silberman Galleries, New York, January 19, 1950 [according to agreement of sale, January 19, 1950, DeGas-Musson Papers, Howard-Tilton Memorial Library, Tulane University, copy in curatorial file, see also source cited above], sold by Silberman Galleries to the Art Institute, 1950. | Wirt D. Walker Endowment |
| https://www.artic.edu/artworks/68362/dancer-ready-to-dance-right-foot-forward | Dancer Ready to Dance, Right Foot Forward | Hilaire Germain Edgar Degas | 1950.112 | Provenance;Commissioned by Edgar Degas’s heirs from the Hébrard Foundry, Paris, May 1918, René DeGas Family, Paris, by 1921 [see Czestochowski and Pingeot, pp. 15], by descent to the DeGas-Musson Family, New Orleans, before 1950 [see source cited above, p. 233], sold by Gaston DeGas-Musson and the Musson Family to the Elkin and Albris Silberman Galleries, New York, January 19, 1950 [see source cited above, see also agreement of sale, January 19, 1950, DeGas-Musson Family Papers, Howard-Tilton Memorial Library, Tulane University, copy in curatorial file], sold by Silberman Galleries to the Art Institute, 1950. | Wirt D. Walker Endowment |
| https://www.artic.edu/artworks/64920/tarquin-and-lucretia | Tarquin and Lucretia | Tintoretto | 1949.203 | Provenance;Possibly Antonio Tronsarelli, Rome (died 1601) [“Un quadro grande in tela colorito a olio di Tarquinio quando Viola Lucretia di mano del Tentoretto (sic)”, see Matteo Lafranconi, “Antonio Tronsarelli: A Roman collector of the late sixteenth century,” Burlington Magazine 140 (1998), p. 545, no. (5)]. Private collection, France [according to Illustrated London News, 4 December 1937]. Robert Lebel, Paris, by 1937 [Illustrated London News, 4 December 1937]. Richard Goetz, Paris and New York, by 1939 [1939 Knoedler exh. cat.]. Sold by E. and A. Silberman Galleries, New York, to the Art Institute, 1949. | Art Institute Purchase Fund |
| https://www.artic.edu/artworks/62460/the-terrace | The Terrace | 1948.81 | Provenance;Possibly Aernout Eelbrecht, Leiden, inventory 1683 [“Een stuck van Fabritius, daar van Aelst sijn degen ingeschildert heeft” (A piece by Fabritius, in which Van Aelst painted his sword), suggested by J. G. van Gelder in Rotterdam 1935]. Pierre Fouquet, Amsterdam, before 1802 [according to Mettra Fils, Notice d’une collection…, 1802, no. 111 and manuscript version cited below]. Mettra Fils (Magasin du Bureau des Arts), Berlin, by 1802 [see Notice d’une collection…, no. 111, ill., as Metzu [sic] and manuscript version of this catalogue in the Staatsbibliothek zu Berlin, Libri. PIct. A112], presumably sold by Mettra Fils to Prince Radziwill, Nieborow, by 1803, by descent to Prince Sigismund Radziwill, Paris, 1866, sold, March 22–23, 1866, lot. 78, as Metsu, Interior de cour d’une maison hollandaise to Théophile Thoré-Bürger [see Jowell, 2003 pp. 72, 98], sold his private sale, Paris, February 1870, listed as Metzu [sic], Interior hollandais for F15,000 [see Jowell 2003 p. 114, appendix 4]. Duke George Nicolaevich de Leuchtenberg (died 1929), St. Petersburg [according to Rotterdam exhibition 1935]. Spink, London, by 1920 [according to Colnaghi index card], P. and D. Colnaghi, London, by March 1920, sold by Colnaghi to Calouste S. Gulbenkian on 3 March 1920 [according to Colnaghi index card], P. and D. Colnaghi, London, by 1929 [according to Valentiner 1929]. Leonard Gow, Camis Eskan, Dumbartonshire (died 1936), by 1935 [according to Heppner 1935], by descent to Leonard Harper Gow, Glasgow, sold through D. Katz, Dieren, The Netherlands, as agent for Gow to the Museum of Art, Rhode Island School of Design, 1939 [RISD Museum Committee meeting minutes, March 7, 1939], exchanged through E. and A. Silberman, New York, February 1945 [according to records of RISD, copy in curatorial file], sold by Silberman to the Art Institute, February 1948. | Robert A. Waller Memorial Fund | |
| https://www.artic.edu/artworks/59891/portrait-of-a-young-artist | Portrait of a Young Artist | German School | 1947.77 | Provenance;Hilmer 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. | Charles H. and Mary F. S. Worcester Collection |
| https://www.artic.edu/artworks/59837/the-crucifixion | The Crucifixion | 1947.52 | Provenance;Count Johann Nepomuk Wilczek (died 1922), Burg Kreuzenstein, near Vienna [according to letter from Otto Benesch to Charles Worcester, April 13, 1938, in the curatorial file, what appears to be an inventory number (No. 30684) stamped three times on the back could not be linked with records at Burg Kreuzenstein]. E. and A. Silberman Galleries, Vienna and New York, by 1934 [according to the registrar’s receipt, October 15, 1934, the painting was shipped by E. and A. Silberman of 32 East 57th Street, New York], sold to Charles H. Worcester, 1934, given to the Art Institute, 1947. | Charles H. and Mary F. S. Worcester Collection | |
| https://www.artic.edu/artworks/111059/flowers-and-fruit-in-a-chinese-bowl | Flowers and Fruit in a Chinese Bowl | Juan de Zurbarán | 1947.511 | Provenance;Don José de Madrazo y Agudo (died 1859), Madrid by 1856 [Madrazo cat. 449], sold by his heirs to Don José de Salamanca, Marqués de Salamanca, Madrid in 1861 [see Alaminos López and Salas Vázquez 1998, p. 169]. Condesa de Montarco, Madrid by 1905 [lent by her to Madrid 1905, see also handwritten annotation in stretcher]. Art market, probably by June 1933 [photographs both inscribed with the number N3939, bear expertises by Tancred Borenius of June 1933 and August L. Mayer of October 22, 1934, photos in curatorial file]. Knoedler and Co., New York, 1935 [according to New York 1955, cat. 21]. Arnold Seligmann, Rey and Company, New York, by 1936 [this and the following according to Brummer Gallery Records, object inventory card N3939, digitized by the Cloisters Library and Archives, Metropolitan Museum of Art, copy in curatorial file], sold to Brummer Gallery, New York, May 26, 1936, for $7,000, sold to E. and A. Silberman Galleries, New York, June 25, 1947, as part of a lot for $20,000, purchased by the Art Institute, 1947. | Wirt D. Walker Fund |
| https://www.artic.edu/artworks/90071/triptych-of-the-crucifixion-with-saints-anthony-christopher-james-and-george | Triptych of the Crucifixion with Saints Anthony, Christopher, James and George | 1947.394 | Provenance;Count Johann Nepomuk Wilczek (d. 1922), Burg Kreuzenstein, near Vienna [in a letter of 31 March, 1947, Abris Silberman stated to Art Institute director Daniel Catton Rich that he had acquired the picture “about twenty-five years ago” from the Wilczek collection, letter in AIC archives], Kunsthandlung Silbermann, Vienna, about 1922, sold to Dr. Oskar Bondy (d. 1944), Vienna and New York, his widow Elisabeth Soinig Bondy until shortly before March 1947 [in a letter of 5 March, 1947 Abris Silberman stated, “We have re-acquired [the triptych] from Mrs. Bondy recently”, letter in Art Institute archives, the painting was not among the objects sealed in the Bondy’s Vienna apartment in 1938, for this list see Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, pp. 218-44], A. and E. Silberman, New York, 1947, acquired by the Art Institute with de-accession funds, 1947. | Mr. and Mrs. Martin A. Ryerson Collection | |
| https://www.artic.edu/artworks/60514/saint-augustine | Saint Augustine | Bartolomé de Cárdenas, (called Bermejo) | 1947.393 | Provenance;Private collection, Spain, before 1931 [letter from Abris Silberman to Daniel Catton Rich, March 31, 1947, Art Institute Archives], E. and A. Silberman Galleries, Vienna, as Saint Augustine by Simon Marmion, by January 1931 [note by Max Friedländer on the reverse of a photograph in the Friedländer Archive, Rijksbureau voor Kunsthistorische Documentatie, The Hague]. New York art market, 1934 [according to Angulo 1935, p. 302, this was probably Silberman’s New York gallery]. Dr. Oscar Bondy (died 1944), Vienna and New York, his widow, Elisabeth Soinig Bondy, until 1947 [the painting was not among the objects sealed in Bondy’s Vienna apartment in 1938, for this list see Sophie Lillie, Was einmal war: Handbuch der enteigneten Kunstsammlungen Wiens, Vienna, 2003, pp. 218-44, the letter from Silberman to Rich cited above indicates that the dealer had recently acquired the painting from Mrs. Bondy], sold by E. and A. Silberman, New York, to the Art Institute, 1947 [purchased with deaccession funds]. | Mr. and Mrs. Martin A. Ryerson Collection |
| https://artgallery.yale.edu/collections/objects/46486 | Thalia and Melpomene, the Muses of Comedy and Tragedy | Giovanni Battista Tiepolo, Italian, Venice, 1696–1770 | 1947.18 | Palazzo Labia, Venice, possibly to 1898 [see note 1]. Leone Oreffice, Venice. With Julius Böhler, Munich, by 1904. Elkan Silbermann (1892–1952) and Abris Silbermann (1896–1968), Budapest, sold to an unknown buyer. Purchased by E.A. Silberman Galleries, Inc. (Elkan and Abris Silberman, dealers), New York, 1930 [see note 2], sold to Louis M. Rabinowitz (1887–1957), Sands Point, Long Island, New York, 1937 (on loan to the Yale University Art Gallery, New Haven, Conn., 1946), given to the Yale University Art Gallery, New Haven, Conn., 1947;Note 1: According to Momenti (1911), the painting was displayed in the dining room of the Palazzo Labia.;Note 2: Established in 1928, E. and A. Silberman Galleries, New York, was formed by brothers Elkan and Abris Silberman (born Silbermann) as a branch of their family’s galleries in Vienna and Budapest. A letter from Abris Silberman to Mrs. Alice Wolf, research assistant at the Gallery, notes that Thalia and Melpomene, the Muses of Comedy and Tragedy, and Polymnia, the Muse of Sacred Hymn (YUAG acc. no. 1947.17), also by Tiepolo, had been with his and his brother’s collection in Budapest for many years and that the paintings were sold there and then re-acquired in 1930 in the United States. It is unknown whether the paintings had originally formed part of the Silbermann’s personal collection or gallery stock in Budapest. (Abris Silberman, letter to Mrs. Alice Wolf, June 12, 1946, curatorial object file);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. | Gift of Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/46602 | Polymnia, the Muse of Sacred Hymn | Giovanni Battista Tiepolo, Italian, Venice, 1696–1770 | 1947.17 | Palazzo Labia, Venice, possibly to 1898 [see note 1]. Leone Oreffice, Venice. With Julius Böhler, Munich, by 1904. Elkan Silbermann (1892–1952) and Abris Silbermann (1896–1968), Budapest, sold to an unknown buyer. Purchased by E.A. Silberman Galleries, Inc. (Elkan and Abris Silberman, dealers), New York, 1930 [see note 2], sold to Louis M. Rabinowitz (1887–1957), Sands Point, Long Island, New York, 1937 (on loan to the Yale University Art Gallery, New Haven, Conn., 1946), given to the Yale University Art Gallery, New Haven, Conn., 1947;Note 1: According to Momenti (1911), the painting was displayed in the dining room of the Palazzo Labia.;Note 2: Established in 1928, E. and A. Silberman Galleries, New York, was formed by brothers Elkan and Abris Silberman (born Silbermann) as a branch of their family’s galleries in Vienna and Budapest. A letter from Abris Silberman to Mrs. Alice Wolf, research assistant at the Gallery, notes that Polymnia, the Muse of Sacred Hymn, and Thalia and Melpomene, the Muses of Comedy and Tragedy (YUAG acc. 1947.18), also by Tiepolo, had been with his and his brother’s collection in Budapest for many years and that the paintings were sold there and then re-acquired in 1930 in the United States. It is unknown whether the paintings had originally formed part of the Silbermann’s personal collection or gallery stock in Budapest. (Abris Silberman, letter to Mrs. Alice Wolf, June 12, 1946, curatorial object file);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.;Charles Seymour, “Louis Mayer Rabinowitz,” Bulletin of the Associates in Fine Arts at Yale University 23 (September 1957): 13, fig. 7. | Gift of Louis M. Rabinowitz |
| https://artgallery.yale.edu/collections/objects/45500 | The Gentleman | 1945.247 | Arthur Lee, 1st Viscount Lee of Fareham (1868–1947), London, by 1924 [sale, Christie's, July 18, 1924, lot 23 (as Girolamo Romanino) (unsold)]. With E. & A. Silberman Galleries, New York, by 1945 (as Titian), probably sold to Louis M. Rabinowitz (1887 –1957), Sands Point, Long Island, by June 1945 (as Titian), given to the Yale University Art Gallery, New Haven, Conn., 1945;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. | Gift of Louis M. Rabinowitz | |
| https://www.artic.edu/artworks/110782/diana-and-actaeon | Diana and Actaeon | Jacopo Bassano | 1939.2239 | Provenance;Possibly Jacopo Bassano (died 1592), Venice [inventory of studio content dated April 27, 1592, drawn up shortly after the artist’s death, “No. 130. L’Istoria d’Ateo, d’un braccio d’ogni banda” (The Story of Actaeon, one braccio in every direction), see Giambatista Verci, “Notizie intorno alla vita e alle opere de’pittori, scultori e intagliatori dell città di Bassano,” Venice, 1775, p. 75]. Dupille, Paris, by 1763 [engraved by E. Fessard, see Crozat, 1763.] E. and A. Silberman Galleries, New York, by 1939 [Letter from Charles H. Worcester’s secretary to Silberman of October 5, 1939, in curatorial file], sold by Silberman to Charles H. Worcester, Chicago, 1939, given to the Art Institute, 1939. | Charles H. and Mary F. S. Worcester Collection |
| https://www.artic.edu/artworks/27819/the-scullion | The Scullion | Augustin Théodule Ribot | 1938.1297 | Provenance;Baron Adolphe Kohner (1865-1937), Budapest [according to information on accession card]. Art dealer, Paris [according to information on accession card]. E. and A. Silberman, New York, sold to the Art Institute, 1938 using Coburn funds. | Mr. and Mrs. Lewis Larned Coburn Memorial Collection |
| https://www.artic.edu/artworks/111657/double-portrait-two-women | Double Portrait: Two Women | 1937.460 | Provenance;Adams Gallery, London, by 1936 [according to 1936 exh. cat.]. E. and A. Silberman Galleries, New York, 1936, sold to Charles H. and Mary F. S. Worcester in 1936 [according to Charles H. Worcester’s letter to Robert Harshe dated October 15, 1936, in curatorial file], on loan at the Art Institute in 1936, given to the Art Institute, 1937. | Charles H. and Mary F. S. Worcester Collection | |
| https://www.artic.edu/artworks/22527/crucifix | Crucifix | Master of the Bigallo Crucifix | 1936.120 | Provenance;Johann Nepomuk, Count Wilczek (died 1922), Burg Kreuzenstein, near Vienna [according to a letter from E. Silberman Galleries to Robert B. Harshe of May 13, 1936, in curatorial file]. E. and A. Silberman, Vienna and New York, by 1936, sold to the Art Institute, 1936. | A. A. Munger Collection |
| https://www.artic.edu/artworks/19322/christ-washing-the-disciples-feet | Christ Washing the Disciples' Feet | Jan Lievens | 1934.385 | Provenance;Possibly Abraham Jacobsz Greeven, Amsterdam [inventory, 10 March 1660 lists “Een schilderijtie daer Christus de veeten wast van Rembrandt,” see C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. 6, London, 1916, p. 94, no. 118b]. Possibly Harman Becker, Amsterdam [inventory of 19 October 1678 lists “een graeutie van Rembrant daer Cristus de voete wast,” see A. Bredius, “Rembrandiana,” Oud Holland 28 (1910), p. 198]. Probably Huybert Ketelaar, Amsterdam, sold 19 June 1776, no. 175, to M. F. Klemper for 4 florins, 75 [see Hofstede de Groot, vol. 6, 1916, p. 94, no. 119, as on panel 19 x 24 inches, who links this picture with the grisaille in the Becker collection mentioned above]. Count Johann Nepomuk Wilczek (died 1922), Burg Kreuzenstein, near Vienna, his estate [Rotermund 1956 states that the picture was discovered in the estate of a Vienna collector], E. and A. Silberman Galleries, Vienna and New York, by 1934 [Silberman probably acquired the picture directly from Wilczek’s heirs, see the vague hints in Rotermund 1952/53 and 1956, “Rembrandt Grisaille,” Art Digest 9 (1935) and “Rembrandt Works Recently Bought by The Art Institute,” Art News 33, no. 13 (1934)], sold to the Art Institute, 1934. | Robert A. Waller Memorial Fund |
| https://www.christies.com/en/lot/lot-5176043 | Pieter Claesz (Burgsteinfurt c. 1597-1660 Haarlem);Still life with ham, lemon, a roll, a glass of wine, and others on a table;signed with monogram and dated 'PC 1643' (PC linked, on plate center left);oil on panel;26 1/8 x 28 in. (66.5 x 71 cm.) | Pieter Claesz (Burgsteinf | F. Lorenz, Massapequa Park, NY.;with E. and A. Silberman Galleries, New York. | AUCTION:The Scholars Eye: Property from the Julius Held Collection Part I | |
| https://www.christies.com/en/lot/lot-5461665 | THE GIVENCHY ROYAL HANOVER CHANDELIER;A GERMAN SILVER EIGHT-LIGHT CHANDELIER;BY BALTHASAR FRIEDRICH BEHRENS, HANOVER, DELIVERED 13 SEPTEMBER 1736, DESIGNED BY THE KING'S ARCHITECT WILLIAM KENT;With fluted and acanthus-clad ring handle headed by an acanthus baluster knop, rising to an everted openwork acanthus calyx forming the cul-de-lamp and a central fluted vase-shaped standard with ovolo border at the shoulder flanked by four addorsed and acanthus-wrapped sphinx floating on acanthus, each on two acanthus and lion's paw curved supports and applied with 'cupid-torch' cornucopia, each with two scroll acanthus-clad and beaded branches with fluted vase-shaped wax pans and part-fluted spool-shaped sockets, the central 'krater'-shaped standard applied above with massive floral garlands descending from lion masks, rising to a central orb applied twice with the prancing horse of Hanover and with two clambering naked putti rising from rushes, the whole surmounted by the Royal crown with orb and cross and silvered ring above, with central iron rod, drilled for electricity, most components with assay scrapes, each numbered and lettered B, struck only with later French control marks | THE GIVENCHY ROYAL HANOVE | Commissioned by King George II of Great Britain and Elector of Hanover (r.1727-1760) for his palace in Hanover, and then by descent to his son;King George III, King of Great Britain and Elector of Hanover until 1814 and then King of Hanover (r.1760-1820), and then by descent to his son;King George IV of Great Britain and Hanover (r.1820-1830) and then by descent to his brother;King William IV of Great Britain and Hanover (r.1830-1837) and then by descent to his brother;Prince Ernst Augustus of Great Britain, 1st Duke of Cumberland and King of Hanover (r.1837-1851) and then by descent to his son;King George V of Hanover, 2nd Duke of Cumberland (r.1851-1866, d. 1878) and then by descent to his son;Crown Prince Ernst Augustus of Hanover, 3rd Duke of Cumberland (1845-1923) and then by descent to his son;Prince Ernst Augustus, Duke of Brunswick-Lüneburg (1887-1953), sold privately in 1924.;Hubert de Givenchy, the Salon Vert, hôtel d'Orrouer, Paris;Exceptionnel Mobilier Français, Objets d'Art et Orfèvrerie appartenant à M. Hubert de Givenchy, Christie's, Monaco, 4 December 1993, lot 95. | AUCTION:The Exceptional Sale 2011 | |
| https://www.christies.com/en/lot/lot-6367904 | CLAUDE MONET (1840-1926);Nymphé as;signed and dated ‘Claude Monet 1907’ (lower right);oil on canvas;37 x 35 1⁄4 in. (93.8 x 89.3 cm.);Painted in 1907 | CLAUDE MONET (1840-1926); | Galerie Durand-Ruel et Cie. and Galerie Bernheim-Jeune et Cie., Paris (acquired from the artist, June 1909).;James W. Viles, Chicago (acquired from the above, October 1909).;Durand-Ruel Galleries, New York (acquired from the above, 1910).;Arthur B. Emmons, Newport (acquired from the above, 1911), sale, American Art Association, New York, 14 January 1920, lot 38.;Scott and Fowles, New York (acquired at the above sale).;Helen Swift Neilson, Chicago (acquired from the above, 1920).;The Art Institute of Chicago (by bequest from the above, February 1946).;E. and A. Silberman Galleries, New York (acquired from the above, December 1947).;Gabriel Fodor, Geneva (acquired from the above, 1947).;Wildenstein & Co. Inc., New York (acquired from the above, February 1984).;Acquired from the above by the late owner, 31 May 1984. | AUCTION:The Collection of Anne H. Bass | |
| https://www.christies.com/en/lot/lot-2404351 | ODILON REDON (1840-1915);Fantaisie;signed bottom right ODILON REDON --watercolor on paper;7½ x 10¼in. (19 x 26cm.);Painted circa 1910 | ODILON REDON (1840-1915); | E. and A. Silberman Galleries, New York | AUCTION:Property from the Estate of John Rewald | |
| https://www.christies.com/en/lot/lot-3061494 | Benvenuto Tisi, il Garofalo (c. 1476-1559);The Madonna and Child enthroned with Saints John the Baptist and Peter and an Angel holding back a Curtain;on panel, arched top;20 x 13 5/8in. (51 x 34.8cm.) | Benvenuto Tisi, il Garofa | Casa Canani, Ferrara (according to Laderchi, loc. cit.);Conte Giambattista Costabili, Ferrara, no. 79;Marchese Costabili, Ferrara, sale, Sambon, Milan, 27-29 April 1885;with E. and A. Silberman Galleries, New York;Anon. (an Institution) Sale, Christie's, New York, 19 Jan. 1982, lot 112 | AUCTION:Old Master Pictures | |
| https://www.christies.com/en/lot/lot-2055431 | CHRISTIAN HULFGOTT BRAND (Frankfurt-on-Oder 1695-after 1756 Vienna);An Italianate landscape with travellers and a packmule on a river bank;oil on panel;7¼ x 8 5/8 in. (18.4 x 21.9 cm.) | CHRISTIAN HULFGOTT BRAND | Count Windischgretz, Castle Kreuzenstein, Vienna.;with Silberman Galleries, New York.;Thomas Buck.;Anon. Sale, Habsburg, Feldman, Inc., New York, 9 January 1990, lot 30 ($7,700). | AUCTION:OLD MASTER PAINTINGS, DRAWINGS AND FRAMES | |
| https://www.christies.com/en/lot/lot-5649954 | Marcellus Coffermans (active Antwerp 1549-1578);The Agony in the Garden;oil on panel;11 5/8 x 8 7/8 in. (29.5 x 22.5 cm.) | Marcellus Coffermans (act | with E. and A. Silberman Galleries, New York.;with Ernst Joresco, Chicago.;with Lydia Joresco, Chicago, 1990, (+), from whom acquired by the present owner. | AUCTION:Old Master Paintings Part II | |
| https://www.christies.com/en/lot/lot-1886297 | DIONYS VERBURGH (Rotterdam c. 1655-1722);An extensive river landscape with sailboats;oil on panel;17¼ x 19¾ in. (43.8 x 50.2 cm.) | DIONYS VERBURGH (Rotterda | AUCTION:Old Master Paintings | ||
| https://www.christies.com/en/lot/lot-5988608 | Girolamo Nardini (San Angelo in Vado, near Udine 1450-1516?);A donor in front of a frieze - a fragment;inscribed and dated 'RAPHAEL VRBINAS [P]I XIT A·D·M·D·V·I' (upper centre);oil on canvas, laid down on panel, unframed;32 7/8 x 24 ¼ in. (83 x 62 cm.) | Girolamo Nardini (San Ang | With Oscar Klein, Central Picture Galleries, New York, where acquired by;Michael Allen Fuleihan, by whom sold, through the Silberman Art Gallery, New York, in 1935 to;The Detroit Institute of Arts, until at least 1948, and subsequently returned to;Oscar Klein, Central Picture Galleries, New York.;Anonymous sale, Plaza Art Galleries, New York, 6 March 1975, when acquired by Michael Allen Fuleihan and John A. Shaw. | AUCTION:Old Master and British Paintings | |
| https://www.christies.com/en/lot/lot-6030149 | Florentine School, 15th century;Saint John the Baptist - a fragment;tempera and gold on panel, arched top;20 5/8 x 11 1/8 in. (52.4 x 28.2 cm.) | Florentine School, 15th c | with E. and A. Silberman Galleries, New York, before 1964.;Private collection, New York.;Anonymous sale, Christie's, London, 26 June 1970, lot 40. | AUCTION:Old Master and British Paintings | |
| https://www.christies.com/en/lot/lot-2299359 | CAMILLE PISSARRO;Trois paysannes;signed and dated bottom right C. Pissarro 1890 --watercolor over black chalk on paper laid down on paper;9½ x 12 1/8 in. (24.1 x 30.8 cm.);Painted in 1890 | CAMILLE PISSARRO;Trois pa | E. and A. Silberman Galleries, New York | AUCTION:Modern & Impressionist Drawings & Watercolors | |
| https://www.christies.com/en/lot/lot-5176265 | Paul Gauguin (1848-1903);Les dindons, Pont-Aven;signed and dated 'P. Gauguin 88' (lower left);oil on canvas;36 x 28¼ in. (91.5 x 71.9 cm.);Painted in 1888 | Paul Gauguin (1848-1903); | (probably) Léon Clapisson, Paris, by whom acquired from the artist.;Boussod & Valadon, Paris, circa 1890.;Jules Chavasse, Sète, by whom acquired from the above in May 1891.;Bernheim-Jeune, Paris, circa 1910.;Martin A. Reyerson, Chicago, by whom acquired from the above in 1923. The Art Institute of Chicago (on loan from the above, 1924-1933), and then accessioned in 1933 (no. 1933.1120) and deaccessioned in 1948.;E. & A. Silberman Gallery, New York, by whom acquired from the above in June 1948.;Alex, Reid & Lefevre, Ltd., London, by 1950.;Herbert Wilcox, New York, until 1953.;Sam Salz, Inc., New York.;Mr and Mrs William Goetz, Los Angeles, circa 1958.;Private collection, Japan, by 1989.;Anonymous sale, Christie's, New York, 5 May 1998, lot 29 ($2,862,500). Private collection, Europe. | AUCTION:Impressionist/Modern Art, Evening Sale | |
| https://www.christies.com/en/lot/lot-5313302 | Claude Monet (1840-1926);Effet de neige à Limetz;signed 'Claude Monet' (lower left);oil on canvas;25½ x 32 in. (65 x 81 cm.);Painted in 1886 | Claude Monet (1840-1926); | Galerie Georges Petit, Galerie Bernheim-Jeune et Cie. and Montaignac, Paris (acquired from the artist, 1898).;Galerie Durand-Ruel et Cie., Paris (1898).;Paul Cassirer, Berlin (1900).;Maurice Barret-Decap, Paris (circa 1946).;Galerie René Drouet, Paris (circa 1970).;Robert O. Peterson and Richard T. Silberman, San Diego (1970-1972).;University of California San Diego Foundation (gift from the above, December 1972), sale, Sotheby's, New York, 10 May 2000, lot 10.;Acquired at the above sale by the present owner. | AUCTION:Impressionist/ Modern Evening Sale | |
| https://www.christies.com/en/lot/lot-1788941 | Pablo Picasso (1881-1973);Tête d'homme barbu;signed and dated 'Picasso 21.5.64.' (upper right);colored wax crayons on board;14 x 10½ in. (35.6 x 26.7 cm.);Drawn on 21 May 1964 | Pablo Picasso (1881-1973) | Galerie Louise Leiris, Paris.;Galerie Claude Bernard, Paris.;E. & A. Silberman Galleries, Inc., New York.;Robert Merrill Chase, Oakbrook, Illinois (acquired circa 1970).;Acquired from the above by the present owner, early 1970's. | AUCTION:Impressionist and Twentieth Century Works on Paper | |
| https://www.christies.com/en/lot/lot-6369503 | ERNST LUDWIG KIRCHNER (1880-1938);Drei Tänzerinnen (Wigmann-Gruppe);signed 'EL Kirchner' (lower right);gouache, watercolor and black Conté crayon on paper;20 3⁄4 x 14 3⁄8 in. (52.7 x 36.5 cm.);Executed circa 1926 | ERNST LUDWIG KIRCHNER (18 | Silberman, New York.;Anon. sale, Stuttgarter Kunstkabinett, Stuttgart, 20 May 1960, lot 272.;Acquired at the above sale by the family of the present owner. | AUCTION:Impressionist and Modern Works on Paper and Day Sale | |
| https://www.christies.com/en/lot/lot-5432877 | Louis Valtat (1869-1952);Bouquet champêtre;signed 'L. Valtat' (lower right);oil on canvas;18¼ x 10¾ in. (46.4 x 27.3 cm.);Painted circa 1927 | Louis Valtat (1869-1952); | E. and A. Silberman Galleries, New York.;Harry and Maribel Blum, Chicago, sale, Sotheby's, New York, 11 February 1987, lot 101.;Acquired at the above sale by the present owner. | AUCTION:Impressionist and Modern Day Sale | |
| https://www.christies.com/en/lot/lot-5432886 | Bernard Buffet (1928-1999);Nature morte;signed and dated 'Bernard Buffet 53' (center left);oil on canvas;25 5/8 x 18 1/8 in. (65 x 46 cm.);Painted in 1953 | Bernard Buffet (1928-1999 | Galerie Drouant-David, Paris.;Mrs. Abris Silberman, New York (acquired from the above).;Acquired from the above by the family of the present owner, June 1955. | AUCTION:Impressionist and Modern Day Sale | |
| https://www.christies.com/en/lot/lot-4807464 | Pierre-Auguste Renoir (1841-1919);Jeune fille au chapeau fleuri;signed 'Renoir.' (lower left);oil on canvas;18½ x 22 in. (47 x 55.9 cm.);Painted in 1900 | Pierre-Auguste Renoir (18 | Ambroise Vollard, Paris.;E. A. Silberman Galleries, New York.;Durand-Ruel Galleries, New York (acquired from the above, 5 January 1944).;Marie-Louise d'Alayer, Paris (by descent from the above).;Sam Salz, Inc., New York.;Private collection, Chicago.;Marlborough Gallery, New York.;Acquired by the present owner circa 1975. | AUCTION:Impressionist and Modern Art Evening Sale | |
| https://www.christies.com/en/lot/lot-6152549 | Kees van Dongen (1877-1968);Luisa;signed 'van Dongen.' (upper left);oil on canvas;21 5/8 x 18 1/4 in. (55 x 46.2 cm.);Painted circa 1920 | Kees van Dongen (1877-196 | Kunsthandel Frans Buffa & Zonen [Siedenburg], Amsterdam.;E. & A. Silberman Galleries, New York, by 1964.;Anonymous sale, Koller, Zurich, 14 May 1982, lot 5089.;Acquired at the above sale and thence by descent to the present owner. | AUCTION:Impressionist and Modern Art Day Sale | |
| https://www.christies.com/en/lot/lot-5734267 | Egon Schiele (1890-1918);Handstudie, Dr. Viktor Ritter von Bauer;signed and dated 'EGON SCHIELE 1917' (lower left), with Nachlass stamp (on the reverse);black Conté crayon on paper;11 7/8 x 17 3/8 in. (30 x 44.2 cm.);Drawn in 1917 | Egon Schiele (1890-1918); | Estate of the artist.;Marie Soukup Schiele, Austria.;Otto Brill, Vienna.;E. & A. Silberman Galleries, New York.;Acquired by the family of the present owner, 1961. | AUCTION:Impressionist & Modern Works on Paper Sale | |
| https://www.christies.com/en/lot/lot-5159503 | Henri Le Sidaner (1862-1939);Nocturne, Bruges;signed, inscribed and dated 'Le Sidaner/Bruges 1899' (lower right);oil on canvas;27½ x 24¾in. (69.8 x 62.8cm.);Painted in 1899 | Henri Le Sidaner (1862-19 | Galeries Georges Petit, Paris William Stephan Marchant Co.;Goupil Gallery, London The Carroll Galleries E&A Silberman Galleries, New York (A1594) | AUCTION:Impressionist & Modern Art | |
| https://www.christies.com/en/lot/lot-4684754 | The Master of the Ashmolean Predella (active in Florence during the second half of the 14th Century);Saint Dorothy and Saint Anthony Abbot;tempera on panel, cut down;16½ x 12¾ in. (41.9 x 32.4 cm.) | The Master of the Ashmole | with E. and A. Silberman Galleries, New York, as 'Andrea Bonaiuti', from where purchased by John B. Metzenberg, Chicago in 1952, and by descent to the present owner. | AUCTION:Important Old Master Paintings, Part II | |
| https://www.christies.com/en/lot/lot-4428420 | Manner of Francesco Bonsignori;The Martyrdom of Saint John the Evangelist;14¼ x 20 7/8 in. (36.2 x 53 cm.) | Manner of Francesco Bonsi | Vieweg collection, Braunschweig, Lepke, Berlin, 18 March 1930, lot 23, no. 46, as 'Paduan School, around 1500'.;with E. and A. Silberman Galleries, New York, by whom given to the present owner. | AUCTION:Important Old Master Paintings Part II | |
| https://www.christies.com/en/lot/lot-4428424 | Antonio del Ceraiolo (active Florence 1500-1550);The Madonna and Child with the Infant Saint John the Baptist;oil and tempera on panel;43 7/8 x 35 in. (111.4 x 88.9 cm.) | Antonio del Ceraiolo (act | with E. & A. Silberman Galleries, New York, by 1944.;Private collection, New York. | AUCTION:Important Old Master Paintings Part II | |
| https://www.christies.com/en/lot/lot-1710735 | Circle of Angelo di Cosimo Allori, il Bronzino (1577-1621);Portrait of Cosimo de Medici I, half-length, wearing the Order of the Golden Fleece;oil on panel;45¾ x 35¾in. (116.2 x 90.8cm.) | Circle of Angelo di Cosim | Lucien Bonaparte, Prince of Canino, his sale, Stanley, London, 14-6 May, 1816, lot 56, as Bronzino and 'wearing the insignia of the Order of St. Stefano'.;with William Buchanan, 1840, from whom purchased by Robert Staynor Holford (1808-92), Dorchester House, London, and Westonbirt in Gloucestershire, and by inheritance to;his son, Sir George Lindsay Holford, (+) sale, Christie's, London, 15 July 1927, lot 3, as Bronzino (to Strauss).;with E. and A. Silberman Galleries, New York.;Caroline G. Dotty, (+) sale, Christie's, New York, 11 January 1989, lot 208 ($26,000). | AUCTION:Important Old Master Paintings | |
| https://www.christies.com/en/lot/lot-5392401 | EMILE-JACQUES RUHLMANN (1879-1933);An Amboyna, Mirrored Glass and Marble Vanity, circa 1928;with gilt-bronze hardware, the back also veneered with amboyna, with solid macassar ebony drawers;89¼ in. (226.5 cm.) high, 65½ in. (166.4 cm.) wide, 20½ in. (52 cm.) deep;branded Ruhlmann three times | EMILE-JACQUES RUHLMANN (1 | Sotheby's, New York, 7 March 1987, lot 194.;Fred Silberman, New York.;John Mecom, Houston.;Sotheby's, New York, 18/19 November 1994, lot 460.;Private Collection, Florida. | AUCTION:DeLorenzo: Thirty Years, Evening Sale | |
| https://www.christies.com/en/lot/lot-5074144 | CAMILLE PISSARRO (1830-1903);Vue sur le village d'Osny;signé et daté 'C. Pissarro 1883' (en bas à droite);huile sur toile;60 x 73 cm. (23 5/8 x 28¾ in.);Peint en 1883 | CAMILLE PISSARRO (1830-19 | Galerie Durand-Ruel, Paris (acquis auprès de l'artiste, le 25 avril 1883).;Potter et Honoré Palmer, Chicago (acquis auprès de celle-ci, le 29 avril 1892).;The Art Institute of Chicago (don de ceux-ci, 1922).;E. and A. Silberman Galleries, New York (acquis auprès de celui-ci, mai 1949).;Gabriel et Madeleine Fodor, Paris (acquis auprès de celle-ci).;Puis par descendance au propriétaire actuel. | AUCTION:Art Impressionniste et Moderne | |
| https://www.christies.com/en/lot/lot-5328005 | STATUE MUMUYE;Nigeria;Le long torse encadré par des bras en spirale rejoignant la tête en forme de casque. Patine brun-gris avec des traces de pigment.;Hauteur: 78 cm. (30¾ in.) | STATUE MUMUYE;Nigeria;Le | René Rasmussen, Paris, dans les années 1950 | AUCTION:Art Africain et Océanien | |
| https://www.christies.com/en/lot/lot-5442938 | Graham Sutherland, O.M. (1903-1980);Idol (yellow form);signed and dated 'Sutherland/53' (upper right), inscribed and dated again 'Yellow Form 1953' (on the reverse);watercolour and bodycolour;14½ x 10¼ in. (36.7 x 26 cm.);There is a further composition by the same artist on the reverse. | Graham Sutherland, O.M. ( | with E. and A. Silberman Galleries, New York, 1956.;with Galleria d'Arte Galatea, Turin.;with Luca Scacchi Gracco, Milan.;with La Loggia Galleria d'Arte, Sansepolcro, where purchased by the present owner in 1963. | AUCTION:20th Century British & Irish Art | |
| https://www.christies.com/en/lot/lot-1409455 | Jean Arp (1887-1966);Arp, J.;Configuration angoissante;polished bronze;4 x 2 x 1 in. (12 x 6.3 x 4.5 cm.);Conceived in 1957 in an edition of ten. | Jean Arp (1887-1966);Arp, | E. and A. Silberman Galleries, Inc., New York (acquired by Mr. and Mrs. William Mazer, 1958). | AUCTION:20th Century Art | |
| https://www.christies.com/en/lot/lot-1472081 | Sir William Nicholson (1872-1949);The Lustre Teapot;signed with monogram (lower right), signed with monogram again and indistinctly inscribed '... Gloves by N' (on the reverse);oil on board;15 x 18 in. (38.1 x 45.7 cm.);Painted circa 1937 | Sir William Nicholson (18 | Major J.R. Abbey, by whom purchased at the 1944 exhibition.;E. and A. Silberman Galleries, New York. | AUCTION:20C British Art | |
| http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1968.49.P | The Pastoral Life of Saint Geneviève, 1879; | Pierre-Cécile Puvis de Chavannes | The Pastoral Life of Saint Geneviève, 1879;Pierre-Cécile Puvis de Chavannes;Norton Simon Art Foundation;M.1968.49.P;© Norton Simon Art Foundation;Artist’s studio and estate (Delapalme Inventory).;Catholina Lambert, Patterson (1834-1923), New Jersey (sale, New York, Plaza Hotel, 21-24 February 1916, lot 186, to);F. von Hellman [for?];“I. Johns,” (presumably John Quinn);John Quinn (1870-1924), New York.;Mr. and Mrs. James Byrne, deposited 18 June 1923 with;[Durand-Ruel, Paris, for sale 14 January 1924 to,];Art Institute of Chicago, until 1955.;[E. & A. Silberman Galleries, New York].;Huntington Hartford Collection, Gallery of Modern Art, New York, by 1963, sold 30 January 1968 to;[Hirschl & Adler Galleries Inc., New York, stock no. 5154-A/B/C, offered 15 May 1968 and subsequently sold 10 July 1968 to];Norton Simon Art Foundation. | ||
| https://collection.beta.fitz.ms/id/object/3041 | |||||
| https://records.collectionstrust.org.uk/spoliation/lucas-cranach-the-elder/ | Sale of collector, Emil Goldschmidt of Frankfurt at Rudolph Lepke, Berlin, 27 April 1909. Adolf Hitler (1889-1945) [1] {1}. Mrs Hartwell, New York, by 1962 [2] {2}. E. and A. Silbermann (dealer), NY;bought by the National Gallery from E. andA. Silbermann (dealer), 1963. | ||||
| https://records.collectionstrust.org.uk/spoliation/tyrolean-school/ | Count Hilezek, Burg Kreuzenstein;with Abrin Silbermann, New York, from whom bought by Straight in 1960. | ||||
| https://rkd.nl/en/explore/images/2623 | Vanity, 1633 gedateerd;Toledo (Ohio), Toledo Museum of Art, inv./cat.nr. [..] | Jan Miense Molenaer | Collection(s);private collection Lazonby Hall, Cumberland (regio England);art dealer Galerie Internationale, The Hague;1938 - reported c. 1938;E. and A. Silberman Galleries, New York City;advertisement in Art News, June 1946, p. 27;1942 - 1946;private collection Julius S. Held, Old Bennington (Vermont)/New York City;1946 - 1968;art dealer S. Nijstad, Lochem/The Hague;private collection J.M. Cath, New York City;Toledo Museum of Art, Toledo (Ohio), inv./cat.nr 75.21;bequest Eduard Drummond Libbey;Auction(s);Christie's, Londen (Engeland), Major R.W. Doyne e.a., 1926-02-26, lotnr. 91;Contributor;anon. ged.;Name buyer: Sabin | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=0 | Luisa, 1920 gedateerd;Galerie Koller (Zürich) 1982-05-06 - 1982-05-25, [..] | Kees van Dongen | Collection(s);private collection Joop Siedenburg, Amsterdam;E. and A. Silberman Galleries, New York City;Auction(s);Sotheby Parke Bernet (Manalapan) 1979-03-19 - 1979-03-20, lotnr. 206;Koller, Galerie (Zürich) 1982-05-06 - 1982-05-25, lotnr. 5089 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=1 | A company playing and singing in an interior, jaren 1630;Galerie Gerda Bassenge (Berlin) 2015-05-28 - [..] | Andries Both | |||
| https://rkd.nl/en/explore/images/record?query=silberman&start=10 | De H. Familie, ca. 1553-1554;Douai, Musée de la Chartreuse de Douai, [..] | Frans Floris (I) | Collection(s);private collection Enrico Blumberg, Vienna;1901 - gesignaleerd;art dealer;Wenen;1902 - gesignaleerd;art dealer Silberman, Vienna;1936 - gesignaleerd;private collection Frits Lugt, Paris/Maartensdijk/The Hague;1959 - 1964 of voor 1959;Musée de la Chartreuse de Douai, Douai, inv./cat.nr 2796;1964 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=11 | Moses speaking to God in the burning bush (Exodus 3:2ff), Gideon and the miracle of the sheep's fleece (Judges 6:11-24), ca. 1490;San Antonio (Texas), Marion Koogler McNay Art [..] | Albrecht Bouts | Collection(s);private collection Charles T.D. Crews, Billingbear Park, Wokingham;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in archief: 'Taf.[el] 24 / Crews;- 1915 01/02-07-1915 geveild;art dealer Silberman, Vienna;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in archief: 'Silberman / I.37';1937 - door M.J. Friedländer gesignaleerd 1937-01;Marion Koogler McNay Art Museum, San Antonio (Texas);1968 - gesignaleerd;Auction(s);Christie's, Londen (Engeland), The collection of paintings of the late Charles T.D.Crews, Esq., 1915-07-01 - 1915-07-02, lotnr. 183, afb. zonder afbeelding;Name buyer: L. Harris, 546;geannoteerd exemplaar veilingcatalogus op het RKD, als Dieric Bouts;Christie's, Londen (Engeland), The collection of important pictures, drawings and engravings. The property of the late Leopold Hirsch, Esq., 1934-05-11, lotnr. 93, afb. zonder afbeelding;gesignaleerd door M.J. Friedländer volgens eigenhandige notitie op opzetkarton spiegelbeeldige foto in archief: Auct.[ion] London / Mai / 1934 / L. Hirsch', als Dieric Bouts | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=12 | Portrait of an unknown woman, 1667 gedateerd;Atlanta (Georgia), High Museum of Art, [..] | Anthonie Palamedesz. | Collection(s);art dealer Dr. Otto Fröhlich, Vienna;1938 -;E. and A. Silberman Galleries, New York City;High Museum of Art, Atlanta (Georgia), inv./cat.nr '42.13;1942 -;Auction(s);Dorotheum, Wenen, 1935-06-13 - 1935-06-19, lotnr. 186;Name buyer: Dr. Otto Fröhlich | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=13 | Portrait of an unknown woman, ca. 1662;Atlanta (Georgia), High Museum of Art, [..] | attributed to Isaack Luttichuys | Collection(s);private collection Elias Maria Robert Barlo Pius van Bourbon-Parma, Schloss Schwarzau am Steinfeld;- 1938;E. and A. Silberman Galleries, New York City;private collection Mrs. Howard C. Candler, Amerika;- 1942;private collection Mrs. Charles Moody, Amerika;- 1942;High Museum of Art, Atlanta (Georgia), inv./cat.nr 1941.2;Gift of Mrs. Howard C. Chandler & mrs. Charles Moody in memory of Florella Harler Glenn | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=14 | Maria met kind, eerste helft 16de eeuw;New York City, art dealer Grassi Studio | free after Hugo van der Goes | Collection(s);art dealer or private collection;Genua, volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Genua 33';1933 - door M.J. Friedländer gesignaleerd;E. and A. Silberman Galleries, New York City;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Silb NY. / VIII. 5i;1951 - door M.J. Friedländer gesignaleerd: 1951-08;art dealer Grassi Studio, New York City;als Meester van Frankfurt;2004 - 2005 gesignaleerd op TEFAF, Maastricht, 2004, 2005 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=15 | Maria als Mater Dolorosa, laatste kwart 15de eeuw of eerste kwart 16de eeuw;Sotheby's (New York City) 2005-01-28, nr. 283 en [..] | Anoniem Frankrijk laatste kwart 15de eeuw of eerste kwart 16de eeuw or Anoniem Spanje laatste kwart 15de eeuw of eerste kwart 16de eeuw after Dieric Bouts | Collection(s);art dealer Silberman, Vienna;1934 - 1936 aldaar gesignaleerd in 1934 en 1936;private collection Walter P. Chrysler Jr., New York/Povidence/Norfolk (Virginia);1951 - gesignaleerd;Chrysler Museum of Art, Norfolk (Virginia);schenking Walter P. (Jr.) Chrysler;1971 - 2005 zie bij veiling;Auction(s);Sotheby's (New York City) 2005-01-28, lotnr. 283 en 284;Contributor The Crysler Museum of Art, als trant van Dieric Bouts | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=16 | Bust of Christ, ca. 1656;Cambridge (Massachusetts), Fogg Museum, [..] | follower of Rembrandt or attributed to Rembrandt | Collection(s);E. and A. Silberman Galleries, New York City;- 1940 The work appeared in New York in 1939, and was sold in the following year to Thomas Mitchell by E. and A. Silberman Galleries. Mr. A. Silberman noted that the work came from a princely Polish collection, but that the firm's records containing the precise information had disappeared in Europe during the Second World War (Slive 1965A, p. 38).;private collection Thomas Mitchell, Los Angeles (California);1940 - 1962 Thomas Mitchell bought the work upon advice from Dr. W. R. Valentiner. After his death in 1962 it entered the market again.;Paul Kantor Gallery, New York City/Beverly Hills;- 1964 Sold in 1964 to William A. Coolidge;private collection William A. Coolidge, Boston (Massachusetts);1964 Acquired the painting as a gift for the Fogg Art Museum;Fogg Museum, Cambridge (Massachusetts), inv./cat.nr 1964.172;Gift of William A. Coolidge;1964 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=17 | Portrait of a young man, 15de of 16de eeuw (?);Indianapolis (Indiana), Indianapolis Museum of [..] | manner of/after Rogier van der Weyden | Collection(s);art dealer Charles Sedelmeyer, Paris (France);blijkens waszegel op de achterzijde van het paneel, voor een afb. zie Lu/Schlagenhauff 2014, p. 10;private collection Eduard Friedrich Weber, Hamburg, inv./cat.nr 969;blijkens een etiket op de achterzijde van het paneel, voor een afb. zie Lu/Schlagenhauff 2014, p. 10;private collection Marczell von Nemes, Budapest/Munich/Venice;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto [toestand voor restauratie] in foto-archief M.J. Friedländer: 'vNemes / XII.30 Photo / pr.[äsentiert = ontvangen], vermoedelijk is Von Nemes nooit eigenaar van het schilderij geweest;1930-12 - foto door M.J. Friedländer ontvangen;E. and A. Silberman Galleries, New York City;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto van versie uit de voormalige collectie Cardon [= kunstwerknummer 104196] in foto-archief M.J. Friedländer: 'III. 34 ansch.[einend] dass.[elbe] G.[emälde] / Hand[lung] Silbermann, / Wien, [= kunstwerknummer 232912 / mir orig[inal] von / Wendland gezeigt. / Auf leinwand. / v. Eigenberger restau- / riert. / Identität schwer / nachweisbar, aber / doch sicher.', volgens eigenhandige notitie M.J. Friedländer op achterzijde foto van versie te Indianapolis in foto-archief M.J. Friedländer: 'Silberman / X.36 / v.[on] Eigenberger / gereinigt', volgens Lu/Schlagenhauff 2014, p. 10, zou Silbermann het schilderij verworven hebben van graaf Vetter von der Lilie;1934 - door M.J. Friedländer gesignaleerd: 1934-03 en 1936-10;Indianapolis Museum of Art, Indianapolis (Indiana), inv./cat.nr C10085;volgens Lu/Schlagenhauff 2014, p. 10 in 1934 gekocht door Dr. en Mrs. Clowes bij Silbermann, permanent bruikleen van de Clowes Fund, Indianapolis | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=18 | Couple playing cards in an interior, ca. 1630;Christie's (New York City) 2006-04-06, nr. 2 | Pieter Jansz. Quast | Collection(s);art dealer Gebr. Douwes, Amsterdam/London;as by Pieter Codde;1926 - reported;E. and A. Silberman Galleries, New York City;- 1950 reported before 1950;private collection John Wayne, United States;as by Pieter Codde;- 1954 given to the Los Angeles County Museum of Art;Los Angeles County Museum of Art, Los Angeles (California), inv./cat.nr 54.137.3;gift of John Wayne, 1954;1954 - 2006 auctioned 2006;Auction(s);Galerie Fischer, Luzern, 1934-09-01, lotnr. 1830;als Pieter Codde;Christie's (New York City) 2006-04-06, afb. kleurenreproductie, lotnr. 2;Contributor Los Angeles County Museum of Art;26400 USD;Christie's results list, as by Pieter Quast | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=19 | Christus als Man van Smarten, laatste kwart 15de eeuw of eerste kwart 16de eeuw;Sotheby's (New York City) 2005-01-28, nr. 283 en [..] | Anoniem Frankrijk laatste kwart 15de eeuw of eerste kwart 16de eeuw or Anoniem Spanje laatste kwart 15de eeuw of eerste kwart 16de eeuw after Dieric Bouts | Collection(s);art dealer Silberman, Vienna;1934 - 1936 aldaar gesignaleerd in 1934 en 1936;private collection Walter P. Chrysler Jr., New York/Povidence/Norfolk (Virginia);1951 - gesignaleerd;Chrysler Museum of Art, Norfolk (Virginia);schenking Walter P. (Jr.) Chrysler;1971 - 2005 zie bij veiling;Auction(s);Sotheby's (New York City) 2005-01-28, lotnr. 283 en 284;Contributor The Crysler Museum of Art, als trant van Dieric Bouts | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=2 | The meeting of Abram [Abraham] and Melchizedek, the high priest and king of Salem, who brings bread and wine (Genesis 14:18-24), jaren 1520;Sotheby's (New York City) 2001-01-25, nr. 36 | Meester van de Kruisiging te Antwerpen studio of Adriaen van Overbeke | Collection(s);Pictura (Berlijn), Berlin;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Pictura / Berlin / XII. 1928 / 4 Tafeln;1928 - foto door M.J. Friedländer gesignaleerd: 1928-12;private collection Alexander Fleischner;- 1929;art dealer Silberman, Vienna;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Durch Silberman / Wien / IX.35';1935 - foto door M.J. Friedländer ontvangen: 1935-09;Auction(s);Dorotheum, Wenen, coll. Alexander Fleischner, 1929-05-13 - 1929-05-15, lotnr. 34, afb. zwart-witreproductie;als Meester van het Antwerpse Kruisigingsaltaar;Sotheby's (New York City) 2001-01-25, afb. kleurenreproductie, lotnr. 36;35250 USD;opbrengstenlijst veilinghouder | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=20 | Still lfe with violin, cithern, ewer, and bouquet of flowers, 1657 gedateerd;San Francisco (California), Fine Arts Museums of [..] | J.S. Bernard | Collection(s);private collection Marie-Thérèse comtesse de la Béraudière (née Brocheton), Paris;- 1930 auctioned in New York 11-13 December 1930;E. and A. Silberman Galleries, New York City;1962 - 1966 used in 1966 as an illustration for an advertisement of E. & A. Silberman Galleries, inc. New York;Private collection;New York City;1982 -;Fine Arts Museums of San Francisco, San Francisco (California), inv./cat.nr L84.164.3;Auction(s);American Art Association (New York City) 1930-12-11 - 1930-12-13, afb. zwart-witreproductie, lotnr. 312, as: Jacques Bernard | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=21 | Vissersschepen op een kalme zee;Sotheby's (New York City) 1996-01-11, nr. 245 | Jeronymus van Diest (II) | |||
| https://rkd.nl/en/explore/images/record?query=silberman&start=22 | Resit on the Flight to Egypt, ca. 1700-1710;Sotheby's (London (England)) 2009-12-09, nr. 16 | Arent de Gelder | Collection(s);art dealer D. Katz, Dieren (Rheden);E. and A. Silberman Galleries, New York City;art dealer Frederick Mont, New York City;1960 -;private collection Herbert Girardet (dr.), Kettwig (Essen);1961 -;Wallraf-Richartz-Museum & Fondation Corboud, Cologne;Zie voor een uitgebreide herkomst: tent.cat.;1998 - in bruikleen van Herbert Girardet, Kettwig (Essen);Auction(s);Sotheby's (London (England)) 2009-12-09, afb. kleurenreproductie, lotnr. 16, with extensive provenance and reference to literature | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=23 | Vanity, 1633 gedateerd;Toledo (Ohio), Toledo Museum of Art, inv./cat.nr. [..] | Jan Miense Molenaer | Collection(s);private collection Lazonby Hall, Cumberland (regio England);art dealer Galerie Internationale, The Hague;1938 - reported c. 1938;E. and A. Silberman Galleries, New York City;advertisement in Art News, June 1946, p. 27;1942 - 1946;private collection Julius S. Held, Old Bennington (Vermont)/New York City;1946 - 1968;art dealer S. Nijstad, Lochem/The Hague;private collection J.M. Cath, New York City;Toledo Museum of Art, Toledo (Ohio), inv./cat.nr 75.21;bequest Eduard Drummond Libbey;Auction(s);Christie's, Londen (Engeland), Major R.W. Doyne e.a., 1926-02-26, lotnr. 91;Contributor;anon. ged.;Name buyer: Sabin | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=24 | Saint Albert of Louvain, 1620 gedateerd;Chicago (Illinois), The Art Institute of Chicago, [..] | Peter Paul Rubens | Collection(s);private collection Galerie Enea Lanfranconi, Pressburg;- 1895;private collection L. Collins, New York City;E. and A. Silberman Galleries, New York City;private collection dr. J.J. Ireland, Chicago (Illinois);- 1968;The Art Institute of Chicago, Chicago (Illinois), inv./cat.nr 68.96;1968 -;Auction(s);Heberle, J.M. (Keulen) 1895-10-21 - 1895-10-23, lotnr. 174 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=25 | The prophet Elijah is carried up into heaven in a chariot with horses of fire in a whirlwind, his cloak falls to the ground and is picked up by Elisha (2 Kings 2:11-13), 1620 te dateren;Atlanta (Georgia), private collection George Baer | Peter Paul Rubens | Collection(s);art dealer Herman de Neyt, Antwerp;vermeld in inventaris: "Een schets van de profeet Elias opgevoert, van Rubbens;1642 -;private collection François-Xavier de Burtin, Brussels;1801 -;Ernst II graaf van Gotha-Altenburg;1801 -;Herzogliches Museum Gotha, Gotha (Germany);- 1952;E. and A. Silberman Galleries, New York City;1952 -;private collection Curtis O. Baer, New Rochelle (New York);1952 -;private collection George Baer, Atlanta (Georgia);New York | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=26 | Saint Gregory of Nazianzus, 1620 gedateerd;Buffalo (New York), Albright-Knox Art Gallery, [..] | Peter Paul Rubens | Collection(s);private collection François-Xavier de Burtin, Brussels;- 1801;private collection Ernst II Herzog von Sachsen-Gotha-Altenburg, Gotha (Duitsland);1801 -;Herzogliches Museum Gotha, Gotha (Germany);- 1951;E. and A. Silberman Galleries, New York City;Private collection;George B. Mathews Fund;- 1952;Albright-Knox Art Gallery, Buffalo (New York), inv./cat.nr 52.14;1952 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=27 | Saint Augustine, 1620 gedateerd;Zurich, private collection Emil Georg Bührle | Peter Paul Rubens | Collection(s);private collection François-Xavier de Burtin, Brussels;1801 -;private collection Ernst II Herzog von Sachsen-Gotha-Altenburg, Gotha (Duitsland);- 1951;E. and A. Silberman Galleries, New York City;1952 -;private collection Emil Georg Bührle, Zurich;1955 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=28 | Saint Paul, ca. 1520;Yale (Connecticut), Yale University Art Gallery, [..] | attributed to Lucas van Leyden | Collection(s);private collection Esch, Cologne;1929 - gesignaleerd: vermeld door P. Wescher in Thieme-Becker, dl. 23 (1929);Galerie J. Stern, Düsseldorf;volgens eigenhandige aantekening op achterzijde foto in archief M.J. Friedländer;Kunsthandel P. de Boer, Amsterdam;volgens aantekening op achterzijde foto in archief M.J. Friedländer: 'restauriert;1936 - tentoongesteld in Rotterdam in 1936, zie bij tentoonstellingen;E. and A. Silberman Galleries, New York City;volgens eigenhandige aantekening op achterzijde foto in archief M.J. Friedländer;Yale University Art Gallery, Yale (Connecticut), inv./cat.nr 1961.52;Auction(s), lotnr., Berlijn (Lepke) 1911-05-25, nr. 134, als toegeschreven aan Albrecht Dürer | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=29 | Huwelijksoptocht van de bruid;Vienna, art dealer Silberman | Marten van Cleve (I) or manner of Marten van Cleve (I) | Collection(s);art dealer Silberman, Vienna;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Wien Handel [?] / v[on?]. [of] d. Silbermann / gefragt | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=3 | De doop van Christus in de Jordaan, eerste helft 16de eeuw;Indianapolis (Indiana), Indianapolis Museum of [..] | follower of Jan van Scorel | Collection(s);André de Hevesy, Paris;1931 - foto door M.J. Friedländer ontvangen, zie eigenhandige notitie op achterzijde foto in foto-archief M.J. Friedländer: 'v Hevesy / 1931';E. and A. Silberman Galleries, New York City;1938 - gesignaleerd;Private collection;Indianapolis (Indiana);Indianapolis Museum of Art, Indianapolis (Indiana), inv./cat.nr 59.12;schenking mrs. Booth Tarkington;1959 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=30 | Portrait of Anna van Bergen, wife of Adolf of Burgundy, tweede kwart 16de eeuw;San Antonio (Texas), Marion Koogler McNay Art [..] | after Jan Gossart | Collection(s);private collection Maria von Thurn und Taxis, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Aus S[ammlun]g. Maria v. / Thurm Taxis / Ausg. Wien 1930 Nr. 161';1930 - gesignaleerd (bruikleen aan Wenen 1930, zie bij tentoonstelling);E. and A. Silberman Galleries, New York City;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'E.A. Silbermann / III.35';1935 - door M.J. Friedländer gesignaleerd: 1935-03;private collection F.G. Oppenheimer, San Antonio (Texas);volgens opgave cat. Boston 1974 (zie bij literatuur);Marion Koogler McNay Art Museum, San Antonio (Texas);volgens opgave cat. baston 1974 (zie bij literatuur) | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=31 | Verzoeking van de H. Antonius, 16de eeuw;Vienna, art dealer Silberman | follower of Jheronimus Bosch or manner of/after Jan Mandijn or manner of/after Pieter Huys | Collection(s);art dealer J. Leger & Son, London/Brussels;blijkens advertentie in de Burlington Magazone (mei 1927), als Jheronimus Bosch;1927 - gesignaleerd 1927-05;art dealer M. Salomon, Dresden;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Salomon / Dresden / VII. 1927';1927 - door M.J. Friedländer gesignaleerd: 1927-07;art dealer Silberman, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer:'Silberman / Wien / I. 1938';1938 - door M.J. Friedländer gesignaleerd: 1938-01 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=32 | Isabella of Bourbon (1602-1644), queen of Spain, na 1620;Étienne Libert (Paris) 1990-05-10, nr. 31 | Anoniem Zuidelijke Nederlanden (historische regio) na 1620 after Peter Paul Rubens | Collection(s);art dealer Kees Hermsen, The Hague/New York;art dealer Galerie Internationale, The Hague;1929 -;E. and A. Silberman Galleries, New York City;Exhibited in Los Angeles (1946);1946 -;Auction(s);Libert, Étienne (Paris) 1990-05-10, lotnr. 31 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=33 | Portrait of a woman (on the reverse: coat of arms with helmet and crest), eerste kwart 16de eeuw;Providence (Rhode Island), Museum of Art - Rhode [..] | Anoniem Noordelijke Nederlanden (historische regio) eerste kwart 16de eeuw | Collection(s);art dealer;Londen (Engeland), als trant van Joos van Cleve/Jan Gossaert;1934 - gesignaleerd;E. and A. Silberman Galleries, New York City;1945-12 - door M.J. Friedländer gesignaleerd;Museum of Art - Rhode Island School of Design, Providence (Rhode Island) | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=34 | Coat of arms with helmet and crest (on the front: portrait of a woman), eerste kwart 16de eeuw;Providence (Rhode Island), Museum of Art - Rhode [..] | Anoniem Noordelijke Nederlanden (historische regio) eerste kwart 16de eeuw | Collection(s);art dealer;Londen (Engeland), als trant van Joos van Cleve/Jan Gossaert;1934 - gesignaleerd;art dealer Ascher en Welcker, London (England);volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Ascher & Welker / VII. 36';1936-07 - door M.J. Friedländer gesignaleerd: 1936-07;E. and A. Silberman Galleries, New York City;1945 - gesignaleerd;Museum of Art - Rhode Island School of Design, Providence (Rhode Island) | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=35 | The lamentation, ca. 1495;West Palm Beach (Florida), Norton Gallery of Art | Meester van Frankfurt | Collection(s);art dealer Silberman, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het fotoarchief M.J. Friedländer: 'Silberman / VIII.36;1936 - door M.J. Friedländer gesignaleerd: 1936-08;Norton Gallery of Art, West Palm Beach (Florida);1947 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=36 | De aanbidding van de Wijzen, eerste helft 16de eeuw;Parke-Bernet Galleries 1943-11-26, nr. 63 | after Joos van Cleve | Collection(s);private collection Stift Heiligenkreuz;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto uit foto-archief M.J. Friedländer: "Stift Heiligenkreuz;art dealer Silberman, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Silbermann, Wien / VIII.31';1931 - door M.J. Friedländer gesignaleerd: 1931-08;art dealer A.S. Drey, Munich/New York/London;volgens herkomst-opgave in veilingcatalogus New York 1943-11-26;Auction(s);Kende, Wenen, 1918-10-21 - 1918-10-22, lotnr. 107, afb. zwart-witreproductie;14500;geannoteerd exemplaar veilingcatalogus op het RKD, als Nederlands maniërist, rond 1530, als op paneel geschilderd;Parke-Bernet Galleries, New York City, 1943-11-26, lotnr. 63, afb. zwart-witreproductie;550;geannoteerd exemplaar veilingcatalogus op het RKD, als school Joos van Cleve, als op paneel geschilderd | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=37 | St. Jerome as penitent in the desert, 1515-1518;Muskegon (Michigan), Muskegon Museum of Art, [..] | Joos van Cleve | Collection(s);private collection Hugo Debrunner, Berlin (Lichterfelde);volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto: 'Hugo Debrunner / Lichterfelde / Dahlemerstr. 67 / cf. Denkmale der Stadt / Wien II / 6.IX.21 pr.;1921 - door M.J. Friedländer gesignaleerd: '1921-09-06;private collection Wertheimstein, Vienna;volgens opgave in Baldass 1925 (zie bij literatuur) voorheen in deze verzameling;private collection Holzapfel, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto: "Holzapfel;private collection de Burlet, Brussels;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto: ' Burlet / 1936';1936 - door M.J. Friedländer gesignaleerd: 1936;art dealer Silberman, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto: 'Silberman / I.37';1937 - door M.J. Friedländer gesignaleerd: 1937-01;The Hackley Art Gallery, Muskegon (Michigan);Muskegon Museum of Art, Muskegon (Michigan), inv./cat.nr 1940.47 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=38 | The Annunciation, eerste helft 16de eeuw;New York City, E. and A. Silberman Galleries | Anoniem Zuidelijke Nederlanden (historische regio) eerste helft 16de eeuw | Collection(s);private collection Lord Sandwich;volgens eigenhandige notitie M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer;art dealer Franz Zatzenstein, Berlin;1936-10 - door M.J. Friedländer gesignaleerd;E. and A. Silberman Galleries, New York City;1937-01 - door M.J. Friedländer gesignaleerd | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=39 | Trik-trakspelers, eerste helft 16de eeuw;Vienna, art dealer Silberman | is/was called Aertgen Claesz. van Leyden is/was called Lucas van Leyden | Collection(s);art dealer Silberman, Vienna;1931 - gesignaleerd | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=4 | De H. Drieëenheid (links), Maria met kind (midden), de HH. Catharina en Barbara (rechts), 1515-1525;Greenville (South Carolina), private collection [..] | attributed to Jan de Beer | Collection(s);art dealer Silberman, Vienna;1936 - foto door M.J. Friedländer ontvangen: 1936-01;private collection Dr. & Mrs. Bob Jones Jr., Greenville (South Carolina) | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=40 | Alexander and Roxana, na 1617, vermoedelijk 17de eeuw;Parke-Bernet Galleries (New York City) [..] | after Peter Paul Rubens | Collection(s);private collection Wenzel Anton Kaunitz-Rietberg (Fürst), Palais Kaunitz (Vienna);- 1794;private collection Valentin Andréas von Adamovics, Vienna;- 1856;art dealer;Vienna;1935 - seen;private collection John Bass, New York City;1936 - seen;E. and A. Silberman Galleries, New York City;Auction(s), Wenen, 1856, lotnr. 181;Contributor;Valentin Andreas von Adamovics;Parke-Bernet Galleries (New York City) 1945-01-25, lotnr. 16;Contributor John Bass;Name buyer: Rosenberg and Stiebel | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=41 | The temptations of Saint Antony Abbot, eerste helft 16de eeuw;Sotheby's (New York City) 2013-06-06, nr. 11 | follower of Jheronimus Bosch | Collection(s);E. and A. Silberman Galleries, New York City;- 1952;High Museum of Art, Atlanta (Georgia), inv./cat.nr 1952.19;1952 - 2013-06-06 purchase;Auction(s);Sotheby's (New York City) 2013-06-06, afb. kleurenreproductie, lotnr. 11, with provenance and reference to literature | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=42 | The Madonna and Child withSaint John the Baptist as a child and angels;Sotheby's (New York City) 2011-01-28, nr. 12 | Meester van de Greenville Tondo | Collection(s);E. and A. Silberman Galleries, New York City;Newhouse Galleries, New York City;as by Eusebio da San Girgio;Auction(s), Brussel, 1922-06-29, lotnr. 152;as by Raffaellino del Garbo;Sotheby's (New York City) 2011-01-28, afb. kleurenreproductie, lotnr. 12, with provenance and reference to literature | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=43 | The Apostle Saint Peter, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;- 1829;Whereabouts unknown;Auction(s);Dorotheum, Wenen, 1932-07-01, lotnr. 41 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=44 | The Apostle Andrew, na 1612;Whereabouts unknown | Anoniem na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1928 -;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=45 | The Apostle James the Greater, na 1612;Charpentier 1958-06-10, nr. 114 | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1927 -;art dealer Curt Benedict, Paris;1927 - 1928;Whereabouts unknown;Auction(s);Charpentier, Parijs, 1958-06-10, lotnr. 114 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=46 | St. Philip, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1927 -;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=47 | The apostle Bartholomew, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1927 - 1928;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=48 | The Apostle Thomas, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1946 -;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=49 | The apostle Matthew, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1946 -;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=5 | Maria met kind, eerste helft 16de eeuw;New York City, E. and A. Silberman Galleries | Master of the Female Half-Lengths | Collection(s);art dealer F. Kleinberger, Paris/New York;1935 - foto door M.J. Friedländer ontvangen: 1935-12;E. and A. Silberman Galleries, New York City;1936 - gesignaleerd door M.J. Friedländer | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=50 | The Apostle James the Less, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;art dealer Goudstikker, Amsterdam;- 1929;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=51 | Waterfall before a castle, jaren 1670;Dayton (Ohio), Dayton Art Institute, inv./cat.nr. [..] | Jacob van Ruisdael | Collection(s);Galerie Emile et Isaac Péreire, Paris;- 1872-03-06 geveild op 6-9 maart 1872;private collection Paul Demidoff, Villa di San Donato (Florence);- 1880-03-15 geveild op 15 maart 1880;The Art Institute of Chicago, Chicago (Illinois), inv./cat.nr 94.1050;schenking van Henry C. Lytton in 1905;1905 -;E. and A. Silberman Galleries, New York City;- 1953;Dayton Art Institute, Dayton (Ohio), inv./cat.nr 53.1;schenking van de Arkaydia Foundation;1953 -;Auction(s);Exp.: Petit, C. P.: Pillet (Paris) 1872-03-06 - 1872-03-09, lotnr. 149;Exp.: Le Roy, Mannheim C. P.: Pillet ([at home]) 1880-03-15 - 1880-04-10, lotnr. 111 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=52 | De Tiburtijnse Sibille voorspelt de komst van Christus aan Keizer Augustus, eerste helft 16de eeuw;Vienna, art dealer Silberman | Anoniem Zuidelijke Nederlanden (historische regio) eerste helft 16de eeuw | Collection(s);art dealer Silberman, Vienna;Volgens een eigenhandige notitie op de achterzijde van de foto uit het archief van M.J. Friedländer heeft Silberman in januari 1937 om 'Ausk(unft)' gevraagd. Het is echter onzeker of Silberman het schilderij ook daadwerkelijk in bezit had. Kunsthandel in Wenen of New York.;1937 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=53 | De Heilige Familie met Anna en Joachim, 1525 gedateerd;Oberlin (Ohio), Allen Memorial Art Museum, [..] | Anoniem Zuidelijke Nederlanden (historische regio) 1525 gedateerd | Collection(s);private collection graaf Andrassy, Boedapest;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Andrassy, Budapest;art dealer Hans Wendland, Berlin/Paris/Lugano/Rome;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Silbermann / Wendland;E. and A. Silberman Galleries, New York City;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Silbermann /Wendland', volgens cat. Oberlin 1967 (zie bij literatuur) betreft het de kunsthandel in New York;private collection John Bass, New York City;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Sale New York / 1945, 25. I / John Bass / dated below 1525';- 1945 geveild: New York 1945-01-25;Inc. Schaeffer Galleries, New York City/Berlin;1945 - aangekocht op veiling New York 1945-01-25 (zie bij veiling);private collection Robert Lehman, New York City;1945 1945 geschonken aan het Allen Memorial Art Museum, Oberlin (volgens cat. Oberlin 1967, zie bij literatuur);Allen Memorial Art Museum, Oberlin (Ohio), inv./cat.nr 45.10;schenking van Robert Lehman, New York;1945 -;Auction(s);Parke-Bernet Galleries, New York City, The distinguished collection of John Bass, New York, 1945-01-25, lotnr. 18, afb. zwart-witreproductie;Name buyer: Schaeffer, 1500;geannoteerd exemplaar van de veilingcatalogus in het RKD, als Dirck Vellert, met certificaat van G. Glück, Wenen, d.d. 1934-09-28 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=54 | The Apostle Saint John Evangelista, na 1612;Whereabouts unknown | Anoniem Zuidelijke Nederlanden (historische regio) na 1612 after Peter Paul Rubens | Collection(s);private collection Alexandre Romanowsky Duc de Leuchtenberg, Munich/Sint Petersburg (Rusland);E. and A. Silberman Galleries, New York City;1928 -;Whereabouts unknown | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=55 | Stilleven van vruchten en siervaatwerk met daarbij een eekhoorn, op een met een oosters kleed bedekte tafel;Sotheby's (New York City) 2011-01-26, nr. 27 | Guiliam Gabron (II) | |||
| https://rkd.nl/en/explore/images/record?query=silberman&start=56 | Man weighing gold, besides a table laid with precious cups, jewellery and books in an interior, 1635-40;Raleigh (North Carolina), North Carolina Museum [..] | Willem de Poorter | Collection(s);private collection Howarth;volgens een etiket op de achterzijde van het paneel, als Rembrandt;E. and A. Silberman Galleries, New York City;1950 - gesignaleerd;North Carolina Museum of Art, Raleigh (North Carolina), inv./cat.nr 52.9.54;aangekocht met steun van het State Purchase Fund;1952 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=57 | Portrait of Frans Hals (1582-1666);Indianapolis (Indiana), Indianapolis Museum of [..] | after Frans Hals (I) | Collection(s);Königliche Gemäldegalerie zu Dresden, Dresden;1722 - in inventaris van 1722 als zelfportret van Frans Hals;private collection Dr. George H.A. Clowes, Indianapolis (Indiana);The Clowes Fund Inc., Indianapolis (Indiana);Indianapolis Museum of Art, Indianapolis (Indiana), inv./cat.nr C10047;Courtesy of The Clowes Fund | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=58 | Photo album prisoners IV, ca. 1882;The Hague, RKD – Nederlands Instituut voor [..] | Anoniem ca. 1882 | Collection(s);RKD – Nederlands Instituut voor Kunstgeschiedenis (Collectie Iconografisch Bureau), The Hague | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=59 | Portrait of abbott Johann Ingenray, 1535 gedateerd;Detroit (Michigan), Detroit Institute of Arts, [..] | Anoniem Zuidelijke Nederlanden (historische regio) 1535 gedateerd or follower of Quinten Massijs (I) or attributed to Jan Gossart | Collection(s);Galerie J. Stern, Düsseldorf;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Stern / Düsseldorf / III.1936';1936 - door M.J. Friedländer gesignaleerd: 1936-03;art dealer Otto Hirschmann, Amsterdam;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Ausst.[ellung] Amst[erdam] / 1936. / Hirschmann', stempel van Dr. O. Hirschmann op achterzijde van dezelfde foto: 'Dr. O. Hirschmann / Heerengracht 406 / Amsterdam, O.;1936 - bruikleen aan tent. Amsterdam 1936 (juni/augustus);art dealer Vitale Bloch, The Hague/Berlin/London/Paris;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Bloch fragt / XII.38.;1938 - door M.J. Friedländer gesignaleerd: 1938-12;art dealer West Galleries, London;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'West Galleries / Londen (1939);1939 - door M.J. Friedländer gesignaleerd;Detroit Institute of Arts, Detroit (Michigan), inv./cat.nr 44.281;schenking van The Founders Society;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Amerika / Mus.[eum] / (1940) | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=6 | Ecce Homo, 16de eeuw;Indianapolis (Indiana), Indianapolis Museum of [..] | follower of Jheronimus Bosch | Collection(s);art dealer Adolf Fritz Mondschein, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Spink London / d.[urch] Mondschein / VI. 39';art dealer C. Marshall Spink, London;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Spink / London / d.[urch] Mondschein / VI. 39.',volgens cat. Philadelphia 1972 betreft het waarschijnlijk de Londense firma C. Marshall Spink;1939 - door M.J. Friedländer gesignaleerd: 1939-06;E. and A. Silberman Galleries, New York City;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in foto-archief M.J. Friedländer: 'Silbermann / New York.;- 1940 gesignaleerd (volgens cat. Philadelphia 1972);Indianapolis Museum of Art - the Clowes Collection, Indianapolis (Indiana), inv./cat.nr 6;1941 -;Indianapolis Museum of Art, Indianapolis (Indiana), inv./cat.nr C10006 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=7 | Maria met kind voor een landschap, ca. 1525-1527;Greenville (South Carolina), Bob Jones University [..] | Ambrosius Benson | Collection(s);E. and A. Silberman Galleries, New York City;volgens opgave cat. Greenville 1962 (zie bij literatuur);- 1952;Bob Jones University Museum & Gallery, Greenville (South Carolina);1952 - | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=8 | Portrait of een man, zogenaamd de arts Paracelcus (1493-1541), tweede helft 16de eeuw of 17de eeuw;Vienna, art dealer Silberman | after Quinten Massijs (I) | Collection(s);art dealer Silberman, Vienna;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Silberman / X. 36';1936 - door M.J. Friedländer gesignaleerd: 1936-10 | ||
| https://rkd.nl/en/explore/images/record?query=silberman&start=9 | De goochelaar, 16de eeuw;Private collection | free after Jheronimus Bosch | Collection(s);art dealer Robert Langton Douglas, London;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Douglas / XII. 34';1934 - door M.J. Friedländer gesignaleerd: 1934-12;E. and A. Silberman Galleries, New York City;volgens eigenhandige aantekening M.J. Friedländer op achterzijde foto in het foto-archief M.J. Friedländer: 'Silb.', daarna blijkbaar naar een Amerikaans museum: 'Am. Mus. 1950';Private collection;Californië (staat);1967 - gesignaleerd (bruikleen aan tentoonstelling in 's-Hertogenbosch 1967) |
| https://www.lostart.de/de/verlust/objekt/st-gregorius-nazianzenus/1652 | St. Gregorius Nazianzenus | Lost Art-Datenbank | Rubens, Peter Paul | Erwerbung Herzog Ernsts II. von Sachsen-Gotha-Altenburg 1802 von François Xavier de Burtin, Brüssel (vgl. Akte 126), vor 1826 in der Kunstkammer (vgl. Inventar 1826). Die Ölskizze gehörte zu den Kunstsammlungen des früheren Herzogs von Sachsen-Coburg und Gotha. Im Verfahren der Auflösung des Hausvermögens der herzgl. Familie wurde im Jahre 1928 die 'Herzog von Sachsen-Coburg und Gotha'sche Stifung für Kunst und Wissenschaft' als selbstständige juristische Person mit Sitz in Gotha errichtet. Zum Vermögen dieser Stiftung gehörte unter anderem die Sternwarte und das Museum nebst Gebäuden in Gotha, die Bibliothek und die wissenschaftlichen- und Kunstsammlungen, 1935 im Herzoglichen Museum, Oberlichtsaal 2, ausgestellt (Akte 3405), 31.5.1935 im Verzeichnis national wertvoller Kunstdenkmäler (ThHStAWeimar, C1624, fol. 68, 131). Während des Krieges wurde das Bild von Rubens mit weiteren Teilen der wissenschaftl. - und Kunstsammlungen nach Coburg ausgelagert (1943 noch in Reinhardsbrunn - vgl. Katalog 1943, Bl. 44, lt.Übergabeprotokoll im März 1945 nach Coburg ausgelagert) und kam von dort nicht zurück. Später wurde bekannt, daß die frühere Herzogin von Sachsen-Coburg und Gotha vom Auslagerungsort Kunstgegenstände entfernt und verkauft haben soll. Da es sich um keinen Privatbesitz sondern um Stiftungseigentum handelt, sind diese Verkäufe unrechtmäßig.;Die DDR hatte gegenüber den USA mit Note vom 14.3.78 die Aufnahme von Verhandlungen vorgeschlagen. 1979 übergab die DDR eine Aufstellung von Kulturgütern, die sich in den USA befanden. Lt. Walter Robinson, Boston Globe, wurde dieses Werk nach Kriegsende an die Silberman Galleries, New York, verkauft (diese Galerie war auch in den Fall 'Lady Foster' der Kunstsammlungen Weimar verwickelt).;Heutiger Standort: Albright-Knox Art Gallery, Buffalo/USA, briefl. Mitteilung v. 05.09.1967 durch A.M.C. Driessen-Deelen an die Institution enthält den Hinweis: '1952 aus der Gotha-Sammlung gekauft.. mit Hilfe des George B. Matthews Income Fund', Ankauf über den Kunsthandel E. & A. Silberman, New York. | ||
| https://www.lostart.de/de/verlust/objekt/st-augustinus/4238 | St. Augustinus | Lost Art-Datenbank | Rubens, Peter Paul | Erwerbung Herzog Ernsts II. von Sachsen-Gotha-Altenburg 1802 von Francois Xavier de Burtin, Brüssel (Akte 126), vor 1826 in der Kunstkammer (vgl. Inventar 1826). […]. 1935 im Herzoglichen Museum, Oberlichtsaal 2 (Akte 3405), 1943 in Reinhardsbrunn (Katalog 1943, Bl. 45), das Bild gehörte zu den 5 Ölskizzen von Rubens, die nach Coburg ausgelagert worden waren (lt. Übergabeprotokoll im März 1945) und von dort nicht wieder nach Gotha zurückkamen. Bei einem Besuch der Rubens-Ausst. in Antwerpen 1977 entdeckte der ehem. Direktor eine der seit 1945 aus Gotha vermißten Ölskizzen von Rubens 'St. Augustinius'. Als Besitzer der Ölskizzen war in der Ausstellung die Stiftung Sammlung E.G. Bührle, Zürich, angegeben. Die Skizze kaufte Bührle 1953 von einem Züricher Kunsthändler, der wiederum die Skizze in New York (seit 1952 in den E. & A. Silberman Galleries) erworben hatte. Eine Herausgabeforderung des Gemäldes durch Gotha wurde 1977 durch den Rechtsanwalt Emil Blättler, der als Rechtsanwalt die Stiftung vertrat, abgelehnt. Laut Auskunft von Frau Schuttwolf, Gotha befindet sich diese Ölskizze heute vermutlich in den USA (31.7.1997). | ||
| https://www.clevelandart.org/art/1964.456 | Platter | 1964.456 | Count Wilczek, Burg Kreuzenstein bei Korneuburg (near Vienna), (E. and A. Silberman Galleries, New York). | Gift of Mrs. Chester D. Tripp | |
| https://dia.org/collection/crucifixion-63810 | Crucifixion | Turone da Verona;Italian | 38.25 | private collection (Vienna, Austria);(E. & A. Silberman Gallery, New York, New York, USA);February 1938-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) | City of Detroit Purchase |
| https://dia.org/collection/bishop-saint-24815 | A Bishop Saint | Spanish | 42.128 | collection of Prince Polignac (Spain);possibly ca. 1936, purchased by Jean Schmit (Paris, France);1939, purchased by (A. & E. Silberman Galleries, New York, New York, USA);1942-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) with gift of funds from Mr. and Mrs. Edgar B. Whitcomb | Founders Society Purchase with funds from Mr. and Mrs. Edgar B. Whitcomb |
| https://dia.org/collection/abbot-johann-ingenray-46180 | Abbot Johann Ingenray | Bartholomäus Bruyn the Elder;German, 1493 - 1555 | 44.281 | until 1806, Abbey Kamp (Rheinberg, Germany) [until dissolution of monastary by Napoleon];house of the parish priest (Rheinberg, Germany);1833, Baron von der Leyen-Bloemersheim (Haus Meer near Düsseldorf, Germany);March 1936, purchased by Galerie Stern (Düsseldorf, Germany);1936, Siegfried and Gerda [née Stern] Thalheimer (Paris, France);1936, O. Hirschmann (Amsterdam, Netherlands);(Hedi Stern and her brother Max in partnership with Cornelis van de Wetering, West's Galleries, London, England);1943, on consigment with (E. and A. Silbermann Galleries);(Max Stern's brother-in-law Siegfried Thalheimer in partnership with Otto Gerson, Fine Arts Associates, New York, New York, USA);December 1944-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) | Founders Society Purchase, General Membership Fund |
| https://dia.org/collection/saint-sebastian-nursed-saint-irene-51611 | |||||
| https://dia.org/collection/saint-sebastian-nursed-saint-irene-51611 | Saint Sebastian Nursed by Saint Irene | Georges de La Tour;French, 1593-1652 | 48.278 | art market [probably Vitale Bloch] (Amsterdam, Netherlands).;December 8, 1933, auctioned (Robinson, Fisher & Harding, London, England), lot 4;1934, (Rosenbaum, London, England);1934, (Rowland, Browse & Delbanco, London, England);1935, (Julius Weitzner, New York, New York, USA);1935, collection of Joseph Brummer (New York, New York, USA);1947, acquired by (E. & A. Silberman, New York, New York, USA);1948-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) | Founders Society Purchase, Ralph Harman Booth Bequest Fund |
| https://dia.org/collection/morning-ride-42266 | Morning Ride | Edgar Degas;French, 1834-1917 | 48.279 | the artist, Edgar Degas (Paris, France);April 9, 1921, sold by (Galerie Georges Petit, Paris, France) auction Atelier E. Degas, 3rd sale, lot 21;1921, purchased by Clariet (Paris, France);Hector Brame (Paris, France);Etienne Bignou (Paris, France);by 1932, (Howard Young, New York, New York, USA);Lewis Larned Coburn (Chicago, Illinois, USA);Annie S. Coburn (Chicago, Illinois, USA);until 1944, bequest to the Art Institute of Chicago (Chicago, Illinois, USA) as part of the Lewis Larned Coburn Collection;May 4, 1944 sold by (Parke-Bernet, New York, New York, USA);1944, purchased by (E. & A. Silberman Gallery, New York, New York, USA);1948-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) | Founders Society Purchase, Ralph Harman Booth Bequest Fund |
| https://dia.org/collection/madonna-and-child-44414 | Madonna and Child | El Greco;Spanish, 1541-1614 | 70.189 | possibly, Gentili di Giuseppe.;G. Stein (Paris, France);possibly 1936, (Feral, Paris, France);1938, (E. and A. Silberman, New York, New York, USA);Robert H. Tannahill (Grosse Pointe Farms, Michigan, USA);1970-present, bequest to the Detroit Institute of Arts (Detroit, Michigan, USA) | Bequest of Robert H. Tannahill |
No comments:
Post a Comment