The El Greco looted in 1944 by the Nazi Gestapo from Julius Priester passed through Rudolf J. Heinemann, (1901 – February 7, 1975) and the business he owned, Pinakos, and Frederick Mont (aka Fritz Mondschein) and the gallery he owned, Galerie Sanct Lukas, before being identified. The provenance of the looted artwork was falsified, and it took more than seventy years to find it, claim it and obtain restitution (in 2015). The obvious question for museums to ask themselves is: which artworks in our collections passed through these individuals or their businesses and are there any provenance gaps or discrepancies that require further verification.
The number of questions marks "?" (49) and "probably" (41) and "possibly" (30) and "might have" or "may have" (12) suggests the presence of guesswork and speculation.
| Count | Provenance | |
|---|---|---|
| Wikidata Museum | DETROIT INSTITUTE OF ARTS (urls changed- see internet archive) | |
| Q1201549 | 20 | 1940-1941, (A.F. Mondschein, New York, New York, USA);purchased by Ernest Kanzler [1892-1967] and Josephine Clay Kanzler [1891-1954] (Detroit, Michigan, USA) as a gift to the Detroit Institute of Arts;January 1941, gift to the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_41.1 url: https://www.dia.org/art/collection/object/young-man-65360 (https://web.archive.org/web/20210715133144/https://www.dia.org/art/collection/object/young-man-65360) Painted for unknown patron (Naples, Italy);Baron William Wyndham Grenville [1759-1834] (Dropmore, Buckinghamshire, England);by descent to his nephew, George Matthew Fortescue [1791-1877] (Boconnoc, Cornwall, England and Dropmore, Bucks, England);by descent to his son, John Bevill Fortescue [1850-1938] (Boconnoc, Cornwall, England and Dropmore, Bucks, England);by 1940, (Mondschein & Co., Ltd., New York, New York, USA and London, England);1941 purchased by Mr. Edsel B. Ford and Mrs. Eleanor Ford;1941-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_41.10 url: https://www.dia.org/art/collection/object/sunrise-45716 Nuremberg, Collection Johann Frreaidrich Fraunholz;Dresden, auction (Meyer) 2 December, 1867, lot 78;New York, Collection A. F. Mondschein (dealer-1941), by whom given to the DIA in 1941. accnum_Qid: Q1201549_41.61 url: https://www.dia.org/art/collection/object/inn-grotto-egeria-35424 Newport, RI, coll. Winthrop Astor Chanler;New York, A. F. Mondschein (dealer-1941), from whom purchased by the Founders Society as a gift to the DIA (as The Prodigal Son, by Carlo Saraceni). accnum_Qid: Q1201549_41.89 url: https://www.dia.org/art/collection/object/susanna-and-elders-52211 (?) Palazzo Medici Riccardi.;by 1809, Jean-Baptiste Pierre Lebrun [1748–1813].;by 1816, Sir Thomas Baring, 2nd Baronet [1772–1848] (London, England).;by 1889, Thomas George Baring, 1st Earl of Northbrook [1826–1904] (London, England).;by inheritance to his son, Francis George Baring, 2nd Earl of Northbrook [1850–1929] (London, England).;1929, by inheritance to his spouse, Florence Anita, Countess of Northbrook [1860–1946] (London, England);11 June 1937, presented at auction, Christie, Manson & Woods "Pictures by Old Masters" lot 14.;5 March 1942, presented at auction, Parke-Bernet Galleries "American and French Paintings," lot 74.;by 1942, A. F. Mondschein (New York, New York, USA);1942–present, purchased by Detroit Institute of Arts with funds from Mr. and Mrs. E. Raymond Field (Detroit, Michigan, USA) accnum_Qid: Q1201549_42.56 url: https://www.dia.org/art/collection/object/saint-jerome-desert-41483 New York, The Old Print Shop (Harry Shaw Newman-dealer);New York, A. F. Mondschein (dealer-1943) from whom purchased by the DIA in 1943. accnum_Qid: Q1201549_43.33 url: https://www.dia.org/art/collection/object/morning-home-44441 (?) New York, Schaeffer Galleries (1942);New York, A. F. Mondschein (dealer-by Oct. 1945);from whom purchased by the DIA in 1945 with the support of Mrs. Standish Backus, Detroit accnum_Qid: Q1201549_45.508 url: https://www.dia.org/art/collection/object/saint-agatha-36681 Le Chevalier Lambert (Paris, France);March 27, 1787, sold by (J.B. Le Brun, Paris, France) lot 206;Sir John Foley Grey, Baronet (Malvern, England) [as The Lodge];June 15, 1928, sold by (Christie's, London, England) auction Sir John Foley Grey lot 127 [as A Visit of the Rich Relatives];1928-ca. 1934, purchased by (Horace Ayers Buttery, London, England) [for 1050 guineas];1947, (A.F. Mondschein Galleries, London, England);1948-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_48.12 url: https://www.dia.org/art/collection/object/shepherdess-alps-33299 William Lowther, 3rd Earl of Lonsdale, Lowther Castle;Westmorlandshire, prior to 1854;by inheritance to Hugh Cecil Lowther, 5th Earl of Lonsdale (died 1944);Sale, Lowther Castle, 29 April 1947, no. 1727;André de Hevesy, London;F. Mondschein (Mont) and Newhouse, New York [dealers], until 1948 accnum_Qid: Q1201549_48.394 url: https://www.dia.org/art/collection/object/magdalene-wilderness-63569 Earl of Moray (Edinburgh, Scotland);March 2, 1912, (Dowell, Edinburgh, Scotland) auction Earl of Moray, lot 57.;(N. Fischmann, London, England);after 1912, private collection (London, England);(Frederick Mont, New York, New York, USA);Margaret Haass Clark;1950-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_50.198 url: https://www.dia.org/art/collection/object/forest-landscape-stag-hunt-47336 by 1930, co-owned by (Galerie P. de Boer, Amsterdam, Netherlands) and (Hans Baumann, Düsseldorf, Germany);(Galerie Fleischmann, Munich, Germany);by 1956, (Rudolf J. Heinemann, New York, New York, USA);December 1956 and January 1957-present, gift to the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_57.1 url: https://www.dia.org/art/collection/object/portrait-woman-55132 ?Florence, Collection Altoviti Family;?Rome, Collection Prince Doria, from whom said to be purchased by;New York, Rudolph Heinemann (dealer, before 1950), who sold a half share to Knoedler Galleries (by 1954), from whom purchased by the DIA (via Heinemann--Pinakos invoice) in 1957. accnum_Qid: Q1201549_57.37 url: https://www.dia.org/art/collection/object/madonna-and-two-angels-adoring-christ-child-52205 Genoa, private collection;Wien?;Lucerne, 1925?;Berlin?;Paul Bottenwieser (dealer, based in Munich, Berlin, New York), likely January 1928;Sold to Julius H. Haass, Detroit, 1928;by descent to (?) Mrs. Lillian Henkel Haass, 1940;Newhouse Galleries, New York, 1957/58;Frederick Mont, New York;Detroit, DIA (presented by Mr. and Mrs. Henry Ford II). accnum_Qid: Q1201549_58.383 url: https://www.dia.org/art/collection/object/young-man-red-cap-61539 before 1865, William B. Clarke (Freiburg-im-Breisgau, Germany);1865, Mrs. Pauline C. Clarke (Freiburg-im-Breisgau, Germany);1896, bequeathed to Augustiner Kloster (Freiburg-im-Breisgau, Germany);1896-1957, Augustiner Museum (Freiburg-im-Breisgau, Germany);curator of the Augustiner Museum (Freiburg-im-Breisgau, Germany);1957, (Dr. Hanns Schaeffer, New York, New York, USA);1958, (M. Knoedler & Co., and Pinakos, Inc./Rudolph J. Heinemann, New York, New York, USA);June 1959-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_59.122 url: https://www.dia.org/art/collection/object/nativity-53638 possibly William Blundell Spence [active 1858] (Florence, Italy).;possibly property of a Religious Order (London, England);June 24, 1959, lot 64 sold by (Sotheby’s, London, England) “Old Master Paintings”;1959–1960, purchased by (Thomas Agnew and Sons, Ltd., London, England) [1817–2013];1960, purchased by (Pinakos, Inc., New York, New York, USA);1960–present, purchase Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_60.61 url: https://www.dia.org/art/collection/object/resurrection-53630 Saint Peter's Church (Louvain, Belgium) (?);Saint Michael Church, College of Jesuits (Louvain, Belgium);May 12, 1777, sold in (Brussels, Belgium) auction "Tableaux déposés au Collège de Bruxelles..." lot 1;1777, purchased by (M. de Loose, probably as agent of J.J. Bertels, Brussels, Belgium);May 31, 1787, sold by (Christie's, London, England) auction Imperial Collection of J.-J. Bertels, lot 75 [withdrawn];April 21, 1788, sold by (Christie's, London, England) lot 222 [withdrawn];February 3, 1789, sold in (Paris, France) auction J.-J. Bertels, lot 15 [withdrawn];April 6, 1825, sold in (Paris, France) auction Didot, lot 68 [withdrawn];May 6-8, 1828, sold in (Paris, France) auction Didot, lot 93 [withdrawn];1828, purchased by Henry;August 20-21, 1932, sold in (Paris, France) lot 56;1932, purchased by Marquis Hippolyte de Gonvello (Château de Kerlévénan, Sarzeau, Morbihan, Brittany, France);until before 1960, by descent to Marquis Renaud de Gonvello;acquired by (Rosenberg and Stiebel, New York, New York, USA, jointly with Frederick Mont, dealer, from the Marquis Renaud de Gonvello);1964-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_64.459 url: https://www.dia.org/art/collection/object/saint-ives-treguier-patron-lawyers-defender-widows-and-orphans-60000 by 1920, until 1944, Paul J. Sachs (Cambridge, Massachusetts, USA);1944 or 1954-1965, purchased by (Pinakos [R. Heinemann] and Knoedler & Co., New York, New York, USA);1965-present, purchase by the Detroit Institute of Arts (Detroit, Michigan, USA) accnum_Qid: Q1201549_65.347 url: https://www.dia.org/art/collection/object/eros-and-psyche-24109 Germany, private collection (ca. 1935);Munich, Professor Herman Voss (as late as 1959);New York, Frederick Mont (dealer, by 1962), from whom purchase by the DIA with funds provided by Robert H. Tannahill (R. Tannahill Fund).;Note, that the German private coll., c. 1935, was not cited by Bissell in the 2005 catalogue -- is this incorrect information, or did he simply not know about it? accnum_Qid: Q1201549_65.95 url: https://www.dia.org/art/collection/object/adoration-shepherds-35102 Siena, Hospital of Santa Maria della Scala, Altar of S. Christina (by at least 1482);Siena, Hospital of Santa Maria della Scala, rector's room (until shortly before 1800);Cologne and Trier, Collection Johann A. Ramboux, by 1843 (cat. 1862, no. 118);Cologne, auction, Collection Ramboux [J. Heberle/H. Lempertz], 23 May 1867, lot 118 (Stoclet written in the margin of Frick copy of catalogue, in pencil);Sigmaringen, Hohenzollern-Sigmaringen, Collection Prinz von Karl Anton (1867-until at least 1883);Switzerland, Basel & Lugano, Dr. Hans Wendland (until 1913, when sold to A. Stoclet);Brussels, Collection Adolphe Stoclet (1913 until 1949);Brussels, by descent, Michèle Stoclet (until about 1965, when sold to R. Heinemann);New York, Pinakos & Rudolph J. Heinemann, (dealers-1965), from whom purchased by the DIA. accnum_Qid: Q1201549_66.15 url: https://www.dia.org/art/collection/object/saint-catherine-siena-dictating-her-dialogues-45991 |
| Q1568434 | 3 | YALE UNIVERSITY ART GALLERY __________________________________ Galerie Charpentier, 76 rue du Faubourg Saint-Honoré, 75008 Paris, Frederick Mont, Inc., New York. accnum_Qid: Q1568434_1.977.152 url: https://artgallery.yale.edu/collections/objects/24395 Dr. Rudolph Heinemann Collection, New York,Madame (Godfrey) Brauer Collection, Nice(?),E. A. Fleischmann, dealer, Munich, 1931,J. Boehler Collection, Munich, 1914-1920, Boehler series, the only remaining complete Apostolado of Van Dyck;Palazzo Serra, Genoa, c. 1780 (acquired with the whole series in Italy) accnum_Qid: Q1568434_1959.45 url: https://artgallery.yale.edu/collections/objects/9723 Pablo Bosch Collection, Catalonia (according to George Kubler, Yale University, January 1973), Frederick Mont Collection, New York.;Bibliography;Alexis Merle du Bourg, “Dans le sillage de Velázquez,” Dossier de L’A rt (2015): 68, ill. accnum_Qid: Q1568434_1972.43 url: https://artgallery.yale.edu/collections/objects/9348 |
| Q160236 | 28 | METROPOLITAN MUSEUM OF ART __________________________________ ?conti di Collalto, Castello di San Salvatore, Susegana (from about 1550), Richard Boyle, 3rd Earl of Burlington, Chiswick House, near London (by ca. 1740–d. 1753), his daughter, Charlotte Elizabeth Boyle, Marchioness of Hartington, Chiswick House (1753–d. 1754), her son, William Cavendish, later 5th Duke of Devonshire, Chiswick House (1754–d. 1811), the Dukes of Devonshire, Chiswick House and Chatsworth, Derbyshire (1811–1950, inv., 1863), Andrew Cavendish, 11th Duke of Devonshire, Chatsworth (1950–58, his sale, Christie's, London, June 27, 1958, no. 19, for £4,725 to Sperling [Kleinberger]), [Kleinberger, New York, 1958–66, sold to Fleischman], [Lawrence A. Fleischman, New York, 1966–73, sold to Mont], [Frederick Mont, New York, 1973, sold to MMA] accnum_Qid: Q160236_1.973.116 url: https://www.metmuseum.org/art/collection/search/437638 Sir John Leslie, 1st Baronet, Castle Leslie, Glaslough, co. Monaghan, Ireland (by 1890s–d. 1916), Sir John Leslie, 2nd Baronet, Castle Leslie (1916–d. 1944), Sir Shane Leslie, 3rd Baronet, Castle Leslie (1944–60, sale, Sotheby's, London, December 7, 1960, no. 13, for £3,800 to Agnew), [Agnew, London, and Pinakos, Inc. (Rudolf J. Heinemann), 1960–61], [Rudolf J. Heinemann, New York, 1961–d. 1975], Mrs. Rudolf J. Heinemann, New York (1975–81, sold to MMA) accnum_Qid: Q160236_1.981.186 url: https://www.metmuseum.org/art/collection/search/437457 marquis de Gouvernet, Paris (by 1743–75, his estate sale, Remy, Paris, November 6–10, 1775, ms. addition to cat., p. 33, as Tobit burying the dead, by Bourdon, for 800 [?Livres or Louis]), Count Johann Rudolf Czernin von Chudenitz, Vienna (by 1808/9–d. 1845), Counts Czernin, Vienna (1845–at least 1939, cat., 1866, room 3, no. 3, as "Plague in Marseilles" by Poussin, cat., 1936, no. 4, as "Tobit Burying the Dead" by School of Poussin), [Frederick Mont, New York, in 1962, as by Andrea di Lione], Mr. and Mrs. Paul Ganz, New York (by 1965–73, sold to Blake), Channing Blake, New York (1973–89, sold to MMA) accnum_Qid: Q160236_1.989.225 url: https://www.metmuseum.org/art/collection/search/436891 church of the hospital of Santa Maria della Scala, Siena (by at least 1482), altar of Santa Cristina in the cemetery of the hospital, rector's rooms of the hospital of Santa Maria della Scala (until shortly before 1800), Johann Anton Ramboux, Cologne (by 1838?–d. 1866, cat., 1862, no. 120, his estate sale, J.M. Heberle [H. Lempertz], Cologne, May 23, 1867, no. 120), Karl Anton, Prinz von Hohenzollern-Sigmaringen, Sigmaringen (1867–at least 1883, cat., 1871, no. 186–8, cat., 1883, no. 186–8), [Dr. Hans Wendland, Basel, Lugano, and later Paris, by 1913–1921, "Wendland séquestre de guerre" sale, Hôtel Drouot, Paris, October 26, 1921, no. 16D, to Féral], [J. Féral, Paris, 1921, sold to Stoclet], Adolphe Stoclet, Brussels (1921–d. 1949), his daughter, Michèle Stoclet, Brussels (1949–about 1965/66, sold to Heinemann), [Rudolf J. Heinemann, New York, about 1965/66–d. 1975], Mrs. Rudolf J. Heinemann, New York (1975–d. 1996) accnum_Qid: Q160236_1997.117.3 url: https://www.metmuseum.org/art/collection/search/438022 Christopher Bushell, Hinderton Hall, Neston, Cheshire (until 1906, his estate sale, Christie's, London, March 17, 1906, no. 25, as "An Ante-Room in a Palace, with senators and other figures," 12 1/2 x 19 1/2 in., for £262.10 to Colnaghi), [Colnaghi, London, 1906], Maurice Kann, Paris [with pendant, which shares ex coll. history until March 17, 1906, and from this date] (d. 1906), his nephew, Edouard Kann, Paris (1906–10, sold to Wildenstein), [Wildenstein, Paris, 1910–24, sold to Rothschild], baron Maurice de Rothschild, Paris and Pregny, near Geneva (1924–52, sold to Rosenberg && Stiebel);[Rosenberg & Stiebel, New York, 1952–58/59, sold to Heinemann], [Rudolf J. Heinemann, New York, 1958/59–d. 1975], Mrs. Rudolf J. Heinemann, New York (1975–96) accnum_Qid: Q160236_1997.117.4 url: https://www.metmuseum.org/art/collection/search/438023 Christopher Bushell, Hinderton Hall, Neston, Cheshire (until 1906, his estate sale, Christie's, London, March 17, 1906, no. 24, as "Interior of a Palace, with numerous ladies and gentlemen at a masquerade," for £588.7 to Agnew), [Agnew, London, 1906], Maurice Kann, Paris [with pendant, which shares ex coll. history until March 17, 1906, and from this date] (d. 1906), his nephew, Edouard Kann, Paris (1906–10, sold to Wildenstein), [Wildenstein, Paris, 1910–24, sold to Rothschild], baron Maurice de Rothschild, Paris and Pregny, near Geneva (1924–52, sold to Rosenberg && Stiebel);[Rosenberg & Stiebel, New York, 1952–58/59, sold to Heinemann], [Rudolf J. Heinemann, New York, 1958/59–d. 1975], Mrs. Rudolf J. Heinemann, New York (1975–96) accnum_Qid: Q160236_1997.117.5 url: https://www.metmuseum.org/art/collection/search/438024 ?marchese Visconti, [Vittorio Frascione, Florence, in 1945, as by Paolo Uccello], [Eduardo Moratilla, Paris, until 1952, as by Paolo Uccello], [Eduardo Moratilla, Paris, Pinakos, Inc. (Rudolf J. Heinemann), and Knoedler, New York, 1952–68, as by the Prato Master], [Eduardo Moratilla, Paris, and Pinakos, Inc., from 1968], [Rudolf J. Heinemann, New York, until d. 1975, as by Paolo Uccello], Mrs. Rudolf J. Heinemann, New York (1975–d. 1996) accnum_Qid: Q160236_1997.117.9 url: https://www.metmuseum.org/art/collection/search/438028 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_1998.129.2 url: https://www.metmuseum.org/art/collection/search/334793 Frederick Mont, New York (by 1981–d. 1994), his widow, Anna S. Mont, New York (1994–d. 2010) accnum_Qid: Q160236_2012.100.1 url: https://www.metmuseum.org/art/collection/search/441229 private collection, Basel (in 1965), Frederick Mont, New York (until d. 1994), his widow, Anna S. Mont, New York (1994–d. 2010) accnum_Qid: Q160236_2012.100.2 url: https://www.metmuseum.org/art/collection/search/441230 A. Berard (French), possibly owned by Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.1 url: https://www.metmuseum.org/art/collection/search/395495 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.10 url: https://www.metmuseum.org/art/collection/search/395504 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.2 url: https://www.metmuseum.org/art/collection/search/395496 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.3 url: https://www.metmuseum.org/art/collection/search/395497 Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.4 url: https://www.metmuseum.org/art/collection/search/395498 Frederick Mont (also known as Adolf Fritz Mondschein) (American), Anna S. Mont, Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.5 url: https://www.metmuseum.org/art/collection/search/395499 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.6 url: https://www.metmuseum.org/art/collection/search/395500 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.7 url: https://www.metmuseum.org/art/collection/search/395501 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.8 url: https://www.metmuseum.org/art/collection/search/395502 probably Frederick Mont (also known as Adolf Fritz Mondschein) (American), Donor: Anna S. Mont accnum_Qid: Q160236_2012.98.9 url: https://www.metmuseum.org/art/collection/search/395503 Major William Corbett-Winder, Vaynor Park, Berriew, Montgomeryshire, Wales (until 1905, sale, Christie’s, London, June 17, 1905, no. 25, as “Sportsmen on Horseback, and other figures—a pair," for £14.3.6 to Kenderick, with pendant), Kenderick (from 1905), sale, Sotheby's New York, June 14, 1973, no. 353, as “Two Riders in a Landscape and The Afternoon Ride: A Pair of Paintings," for $75,000 to Spanierman, with pendant, [Ira Spanierman, New York and Germany, from 1973], [Rudolf J. Heinemann, Lugano, until 1980, sold to E. V. Thaw & Co., with pendant], [E. V. Thaw & Co., Inc., New York, with Artemis Fine Arts Ltd., London, 1980–82, sold to Wrightsman], Mr. and Mrs. Charles Wrightsman, New York (1982–his d. 1986), Mrs. Charles Wrightsman, New York (1986–d. 2019, cat., 2005, no. 97) accnum_Qid: Q160236_2019.141.15 url: https://www.metmuseum.org/art/collection/search/438118 Carl Ludwig Kuhtz, Berlin (by 1883–d. 1889, his estate sale, Lepke's, Berlin, February 15, 1898, no. 37, for 14,000 marks), Oscar Huldschinsky, Berlin (by 1906–28, his sale, Paul Cassirer and Hugo Helbing, Berlin, May 10, 1928, no. 64, to Thyssen), Baron Heinrich Thyssen-Bornemisza, Rohoncz, Hungary, later Villa Favorita, Lugano (1928–d. 1947), his son, Baron Hans Heinrich Thyssen-Bornemisza, his brother and two sisters, Villa Favorita (1947–49), [Rosenberg & Stiebel, New York, with Pinakos (Rudolf J. Heinemann), 1949–55, sold to Wrightsman], Mr. and Mrs. Charles Wrightsman, New York (1955–his d. 1986, cat., 1973, no. 29), Mrs. Charles Wrightsman, New York (1986–d. 2019, cat., 2005, no. 45) accnum_Qid: Q160236_2019.141.21 url: https://www.metmuseum.org/art/collection/search/438127 Carl Ludwig Kuhtz, Berlin (until d. 1889, his estate sale, Lepke's, Berlin, February 15, 1898, no. 38, for 13,250 marks), Oscar Huldschinsky, Berlin (by 1906–28, his sale, Paul Cassirer and Hugo Helbing, Berlin, May 10, 1928, no. 65, to Thyssen), Baron Heinrich Thyssen-Bornemisza, Rohoncz, Hungary, later Villa Favorita, Lugano (1928–d. 1947), his son, Baron Hans Heinrich Thyssen-Bornemisza, his brother and two sisters, Villa Favorita (1947–49), [Rosenberg & Stiebel, New York, with Pinakos (Rudolf J. Heinemann), 1949–55, sold to Wrightsman], Mr. and Mrs. Charles Wrightsman, New York (1955–his d. 1986, cat., 1973, no. 29), Mrs. Charles Wrightsman, New York (1986–d. 2019, cat., 2005, no. 46) accnum_Qid: Q160236_2019.141.22 url: https://www.metmuseum.org/art/collection/search/438126 Leopold II, King of Belgium, Brussels (until 1909, sold to Kleinberger), [Kleinberger, Paris, 1909, sold to Morgan], J. Pierpont Morgan, New York (1909–d. 1913), his son, J. P. Morgan, New York (1913–d. 1943, his estate, 1943, sold to Knoedler), [Knoedler, New York, 1943, sold to Pinakos], [Pinakos, Inc. (Rudolf J. Heinemann), New York, 1943–at least 1944], Evander B. Schley, New York (until d. 1952) accnum_Qid: Q160236_53.18 url: https://www.metmuseum.org/art/collection/search/437419 ?unverified sale ["Zubieta" according to Angulo Iñiguez], London, June 12, 1874, as "Don Pedro Núñez de Villavicencio, friend and disciple of Murillo and knight of a military order," for £178.10 to Palmer, Julian Williams, Seville (about 1883) described by Curtis as "a full-length portrait of Villavicencio, about thirty-five years of age, with hooked nose, moustache, and long black hair, wearing a black dress with open sleeves, a hat in his hand, a sword at his side", Francisco Merry y Colom Gaite y Osorio, 1st Conde de Benomar, London [d. 1899],?sale, Christie's, London, July 6, 1899, for £210 to Lesser, [Lesser, London, 1899–1912, posthumous sale, Christie's, London, February 10, 1912, no. 18, as "Don Pedro Nuñez de Villavicencio, in black dress with braided sleeves, and white stockings, standing, holding his glove and hat, and wearing the Riband and Order of Saint John of Jerusalem ([sic] our sitter wears the ribbon and order of the knights of Alcántara or Calatrava), 75 in. by 48 in." for £81.18.0 to Nicholson], [(?A. L.) Nicholson, from 1912], [Rudolf J. Heinemann, Munich, in 1927],?[Fleischmann, Munich, by 1928–at least 1930],?[F. Mont, New York, in 1950], [Pinakos Inc. (Rudolf J. Heinemann), until 1954] accnum_Qid: Q160236_54.190 url: https://www.metmuseum.org/art/collection/search/437174 the artist, Paris (until d. 1883, his estate sale, Hôtel Drouot, Paris, February 4–5, 1884, no. 58, as "Au café, ébauche," for Fr 110 to Chabrier), Alexis Emmanuel Chabrier, Paris (1884–d. 1894, his estate sale, Hôtel Drouot, Paris, March 26, 1896, no. 14, as "'Au café.' Ébauche," for Fr 750 to Chéramy), Paul A. Chéramy, Paris (1896–1908, cat., 1908, no. 249, his sale, Galerie Georges Petit, Paris, May 5–7, 1908, no. 218, as "Portrait de Moore, critique anglais," for Fr 625 to Vollard), [Ambroise Vollard, Paris, from 1908], Albert S. Henraux, Paris (by 1929–at least 1946), [Walter Feilchenfeldt, Zurich, until 1951, sold February 1951 for $10,000 to Knoedler and Pinakos], [Knoedler, New York, and Pinakos, Inc., New York and Lugano, 1951–54, Knoedler stock no. A4530, sold in July for $20,000 to Hines], Mrs. Ralph J. (Mary Elizabeth Borden) Hines, New York (1954–55, life interest, 1955–d. 1961) accnum_Qid: Q160236_55.193 url: https://www.metmuseum.org/art/collection/search/436954 Rafael García, Madrid (in 1907), Guillermo Vogel, Madrid and Munich (1910–at least 1931, lent to Alte Pinakothek, Munich, September–November 1928, where it was never exhibited),?[Paul Lindpaintner, Berlin], Kurt and Margit Leimer von Opel, Partenkirchen, Germany (until 1953, sold to Knoedler and Pinakos, Inc.), [Knoedler, New York, and Pinakos, Inc. (Rudolf J. Heinemann), 1953–54, sold to Clark], Stephen C. Clark, New York (1954–d. 1960) accnum_Qid: Q160236_61.101.8 url: https://www.metmuseum.org/art/collection/search/436577 Camille Pissarro, Paris (1899, given by the artist on January 29 to Alfred Sisley's children to assist them after their father's death, their sale, Georges Petit, Paris, May 1, no. 68, as "Les Tuileries, après-midi d'hiver," for Fr 4,800 to Durand-Ruel and Bernheim-Jeune), [Durand-Ruel and Bernheim-Jeune, Paris, 1899–at least 1900, Durand-Ruel's share sold to Bernheim-Jeune on February 24, 1900], Lazare Weiller, Paris (until 1901, his sale, Hôtel Drouot, Paris, November 29, no. 35, as "Les Tuileries, après-midi d'hiver," ill. [engraving by André Marty], for Fr 3,650), [Bernheim-Jeune, Paris, from 1917, purchased in May], Léon Pedron, Le Havre (until 1926, his sale, Hôtel Drouot, Paris, June 2, no. 42, as "Le Jardin des Tuileries," ill., to Druet), [Druet, Paris, 1926–30, sold in March 1930], [?Eisenl., until 1930, sold for fl. 15,000 to Van Beuningen ], D. G. van Beuningen, Rotterdam (from 1930), Mme de Mauge-van Beuningen, Paris, [Otto Wertheimer, Paris, until 1951, purchased for $62,000 with 5 other works on February 21 by Knoedler and Pinakos], [Knoedler, New York, and Pinakos, Inc., New York, 1951, Knoedler stock no. A545, sold on April 10 for $16,000 to Vietor], Mr. and Mrs. Ernest G. Vietor, New York and Greenwich, Conn. (1951–his d. 1959), Katrin S. (Mrs. Ernest G.) Vietor, New York and Greenwich, Conn. (1959–66) accnum_Qid: Q160236_66.36 url: https://www.metmuseum.org/art/collection/search/437314 |
| Q1743116 | 3 | TOLEDO MUSEUM OF ART __________________________________ about Prince Josef Wenzel;1740 Liechtenstein, Vienna;to about Princes Liechtenstein, Vienna;1951;Dealer: Frederick Mont, New York;1951 Toledo Museum of Art accnum_Qid: Q1743116_1.951.404 url: https://www.toledomuseum.org/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf M. Meisgeier, Vienna;(Bought by dealer;Frederick Mont, New York);1952 Toledo Museum of Art accnum_Qid: Q1743116_1952.24 url: https://www.toledomuseum.org/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf Jacob van Formerly attrib-;Amsterdam uted to Jacob;Cornelisz van;Oostsanen (about;1472-1533), the;father of Dirck;Jacobsz.;1859 Earl of Northwick, Painting described;Thirlestaine House, as “Quintin;Cheltenham Matsys, The Artist;(sold, H. Phillips, Painting his;July 1859, no. 138) Mother’s Portrait”;— Burton;Fredericksen;letter 9;1859 Duke of Newcastle, Clumber;Park, Nottinghamshire;Earl of Lincoln, Clumber Park;(Christie’s, London, June 4, 1937;lot 70, repr.);Dealer: Katz, Arnhem (sold to Geldner);Geldner, Basel;Bought by dealer: Schultess, Basel;Bought by dealer: Frederick Mont, New York;1960 Toledo Museum of Art;Toledo Museum of Art;Provenance Report, page 35 accnum_Qid: Q1743116_1960.7 url: https://www.toledomuseum.org/wordpress/wp-content/uploads/Provenance-Research-lowres.pdf |
| Q1752085 | 6 | NORTON SIMON MUSEUM __________________________________ [Galerie Sankt-Lucas, Vienna, 1934].;Baron Heinrich Thyssen-Bornemisza (1875-1947), Schloss Rohoncz, Lugano, by 1935, by descent to his daughter;Baroness Gabrielle Bentinck (nee Thyssen), through [Rudolf Heinemann, Pinakos], to;[Rosenberg and Stiebel, New York, September 30, 1957, sold 1959 to];Mr. and Mrs. Norton Simon, gift 1966 to;Norton Simon Art Foundation. accnum_Qid: Q1752085_M.1966.10.10.P url: http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1966.10.10.P Lord Bagot, Blithfield Hall, Rugeley, Staffordshire, by 1820, by inheritance to;Lord Bagot, Blithfield Hall, Staffordshire, Estate (sale, London, Sotheby’s, 17 October 1945, lot 73, as Early Dutch School, Two Scenes from the Passion of Christ: The Scourging, and the Road to Calvary, to;[Thos. Agnew && Sons, London;stock nos. 9101, as The Scourging, jointly owned with F. Koetser, and 9102, as Road to Calvary, jointly owned with R. Buttery, sold 3 March 1954 to];[M. Knoedler & Co., Inc., New York, jointly owned with R. Heinemann, stock nos. A5663, as The Scourging, and A5664, as The Road to Calvary, the latter jointly owned with Pinakos, Ltd., New York, sold 2 January 1970];Norton Simon Art Foundation. accnum_Qid: Q1752085_M.1969.36.1.P url: http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1969.36.1.P Presumably entire high altarpiece commissioned by Luca di Piero di Rinieri Berri for the Camaldolese Monastery of San Benedetto fuori Porta Pinti, Florence, ca. 1407-1409;Presumably moved to the Alberti Chapel in Santa Maria degli Angeli, Florence, ca. 1529, when S. Benedetto was destroyed and the monks moved to S. M. degli Angeli.;[Stefano Bardini, Florence, sold 1894 to];The Prince of Liechtenstein, Mödling, Austria, still in collection 1948, sold to,.;[Thos. Agnew & Sons, London, stock no. 246, Knoedler's, stock no. A7056, & Pinakos, 1/3 ownership each, sold by Agnew on 12 December 1962 to];Norton Simon, gift 1973 to;Norton Simon Art Foundation. accnum_Qid: Q1752085_M.1973.5.P url: http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1973.5.P Don Manuel I, King of Portugal, Palacio das Necessidades, Lisbon, sold 1910 to;[Duveen Brothers, London and New York, sold 1927 to];Dr. and Mrs. A. Hamilton Rice, New York, sold 1957 to;[M. Knoedler & Co., New York, jointly owned with Pinakos, Ltd., New York, stock no. A6680, as The Blessing Christ, sold 5 April 1964 to;Norton Simon Art Foundation. accnum_Qid: Q1752085_M.1974.17.P url: http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1974.17.P Duke of Wagram, Paris, until 1906;[Galerie Georges Petit, Paris, by 1906];[Galerie Heinemann, Munich, by 1908, sold 1911 for 18,500 goldmarks to];Hugo Schmeil, Dresden (sale, Berlin, Galerie Paul Cassirer, 17 October 1916, lot 8, ill., as Le Ruisseau du Puits Noir d’Ornans, bought in at RM 15,500).;[Emil Baum, Galerie Baum, Munich, sold 13 July 1922 for 870,000 mks to];Leo Meijer, Amsterdam, sold late 1940s.;Thomas Mitchell (1892-1962), Beverly Hills, by 1948, still in 1950.;[Paul Kantor Gallery, Beverly Hills, stock no. K1724, sold 1965 to];Norton Simon, gift 1976 to;Norton Simon Art Foundation. accnum_Qid: Q1752085_M.1976.13.P url: http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.1976.13.P William Sloane Stanley, London, by 1828,?by inheritance to his wife;Mrs. Sloane Stanley, Portland Place (sale, London, Christie's, 21 April 1888, lot 8, as A woody landscape with figures and animals on a road, for gns. 42 to);Martin Colnaghi.;Earl of Midleton, Peper Harow, London.;[Frank T. Sabin, London, sold 1947 to];[Newhouse Galleries, New York, stock no. 14206, sold 1947 to];Kimbell Art Foundation, Fort Worth, Texas, sold 4 May 1967 to;[Newhouse Galleries, New York, consigned 7 October 1968 to];[Frederick Mont, New York, returned 9 October 1968 to];[Newhouse Galleries, New York, stock no. 17820, offered 1 May 1969 and subsequently sold 5 June 1969 to];The Norton Simon Foundation. accnum_Qid: Q1752085_M.2007.3.P url: http://www.nortonsimonartfoundation.org/collections/provenance.php?id=M.2007.3.P |
| Q1976985 | 8 | NELSON-ATKINS MUSEUM OF ART __________________________________ Baron Maurice;de Rothschild (1881-1957), Paris, by 1950;With Pinakos;Inc. [Rudolf Heinemann], New York, on joint account with Knoedler and Co., New York, stock book 9;no. A-4444, as by Jan Gossaert, October 19, 1950-November 21, 1950;Purchased from;Pinakos and Knoedler by The Nelson-Atkins Museum of Art, Kansas City, MO, 1950. accnum_Qid: Q1976985_50-51 url: https://art.nelson-atkins.org/objects/4328/the-temptation-of-saint-anthony Marie Caroline de Bourbon, Duchesse de Berry (1798-1870), Palazzo Vendramin-Calergi, Venice, as by Luca di Leida (Lucas van Leyden), by 1856-1865;Purchased at her sale, Tableaux Anciens et Modernes, Hôtel Drouot, Paris, April 19, 1865, lot 434, as by Lucas de Leyde, by Roger marquis de Podenas, on behalf of M. le Comte de la Ferronnays (d. 1867), Paris, 1865-at least 1866;Count Paul Demidoff, 2nd Prince of San Donato (1839-1885), Polverosa, Italy, by 1869;Purchased at his sale, Tableaux Anciens et Modernes, Hôtel Demidoff, Paris, April 1-3, 1869, lot 3, as by Petrus Christophsen, by Étienne-François Haro (1827-1897), Paris, 1869;Possibly Henri, Comte de Chambord (1820-1883), 1873;Duc de Blacas [1];With Frederick Mont and Company, New York, by 1956 [2];Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1956.;NOTES;[1] The Duc de Blacas is listed in the provenance included in Frederick Mont and Co.’s invoice to NAMA dated March 29, 1956. This may be Pierre de Blacas d’Aulps (1853-1937). According to Patrick J. Kelleher, Curator of European Art, in a letter to Erwin Panofsky, March 5, 1956, NAMA curatorial files, the painting was bought from a descendant of the Duchess de Berry in Switzerland.;[2] According to the Frederick Mont and Co. invoice dated March 29, 1956, NAMA curatorial files, Mont and Co. was a joint owner of the painting. The other owner(s) are currently unknown. accnum_Qid: Q1976985_56-51 url: https://art.nelson-atkins.org/objects/16329/virgin-and-child-in-a-domestic-interior Probably Marin De la Haye (1684-1753), Paris;1740-October 3, 1753;To his wife, Madame de la Haye (née Marie-Edmée de;Saint-Mars, d. 1776), Paris, 1753-1776 [1];Purchased from her posthumous sale, Catalogue de Tableaux Originaux De Jacques Bassan, Gaspre Dughet;Philippe Wouwermans, Lenain, Baptiste Monoyer, Desportes, François Boucher;Charles Natoire, MM. Pierre, La Grenée, et autres Maîtres de diverses Écoles;Figures et grouppes [sic] de bronze;et de marbre, Tables et Consoles de marbre, Glaces, etc., après le décès de;Madame veuve de M. De La Haye, Fermier-Général, Hôtel Lambert, Paris, December 1, 1778, no. 30, as Un paysage, des fabriques, un moulin à eau;plusieurs figures et des animaux sur des plans différens [sic], by Pierre;Rémy (1715-1797), Paris, 1778-April 5, 1782 [2];Sold by Rémy at Tableaux;dont le plus grand nombre des bons Maîtres des trois Ecoles, de peintures à;Gouache et Miniatures, Dessins et Estampes en feuilles et sous verre, Livres et;suites d’Estampes. Après le décès de Madame Lancret, et de M**, Hôtel de;Bullion, Paris, April 5, 1782, no. 157, and purchased by Ribouret, 1782 [3];A[lphonse-Louis];Pinard (1815-1871), Paris, by 1860-October 18, 1871 [4];Inherited;by his wife, Adèle Emélie Pinard (née Robert, 1823-1915), Paris, 1871- March;25, 1915 [5];By;descent to her granddaughter, Fernande de Cardevac d’Havrincourt, Marquise;d’Havrincourt (née Pinard, b. 1891), Château d’Havrincourt, Havrincourt, by;July 2, 1958 [6];Purchased;from her anonymous sale, Important Old;Master Drawings and Paintings Including Fine early Drawings of the Italian and;Flemish Schools, Three views near Venice by Canaletto, St Blaise attributed to;Raphael, Examples by Sir Peter Paul Rubens, Antoine Watteau, Nicolas Lancret;and Francesco Guardi, Fine Dutch Paintings, The Property of Mrs. Maud Barchard;and The Meeting of Abraham and Melchizedek by Rubens, Christ in the Act of;Blessing from the Studio of Jan van Eyck, Also Fine Paintings of the English;School, The Property of Lt.-Col. Harold Boyd-Rochfort, A View of Old Hall East;Bergholt by Constable, The Property of Miss M. Gore, and A Portrait of Charles;Lennox, Duke of Richmond by George Romney, The Property of Rt. Hon. Viscount;Ednam, Sotheby’s, London, July 2, 1958, no. 111, as Paysage aux Environs de Beauvais et Souvenir d’Italie, by Leggatt;Brothers, London, 1958 [7];Probably;purchased from Leggatt by Frederick Mont, Inc., New York, by October 1;1958-1959 [8];Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.;NOTES;[1];Alastair Laing suggests that Landscap e with a Water Mill and its;pendant, La Forêt (Musée du Louvre, Paris) were painted by;Boucher for Marin de la Haye and retained by his widow. See François;Boucher: 1703-1770, exh. cat. (New York: Metropolitan Museum of Art, 1986);186.;[2] An;annotated sales catalogue owned by Pierre Rémy that is now at the Philadelphia;Museum of Art Library records “Remy” as the buyer. Pierre Rémy was the;auctioneer and expert for the sale.;[3];Alastair Laing (François Boucher: 1703-1770, 187) has suggested that Mme;Lancret probably never owned NAMA’s painting despite the title of this sale.;Rather, he proposes that the auctioneer Pierre Rémy inserted NAMA’s painting;into her posthumous sale. An annotated sales catalogue housed in the Rijksbureau voor kunsthistorische en;ikonografische Documentatie, The Hague, records the name of the buyer, however;it is mostly illegible. The Getty Provenance Index transcribes it as;“Ricouret,” however we defer here to the Musée du Louvre’s use of Ribouret as;the name of the buyer of both this picture and its pendant, La Forêt, in its collection.;[4];“M. Pinard” was listed as the owner of the Boucher pendants, which are now in;the Louvre and NAMA, in the catalogue accompanying the exhibition of 18 th -century;French paintings held at the galerie Martinet in 1860. According to his posthumous inventory;Alphonse-Louis Pinard owned “deux grands tableaux à Boucher prisés trois mille;francs,” and “deux petits tableaux représentant des paysages peints par Boucher;prisés mille francs” (see Centre d’Accueil et;de Recherche des Archives Nationales (CARAN), Paris, actes notariés;AN/MC/XIV/911, Records of Marie Louis Ernest Pitaux, Notaire à Paris, 2, Rue du;Faubourg Poissonnière, 1871-novembre et décembre, “Inventaire après le décès de;Monsieur Pinard, 16 novembre 1871,” nos. 178 and 234, in NAMA curatorial files). It is very likely that the entry for two large Boucher paintings;references the NAMA and Louvre pendants, particularly as the latter was in the;collection of Jacques Dubois de Chefdebien, Alphonse-Louis Pinard’s grandson;by 1932. In Chefdebien’s posthumous sale of 1941, “A. Pinard” is listed as the;owner of the Louvre’s painting during the 1860 exhibition held at galerie;Martinet. Although the catalogue accompanying Sotheby’s, London, sale of July;2, 1958, lists Chefdebien as the owner;of the NAMA picture, there is no documentation or evidence to support this.;[5] According to Alphonse-Louis Pinard’s will and;testament, he left his entire estate to his wife, Adèle Emélie;Pinard. See Centre d’Accueil et de Recherche des Archives;Nationales (CARAN), Paris, actes notariés, AN/MC/XIV/911, Records of Marie;Louis Ernest Pitaux, Notaire à Paris, 2, Rue du Faubourg Poissonnière;1871-novembre et décembre, “Dépôt judicaire du testament olographe de Monsieur;Pinard, 7 novembre 1871” in NAMA;curatorial files.;[6] Adèle;Emélie Pinard’s will has not yet been catalogued and was therefore not;available for research as of December 2, 2015 (see Centre d’Accueil et de Recherche des Archives Nationales;(CARAN), Paris, actes notariés, C/RE/XIV/[unnumbered], Minutes et répertoires du;notaire Jean PANHARD, 27 avril 1892 - 2 mars 1922, Testament olographe de;Adèle-Emélie Robert, veuve de M. Alphonse-Louis Pinard, 25 mars 1915). However, Fernande Pinard most likely acquired the;painting by descent, either directly from her grandmother or through her;father, André Pinard (d. 1926). The Marquise had;multiple residences in France: Château d’Havrincourt, Amphion, Évian-les-Bains, Cloyes-sur-le-Loir, and Paris (see Annuaire des Chateaux et des;Villégiatures 47 (1933): 391).;[7];Annotated sales catalogue at the Spencer Art Reference Library, Kansas City;records “Leggatt” as the buyer.;[8];Letter from Betty and Frederick Mont to NAMA on October 1, 1958, indicates that;Frederick had just returned from Europe with the painting. See NAMA curatorial files. accnum_Qid: Q1976985_59-1 url: https://art.nelson-atkins.org/objects/19737/landscape-with-a-water-mill P. Mengarini, Rome, as by Joachim Patinir, by 1926 [1];Professor Niccolò Castellino (1893-1953), Rome, as by Joachim Patenier, by 1932;With Frederick Mont, New York, as by Joachim Patinier, by June 1960;Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] G. J. Hoogewerff ("Joachim Patinir in Italië", Onze Kunst 43, no. 1 (January 1926): 20), notes this may possibly be Pietro Mengarini (1869-1924), an Italian Pointillist artist living in Rome. accnum_Qid: Q1976985_61-1 url: https://art.nelson-atkins.org/objects/14029/penitent-saint-jerome-in-landscape Charles;Baring-Wall (1795-1853), Norman Court, Salisbury, England, by 1853;By;descent to Sir Francis George Baring (1850-1929), Salisbury, England, by 1907;Purchased;at his sale, Ancient and Modern Pictures;Christie, Manson and Woods, London, May 4, 1907, lot 55, as by C. Amberger, Portrait of a Divine, by Colnaghi and;Co., London, 1907-1909;Purchased;from Colnaghi by Baron Rudolf von Gutmann (1880-1966), Vienna, 1909 [1];With;Walter Feilchenfeldt, Ascona, Switzerland, on joint account with Pinakos, Inc.;[Rudolf Heinemann], New York, Frederic Mont, Inc., New York and Knoedler and;Co., New York, Knoedler stock book 9, no. A3689, by June 16, 1947-November 11;1947 [2];Purchased;from Feilchenfeldt, Pinakos, Mont and Knoedler by Richard N. Ryan (d. 1949);New York, November 11, 1947;With;Paul Drey Gallery, New York, 1954;With;Frederick Mont, Inc., New York, 1962-1963;Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1963.;NOTES;[1];Gutmann, a Jewish industrialist, fled Austria on March 11, 1938 at the time of;the Anschluss, travelling through Czechoslovakia and Switzerland before;arriving in Canada December 14, 1940, where he and his wife settled. According;to the List of Austrian Monuments created by the American Commission for the Protection and Salvage of Artistic and;Historic Monuments in War Areas (Roberts Commission), this painting was;located at Schloss Perlhof, Gutmann’s home outside of Vienna in Gießhübl. Most;of Gutmann’s collection at Schloss Perlhof was confiscated by the German;National Socialist (Nazi) Gestapo in March 1938. This painting, however, was;not included in the works from Gutmann’s collection inventoried by the Germans;at their Neuen Berg repository at the Kunsthistorisches Museum in Vienna (where;most of the Gutmann collection was taken). In a note dated November 19, 1938;an employee named Otto Demus of the Zentralstelle für Denkmalschutz im;Bundesministerium für Unterricht (Central Office for Monument Protection), who;was asked to investigate missing artworks from the Gutmann collection on behalf;of the Gestapo, describes the painting as missing from Gutmann’s Beethovenplatz;3 apartment, as well as his country houses Hagenbackhaus and Gießhübl. See Bundesdenkmalamt Österreich Archives, Vienna, Rudolf Gutmann;Restitutionsmaterialen (Zl. 4051/Dsch./1938). One of the paintings Demus was;searching for, a Schongauer, was sold to the Alte Pinakothek in Munich.;According to Anneliese Schallmeiner, Kommission für Provenienzforschung;Bundesdenkmalamt, in an email to MacKenzie Mallon, Specialist, Provenance;April 28, 2016, Dr. Andrea Bambi of the Pinakothek verified that they have no;record of the Gossaert in their files. Most of Gutmann’s collection was;restituted to him (with the help of Austrian dealer Christian Nebehay);following the war in 1947, but this painting does not appear in Allied;restitution records. Internal correspondence within the Office of Military;Government for Germany (OMGUS) dated July 11, 1946, mentions that the location;of the Gossaert painting was unknown. For full documentation, see NAMA;curatorial files.;[2] The entry for;this painting in Knoedler’s stock book 9 indicates Knoedler received this;painting May 21, 1947. However, according to Walter Feilchenfeldt, the dealer’s;son, in an email to MacKenzie Mallon, Specialist, Provenance, November 1, 2015;NAMA curatorial files, a letter from the senior Feilchenfeldt to Dr. Grete;Ring, Paul Cassirer, Ltd., London, dated June 16, 1947 from Ascona;Switzerland, indicates Feilchenfeldt had the painting at that time and each of;the four dealers owned a quarter share. accnum_Qid: Q1976985_63-17 url: https://art.nelson-atkins.org/objects/12122/portrait-of-jean-de-carondelet Sir;William Neville Abdy, 2nd Baronet (1844-1910), London, by 1885-1910;Purchased;at his posthumous sale, The Collection of;Highly Important Pictures by Old Masters of Sir William Neville Abdy, Bart.;Christie, Manson and Woods, London, May 5, 1911, lot 106, as by Ridolfo;Ghirlandaio, by Charles Sedelmeyer (1837-1925), Paris, 1911-at least 1914;With Reinhardt;Galleries, New York, by 1929 [1];With;Meredith Liquidators, Inc., New York, as by Ghirlandaio, by August 5, 1939;Purchased;from Meredith Liquidators by Anna, Duchess of Talleyrand-Perigord (1875-1961), Lyndhurst;Tarrytown, New York, August 5, 1939-1961 [2];Purchased;at her posthumous sale, as by Italian School, by Frederick Mont, Inc., New;York, 1961-1968 [3];Purchased;from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1968.;NOTES;[1];According to an annotated photograph at the Witt Library, Courtauld Institute;of Art, London.;[2] A;photocopy of the receipt accompanying this sale was kindly furnished by Henry;J. Duffy, Curator, Lyndhurst, NAMA curatorial files.;[3] According;Frederick Mont, in a letter to Eliot Rowlands, Assistant Curator, February 6;1990, NAMA curatorial files. No catalogue appears to have accompanied the sale. accnum_Qid: Q1976985_68-10 url: https://art.nelson-atkins.org/objects/1549/madonna-and-child-with-the-infant-saint-john-the-baptist Given by the artist to his sister, Marie de Champaigne;(1606-1665), Brussels, by December 11, 1665 [1];Sale, Aquarelles et Tableaux Modernes;Dessins et Tableaux Anciens, Objets d’Art et d’Ameublement Principalement du;XVIII e Siècle, Sièges et Meubles des époques Régence - Louis XV -;Louis XVI, Tapisseries Anciennes, Palais Galliera, Paris, October 22, 1968;lot 42, as attributed to Philippe de Champaigne, Le Christ sur la croix;With;Frederick Mont, Inc., New York, by May 15, 1969-1970 [2];Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1970.;NOTES;[1];According to an inscription on the verso of the original canvas, which was;subsequently covered by relining, the artist gave the painting to his sister, Marie;de Champaigne, a Beguine nun in Brussels. The inscription, which reads “Voor;myne beminde suster / Marie de Champaigne-Religieuse / Brussel[s?],” was;transcribed by Francis Moro, a painting restorer;employed by Frederick Mont, Inc., at the time he lined the painting on June 5;1969. See NAMA curatorial files.;[2] Letter from Frederick Mont, Inc., to NAMA on December 11, 1969, states the;painting was purchased in Paris by “Fritz” (per Nancy Yeide, National Gallery;of Art, Washington, D.C., this was probably Frederick Mont, né Adolf Fritz;Mondschein, Vienna, 1894-1994, letter to;Meghan Gray, NAMA, December 3, 2012). A restoration record from Paul Moro;Inc., New York, indicates that the painting was owned by Mont when the painting;was brought to Moro for restoration on May 15, 1969. See NAMA curatorial files. accnum_Qid: Q1976985_70-1 url: https://art.nelson-atkins.org/objects/13105/christ-on-the-cross Justice Charles H. Lushington, (1813-1874), Rodmersham Lodge, Kent, by 1874;By descent to his son, Charles Hugh Lushington (1862-1907), Mahurangi Heads, New Zealand, 1874-1907;Inherited by his widow, Sarah Jane Lushington (d. 1932), Mahurangi Heads, New Zealand, 1907-1929 [1];Purchased at her sale, Old Pictures from Various Sources, Christie’s, London, February 1, 1929, lot 19, by de Casseres, 1929-1934 [2];Purchased from de Casseres by D. Katz, Dieren, Holland, 1934-at least 1938;With Walter Feilchenfeldt, Zurich, by July 8, 1952;Purchased from Feilchenfeldt by M. Knoedler and Co., New York, on joint account with Pinakos, Inc. [Rudolf Heinemann], New York, Knoedler stock book 10, no. A4947, July 8, 1952-February 7, 1955 [3];Purchased from Knoedler and Pinakos by the Samuel H. Kress Foundation, New York, February 7, 1955-1961;Its gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1961.;NOTES;[1] According to “Old Masters from New Zealand,” The Argus (February 4, 1929), 9, Sarah Jane Lushington inherited the painting from her late husband, who in turn had inherited it from his father. She attempted to sell the painting anonymously at Christie, Manson and Woods, London, Pictures by Old Masters, July 13, 1923, lot 64, as The Ferry, though it failed to sell and was bought in by ‘Lash’ (presumably an abbreviated reference to Lushington). The picture remained in her possession until 1929.;[2] This is presumably Arthur de Casseres, a dealer with a shop at 27 St. James’s Street, London, who was buying at other London sales around this time. Information supplied by the National Gallery, London.;[3] The Getty Research Institute, Los Angeles, M. Knoedler and Co. Records, Series I, Box 10, stock book no. 10, n. A4947 and Series IV, Box 118. accnum_Qid: Q1976985_F61-72 url: https://art.nelson-atkins.org/objects/5605/landscape-with-a-ferry |
| Q214867 | 61 | NATIONAL GALLERY OF ART __________________________________ Dr. and Mrs. [Lore] Rudolf J. Heinemann, New York, bu 1968, by inheritance 1975 to Mrs. Heinemann [d. 1996], New York, bequest 1997 to NGA. accnum_Qid: Q214867_1997.57.9 url: https://www.nga.gov/collection/art-object-page.101676.html (Degas atelier sale number 1, 6-8 May 1918, Galerie Georges Petit, Paris, no. 5, as Achille et le Bucéphale). Dr. Hans Graber [1886-1956], Morcote, by 1951.[1] (Walter Hugelshofer, Zurich), (M. Knoedler and Co., New York) on joint account with (Pinakos, Inc., [Rudolf Heinemann], New York) from October 1956,[2] Lore Heinemann [Mrs. Rudolf J. Heinemann], New York, bequest 1997 to NGA.;[1] Lent to a 1951 exhibition in Bern from a private collection in Morcote, in Douglas Cooper, Pastels by Edgar Degas, New York, 1953, that collection is identified as Hans Graber. Graber was an art historian and collector who wrote on nineteenth century artists including Degas. The painting might have been exhibited at the Kunsthaus, Zurich, in 1929, according to Waldemar George, "L'Art en Suisse," Formes, 1929, p. 263.;[2] Knoedler stock book no. 10, p. 187, no. A6501, Getty Research Institute, Los Angeles (copy in NGA curatorial files). Knoedler's half was likely sold back to Pinakos, as the painting is next in the collection of Heinemann's widow Lore, who donated it to the National Gallery of Art. accnum_Qid: Q214867_1997.57.1 url: https://www.nga.gov/collection/art-object-page.101776.html Lore Heinemann, bequest to NGA, 1997. accnum_Qid: Q214867_1998.23.1 url: https://www.nga.gov/collection/art-object-page.102986.html (M. Knoedler and Co., New York) in 1967.[1] Lore and Rudolf Heinemann, New York, her estate, (sale, Christies, London, 4 July 1997, no. 93, bought in), gift 1998 to NGA.;[1]Lent by Knoedler to 1967 exhibition at the Newark Museum. accnum_Qid: Q214867_1998.23.2 url: https://www.nga.gov/collection/art-object-page.102987.html Marquiset collection. Groult collection, Paris. Private collection, (sale, Hotel Drouot, 20 March 1941, no. 12). Dr. Rudolf J. Heinemann, New York and Lugano, his wife, Mrs. Rudolf J. Heinemann, New York, gift to NGA, 2000. accnum_Qid: Q214867_2000.97.1 url: https://www.nga.gov/collection/art-object-page.116706.html (Thomas Agnew & Son, Ltd., London, 1961), Dr. Rudolf J. Heinemann, Ruvigliana, Lugano, 1966, his wife, Mrs. Rudolf J. Heinemann, New York and Lugano, gift to NGA, 2000. accnum_Qid: Q214867_2000.97.3.a url: https://www.nga.gov/collection/art-object-page.116709.html Bartolomeo Cavaceppi, Rome [died 1799], Vincenzo Pacetti, no. 284, Rome, 1801 [died 1820] (Lugt 2057), Paul Fatio, Geneva (his mark PF, not in Lugt), (sale, Nicolas Rauch, Geneva, 13-15 June 1960, no. 415), (Agnew's, London, 1960), Dr. Rudolf J. Heinemann, Ruvigliano, Lugano, 1966, his wife, Mrs. Rudolf J. Heinemann, Lugano and New York, gift to NGA, 2000. accnum_Qid: Q214867_2000.97.2.a url: https://www.nga.gov/collection/art-object-page.116712.html Mr. and Mrs. Rudolf J. Heinemann, gift to NGA, 2001. accnum_Qid: Q214867_2001.100.2.a url: https://www.nga.gov/collection/art-object-page.119190.html Estate of Lore Heinemann, gift to NGA, 2001. accnum_Qid: Q214867_2001.100.1 url: https://www.nga.gov/collection/art-object-page.119192.html (Etienne Le Roy, Brussels). William Tilden Blodgett [1823-1875], New York.[1] (L. Souty Fils, Paris).[2] (Julius H. Weitzner, Inc., New York).[3] G. Huntington Hartford, II [1911-2008], New York,[4] (sale, Parke-Bernet, New York, 12 December 1956, no. 34), (Newhouse Galleries, New York), sold to Jean McGrail, New York,[5] by inheritance to her daughter, (sale, Sotheby's, New York, 25 January 2001, no. 219), (Berenberg Fine Art Limited, Isle of Man), purchased 11 June 2001 through (Rob Smeets, Milan) by NGA.;[1] The names of Le Roy and Blodgett are given as former owners in the catalogue of a 1938 exhibition at the Wadsworth Atheneum that included the painting. Blodgett was a businessman and varnish manufacturer as well as a collector, who became one of the founders of The Metropolitan Museum of Art in New York. Le Roy (1808-1878) was a restorer, dealer, and expert advisor to the Musée Royal de Peinture et de Sculpture in Brussels, and one of two dealers who in 1870 sold to the New York museum what became its first painting acquisitions, a purchase approved by the museum trustees the following year. It is possible that Blodgett purchased the Walscapelle painting for himself when he was in Europe for several months in 1870 negotiating on the Metropolitan's behalf. On the two men's dealings at that time see: Katharine Baetjer, "Buying Pictures for New York: The Founding Purchase of 1871," Metropolitan Museum Journal 39 (2004): 161-245. The painting did not appear in Blodgett’s estate sale on 27 April 1876, held at Chickering Hall in New York.;[2] The 2001 Sotheby's sale catalogue lists this owner. The company was a successor business to Maison Souty, well-known framemakers during the 19th century in Paris.;[3] Weitzner, whose name is given in the 1956 sale catalogue, was possibly the dealer from whom Hartford acquired the painting.;[4] Hartford was the lender of the painting to the 1938 exhibition at the Wadsworth Atheneum. He was an heir to the A&P supermarket fortune, and owned an extensive art collection.;[5] The information about Newhouse's purchase and sale of the painting is provided by Meg Newhouse Kirkpatrick, of Newhouse Galleries, in her letter of 17 September 2001 to Arthur K. Wheelock, Jr., in NGA curatorial files. The 2001 Sotheby's sale catalogue indicates that Newhouse owned the painting with the dealer Frederick Mont, and the 1969 and 1980 references to the painting associate it with Mont, but the Newhouse records do not reveal any information about Mont's ownership. accnum_Qid: Q214867_2001.71.1 url: https://www.nga.gov/collection/art-object-page.119295.html Mrs. Rudolf J. Heinemann [d. 1996], her estate, gift 2005 to NGA. accnum_Qid: Q214867_2005.116.1 url: https://www.nga.gov/collection/art-object-page.121472.html Dr. Benno Griebert, Munich. Peter Griebert, Munich, 1976. Wolfgang Ratjen, Munich, purchased 2007 by NGA. accnum_Qid: Q214867_2007.111.98 url: https://www.nga.gov/collection/art-object-page.139220.html Leuchtenberg Collection, Munich and Leningrad, by 1843,[1] sold 1933 through (Heinemann Galerie, Munich) to (Count Alessandro Contini-Bonacossi, Florence and Rome),[2] sold 1933 to the Samuel H. Kress Foundation, New York,[3] gift 1939 to NGA.;[1] The painting was catalogued in 1843 and 1852 by J. D. Passavant as part of the Leuchtenberg collection.;[2] Heinemann Galerie no. 18964 (sold paintings card, copy in NGA curatorial files).;[3] Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian Schools, XV - XVI Century, London, 1968: 68. accnum_Qid: Q214867_1939.1.117 url: https://www.nga.gov/collection/art-object-page.258.html Duke of Leuchtenberg, Munich and Saint Petersburg, by 1852,[1] sold 1933 through (Heinemann Galerie, Munich) to (Count Alessandro Contini-Bonacossi, Florence),[2] sold December 1934 to the Samuel H. Kress Foundation, New York,[3] gift 1939 to NGA.;[1] See J.D. Passavant, The Leuchtenberg Gallery. Collection of Pictures...of...the Duke of Leuchtenberg at Munich, Frankfurt and London, 1852: no. 44, repro., A. Néoustroïeff, "I quadri italiani nella collezione del duca G.N. von Leuchtenberg di Pietroburgo," Arte (1903): 338 (fig. 10), 341.;[2] Heinemann Galerie no. 18999 (sold paintings card, copy in NGA curatorial files).;[3] The bill from Contini-Bonacossi to the Kress Foundation for five paintings, including Madonna and Child by Bernardino Luini "from the Coll. of Prince Leuchtenberg, Petrograd," is dated 27 December 1934 (copy in NGA curatorial files). accnum_Qid: Q214867_1939.1.152 url: https://www.nga.gov/collection/art-object-page.293.html Probably a member of the Haller family, Nuremberg.[1] Possibly Paul von Praun [d. 1616] and descendants, Nuremberg, until at least 1778.[2] Charles à Court Repington [d. 1925], Amington Hall, Warwickshire, sold to Mrs. Phyllis Loder, London.[3] (sale, Christie's, London, 29 April 1932, no. 51, as Bellini), (Vaz Dias.)[4] Baron Heinrich Thyssen-Bornemisza [1875-1947], Villa Favorita, Lugano-Castagnola, by 1934. (Pinakos, Inc. [Rudolf Heinemann], New York), on consignment 1950 to (M. Knoedler && Co., New York);purchased 23 October 1950 by the Samuel H. Kress Foundation, New York,[5] gift 1952 by exchange to NGA.;[1] From the coat-of-arms at the lower left, there would seem to be little doubt that the Gallery's panel was first owned and probably executed for a member of the Haller family of Nuremberg, see Otto Titan von Hefner and Gustav Adelbert Seyler, die Wappen des bayerischen Adels. J. Siebmacher's grosses Wappenbuch. 34 vols. (Neustadt an der Aisch, 1971) 22: 38, pl. 36, and additional information in NGA manuscript for systematic catalogue number 5 on German painting, entry on Madonna and Child by Dürer. The Hallers were one of Nuremberg's largest and most influential patrician families, but our inability to identify the coat-of-arms at the lower right renders it all but impossible to find a candidate. The direction of the Haller arms is reversed so that it may "respect" the arms of what is presumed to be the wife's family at the lower right, see Gustav A. Seyler, "die Orientirung der Wappen", Geschichte der Heraldik. J. Siebmacher's grosses Wappenbuch. vols. A-G (Neustadt an der Aisch, 1970) A: 454-487, and letter of 16 April 1988 from Walter Angst to John Hand in NGA curatorial file. Anzelewsky raised the possibility that the panel was painted for Wilhelm Haller (d. 1534) whose second marriage to Dorothea Landauer took place in 1497, see Fedja Anzelewsky, Albrecht Dürer Das malerische Werk. (Berlin, 1971), 142. On the other hand, Sally E. Mansfield suggested, in a report in the NGA curatorial file, Hieronymus II Haller (d. 1519) who married Catharina Wolf von Wolfstal in 1419.;[2] Christophe Gottlieb von Murr, Beschreibung der vornehmsten Merkwürdigkeiten in des H.R. Reichs freyen Stadt Nürnberg und auf der hohen Schule zu Altdorf (Nuremberg, 1778), 476. "Von einem unberkannten sehr alten Meister. N. 239 Lot eilet mit seinen Töchtern aus Sodom. Man siehet unter andern auch ein Marienbild angebracht. Auf Holz." Listed as belonging to the "Praunisches Museum." The suggestion, which remains unverified, that this refers to the Gallery's painting was first made by Erika Tietze, letter of 4 February 1953 to Fern Rusk Shapley, in curatorial files. In Murr's later catalogue of the collection, however, the painting is given to Joachim Patinir. See Christophe Theophile de Murr, Description du Cabinet de Monsieur Paul de Praun a Nuremberg (Nuremberg, 1797), 31, "Joachim Patenier, 239. Lot et ses deux Filles sortans de Sodome. Les figures sont comme decoupées, sans justes ombres. Sur bois. Albret Durer reçut ce petit Tableau en 1521 à Anvers par le Sécretaire de cette Ville... haut 8 p. larg. 8 p." The Dimensions in pouces, approximately 8x8 inches, do not correspond to those of the Gallery's panel, and a verso is not described, suggesting that a different painting had been assigned the same catalogue number. The Praun collection was dispersed in sales of 1797 and 1802, see Th. Hampe, "Kunstfreunde im alten Nürnberg und ihre Sammlungen," Festschrift des Vereins für Geschichte der Stadt Nürnberg zur Feier seines 25 jähr. Bestehens (Nuremberg, 1903), 82-87. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 14, listed Willibald Imhoff the Elder [d.1580] of Nuremberg as a possible owner. Although there are several images of the Madonna or of the burning of Sodom and Gomorrah listed in the Imhoff inverntories, they are not, however, conjoined or described in enough detail to permit identification with the Gallery's picture. By the same token, it is not possible to verify the interesting suggestion in Eisler 1977, 16, n. 46, that the Gallery's panel might be the "Marienbild von Albrecht Dürer" belonging to both the Imhoff and Praun collections. See Joseph Heller, Das Leben und die Werke Albrecht Dürer's (Bamberg, 1827) vol. 2, part 1, 78, no. 1 (Imhoff), 230-231, no. y (Praun). There is also some question as to whether the many works listed as by Dürer in the Imhoff collection were autograph or deliberate falsification, see Moriz Thausing, Dürer, Geschichte seines Lebens und seiner Kunst (Leipzig, 1876), 141-144 (Engl. trans. Albert Dürer, His Life and Works. Fred A. Eaton Ed., 2 vols., London 1882, 1: 184-188).;[3] This and the preceding are unverified, but are first cited in Max J. Friedländer, "Eine Unbekannte Dürer-Madonna." Pantheon 14 (1934): 322, who states that Loder purchased the painting from à Court Repington, repeated in Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz. I. Teil. Verzeichnis der Gemälde. (Lugano-Castagnola, 1937), 47, no. 127, and accepted by later authors. For Charles à Court Repington see the article by J.E. Edmonds, The Dictionary of National Biography (Oxford and London), Supplement 1922-1930, 717-718. That he dealt in pictures on occasion is stated in Mary Repington, Thanks for the Memory (London, 1938), 223, 278. No information has come to light concerning Phyllis Loder. There is no justification for the assertation in Denys Sutton, "Robert Langton Douglas. Part IV," Apollo CX, no. 209 (July, 1979): 205, that the picture was once owned by Robert Langton Douglas.;[4] Art prices Current, 11, part A, A154, no. 2445, see also the hand-written annotation in the copy of the sales catalogue in the Frick Art Reference Library, New York, as cited by Eisler 1977, 14. A note in the NGA provenance card file suggests that the panel passed from Vaz Dias to the dealer Bottenwieser in Berlin, but it has not been possible to verify this.;[5] M. Knoedler & Co. Commission book no. 4, no. CA 3689, Getty Research Institute, Los Angeles. accnum_Qid: Q214867_1952.2.16.a url: https://www.nga.gov/collection/art-object-page.41598.html Probably a member of the Haller family, Nuremberg.[1] Possibly Paul von Praun [d. 1616] and descendants, Nuremberg, until at least 1778.[2] Charles à Court Repington [d. 1925], Amington Hall, Warwickshire, sold to Mrs. Phyllis Loder, London.[3] (sale, Christie's, London, 29 April 1932, no. 51, as Bellini), (Vaz Dias.)[4] Baron Heinrich Thyssen-Bornemisza [1875-1947], Villa Favorita, Lugano-Castagnola, by 1934. (Pinakos, Inc. [Rudolf Heinemann] on consignment to M. Knoedler & Co., New York, 1950),[5] purchased 1950 by the Samuel H. Kress Foundation, New York, gift 1952 by exchange to NGA.;[1] From the coat-of-arms at the lower left, there would seem to be little doubt that the Gallery's panel was first owned and probably executed for a member of the Haller family of Nuremberg, see Otto Titan von Hefner and Gustav Adelbert Seyler, die Wappen des bayerischen Adels. J. Siebmacher's grosses Wappenbuch. 34 vols. (Neustadt an der Aisch, 1971) 22: 38, pl. 36, and additional information in NGA manuscript for systematic catalogue number 5 on German painting, entry on Madonna and Child by Dürer. The Hallers were one of Nuremberg's largest and most influential patrician families, but our inability to identify the coat-of-arms at the lower right renders it all but impossible to find a candidate. The direction of the Haller arms is reversed so that it may "respect" the arms of what is presumed to be the wife's family at the lower right, see Gustav A. Seyler, "die Orientirung der Wappen", Geschichte der Heraldik. J. Siebmacher's grosses Wappenbuch. vols. A-G (Neustadt an der Aisch, 1970) A: 454-487, and letter of 16 April 1988 from Walter Angst to John Hand in NGA curatorial file. Anzelewsky raised the possibility that the panel was painted for Wilhelm Haller (d. 1534) whose second marriage to Dorothea Landauer took place in 1497, see Fedja Anzelewsky, Albrecht Dürer Das malerische Werk. (Berlin, 1971), 142. On the other hand, Sally E. Mansfield suggested, in a report in the NGA curatorial file, Hieronymus II Haller (d. 1519) who married Catharina Wolf von Wolfstal in 1419.;[2] Christophe Gottlieb von Murr, Beschreibung der vornehmsten Merkwürdigkeiten in des H.R. Reichs freyen Stadt Nürnberg und auf der hohen Schule zu Altdorf (Nuremberg, 1778), 476. "Von einem unberkannten sehr alten Meister. N. 239 Lot eilet mit seinen Töchtern aus Sodom. Man siehet unter andern auch ein Marienbild angebracht. Auf Holz." Listed as belonging to the "Praunisches Museum." The suggestion, which remains unverified, that this refers to the Gallery's painting was first made by Erika Tietze, letter of 4 February 1953 to Fern Rusk Shapley, in curatorial files. In Murr's later catalogue of the collection, however, the painting is given to Joachim Patinir. See Christophe Theophile de Murr, Description du Cabinet de Monsieur Paul de Praun a Nuremberg (Nuremberg, 1797), 31, "Joachim Patenier, 239. Lot et ses deux Filles sortans de Sodome. Les figures sont comme decoupées, sans justes ombres. Sur bois. Albret Durer reçut ce petit Tableau en 1521 à Anvers par le Sécretaire de cette Ville... haut 8 p. larg. 8 p." The Dimensions in pouces, approximately 8x8 inches, do not correspond to those of the Gallery's panel, and a verso is not described, suggesting that a different painting had been assigned the same catalogue number. The Praun collection was dispersed in sales of 1797 and 1802, see Th. Hampe, "Kunstfreunde im alten Nürnberg und ihre Sammlungen," Festschrift des Vereins für Geschichte der Stadt Nürnberg zur Feier seines 25 jähr. Bestehens (Nuremberg, 1903), 82-87. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian (Oxford, 1977), 14, listed Willibald Imhoff the Elder [d.1580] of Nuremberg as a possible owner. Although there are several images of the Madonna or of the burning of Sodom and Gomorrah listed in the Imhoff inverntories, they are not, however, conjoined or described in enough detail to permit identification with the Gallery's picture. By the same token, it is not possible to verify the interesting suggestion in Eisler 1977, 16, n. 46, that the Gallery's panel might be the "Marienbild von Albrecht Dürer" belonging to both the Imhoff and Praun collections. See Joseph Heller, Das Leben und die Werke Albrecht Dürer's (Bamberg, 1827) vol. 2, part 1, 78, no. 1 (Imhoff), 230-231, no. y (Praun). There is also some question as to whether the many works listed as by Dürer in the Imhoff collection were autograph or deliberate falsification, see Moriz Thausing, Dürer, Geschichte seines Lebens und seiner Kunst (Leipzig, 1876), 141-144 (Engl. trans. Albert Dürer, His Life and Works. Fred A. Eaton Ed., 2 vols., London 1882, 1: 184-188).;[3] This and the preceding are unverified, but are first cited in Max J. Friedländer, "Eine Unbekannte Dürer-Madonna." Pantheon 14 (1934): 322, who states that Loder purchased the painting from à Court Repington, repeated in Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz. I. Teil. Verzeichnis der Gemälde. (Lugano-Castagnola, 1937), 47, no. 127, and accepted by later authors. For Charles à Court Repington see the article by J.E. Edmonds, The Dictionary of National Biography (Oxford and London), Supplement 1922-1930, 717-718. That he dealt in pictures on occasion is stated in Mary Repington, Thanks for the Memory (London, 1938), 223, 278. No information has come to light concerning Phyllis Loder. There is no justification for the assertation in Denys Sutton, "Robert Langton Douglas. Part IV," Apollo CX, no. 209 (July, 1979): 205, that the picture was once owned by Robert Langton Douglas.;[4] Art prices Current, 11, part A, A154, no. 2445, see also the hand-written annotation in the copy of the sales catalogue in the Frick Art Reference Library, New York, as cited by Eisler 1977, 14. A note in the NGA provenance card file suggests that the panel passed from Vaz Dias to the dealer Bottenwieser in Berlin, but it has not been possible to verify this.;[5] M. Knoedler & Co. stockbook. accnum_Qid: Q214867_1952.2.16.b url: https://www.nga.gov/collection/art-object-page.41599.html Paul von Praun [d. 1616] and descendents, Nuremberg, by 1719 until at least 1801.[1] Count Johann Rudolph Czernin von Chudenitz [1757-1845], Vienna, by 1821,[2] by inheritance through the family of the Counts Czernin, Vienna, Count Eugen Czernin von Chudenitz [1892-1955], Vienna, until 1950, (Frederick Mont, New York, and Newhouse Galleries, New York),[3] purchased 1950 by the Samuel H. Kress Foundation, New York, gift 1952 to NGA.;[1] Stadtarchiv, Nuremberg, Familienarchiv von Praun, E28, No. 1477, unpublished manuscript, Inventar des Paulus von Praunschen Kunstkabinetts im Stiftungshaus am alten Weinmarkt... (1719) 9: "N.119 Von Albr. Dürer Johann Dors gewesen Pfarrers beij St./Johañis contrefait auf Pergament von öel/farb gemahlt, mit ein Schüber, Das Gemäl/ist 18 [sic] S.[chuh] 4 Z[oll] hoch und i.8 S.[chuh] 1. Z[oll] breit." (Letter of 9 April 1977 to John Hand from Dr. Max Nüchterlein, Nuremberg, as well as a photocopy of the inventory entry and a transcription are in NGA curatorial files.) A Schuh is a unit of measurement equal to approximately one foot, while a Zoll equals approximately one inch. See John Henry Alexander, Universal Dictionary of Weights and Measures, Ancient and Modern, Reduced to the Standards of the United States of America (Baltimore, 1850) 103-104, 124-125. In the cemetery of the Saint Johannis church in Nuremberg, John Hand found a label accompanying an iron "Grabsteinmass," used for measuring graves, which indicated that a "Nurnberger Werkschuh" equaled 27.84 cm. The dimensions given in Christopher Theophile de Murr, Description du cabinet de Monsieur Paul de Praun à Nuremberg. (Nuremberg, 1797) 14, are: "Haut. 1 Pied, 4 Pouces, Larg. 1 Pied, 1 Pouce." Joseph Heller, Das Leben und die Werke Albrecht Dürer's, 3 vols., Bamberg, 1827: 2:231, gives the German equivelent as: "1 Sch[uh] 4 Z[oll] hoch, 1 Sch[uh] 1 Z[oll] breit.;[2] Heller 1827, 260, cites the painting as being in the Czernin collection in 1821, but seems unaware that this is the same painting that he noted earlier in the Praun collection. His description, however, is clearly that of the Gallery's picture, "Brustbild eines Mannes, welcher nach Rechts gewendet ist, mit dem Zeichen und der Jahrszahl AD 1516. Grüner hintergrund auf Leinwand, ohnegefähr 15Z. hoch, 10Z. breit." The mention of Leinwand suggests but does not confirm that the backing with fabric took place before 1827.;[3] Letter of Frederick Mont to the Samuel H. Kress Foundation, 6 February 1950, in NGA curatorial files. Nancy Marshall of Newhouse Galleries, in a letter to John Hand of 3 May 1988, in NGA curatorial files, noted that from the extant records it was unclear whether the painting was owned jointly or given on consignment. Marshall did confirm that the number 57737 on a paper sticker on the reverse was a Newhouse Galleries number, as indicated by Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 16. The bill of sale to the Kress Foundation for the painting, dated 3 May 1950, is on Newhouse Galleries letterhead (copy in NGA curatorial files). accnum_Qid: Q214867_1952.2.17 url: https://www.nga.gov/collection/art-object-page.41600.html Private collection, Brussels. (Robert Frank, London, by 1935),[1] on consigment from 1937 with (M. Knoedler && Co., New York;joint purchase 1945 with (Pinakos [Rudolf Heinemann), purchased 1950 by the Samuel H. Kress Foundation, New York, gift 1952 by exchange to NGA.;[1] The corresponding entry in Exposition Universelle et Internationale de Bruxelles. Cinq Siècles d'Art (Brussels, 1935, no. 151, as Pieter Brueghel the Elder) states that before being acquired by Frank, the painting was in Brussels in the collection of an unnamed aristocrat. On the reverse are: an illegible stamp, possibly an Austrian customs stamp, a paper sticker, "Cinq Siècles d'Art (Bruxelles 1935)", and a paper sticker, "Exposition De Van Eyck.;[2] Knoedler commission book no. 3, p. 87, stock book no. 9, p. 96, and sales book no. 16, p. 251, no. A3127, M. Knoedler & Co. Records, Getty Research Institute copies NGA curatorial files).;[3] Both The Baltimore Museum of Art, An Exhibition of Paintings by Living Masters of the Past, 1943, no. 9, and Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977, p. 95, list Countess Montblanc, Belgium, as owner of the painting, but this is otherwise unverified. accnum_Qid: Q214867_1952.2.19 url: https://www.nga.gov/collection/art-object-page.41602.html Stefano Bardini [1836-1922], Florence, by 1899, (Bardini sale, Christie, Manson & Woods, London, 5 June 1899, no. 494, bought in), (Bardini sale, American Art Association, New York, 25 April 1918, no. 468),[1] purchased by H.L. Kaufman, (Pinakos, Inc. [Rudolf Heinemann], New York), on joint account 1942 with (Frederick Mont), (Victor D. Spark, New York) and (M. Knoedler & Co, London, New York and Paris, France),[2] sold 6 August 1943 to the Samuel H. Kress Foundation, New York, gift 1952 to NGA.;[1] M. Knoedler & Co. précis in NGA curatorial records.;[2] Victor D. Spark papers, Archives of American Art, Box 3 (copy, NGA curatorial files). See also Knoedler stockbook no. 8, p. 218, M. Knoedler & Co. records, Getty Research Institute, Los Angeles (copy NGA curatorail files). accnum_Qid: Q214867_1952.5.4 url: https://www.nga.gov/collection/art-object-page.41614.html Professor Wieser, Innsbruck, by 1891.[1] Lacher von Eisack, Bad Tölz, Oberbayern.[2] (Paul Cassirer, Berlin).[3] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later Villa Favorita, Lugano-Castagnola, Switzerland, by 1930,[4] by inheritance to his son, Baron Hans Heinrich Thyssen-Bornemisza [1921-2002], Villa Favorita, acquired 1950 by (M. Knoedler && Co., New York);[5] purchased February 1951 by the Samuel H. Kress Foundation, New York, gift 1952 to NGA.;[1] As per Max Friedländer, Albrecht Altdorfer, der Maler von Regensburg, Leipzig, 1891: 56, no. 27.;[2] Cited by Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937: 2.;[3] Information from annotated copy of Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930, in the possession of Mrs. Walter Feilchenfeldt, Sr., Zurich, per letter of 28 January 1989 to John Hand in the object file (1952.5.31.a-c), NGA curatorial filess. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 35, erroneously listed Walter Feilchenfeldt as owning the picture.;[4] Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930: no. 4.;[5] Knoedler commission book no. 4, p. 143, no. CA 3724 and sales book no. 16, p. 334, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). accnum_Qid: Q214867_1952.5.31.a url: https://www.nga.gov/collection/art-object-page.41641.html Professor Wieser, Innsbruck, by 1891.[1] Lacher von Eisack, Bad Tölz, Oberbayern.[2] (Paul Cassirer, Berlin).[3] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later, Villa Favorita, Lugano-Castagnola, Switzerland, by 1930,[4] by inheritance to his son, Baron Hans Heinrich Thyssen-Bornemisza [1921-2002], Villa Favorita, acquired 1950 by (M. Knoedler && Co., New York);[5] purchased February 1951 by the Samuel H. Kress Foundation, New York, gift 1952 to NGA.;[1] As per Max Friedländer, Albrecht Altdorfer, der Maler von Regensburg, Leipzig, 1891: 56, no. 27.;[2] Cited by Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937: 2.;[3] Information from annotated copy of Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930, in the possession of Mrs. Walter Feilchenfeldt, Sr., Zurich, per letter of 28 January 1989 to John Hand in the object file (1952.5.31.a-c), NGA curatorial files. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 35, erroneously listed Walter Feilchenfeldt as owning the picture.;[4] Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930: no. 4.;[5] Knoedler commission book no. 4, p. 143, no. CA 3724 and sales book no. 16, p. 334, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). accnum_Qid: Q214867_1952.5.31.b url: https://www.nga.gov/collection/art-object-page.41642.html Professor Wieser, Innsbruck, by 1891.[1] Lacher von Eisack, Bad Tölz, Oberbayern.[2] (Paul Cassirer, Berlin).[3] Baron Heinrich Thyssen-Bornemisza [1875-1947], Schloss Rohoncz, Hungary, and later, Villa Favorita, Lugano-Castagnola, Switzerland, by 1930,[4] by inheritance to his son, Baron Hans Heinrich Thyssen-Bornemisza [1921-2002], Villa Favorita, acquired 1950 by (M. Knoedler && Co., New York);[5] purchased February 1951 by the Samuel H. Kress Foundation, New York, gift 1952 to NGA.;[1] As per Max Friedländer, Albrecht Altdorfer, der Maler von Regensburg, Leipzig, 1891: 56, no. 27.;[2] Cited by Rudolf Heinemann, Stiftung Sammlung Schloss Rohoncz, Lugano-Castagnola, 1937: 2.;[3] Information from annotated copy of Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930, in the possession of Mrs. Walter Feilchenfeldt, Sr., Zurich, per letter of 28 January 1989 to John Hand in the object file (1952.5.31.a-c), NGA curatorial files. Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 35, erroneously listed Walter Feilchenfeldt as owning the picture.;[4] Sammlung Schloss Rohoncz, Exh. cat. Neue Pinakothek, Munich, 1930: no. 4.;[5] Knoedler commission book no. 4, p. 143, no. CA 3724 and sales book no. 16, p. 334, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). accnum_Qid: Q214867_1952.5.31.c url: https://www.nga.gov/collection/art-object-page.41643.html Acquired from the artist by Prince Joseph Wenzel of Liechtenstein [1696-1772], Austrian ambassador to France, 1737-1741, by descent through the Princes of Liechtenstein, Vienna and later Vaduz, until at least 1948, (Frederick Mont, Inc., New York), purchased 1 November 1950 by the Samuel H. Kress Collection, New York,[1] gift 1952 to NGA.;[1] The invoice from Frederick Mont to the Kress Foundation is dated 1 November 1950 (copy in NGA curatorial files). accnum_Qid: Q214867_1952.5.37 url: https://www.nga.gov/collection/art-object-page.41649.html Acquired from the artist by Prince Joseph Wenzel of Liechtenstein [1696-1772, Austrian ambassador to France, 1737-1741], by descent through the Princes of Liechtenstein, Vienna and later Vaduz, until at least 1948, (Frederick Mont, Inc., New York), purchased 8 March 1951 by the Samuel H. Kress Foundation, New York,[1] gift 1952 to NGA.;[1] Invoice from Frederick Mont to the Kress Foundation, copy in NGA curatorial files). accnum_Qid: Q214867_1952.5.38 url: https://www.nga.gov/collection/art-object-page.41650.html Purchased 24 March 1837 by Generale Conte Teodoro Lechi [1778-1866], Brescia, from a certain Mr. Bonaldi, sold 31 May 1847 to Graf Samuel von Festetits [1806-1859], Vienna,[1] sold 1859 to Heinrich Adamberger, Vienna,[2] (his sale, Posonyi, Vienna, 24-28 April 1871, no. 1), Friedrich Jakob Gsell, Vienna, (his sale, G. Plach, Vienna, 14 March 1872, no. 152), Baron Nathaniel Mayer von Rothschild [1836-1905], Vienna, by inheritance to his nephew, Baron Alphons de Rothschild [1878-1942],[3] his widow, Baroness Clarice de Rothschild [1894-1967], (Frederick Mont, New York), sold 2 March 1948 to the Samuel H. Kress Foundation, New York, [4] gift 1952 to NGA.;[1] Fausto Lechi, I quadri delle collezioni Lechi in Brescia: Storia e documenti, Florence, 1968: 174, notes that an early Lechi collection inventory attributed the work to Raphael, an ascription later "corrected" in the archive files.;In his diary of October 1857 Otto Mündler describes a portrait of Altobello Averoldo in the collection of the Abate Antonio Averoldi in Brescia: "A fine portrait of Altobello Alveroldo, splendidly coloured, which I take to be an undoubted Lorenzo Costa, in his francia-lilke stile.[ sic ] The face rather wooden, particularly the nose badly drawn, it would be otherwise a first-rate portrait. Golden tone." In the index for the transcribed diary the Gallery's painting is said to be the one described by Mündler, but the 1847 sale of the painting by Lechi to Von Festetits would seem to preclude this. See The Travel Diaries of Otto Mündler 1855-1858, ed. Carol Togneri Dowd, in Walpole Society 51 [1985]: 174, 272.;[2] The von Festetits sale to Adamberger is referred to in Theodor von Frimmel, Lexikon der Wiener Gemäldesammlungen, 2 vols., Vienna, 1913-1914: 1:3. Frimmel notes the provenance through the acquisition by Baron de Rothschild. In his entry on the Festetits collection, Frimmel notes that Gsell bought almost a quarter of the pictures offered in the Festetis estate sale held in Vienna in March and April 1859, but the NGA painting is not included in the transcription of the sales catalogue provided by Frimmel.;[3] Frimmel 1913-1914, 1:3. Fern Rusk Shapley (in Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:192) gives the name of the Rothschild owner as Baron Nathaniel Mayer de Rothschild of Tring, Hertfordshire. This was corrected by Ellis Waterhouse in a review of Shapley's book: "The Baron Nathaniel de Rothschild...who owned the Francia portrait was not the one of Tring, but the one of Vienna" ("The National Gallery of Art, Washington and Dulwich Catalogues," The Burlington Magazine XCCII [September 1980]: 638).;This painting was among the Rothschild collections confiscated by the Nazis in Austria in 1938. It was discovered at the abbey in Kremsmünster and transferred to the salt mine at Alt Aussee. By August 1947 it was transferred to the control of the Bundesdenkmalamt, Vienna. (Alt Aussee receipt for objects of Austrian origin, dated 14 July 1947, item number 1169, National Archives RG 260/USACA/Records of the MFAA Branch/Monuments and Fine Arts Lists, Receipts and Reports of Objects for Restitution to Legal Ownership/Box 1/408-17 Monuments and Fine Arts - Inventory Lists of Art Depots, copy in NGA curatorial files.) It was restituted to the Rothschild family on 16 October 1947 (Index card for AR 873, restitution decision in Zl. 5739/47 dated 23 September 1947, export license in Zl 5905/47 dated 3 October 1947, all Bundesdenkmalamt, Vienna, copies in NGA curatorial files).;[4] The bill of sale from Frederick Mont to the Kress Foundation is dated 2 March 1948, and marked paid three days later (copy in NGA curatorial files). accnum_Qid: Q214867_1952.5.64 url: https://www.nga.gov/collection/art-object-page.41679.html Bartolommeo della Nave, Venice, sold 1638 through Basil Feilding, 2nd earl of Denbigh [d. 1675], to James Hamilton, 1st duke of Hamilton [d. 1649], Hamilton Palace, Strathclyde, Scotland.[1] Leopold Wilhelm, Archduke of Austria, Bishop of Passau and Governor of the Spanish Netherlands [1614-1662], Brussels and Vienna, by 1659,[2] by inheritance to Holy Roman Emperor Leopold I [1640-1705], by descent to Holy Roman Emperors, by trade to the Princes of Liechtenstein, by 1805, Vienna, and later Vaduz,[3] sold 8 March 1951 through (Frederick Mont, Inc., New York) to the Samuel H. Kress Foundation, New York,[4] gift 1952 to NGA.;[1] James Hamilton was beheaded in 1649, his collection was in the custody of the Earl of Denbigh before 1648, and the Earl was presumably responsible for its disposal.;[2] According to an inventory of the Archduke's collection, dated 14 July 1659, published by Adolf Berger, "Inventar der Kunstsammlung des Erzherzogs Leopold Wilhelm von Österreich," Jahrbuch der Kunsthistorischen Sammlungen des Allerhochsten Kaiserhauses 1 (1883): XCIII, no. 117.;[3] Erich V. Strohmer, Die Gemäldegalerie des Fürsten Liechtenstein in Wein, Vienna, 1943: 90, no. 70.;[4] According to Kress records in NGA curatorial files. accnum_Qid: Q214867_1952.5.74 url: https://www.nga.gov/collection/art-object-page.41689.html Possibly the Convent of the Poor Clares, Eger (Cheb), Bohemia (now Czechoslovakia), or Eger (Erlau), Hungary.[1] (Karl Schäfer, Munich), (Walter Schnackenberg, Munich), 1921/1922-1951,[2] in 1943 a one-third share was acquired from Schnackenberg by Carl Langbehn, Munich, and passed by inheritance to his mother, Marta Langbehn.[3] owned jointly by (Seiler & Co., Walter Schnackenberg, and Alfred Müller, Munich),[4] sold 1951 to (M. Knoedler & Co., New York, with Pinakos, Inc. [Rudolf Heinemann]),[5] purchased 1951 by the Samuel H. Kress Foundation, New York, gift 1952 by exchange to NGA.;[1] Alfred Stange, Deutsche Malerei der Gotik, 11 vols., Berlin and Munich, 1934-1961: 11:4. In a letter of 13 February 1965 to Fern Rusk Shapley, in NGA curatorial files, Stange gave Prince Joseph Clemens of Bavaria as the source, but noted that while there was a convent of the Poor Clares in Bohemian Eger in the fourteenth and fifteenth centuries, Clemens did not specify Czechoslovakia or Hungary and so both were possible. There is no verification for the statement in Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 234, that the panel may have belonged to the Kings of Saxony.;[2] English translation of Walter Schnackenberg letter of 12 April 1951 in files of M. Knoedler & Co., New York, giving date of acquisition from Karl Schäfer. Stange's letter of 13 February 1965 also mentions Schäfer as handling the painting.;[3] Schnackenberg letter of 12 April 1951. Carl and Marta Langbehn are listed as owners in a Knoedler brochure, in NGA curatorial files.;[4] M. Knoedler & Co. account book.;[5] M. Knoedler & Co. account book. accnum_Qid: Q214867_1952.5.83 url: https://www.nga.gov/collection/art-object-page.41698.html Possibly a museum in Breslau (now Wroclaw).[1] (Charles de Burlet, Berlin, 1916), Dr. Otto Fröhlich, Vienna, 1916,[2] sold to Stefan Auspitz [1869-1945], Vienna, until 1931.[3] (Rosenberg & Stiebel, Inc., New York, owned jointly with Pinakos, Inc. [Rudolf Heinemann], by 1951),[4] purchased 1951 by the Samuel H. Kress Foundation, New York, gift 1952 by exchange to NGA.;[1] Unverified. There are no records of the paintings having been in the Muzeum Narodowe, letter of 11 April 1989 from Mariusz Hermansdorfer to John Hand, in NGA curatorial files, or the Muzeum Archidiecezjalne, letter of 25 June 1989 from Józef Pater to John Hand, in NGA curatorial files.;[2] Memorandum of a communication from Lilly Fröhlich, London, 1956, in NGA curatorial files, which states that Otto Fröhlich acquired the paintings in 1916 from an unspecified museum in Breslau through de Burlet and sold them to Stefan von Auspitz.;[3]Stefan Auspitz was a Viennese banker who was forced by the Austrian financial crisis of 1931 to forfeit most of his collection to creditors of the Austrian government, by whom it was sold to the Dutch collector van Beuningen, who consigned the works for sale over a period of time through the Bachstitz gallery. This painting and its companion, 1952.5.85, do not appear to have been part of those transactions. Instead they were held as security at the firm of Fa. Bäume in Vienna.;[4] Letter of 13 April 1989 from Gerald G. Stiebel to John Hand, in NGA curatorial files. The invoice is dated 23 October 1951. accnum_Qid: Q214867_1952.5.84 url: https://www.nga.gov/collection/art-object-page.41699.html Possibly a museum in Breslau (now Wroclaw).[1] (Charles de Burlet, Berlin, 1916.), Dr. Otto Fröhlich, Vienna, 1916,[2] sold to Stefan Auspitz [1869-1945], Vienna, until 1931.[3] (Rosenberg & Stiebel, Inc., New York, owned jointly with Pinakos, Inc. [Rudolf Heinemann], by 1951),[4] purchased 1951 by the Samuel H. Kress Foundation, New York, gift 1952 by exchange to NGA.;[1] Unverified. There are no records of the paintings having been in the Muzeum Narodowe, letter of 11 April 1989 from Mariusz Hermansdorfer to John Hand, in NGA curatorial files, or the Muzeum Archidiecezjalne, letter of 25 June 1989 from Józef Pater to John Hand, in NGA curatorial files.;[2] Memorandum of a communication from Lilly Fröhlich, London, 1956, in NGA curatorial files, which states that Otto Fröhlich acquired the paintings in 1916 from an unspecified museum in Breslau through de Burlet and sold them to Stefan von Auspitz.;[3]Stefan Auspitz was a Viennese banker who was forced by the Austrian financial crisis of 1931 to forfeit most of his collection to creditors of the Austrian government, by whom it was sold to the Dutch collector van Beuningen, who consigned the works for sale over a period of time through the Bachstitz gallery. This painting and its companion, 1952.5.84, do not appear to have been part of those transactions. Instead they were held as security at the firm of Fa. Bäume in Vienna.;[4] Letter of 13 April 1989 from Gerald G. Stiebel to John Hand, in NGA curatorial files. The invoice is dated 23 October 1951. accnum_Qid: Q214867_1952.5.85 url: https://www.nga.gov/collection/art-object-page.41700.html Antonio Dal Zotto [1841–1918], Venice.[1] Dr. J. Carl [or Carlo?] Broglio, Paris,[2] purchased jointly 27 July 1950 by (Thos. Agnew and Sons, Ltd., London) and (Rudolf Heinemann, New York), Agnew share sold to (Rudolf Heinemann, New York), (M. Knoedler and Co., New York),[3] purchased February 1952 as by Paolo Veneziano by the Samuel H. Kress Foundation, New York,[4] gift 1952 to NGA.;[1] On the life and career of the sculptor Dal Zotto see Livia Alberton Vinco da Sesso, "Antonio dal Zotto," in Dizionario Biografico degli Italiani, 77 vols., Rome, 1960-: 32(1986): 285–287. In 1889 Dal Zotto married Ida Lessjak, widow of the photographer Carlo Naya, and after her death in 1893 Dal Zotto became owner of Naya’s successful firm specializing in views of Venice and reproductions of works of art. According to Alberton Vinco da Sesso, Naya had also amassed a collection of ancient statuary, and it cannot be excluded that the Gallery’s painting actually came from the photographer’s collection. Nonetheless, the catalogue of the sculptor’s estate sale, Collezione del fu Comm. Antonio del Zotto e già Giuseppe Piccoli (Geri-Salvadori, Venice, 1-16 September 1919), does not cite the painting, which perhaps had already been sold.;[2] Michelangelo Muraro, Paolo da Venezia, Milano, 1969: 157, transmits the reported provenance of the painting from the Broglio collection, annotated on a photograph in the photographic archive of the Biblioteca Berenson at the Villa I Tatti, Florence. The Agnew stockbooks record the painting as no. J0332 and identify the Broglio family member from whom it was purchased.;[3] The Agnew records (kindly confirmed by Venetia Constantine of Agnew’s, e-mail, 28 June 2010, in NGA curatorial files) give details about the joint purchase and indicate that Agnew’s share in the painting was sold to Heinemann on 16 June 1952, several months after the February date of the Knoedler bill of sale to the Kress Foundation (see note 4). Constantine speculates that Agnew might have recorded the date when payment for their share was actually received from Heinemann, rather than the date when they made the decision to sell their share. Heinemann often worked in tandem with Knoedler’s, for whom he was at one time managing partner, and may have done so in this instance.;[4] The bill of sale from Knoedler’s to the Kress Foundation for twelve paintings, including this one, is dated 6 February 1952, payment was made in three installments, the final one on 5 September 1952. See also M. Knoedler and Co. Records, accession number 2012.M.54, Getty Research Institute, Los Angeles: Series II, Box 76 (Sales Book No. 16, Paintings, 1945-1953). Copies of the Knoedler bill and sale record are in NGA curatorial files. accnum_Qid: Q214867_1952.5.87 url: https://www.nga.gov/collection/art-object-page.41702.html Frank Hall Standish [1799-1840], Seville,[1] bequeathed to King Louis Philippe of France [1773-1850], by descent to his heirs, (sale, Catalogue des tableaux formant la célèbre collection Standish léguée à S.M. feu le roi Louis Philippe par Mr. Frank Hall Standish, Christie, Manson & Woods, London, 27-28 May 1853, no. 112, as "Légende de Saint Dominique"), to Alphonse Oudry (sale, Hôtel Drouot, Paris, 16-17 April 1869, no. 157, as "Evêque instruisant deux religieuses"),[2] (Oudry sale, Hôtel Drouot, Paris, 10 April 1876, no. 60, as "Evêque instruisant deux saintes religieuses"). Maximo Scioletti [d. 1951], Paris, purchased 1951 by (M. Knoedler & Co., New York owned jointly with (Pinakos [Rudolf Heinemann), sold February 1952 to the Samuel H. Kress Foundation, New York,[3] gift to NGA 1952.;[1] Standish bequeathed his important collection of Spanish pictures and drawings to Louis-Philippe, who added them to the Galerie Espagnole of the Louvre, where they were displayed until 1848.;[2] Because the painting was offered again by the same vendor in 1876, it might have been bought in at the 1869 sale.;[3] Knoedler stock book no. 10, p. 64, no. A4706 and sales book no. 16, p. 383, M. Knoedler and Co. Records, Getty Research Institute (copies NGA curatorial files). 6 February 1952 invoice from Knoedler's to the Kress Foundation, NGA curatorial files. accnum_Qid: Q214867_1952.5.88 url: https://www.nga.gov/collection/art-object-page.41703.html Pierre-Louis-Paul Randon de Boisset [1709-1776], Paris, (his estate sale, Paris, 27 February 1777, no. 31).[1] Destouches, Paris, (his sale, A.J. LeBrun and Ph. Fr. Jueliot, Paris, 21 March 1794, no. 5), John Trumbull [1756-1843], Paris and New York, (his sale, Christie's, London, 17 February 1797, no. 25). Fritz August von Kaulbach [1850-1920], Munich,[2] (his estate sale, Hugo Helbing, Munich, 29-30 October 1929, no. 194).[3] (Frederick Mont, Inc., New York), sold 8 February 1955 to the Samuel H. Kress Foundation, New York, gift 1957 to NGA.;[1] Julius S. Held, The Oil Sketches of Peter Paul Rubens. A Critical Catalogue, 2 vols., Princeton, 1980: 1:25, questions whether NGA 1957.14.2 was in this sale because the catalogue describes the work as being on panel whereas an old inscription on the verso of the painting once indicated that it had been transferred from panel to canvas in 1773 (see note 3). Held's reservations, however, seem unwarranted since the description of the scene (even though the subject is wrongly interpreted as "Germanicus à qui on harangue ou donne des orders à cinq officiers...") and the dimensions conform to the Gallery's painting.;[2] Oldenbourg, Rudolf, ed. P.P. Rubens. Des Meisters Gemälde. Berlin and Leipzig, 1921: 460.;[3] An inscription on the verso of the painting was recorded in the 1929 sales catalogue as reading: "relevé de sure bois et remis sure toile par hacquin en 1773." Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian, Oxford, 1977: 105, lists the Newhouse Galleries, New York, at this point in the provenance, Mont was associated with Newhouse. The copy of the Helbing sale catalogue in the Knoedler Library German Sales microfiche is not annotated with a buyer's name. accnum_Qid: Q214867_1957.14.2 url: https://www.nga.gov/collection/art-object-page.43721.html Part of the high altar in the abbey church of the Cistercian Cloister at Marienfeld, near Münster, completed in 1456/1457, installed 6 February 1457, until 1803.[1] Charles Léon Cardon, Brussels, by 1912.[2] Rudolph Chillingworth, Lucerne, Brussels, and Nuremberg, (sale, Galeries Fischer and Frederik Muller & Cie., Lucerne, 5 September 1922, no. 47), acquired by Jacob Walter Zwicky [d. 1956], Freiburg and Arlesheim-Basel,[3] acquired 1955 by (M. Knoedler && Co., New York);jointly owned with (Pinakos, Inc. [Rudolph Heinemann], New York),[4] purchased 1957 by the Samuel H. Kress Foundation, New York, gift 1959 by exchange to NGA.;[1] Alb. Wormstall, "Zur Geschichte der Liesborner und Marienfelder Altargemälde," Zeitschrift für vaterländische Geschichte und Alterthumskunde 55 (1897), 90-92, Rincklake's "Gutachten" is cited, 99-102. See also Johannes Sommer, Johann Koerbecke. Der Meister des Marienfelder Altares von 1457 (Münster 1937), 11-12, 17-18. Jochen Luckhardt, Der Hochaltar der Zisterzienserklosterkirche Marienfled. (Bildhefte des Westfälischen Landesmuseums für Kunst und Kulturgeschichte, Nr. 25) (Münster 1987), 24, 34, notes the tradition of reliquary altars in the Cistercian order and reproduces two examples from the fourteenth century.;[2] Exhibited with the Cardon collection in Brussels, 1912: Exposition de la Miniature [exh. cat., Palais Goffinet] (Brussels, 1912), no. 2051, as "Anonyme (Ecole de Souabe, XV siècle)".;[3] Per letter from Zicky's son, dated 20 May 1989 (NGA curatorial files). The painting was exhibited at Julius Böhler, Munich, in 1934. Böhler no. 37-34, per index to card file, Böhler Gallery Records, Getty Research Institute. No card appears to exist. Böhler likely had the picture on consignment and returned it to Zwicky.;[4] Knoedler stock book no. 10, p. 146, no. A5951, sales book no. 17, p. 314, M. Knoedler & Co. Records, Getty Research Institute (copies, NGA curatorial files). accnum_Qid: Q214867_1959.9.5 url: https://www.nga.gov/collection/art-object-page.45890.html Altarpiece of the "capilla mayor (main chapel)", church of San Lázaro, Palencia, commissioned c. 1508, until c. 1945.[1] Arcadio Torres Martín, Palencia, 1950-1951.[2] Acquired c. 1952 by (Frederick Mont, New York),[3] purchased 11 February1953 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] The commission was made by Don Sancho de Castilla. See Jan V.L. Brans, "Juan de Flandes, pintor de la Reina y de Castilla," Clavileño 4, no. 21 (1953): 32 for the state of San Lázaro and the cessation of services there shortly after September 1945.;[2] In 1950 and 1951, Egbert Haverkamp-Begemann saw six panels from the San Lázaro altarpiece-- The Annunciation and The Nativity and the four panels now in the Prado--in the house of Sr. Torres Martín in Palencia, this information was given in conversations with Martha Wolff of 3 February 1984 and 24 July 1984.;[3] In 1952 all four panels now in the Gallery (1961.9.22-.25) were with Frederick Mont in New York, see letter of 28 October 1952 from Chandler R. Post to Mont in NGA curatorial files. Mont refers to having bought the pictures in Spain in a letter dated 16 April 1953 to Wilhelm Valentiner (Valentiner Papers, Archives of American Art, Smithsonian Institution, Washington: microfilm reel no. 2143, copies in NGA curatorial files). accnum_Qid: Q214867_1961.9.22 url: https://www.nga.gov/collection/art-object-page.46121.html Altarpiece of the "capilla mayor (main chapel)", church of San Lázaro, Palencia, commissioned c. 1508, until c. 1945.[1] Arcadio Torres Martín, Palencia, 1950-1951.[2] Acquired c. 1952 by (Frederick Mont, New York),[3] purchased 11 February1953 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] The commission was made by Don Sancho de Castilla. See Jan V.L. Brans, "Juan de Flandes, pintor de la Reina y de Castilla," Clavileño 4, no. 21 (1953): 32 for the state of San Lázaro and the cessation of services there shortly after September 1945.;[2] In 1950 and 1951, Egbert Haverkamp-Begemann saw six panels from the San Lázaro altarpiece-- The Annunciation and The Nativity and the four panels now in the Prado--in the house of Sr. Torres Martín in Palencia, this information was given in conversations with Martha Wolff of 3 February 1984 and 24 July 1984.;[3] In 1952 all four panels now in the Gallery (1961.9.22-.25) were with Frederick Mont in New York, see letter of 28 October 1952 from Chandler R. Post to Mont in NGA curatorial files. Mont refers to having bought the pictures in Spain in a letter dated 16 April 1953 to Wilhelm Valentiner (Valentiner Papers, Archives of American Art, Smithsonian Institution, Washington: microfilm reel no. 2143, copies in NGA curatorial files). accnum_Qid: Q214867_1961.9.23 url: https://www.nga.gov/collection/art-object-page.46122.html Altarpiece of the "capilla mayor (main chapel)," church of San Lázaro, Palencia, commissioned c. 1508, until at least 1761.[1] Acquired c. 1952 by (Frederick Mont, New York),[2] purchased 11 February 1953 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] Don Sancho de Castilla made the commission. A 1761 document confirming its presence in the church was discovered by Ignace Vandevivere, Primitifs flamands. Corpus. La cathédrale de Palencia et l'église paroissiale de Cervera de Pisuerga, Brussels, 1967: 45.;[2] In 1952 all four panels now in the Gallery (1961.9.22-.25) were with Frederick Mont in New York, see letter of 28 October 1952 from Chandler R. Post to Mont in NGA curatorial files. Mont refers to having bought the pictures in Spain in a letter dated 16 April 1953 to Wilhelm Valentiner (Valentiner Papers, Archives of American Art, Smithsonian Institution, Washington: microfilm reel no. 2143, copies in NGA curatorial files). accnum_Qid: Q214867_1961.9.24 url: https://www.nga.gov/collection/art-object-page.46123.html Altarpiece of the "capilla mayor (main chapel)," church of San Lázaro, Palencia, commissioned c. 1508, until at least 1761.[1] Acquired c. 1952 by (Frederick Mont, New York),[2] purchased 11 February 1953 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] Don Sancho de Castilla made the commission. A 1761 document confirming its presence in the church was discovered by Ignace Vandevivere, Primitifs flamands. Corpus. La cathédrale de Palencia et l'église paroissiale de Cervera de Pisuerga, Brussels, 1967: 45.;[2] In 1952 all four panels now in the Gallery (1961.9.22-.25) were with Frederick Mont in New York, see letter of 28 October 1952 from Chandler R. Post to Mont in NGA curatorial files. Mont refers to having bought the pictures in Spain in a letter dated 16 April 1953 to Wilhelm Valentiner (Valentiner Papers, Archives of American Art, Smithsonian Institution, Washington: microfilm reel no. 2143, copies in NGA curatorial files). accnum_Qid: Q214867_1961.9.25 url: https://www.nga.gov/collection/art-object-page.46124.html (Van Diemen Gallery, Berlin, by 1923), (sold, Christie's, London, 20 May 1926, no. 269, as by Van Leyden), bought by Asscher and Welker, London). [1] Acquired from "Sarasota" 19 November 1928 by (Galerie Julius Böhler, Munich).[2] (Tomas Harris Gallery, London, by 1935).[3] Private Collection, Switzerland, by 1945.[4] (Frederick Mont, New York), sold 18 October 1951 to the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] Van Diemen listed as seller and Asscher as buyer in the annotated auctioneer catalogue, Christie's Archive, London.;[2] Böhler card no. 309-28, Böhler Gallery Records, Getty Research Institute.;[3] Tomas Harris Gallery, Exhibition of Early Flemish Paintings, (London, 1935), no. 19, as Lucas van Leyden.;[4] Basel, Offentliche Kunstsammlung (Kunstmuseum), 1945, Meisterwerke hollandischer Malerei des 16. bis 18. Jahrhunderts, no. 43, as Lucas van Leyden. accnum_Qid: Q214867_1961.9.27 url: https://www.nga.gov/collection/art-object-page.46126.html Possibly the Carthusian monastery of Saint Barbara, Cologne.[1] Richard von Schnitzler [1855-1938], Cologne, by 1917 until at least 1931.[2] (Pinakos, Inc. [Rudolf Heinemann]), sold 1953 to (M. Knoedler && Co., New York);[3] purchased 1954 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] Although unverified it is possible, as Eisler first suggested, that The Crucifixion was originally located in the Charterhouse of Saint Barbara in Cologne, the city where the Master of Saint Veronica was active as well as the birthplace of Saint Bruno, founder of the Carthusian Order. The Charterhouse in Cologne was a large and important institution that underwent a major building campaign between 1391 and 1405. (see J.J. Merlo, "Kunst und Kunsthandwerk im Karthäuserkloster zu Köln", Annalen des historischen Vereins für den Niederrhein insbesondere die alte Erzdiöcese Köln, 45 (1886): 1-2. See also Paul Clemen, Ludwig Arntz, Hugo Rahtgens, Heinrich Neu, and Hans Vogts, Die Kunstdenkmäler der Stadt Köln, vol. 2, part 3 (Düsseldorf, 1934), 137-162, and Otto Braunsberger, "Die Kölner Kartause. Erinnerungen aus alter Zeit," Stimmen der Zeit. Katholische Monatschrift für das Geistesleben der Gegenwart, 94 (1918): 134-152. If the Gallery's panel were in the Charterhouse, it might have remained there until 1794 when the monastery was dispersed.) Given the Order's emphasis on solitary contemplation and devotion, it would seem likely that the Gallery's panel adorned the cell of a single monk. It is possible that it was originally part of a commission for multiple images, as was the case with the Crucifixions painted by Jean de Beaumetz and his shop for the Charterhouse at Champmol. (Noted by Colin Eisler, Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. (Oxford, 1977), 1.;[2] Walter Bombe, "Die Sammlung Dr. Richard von Schnitzler in Cöln." Der Cicerone 9 (1917): 366. Published in Otto Helmut Förster, Die Sammlung Dr. Richard von Schnitzler, Munich, 1931: 21, no. 1, pl. 1. Unless sold by Schnitzler between 1931 and his death in 1938, the painting was inherited by his two daughters, Edith and Eriak von Schröder.;[3] Knoedler stock book no. 10, p. 104, no.A5322, and sales book no. 17, p. 37, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). A a pencilled notation indicates that the panel was previously owned by a Dr. Howard in partnership with Mont and Newhouse. accnum_Qid: Q214867_1961.9.29 url: https://www.nga.gov/collection/art-object-page.46128.html R.P. [possibly Robert P.] Nichols, London, by 1857.[1] Misses Weiss, Langton Castle, Worcestershire, by 1950.[2] (Frederick Mont, Inc., New York), sold January 1952 to the Samuel H. Kress Foundation, New York,[3] gift 1961 to NGA.;[1] Gustav-Friedrich Waagen, Galleries and cabinets of Art in Great Britain: Being an Account of more than Forty Collections of Paintings, Drawings, Sculptures, Mss., &c.&c, forming a supplemental volume to the Treasures of Art in Great Britain, 3 vols., London, 1857: 240.;[2] A Loan Exhibition of Works by Peter Paul Rubens, Kt., notes by Ludwig Burchard, exh. cat., Wildenstein & Co., London, 1950: 2.;[3] The bill of sale from Frederick Mont to the Kress Foundation is dated 30 January 1952 (copy in NGA curatorial files). The painting is described as being a modello for the altarpiece in the Cathedral of Antwerp, from the collection of Langton Castle, Worcestershire, England. accnum_Qid: Q214867_1961.9.32 url: https://www.nga.gov/collection/art-object-page.46131.html Heinrich Wilhelm Campe, Leipzig [d. 1862]. His grandson, Heinrich Vieweg, Braunschweig [d. 1890],[1] his heirs, (sale, Berlin, Lepke's, 18 March 1930, no. 49, as by Jan van Scorel). Antonio von Riedemann, Meggen, Switzerland. (Frederick Mont, New York), purchased 30 January 1952 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] Ludwig Scheibler and Wilhelm Bode, "Verzeichniss der Gemalde des Jan van Scorel," Jahrbuch der Berliner Museen 2 (1881), 212, record the painting as being in the Vieweg collection, for Heinrich Campe see Friedrich Winkler, "Die Sammlung Vieweg," Pantheon 5 (1930), 78, repro. 73. accnum_Qid: Q214867_1961.9.36 url: https://www.nga.gov/collection/art-object-page.46135.html Ghizzi family, Naples, sold by 1821 to a Marquess of Lansdowne, Henry Petty-FitzMaurice, 3rd Marquess of Lansdowne, Bowood Hall, Wiltshire, England, by 1821, by inheritance to Henry Petty-FitzMaurice, 4th Marquess of Lansdowne [1816-1866], Bowood Hall, by inheritance to Henry Charles Keith Petty-FitzMaurice, 5th Marquess of Lansdowne [1845-1927], Bowood Hall, until at least 1914.[1] (Thos. Agnew & Sons, Ltd., London), on joint account with (M. Knoedler & Company, New York), and (Pinakos [Rudolf Heinemann], New York), sold 1955 to to the Samuel H. Kress Foundation, New York,[2] gift 1961 to NGA.;[1] According to Mrs. Anna Jameson, Companion to the Most Celebrated Private Galleries of Art in London, 1844: 306-307.;[2] Knoedler stock book no. 10, p. 115, no. A5476, and sales book no. 17, p. 155, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). Receipt dated 7 February 1955 from M. Knoedler & Co. in NGA curatorial files. accnum_Qid: Q214867_1961.9.38 url: https://www.nga.gov/collection/art-object-page.46137.html Probably originally at the Palazzo Mocenigo at San Samuele, Venice. Alvise I Mocenigo, called "Toma" [b. 1608], Palazzo Mocenigo at San Samuele, Venice, by 1648.[1] Possibly acquired in Italy in the early 19th century by a member of the Gouvello family, France, by inheritance to Pierre-Armand-Jean-Vincent-Hippolyte, marquis de Gouvello de Keriaval [1782-1870], Château de Kerlévénan, Sarzeau (department Morbihan in Britanny), France, by inheritance in his family, sold 1952 through (Landry and de Somylo) to (M. Knoedler and Co., London, New York and Paris) on joint account with (Pinakos, Inc., New York), sold 1953 to the Samuel H. Kress Foundation, New York,[2] gift 1961 to NGA.;[1] ] Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello stato, 2 vols., Venice, 1648: 2:44, Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl'illustri pittori veneti, e dello stato, edited by Detlev von Hadeln, 2 vols., Berlin, 1914-1924: 2:53. Tracy Cooper's identification of the owner Ridolfi cites as "Toma Mocenigo" is explained in her article "The Trials of David: Triumph and Crisis in the Imagery of Doge Alvise I Mocenigo," Records of Activities and Research Reports 18 (June 1997-1998), Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington: 66-67.;[2] For the provenance from the marquis to the sale to the Kress Foundation, see the invoice from M. Knoedler & Co. dated 2 June 1953, and M. Knoedler & Co. Records, accession number 2012.M.54, Research Library, Getty Research Institute, Los Angeles: Stock Book no. 10, p. 83, no. A4949, and Sales Book, p. 17. The invoice and copies from the Knoedler Records are in NGA curatorial files. accnum_Qid: Q214867_1961.9.44 url: https://www.nga.gov/collection/art-object-page.46143.html Federico Borromeo [1564-1631], by 1607, Biblioteca and Pinacoteca Ambrosiana, Milan, until 1796,[1] Lucien Bonaparte [d. 1840], Prince de Canino, Paris and Rome, by 1812,[2] (Exhibited for private sale of Lucian Bonaparte collection, London, 6 February 1815, no. 23, as by Leonardo), (Bonaparte sale, Stanley, London, 15 May 1816, no. 165, as by Leonardo). Henry Petty-FitzMaurice, 4th Marquess of Lansdowne [1816-1866], Bowood Hall, Wiltshire, by 1844,[3] by inheritance to Henry Charles Keith Petty-FitzMaurice [1845-1927], 5th Marquess of Landsdowne, Bowood Hall, by inheritance to Henry William Edmund Petty-FitzMaurice [1872-1936], 6th Marquess of Landsdowne, Bowood Hall, acquired 25 April 1952 by (Thomas Agnew and Sons, London), sold 29 April 1952 to(Rudolf Heinemann, New York),[4] on joint account 1952 with (M. Knoedler and Co., London and New York), sold 1957 to the Samuel H. Kress Foundation, New York,[5] gift 1961 to NGA.;[1] For the early provenance of the picture, see Pamela M. Jones, "Bernardino Luini's 'Magdelene' from the collection of Federico Borromeo: Religious Contemplation and Iconographic Sources," in Studies in the History of Art 24 (1990): 67-72.;[2] Choix de Gravures a l'eau forte d'apres les Peintures Originales et les Marbres de la Galerie de Lucien Bonaparte, Londres, 1812.;[3] Included in Mrs. Anna Jameson, Companion to the Most Celebrated Private Galleries of Art in London, London, 1844: 313-314.;[4] Stockbook no. 0718, Thomas Agnew & Sons, London.;[5] Knoedler stock book no. 10, p. 78, no. A4905, sales book no. 17, p. 314, M. Knoedler & Co. Records, Getty Research Institute (copies NGA curatorial files). Receipt from Knoedler dated 2 January 1957 in NGA curatorial files. accnum_Qid: Q214867_1961.9.56 url: https://www.nga.gov/collection/art-object-page.46155.html John Osmaston, Osmaston Manor, Derbyshire, by 1879.[1] Alfred Brown, Brighton, by 1906.[2] Mrs. M. A. T. Slark, (sale, Christie's, London, 25 June 1948, no. 67, as by Jan van Eyck), acquired by (David M. Koetser Gallery, New York, London, and Zurich).[3] (M. Knoedler & Co., New York, by 1950), on joint account with (Thomas Agnew and Sons, London) and (Pinakos, Inc [Rudolf Heinemann], New York), purchased February 1952 by the Samuel H. Kress Foundation, New York,[4] gift 1961 to NGA.;[1] John Osmaston is listed as owner in Exhibition of Works by the Old Masters and by Deceased Masters of the British School, London, Royal Academy of the Arts, 1879, no. 218 (as Jan van Eyck).;[2] Alfred Brown is listed as owner in Exhibition of Works by Flemish and Modern Belgian Painters, London, Art Gallery of the Corporation of London (Guildhall), 1906, no. 4 (as John van Eyck).;[3] Seller and buyer per annotated auctioneer catalogue, Christie's Archive, London.;[4] Knoedler stock book no. 10, p. 40, no. A3945, and sales book no. 16, p. 383, M. Knoedler and Co.Records, Getty Research Institute (copies NGA curatorial files). accnum_Qid: Q214867_1961.9.66 url: https://www.nga.gov/collection/art-object-page.46165.html Possibly a monastery in Austria,[1] (Frederick Mont, Inc) and (A.S. Drey, London), by 1937,[2] sold 1947 as by Bramantino to the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1]See letter dated 24 December 1947 in NGA curatorial files.;[2] Advertised in Burlington Magazine LXXI (1937), advertising supplement, pl. II. accnum_Qid: Q214867_1961.9.67 url: https://www.nga.gov/collection/art-object-page.46166.html Dr. Demiani, Leipzig, by 1899,[1] (sale, Rudolph Lepke, Berlin, 11 November 1913, no. 40). Mrs. Jenö Hubay, née Countess Cebrian Rosa, sold after her husband's death in 1937 to Mathias Salamon, acquired 1947 by Aladar Feigel, Budapest, George Biro, sold 1952 to (Dominion Gallery, Montreal), [2] sold 1952 to (M. Knoedler & Co., New York), jointly owned by (Pinakos, Inc), purchased February 1952 by the Samuel H. Kress Foundation, New York,[3] gift 1961 to NGA.[4];[1] Lent to the 1899 Cranach-Ausstellung in Dresden.;[2] Letter dated 8 January 1952 from George Biro to the Dominion Gallery, Dominion Gallery Fonds, Nox 71, file 4, purchased 1951-1959, A-E, National Gallery of Canada (copy NGA curatorial files). Also letter of 8 January 1952 from Max Stern, Dominion Gallery, to Charles Henschel, M. Knoedler & Co., in Knoedler files (copy NGA curatorial records).;[3] Knoedler sales book no. 16, no. A4763 and stock book no. 10, p. 67, M. Knoedler and Co. Records Getty Research Institute (copies NGA curatorial files).;[4] Painting at NGA from June 1953 but was not formally accessioned by the Gallery until 1961. accnum_Qid: Q214867_1961.9.69 url: https://www.nga.gov/collection/art-object-page.46168.html Imperial collection, Belvedere Palace, Gemäldegalerie, Vienna, by 1783,[1] Kunsthistorisches Museum, Gemäldegalerie, Vienna, c. 1891, (Frederick Mont, New York), purchased 24 September 1953 by the Samuel H. Kress Foundation, New York, gift 1961 to NGA.;[1] The earliest mention of the painting is in Christian von Mechel, Verzeichniss der Gemälde der Kaiserlich Königlichen Bilder Gallerie in Wien (Vienna, 1783), 167, no. 77. On the reverse of the panel are five paper labels: 23, II.D.u.N.II.20 (this refers to the painting's location in the Belvedere Palace, that is, on the second floor, German and Netherlandish gallery, second room), Aus dem Inventar des Gemäldegalerie gestrichen. Wien II Februar 1952., Kunsthistorisches Museum in Wien / Direktion der Gemäldegalerie stamped, K 1970 in pencil, 2 St:37:/A.N.S./ N:37, Gemälde Galerie des Allerh. Kaisershauses. No. 953, crossed out in red ink. accnum_Qid: Q214867_1961.9.81 url: https://www.nga.gov/collection/art-object-page.46180.html Marchese Bargagli [family of the sitter], Florence. (Trotti et Cie., Paris, by 1909, as by Sebastiano del Piombo),[1] on joint account 1912-1922 with (M. Knoedler & Co., London, New York, and Paris), (Trotti et Cie., Paris), from 1922. (Count Alessandro Contini-Bonacossi, Florence and Rome). (D'Atri, Paris and Rome). (Pinakos, Inc., New York) on joint account with (M. Knoedler & Co., London, New York and Paris), sold 6 February 1952 to the Samuel H. Kress Foundation, New York,[2] gift 1961 to NGA.;[1] The painting was exhibited at Galerie Trotti in 1909.;[2] M. Knoedler and Co. Records, Series II, Box 76 (Sales Book No. 16, Paintings, 1945-1953), Getty Research Institute (copy NGA curatorial files), the painting is listed as by Sebastiano del Piombo. accnum_Qid: Q214867_1961.9.83 url: https://www.nga.gov/collection/art-object-page.46182.html Baron Etienne Martin de Beurnonville [1789-1876], château de la Chapelle, Labbeville, Val d'Oise, (his estate sale, by Pillet, Paris, 9-14 and 16 May 1881[12 May], no. 453), (Charles Sedelmeyer, Paris). Prince Johann II of Liechtenstein [1840-1929], Vienna and later Vaduz, by 1896,[1] (Frederick Mont, New York), purchased 18 October 1951 by the Samuel H. Kress Foundation, New York,[2] gift 1961 to NGA.;[1] The first reference to the existence of the painting in the Liechtenstein Collection is in 1896 (see Wilhelm von Bode, Die Fürstlich Liechtenstein'sche Galerie in Wien, Vienna, 1896, 99). Waagen's account of a Ruisdael Landscape with a Bridge in the Liechtenstein Collection (Gustav Friedrich Waagen, Die vornehmsten Kunstdenkmäler in Wien, Vienna, 1866, 287), must refer to a different work because the Washington painting was sold by the Baron de Beurnonville only in 1881. The provenance given in Strohmer's 1943 catalogue of the Liechtenstein Collection (Erich V. Strohmer, Die Gemäldegalerie des Fürstern Liechtenstein in Wien, Vienna, 1943) is incorrect, in the 1948 Lucerne exhibition catalogue (Meisterwerke aus den Sammlungen des Fürsten von Liechtenstein, Kunstmuseum), this painting's provenance was associated with the wrong painting.;[2] The bill from Frederick Mont to the Kress Foundation for three paintings from the Liechtenstein collection, including this one, is dated 18 October 1951, payment was made four days later (copy of annotated bill in NGA curatorial files). accnum_Qid: Q214867_1961.9.85 url: https://www.nga.gov/collection/art-object-page.46184.html Casa Barbo a San Pantaleone, Venice, by 1648.[1] possibly private collection, southern France.[2] (Frederick Mont, Inc., New York), by 1956, sold February 1957 the Samuel H. Kress Foundation, New York,[3] gift 1961 to NGA.;[1] In a 1648 publication, Carlo Ridolfi describes a decorative cycle of paintings by Tintoretto: “In casa Barba a San Pantaleone miransi nell’intavolato d’una stanza un capriccio de’ sogni, & alcuni Deità in un Cielo, con varie imagini delle cose apportate nel sonno alle menti de’ mortali, e le quattro staggioni in figura nel recinto” ("...one sees in the paneling [ intavolato ] of a room a capriccio of dreams and some divinities in the heavens, with various images of the things brought to the minds of mortals in their sleep, and the four Seasons personified in the surrounding area [‘nel recinto’]”). Three of the paintings depicting the personifications of the four Seasons are known: Spring (Chrysler Museum of Art, Norkolk), the NGA painting, and Autumn (private collection), Winter is unlocated. See: Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello Stato, 2 vols., Venice, 1648: 2:46, Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello Stato (Venice, 1648), edited by Detlev von Hadeln, 2 vols., Berlin, 1914-1924: 2(1924):55.;Tintoretto may have begun the paintings at Casa Barbo around 1546 or 1547, and completed them in 1548. It was in 1548 that Faustino Barbo married, and because he was the designated heir to the palace, the occasion may have been the impetus for a restoration and decoration of the family house that was noted in Faustino's uncle's will of 1557. For details, and additional discussion of the Barbo family in residence at the Casa Barbo in the mid-16th century, see Stefania Mason, "Tintoretto the Venetian," in Tintoretto: Artist of Renaissance Venice, edited by Robert Echols and Frederick Ilchman, exh. cat., Palazzo Ducale, Venice, National Gallery of Art, Washington, New Haven, 2018: 36-61.;[2] The central painting in the cycle described by Ridolfi, Allegory of the Dreams of Men (Detroit Institute of Art), as well as another of the surrounding personifications of the Seasons, Spring (see note 1), were both previously in a collection in southern France. The Detroit painting was acquired from this unknown collection by the dealers Mont and Newhouse in 1957, and the Norfolk painting was acquired by Walter Chrysler from Newhouse Galleries in 1958. Mont frequently worked with the Newhouse Galleries, so it is very possible the NGA painting shares this provenance. (Information provided by Robert Echols, email of 11 June 2010, in NGA curatorial files.);[3] Betty Mont wrote to Guy Emerson of the Kress Foundation on 5 November 1956 that they had "a splendid painting by Tintoretto" in their studio. The invoice from Frederick Mont & Company to the Kress Foundation, for four paintings including the Tintoretto (called "Allegorie of Summer"), is dated 14 February 1957, three payments for the group were completed in September of the same year. (Copies of the letter and invoice are in NGA curatorial files.) accnum_Qid: Q214867_1961.9.90 url: https://www.nga.gov/collection/art-object-page.46189.html Anonymous collection or dealer, Italy, acquired in the late 19th century by Edward Steinkopff [1837-1906], Lydhurst, Waringlid, Haywards Heath, Sussex,[1] by inheritance to his daughter, Mary Margaret Steinkopff Stewart-Mackenzie [later Baroness Seaforth, d. 1933], Brahan Castle, Highland, Scotland. family of the barons of Castelmuro, by 1935,[2] (Robert Frank, Ltd., London), [3] (Rudolf Heinemann [Pinakos, Inc], Lugano) half share with (M. Knoedler & Co., New York and London), purchased 30 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh,[4] gift 1937 to NGA.;[1] The date of Edward Steinkopff's death is given in the Knoedler prospectus, in NGA curatorial files. A sale of the collection of "the late Edward Steinkopff" took place on 26 February 1909 at Christie's in London. Steinkopff's daughter (and only child) was married in 1899 to James Alexander Francis Humberston Stewart-Mackenzie, who was created the 1st baron Seaforth in 1921 and who died in 1923.;[2] A photograph in the archives of the Museo di Castello Sforzesco in Milan (no. 2430 D, a print is also preserved in the photographic collection of the Kunsthistorisches Institut in Florence) shows the NGA painting repainted, probably after suffering a radical cleaning most likely having occurred at the time of the change in ownership in the mid-1930s. The photograph probably dates before 28 April 1936, when the director of the museum in Milan, Giorgio Nicodemi, wrote a letter (in NGA curatorial files), documenting the fact that the painting, which he hoped would be donated to the Castello Sforzesco, had already been shown to him. According to a note attached to the negative of the photograph in the photographic archive of the museum, the painting, owned by the family of the barons of Castelmuro, was at that time (1935) exhibited at the Museo Navale in Milan.;[3] See Knoedler stock book no. 8, p. 156 and Knoedler sales book no. 13, p. 366, M. Knoedler and Co. records, Getty Research Institute, Los Angeles (copies NGA curatorial files). According to a letter from R. Heinemann, Lugano, to C. Henschel of the firm M. Knoedler & Co., New York (copy in NGA curatorial files), the painting was shipped to New York on 29 April 1936.;[4] The date of purchase is given in the Mellon collection records, in NGA curatorial files. accnum_Qid: Q214867_1937.1.5 url: https://www.nga.gov/collection/art-object-page.5.html (Kleinberger Gallery, Paris). (Paul Cassirer, Amsterdam, by June 1936). (Rudolf Heinemann, New York, by 1937-January 1975). (Feilchenfeldt, Zurich),[1] purchased 1978 by NGA.;[1] Information on the provenance was provided by Walter M. Feilchenfeldt and Mrs. Rudolf Heinemann. See NGA curatorial files. accnum_Qid: Q214867_1978.46.1 url: https://www.nga.gov/collection/art-object-page.56668.html (sale, Paris, 11 December 1919). Mme. Zacharie Birtschansky, Paris, by 1952. Pierre Pobbé, Basel, (his sale, Auctiones, Basel, 23-24 February 1979, no. 93). [Galerie Cailleux, Paris]. Mrs. Rudolf J. Heinemann, gift 1991 to NGA. accnum_Qid: Q214867_1991.79.1 url: https://www.nga.gov/collection/art-object-page.72857.html Rudolf J. Heinemann, New York, 1956, by inheritance to his wife, Lore Heinemann, New York, bequest 1997 to NGA. accnum_Qid: Q214867_1997.57.6 url: https://www.nga.gov/collection/art-object-page.80690.html Sir Charles Reed Peers [1868-1952], Chiselhampton House, Stadhampton, Oxfordshire.[1] Dr. and Mrs. Rudolf J. Heinemann, New York, by 1962,[2] by inheritance 1975 to Lore [Mrs. Rudolf J.] Heinemann [d. 1996], New York, her estate, bequest 1997 to NGA.;[1] According to information in the donor's collection records (copies in NGA curatorial files).;[2] Ferruccia Cappi Bentivegna, Abbigliamento e costume nella pittura italiana, 2 vols., Rome, 1962-1964: 1(1962):202, fig. 274. According to the donor's records, Rodolfo Pallucchini examined the painting in New York on 5 May 1965, and wrote an expertise about it. The painting was discussed and illustrated (as being in a New York private collection) in a 1966 article by Pallucchini. accnum_Qid: Q214867_1997.57.2 url: https://www.nga.gov/collection/art-object-page.90793.html Rudolf J. Heinemann, New York, by 1973, by inheritance to his wife, Lore Heinemann, New York, bequest 1997 to NGA. accnum_Qid: Q214867_1997.57.5 url: https://www.nga.gov/collection/art-object-page.99276.html Marquis de Biron, Rudolf J. Heinemann, New York, by 1973, by inheritance to his wife, Lore Heinemann, New York, bequest 1997 to NGA. accnum_Qid: Q214867_1997.57.7 url: https://www.nga.gov/collection/art-object-page.99277.html Rudolf J. Heinemann, New York, by 1973, by inheritance to his wife, Lore Heinemann, New York, bequest 1997 to NGA. accnum_Qid: Q214867_1997.57.4 url: https://www.nga.gov/collection/art-object-page.99278.html Princes of Liechtenstein (Lugt 4398), (M. Knoedler & Co., Inc., New York), Rudolf J. Heinemann [d. 1975], New York, by inheritance to his wife, Lore Heinemann [d. 1996] New York, bequest 1997 to NGA. accnum_Qid: Q214867_1997.57.3 url: https://www.nga.gov/collection/art-object-page.99279.html Andrzej Wierzbicki, Warsaw, 1935. (M. Knoedler & Co., New York), by 1957, private collection, United States, purchased c. 1963 by Dr. and Mrs. Rudolf J. Heinemann, New York,[1] by inheritance 1975 to Lore [Mrs. Rudolf J.] Heinemann [d. 1996], New York, her estate, bequest 1997 to NGA.;[1] Records received with the Heinemann bequest (in NGA curatorial files) mention a painting in a 1729 sale (unidentified seller[s], The Hague, 3 May 1729, no. 34) described as "Een nette Schets, zynde de Ontmoeting van David en Abigaël, zeer fray, door denzelven [Rubbens (sic)]" (translation: "A handsome sketch, being the Meeting of David and Abigail, very fine, by the same," see Gerard Hoet, Catalogus of naamlyst van schilderyen, met derzelver pryzen, zedert een langen reeks van jaaren zoo in Holland als op andere plaatzen in het openbaar verkogt, benevens een verzameling van listen van verscheyden nog in wezen zynde cabinetten, 3 vols., The Hague, 1752-1770, reprint ed. Soest, 1976: 3[1770]:5). The existence of several copies of the Gallery's painting makes it impossible to confirm to which painting this entry refers.;Wilhelm Valentiner gave Michael Jaffé a photograph of the Gallery's painting, taken in Warsaw, that was annotated on the back with the name of the Wierzbicki collection. Jaffé spelled the name Wie s zbicki, but Monika Krol at the Royal Castle Museum, Warsaw, has kindly researched the family and determined this owner was likely Andrzej Wie r zbicki (1877-1961). He was born in Warsaw, studied at The Technology Institute in St. Petersburg, Russia, then returned to his birthplace in 1913 to begin a career as an industrialist and politician.;When Jaffé first saw the actual painting in about 1963, it had been "recently acquired by Dr. Rudolf Heinemann from another collection in the U.S.A." (Jaffé, Michael. "Rubens's 'David and Abigail.'" The Burlington Magazine 114, December 1972: 863.) Roger A. d'Hulst and M. Vandenven, Rubens: The Old Masters, Suffolk, 1989: no. 41a, give the date of Wierzbicki ownership as 1935, and that of Knoedler as 1957. accnum_Qid: Q214867_1997.57.8 url: https://www.nga.gov/collection/art-object-page.99280.html |
| Q239303 | 5 | ART INSTITUTE OF CHICAGO __________________________________ Bonaventura Argenti (died 1697), Rome; by descent to Argenti’s heirs, Rome 1697 to 1698 [“Due quardri da Quattro palmi in circa, con due Historie di Policrate cornice dorata di Salvator Rosa, 250 Scudi“ (Two pictures, each about four palms across, with two histories of Policrates framed in gold by Salvator Rosa, 250 Scudi); Giuseppe Ghezzi, “Quadri delle case de Prencipi in Roma,” 1686–1717, MS. 93, Palazzo Braschi, Rome, c. 283; published by Meroni 1978, p. 89 and de Marchi 1987, pp. 384, 392–93]; consigned for sale to Giuseppe Ghezzi, Rome, about 1698 [see Ghezzi 1686–1717 cited above]. Probably 2nd Earl of Warwick, (Warwick Castle) by 1801 [auction of June 1, 1801 at Christie’s, bought in; see Fredericksen and Zeri 1972]. Schaeffer Galleries, New York, 1942 [see New York 1942, no. 30]. A. F. Mondschein, New York by 1942; sold to the Art Institute, 1942. accnum_Qid: Q239303_1.942.291 url: http://www.artic.edu/aic/collections/artwork/44826 Bonaventura Argenti (died 1697), Rome; by descent to Argenti’s heirs, Rome 1697 to 1698 [“Due quardri da Quattro palmi in circa, con due Historie di Policrate cornice dorata di Salvator Rosa, Scudi “Two pictures, each about four palms across, with two histories of Policrates framed in gold by Salvator Rosa, 250 Scudi; Giuseppe Ghezzi, “Quadri delle case de Prencipi in Roma,” 1686–1717, MS. 93, Palazzo Braschi, Rome, c. 283; published by Meroni 1978, p. 89 and de Marchi 1987, pp. 384, 392–93]; consigned for sale to Giuseppe Ghezzi, Rome, about 1698 [see Ghezzi 1686–1717 cited above]. Probably 2nd Earl of Warwick, (Warwick Castle) by 1801 [auction of June 1, 1801 at Christie’s, bought in, see Fredericksen and Zeri 1972]. Schaeffer Galleries, New York, 1942 [see New York 1942, no. 30]. A. F. Mondschein, New York by 1942; sold to the Art Institute, 1942. accnum_Qid: Q239303_1.942.292 url: http://www.artic.edu/aic/collections/artwork/44829 Parish church of San Andrés, Villamediana (Palencia) [based on their relation to paintings presumably from the same retable still in San Andrés]. Galerie Heinemann, Munich, probably by 1926 [this date is suggested by a paper label imprinted Galerie Heinemann, Munchen / 18734, and a customs label reading ZOLL / I-26]; sold to Joseph Winterbotham, Jr. (died 1954), Burlington, Vt., by 1936 [lent by him to the 1936 exhibition; an annotated list of loans gives Heinemann as the source for the picture; Silva Maroto 1990 stated that it was in the Winterbotham collection in 1933]; bequeathed to the Art Institute, 1954. accnum_Qid: Q239303_1.954.307 url: http://www.artic.edu/aic/collections/artwork/80570 Alexander Douglas-Hamilton, 10th Duke of Hamilton (died 1852), Hamilton Palace, Glasgow; by descent to William Douglas-Hamilton, 12th Duke of Hamilton (died 1895); sold Christie's, London, June 24, 1882, no. 334 as Farrata for £32.11 to Heseltine [Christie's stock no. stencil: 28OP]; John Postle Heseltine (died 1929), Tatchbury Mount, Hampshire; offered for sale Christie's, London, June 7, 1918, no. 116 as Sasso Farrata after Procaccini and bought in for £73.10 to Martin (on behalf of Heseltine) [Christie's stock no. stencil: 117CS]; by descent to Evelyn Heseltine (died 1930) The Goldings, Great Warley, Essex; by descent to his daughter, Mrs. Muriel Evelyn de Rougemont (died 1967), Essex; sold, Strutt & Parker, Essex, October 25, 1967, to Michael Tollemache [information kindly supplied by Michael Tollemache]; Michael Tollemache Fine Art, London; sold Christie's, London, June 21, 1968, no. 8 as Procaccini for $4284 to F. Maison [Christie's stock no. stencil: 938RH]. Frederick Mont, New York by 1969; sold to Art Institute, 1969. accnum_Qid: Q239303_1.969.626 url: http://www.artic.edu/aic/collections/artwork/32091 Probably in the artist’s possession, Toledo, before he retired to a Carthusian monastery, in August 1603 [inventory 1603, no. V, (“Un lienzo de frutas adonde está el ánade y otros tres pájaros ques de Diego de Valdivieso”; Jordan in Madrid 1992, pp. 41–43); Diego de Valdivieso, Toledo, 1603 [see 1603 inventory cited by Jordan 1992]. Cardinal Bernardo de Sandoval y Rojas, archbishop of Toledo and primate of Spain, Toledo or Huerta de Sandoval, near Madrid (died 1618); acquired from his estate with 4 other still lifes for the decoration of the Galería del Mediodía in the royal hunting lodge of El Pardo, the series completed by an additional still life commissioned for this purpose from Juan van der Hamen [according to a note of 10 September 1619 in the accounts of the royal household; see José María de Azcárate, “Algunas noticias sobre pintores cortesanos de siglo XVII” Anales de Instituto de estudios Madrileños, 6 (1970), p. 60; see also Jordan 2006, pp. 54-58,]; royal inventories of 1653, no. 145 (“145. Un frutero Pequeño Con su marco de oro y negro y un Melon abierto en medio”, A small fruit still life with its black and gold frame with an open melon in the middle; an inventory number 145 is inscibed in the lower left corner of the painting; see Jordan 2006, pp. 58, 300, n. 24) and 1701/03, no. 132 (Fernández Bayton 1981, vol. 2, p. 144, no. 132). August L. Mayer, Munich, by 1922 [see Mayer 1922]; sold, Munich, Hugo Helbing, November 24–25, 1933, lot 79, pl. 4, as Sánchez Cotán, Küchenstilleben for 380 Marks [the price based on Die Weltkunst 1933; that the picture belonged to Mayer can be deduced from the provenance of no. 74 in this sale, which later entered the Bayerische Staatsgemäldesammlungen]. Private collection, Germany [according to 1955 receipt from Frederick Mont, in curatorial file]. Frederick Mont and Newhouse Galleries, New York, by 1955 [1955 receipt cited above and shipping invoice, in curatorial file]; sold to the Art Institute, 1955. accnum_Qid: Q239303_19.551.203 url: http://www.artic.edu/aic/collections/artwork/84709 |
| Q3783572 | 6 | HARVARD ART MUSEUMS __________________________________ [P. de Boer, Amsterdam]. [Frederick Mont, New York], sold via Thomas Donlon, to Edwin H. Abbot, November 8, 1947, gift, to Fogg Art Museum, 1966. accnum_Qid: Q3783572_1.966.145 url: https://www.harvardartmuseums.org/art/228078 [Paul Bottenwieser, Berlin by 1925.] A. (Adolf?) Schoyer, Berlin (by 1928). [Frederick Mont (Mondschein), New York, (by 1947) sold], to Edwin H. Abbot Jr., Cambridge (1947-1966) gift, to Fogg Art Museum, 1966.;Notes;Date for Schoyer ownership comes from Rosenberg. Schoyer left Berlin for London and returned after the war. The painting is labelled with Schoyer's name and a London address, suggesting that it was sent to him there. Abbot's purchase of the painting was facilitated by Thomas Donlon. accnum_Qid: Q3783572_1966.32 url: https://www.harvardartmuseums.org/art/228325 ? Cardinal Silvio Valenti Gonzaga, Villa Paolina, until 1756. [1]Wright Family, by descent, to Henry Smith Wright, Aveley Wood, Farnham, England, by 1878, sold [through his sale, Robinson, Fisher and Harding, London, November 7, 1929, lot 289 as by Giorgione]. [2] [Frederick Mont, New York], sold, to Edwin H. Abbot, 1949, bequest, to Fogg Art Museum, 1966;Notes;[1] According to the "Inventario dei quadri..., 1756, number 437 is described as "quadro di palmi 4 once 9 per altezza, e palmi 3 e mezzo per larghezza, rappresentante Ritratto vestito in Corazza, mezza figura in tela, del Dossi di Ferrara.;[2]The 1929 catalogue notes: "The above pictures was originally in the Orleans Collection and is believed to have been purchased in the 18th century by an ancestor of the late owner," however, this is disputed by Felton Gibbons in the 1966-1967 "A Portrait by Dosso" in the Fogg Art Museum Acquisitions report. accnum_Qid: Q3783572_1966.74 url: https://www.harvardartmuseums.org/art/227997 John Barnard, London (?). See L. 1419 and L. 1420;George (?) (1757-1837) Hibbert, London. See L. 2849;Coghlan Briscoe, Dublin, Ireland, 1928, 1940. See L. 347c;Dr. William M. Crofton, 1940.;Christie's, London, 1959, sold to Thomas Agnew & Sons Ltd., London, 1959. Sale, July 7, 1959, p. 32 of lot no. 95;Thomas Agnew & Sons Ltd., London, Bought at Christie's auction, 1959. Drawing exhibited, along with others from the same sketchbook, at Agnew's in 1965.;Lore and Rudolf Heinemann, New York, Bequest to HUAM, 1996. accnum_Qid: Q3783572_1997.29 url: https://www.harvardartmuseums.org/art/292991 ?St. Donatus's Church, Bruges. Augustine Monastery of St. Florian, St. Florian, Austria (Chorherrenstift Sankt Florian) (until 1936) sold, to [Galerie Sankt Lucas, Vienna], sold, to [Dr. and Mrs. Rudolf J. Heinemann], (1936-1997) bequest, to Harvard University Art Museums, 1997. accnum_Qid: Q3783572_1997.31 url: https://www.harvardartmuseums.org/art/226173 ?St. Donatus's Church, Bruges. Augustine Monastery of St. Florian, St. Florian, Austria (Chorherrenstift Sankt Florian) (until 1936) sold, to [Galerie Sankt Lucas, Vienna], sold, to [Dr. and Mrs. Rudolf J. Heinemann], (1936-1997) bequest, to Harvard University Art Museums, 1997. accnum_Qid: Q3783572_1997.32 url: https://www.harvardartmuseums.org/art/226156 |
| Q49133 | 21 | MUSEUM OF FINE ARTS, BOSTON __________________________________ Unknown Italian collection (possibly Colonna family, Rome?) [see note 1]. By 1969, Frederick Mont, Inc., New York, 1970, sold by Mont to the MFA. (Accession Date: May 13, 1970);NOTES;[1] According to a letter from Betty Mont of Frederick Mont, Inc., to the MFA (April 4, 1970), an inscription on the reverse of the painting reading "Colonna" suggests it was with the Colonna family in Rome. Because this inscription is not legible today, this cannot be verified. Mrs. Mont believed the original frame to have been made in Italy and date to the 16th century. An Italian label was removed from the reverse of the painting and the panel bears an old Italian inscription, "Lucas Cranach / Olandese del Sec.o XV" (Lucas Cranach / Dutch, 15th century [sic]). accnum_Qid: Q49133_1.970.348 url: https://collections.mfa.org/objects/34080/the-lamentation-with-the-two-thieves-crucified Gustav von Gerhardt, Budapest, November 10, 1911, posthumous Gerhardt sale, Lepke, Berlin, lot 66 [see note 1]. Until about 1926, Count Andrássy, Budapest, about 1926, sold by Andrássy to Leo Budai-Goldberger (b. 1878 - d. 1945), Budapest [see note 2]. Possibly Ladislas Sós, Paris [see note 3]. About 1951, probably acquired in Paris by Pinakos, Inc. (Rudolf Heinemann, b. 1902 - d. 1975) and M. Knoedler and Co., Paris and New York (joint account) [see note 4], March 28, 1951, full ownership acquired by Knoedler, New York (stock no. A4548), February 24, 1953, sold by Knoedler to Mrs. B[asil] Goulandris, Greenwich, CT, sold back to Knoedler (stock no. A6668), 1957, sold by Knoedler to Zannis L. Cambanis, London, who returned it to Knoedler, June 3, 1958, sold by Knoedler to Mr. and Mrs. Robert Beede, given by Mr. and Mrs. Beede to Russell B. Stearns (d. 1981) and Andrée B. Stearns, Dedham, MA, 1991, gift of Andrée B. Stearns to the MFA. (Accession Date: December 18, 1991);NOTES;[1] As Jusepe de Ribera, St. Peter.;[2] The verso of a photograph of the painting (copy supplied by M. Knoedler and Co.) is inscribed in French and signed by Ladislas Sós, 1 rue Eugene, Paris: "The painting represented on the reverse was part of the collection of the late Leo Goldberger of Budapest, who purchased it around 1926 from Count Andrassy.;[3] The inscription on the photograph (see above, n. 2) is not dated, and it is unclear what role, if any, Ladislas Sos had in selling this painting. He may be identical to the displaced person of the same name, whose card with the Barcelona Emigration Office notes that he departed Spain for France in July of 1945.;[4] The reverse of the painting bears a French customs stamp as well as a shipping label from Lenars et Cie., Paris (annotated "KNO / No. 40"). When it was entered into the Knoedler stock book in 1951, the painting was initially titled, in French, "Vieux pecheur," and a payment to Lenars was noted.;ADDITIONAL INFORMATION;Leo Goldberger, a Jewish industrialist in Hungary, was sent to the Mathausen concentration camp in 1944. He died of starvation shortly after the camp was liberated in 1945. The contents of his home, including his art collection, were looted.;When and how this painting left Goldberger's possession and made its way to Paris is not known, nor is it certain who sold the work to Pinakos and Knoedler. The MFA has been in contact with a representative of the Goldberger heirs about the provenance of this painting. Research is ongoing. accnum_Qid: Q49133_1.991.776 url: https://collections.mfa.org/objects/35291/saint-andrew Philip J. Gentner (b. 1872), Florence, from Gentner to Eugenio Ventura, Florence [see note 1]. About 1956, private collection (probably Eugenio Ventura), Florence, about 1956, probably sold from this private collection to Pinakos, Inc. (dealer Rudolf Heinemann, b. 1902 - d. 1975), January 16, 1957, sold by Pinakos to M. Knoedler and Co., Inc., London and New York (stock no. A6547) [see note 2], September 5, 1957, sold by Knoedler to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA, to the co-executor of his estate, Francis H. Burr, Boston, 1994, gift of Mr. and Mrs. Francis H. Burr to the MFA. (Accession Date: January 26, 1995);NOTES;[1] The painting was first published as "The Ventura Tabernacle Shutter," formerly in the collection of Eugenio Ventura, Florence, see Richard Offner, "A Critical and Historical Corpus of Florentine Painting," section III, vol. 8 (New York, 1958), pp. 91-92. [2] According to a letter from E. Coe Kerr, Jr., President, Knoedler, to William A. Coolidge (June 27, 1957), Knoedler purchased the painting "from an agent who discovered it in Europe last year" in an unnamed private collection. In a translated letter of authentication by Roberto Longhi in the MFA curatorial files (June 23, 1957), Longhi states that he had known the picture "for many years," since the time "when it was in Florence in a [private] collection. accnum_Qid: Q49133_1.994.427 url: https://collections.mfa.org/objects/35757/the-nativity-and-the-annunciation-to-the-shepherds By 1908 until about 1936, Marqués de Alós, Castillo de Balsareny, Barcelona [see note 1]. November, 1958, sold by Tomás Harris, London, to Pinakos, Inc. and M. Knoedler and Co., New York (Knoedler stock no. A7109), February, 1959, sold by Knoedler to Mrs. Charles S. Payson, Manhasset, NY, January, 1960, returned by Mrs. Payson to Pinakos and Knoedler (stock no. A7452) [see note 2], February, 1960, sold by Knoedler to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA [see note 3], 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993);NOTES;[1] According to Harold E. Wethey, El Greco and His School, vol. 2, Catalogue Raisonné (Princeton, 1962), p. 111, cat. no. 201. First published by Manuel B. Cossio, El Greco (Madrid, 1908), p. 553, cat. no. 17. [2] Information about Knoedler's purchases and sales of the painting was provided in a letter from Knoedler to the MFA (September 3, 1991). [3] First lent to the MFA on December 27, 1962 (loan no. 200.62). accnum_Qid: Q49133_1993.38 url: https://collections.mfa.org/objects/35482/saint-catherine Until about 1910/1915, Andrés Avelino Arteaga Silva (b. 1833 - d. 1910) and Maria de Belén Echagüe Mendez de Vigo (b. 1847 - d. 1907), Marqueses de Argüeso, Madrid, about 1910/1915, by descent to their daughter, Maria de las Mercedes de Arteaga y Echagüe, Marquesa de Argüeso, Madrid, about 1954, sold by the Marquesa de Argüeso to Frederick Mont, Inc., Baron Joseph van der Elst (b. 1896 - d. 1971), and Gaby Seefried von Bayern, June 16, 1954, sold by Frederick Mont to M. Knoedler and Co., New York (stock no. A5724) [see note], January 3, 1955, sold by Knoedler to William A. Coolidge (b. 1901 - d. 1992), Topsfield and Cambridge, MA, 1993, bequest of William A. Coolidge to the MFA. (Accession Date: January 27, 1993);NOTE: Getty Provenance Index, M. Knoedler and Co. records, painting stock book 10, p. 130, no. 5724. accnum_Qid: Q49133_1993.40 url: https://collections.mfa.org/objects/35484/christ-blessing By 1913, Théodore Duret (b. 1838 - d. 1927), Paris [see note 1]. Bruno Cassirer (b. 1872 - d. 1941), Berlin. By 1931, Jakob Goldschmidt (b. 1882 - d. 1955), Berlin, December 22, 1931, transferred by Goldschmidt to the Darmstädter- und Nationalbank (Danatbank) but physically retained by Goldschmidt [see note 2], April 11, 1932, transferred to August Thyssen Iron and Steel Works but physically retained by Goldschmidt [see note 3], after 1933, ownership transferred back to Goldschmidt but remained in Berlin, 1941, confiscated by the Finance Ministry of the Nazi regime [see note 4], September 25, 1941, Goldschmidt auction, Hans W. Lange, Berlin, lot 53, sold for 64,000 RM to Baroness von der Goltz, Wannsee bei Berlin, 1955, restituted to Jakob Goldschmidt, New York, probably sold by Goldschmidt to Justin K. Thannhauser (b. 1892 - d. 1976), New York, sold by Thannhauser to Arthur K. Solomon (b. 1912 - d. 2002), Cambridge, MA, 2004, gift of the Arthur K. Solomon collection to the MFA. (Accession Date: June 23, 2004);NOTES;[1] Duret lent the painting to the exhibitions "Französische Kunst des XIX. Jahrhunderts," Galerie Heinemann, Munich, April 1913, no. 178, and "Exposition d'art français du XIXe siècle," Dansk Kunstmuseums Forening, Copenhagen, May 15 - June 30, 1914, no. 214.;[2] The Danat Bank obtained full legal ownership of Goldschmidt's art collection as security against his debts. Goldschmidt retained physical possession of the collection and insured and cared for it. Once his debts were paid off, ownership was to be transferred back to him.;[3] Ownership of the art collection was transferred in 1932, when Thyssen took over 3 million RM of Goldschmidt's debt at the Danatbank (taken over that year by the Dresdner Bank). The painting remained in Goldschmidt's home.;[4] Goldschmidt's assets were confiscated by the Finance Ministry and auctioned, with the proceeds going to the Nazi regime. accnum_Qid: Q49133_2.004.445 url: https://collections.mfa.org/objects/433123/woman-seated-in-bed 1803, possibly François Pauwels, Brussels, August 22, 1803, possibly Pauwels sale, DeMarneffe, Brussels, lot 68, bought in, August 25, 1814, possibly Pauwels sale, Geens, Brussels, lot 15, to Léandre Dacosta for 18 fr. [see note 1]. Sedelmeyer collection, Paris [see note 2]. 1881, Étienne-Edmond Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris, May 9-16, 1881, Beurnonville sale, Galerie Georges Petit, Paris, lot 441, to Baron d'Eder, Paris, for 2550 fr. [see note 3]. 1886, Artaria, Vienna [see note 4]. Seeger, Berlin [see note 5]. 1920, Galerie Haberstock, Berlin (stock no. 1029) [see note 6]. 1924, with Spink and Sons, London [see note 7]. 1933, art market, New York [see note 8]. 1942, Frederick Mont, New York [see note 9]. 1942, Arnold Seligmann, Rey and Co., Inc. New York [see note 10], 1942, sold by Arnold Seligmann, Rey and Co. to the MFA for $12,500. (Accession Date: April 9, 1942);NOTES;[1] At one time this composition was painted over to depict Mercury and Argus with a cow, seen in foreshortening from the back, and a dog, sleeping at the lower left. The description of the Rubens painting in the two Pauwels sale catalogues matches the appearance of the MFA painting in its overpainted state. Its dimensions (97 x 78 cm.), however, do not. In Rubens: The Ceiling Decoration of the Banqueting Hall, Corpus Rubenianum Ludwig Burchard series, pt. 15 (London: Harvey Miller, 2005), vol. 1, cat. no. 3g, p. 181, Gregory Martin suggests that when it was in the Pauwels collection, the MFA panel was enlarged to allow for a mountainous landscape, this would account for the discrepancy in dimensions. Martin further suggests that the "additions may have been executed for the most part on paper laid down on panel," which would explain an annotation found next to the lot description in the 1814 sale catalogue: "faux et peint sur papier". If the MFA composition was enlarged, such additions were removed by 1881, when the painting was in the Beurnonville sale and its dimensions recorded as 65 x 52 cm.;[2] A wax seal on the reverse of the panel indicates that the painting was in the Sedelmeyer collection.;[3] Max Rooses, "L'oeuvre de P. P. Rubens" (Antwerp, 1890), vol. 3, p. 123, gives the name of the buyer.;[4] Martin 2005 (as above, n. 1).;[5] Ludwig Burchard, "A Loan Exhibition of Rubens," Wildenstein, New York (exh. cat. February 20 - March 31, 1951), p. 24, cat. no. 27, Seeger's dates of ownership are not given. A customs stamp from Berlin, found on the reverse of the panel, further indicates that the painting was once in that city.;[6] Julius S. Held, "The Oil Sketches of Peter Paul Rubens: A Critical Catalogue" (Princeton, 1980), vol. 1, cat. no. 139, also see Martin 2005 (as above, n. 1) for the stock number.;[7] Information from a photograph on file at the Witt Library, Courtauld Institute of Art, London, which shows the painting in its overpainted state.;[8] Martin 2005 (as above, n. 1).;[9] Information from a photograph on file at the Witt Library, which shows the painting in its cleaned state, also see Martin 2005 (as above, n. 1), p. 183, n. 8.;[10] Arnold Seligmann, Rey, and Co. provided provenance information that conflicts with the information given here. According to a letter from Paul M. Byk of Arnold Seligmann, Rey and Co. (April 21, 1942, in the MFA curatorial file), "the picture was in an American private family and... the owner who disposed of it had inherited the picture from the parents. Thus the picture has been in America for the last forty or fifty years." In a telephone conversation recorded by William G. Constable, Curator, Department of Paintings, MFA (April 29, 1942), Byk said that he understood that the picture passed directly from Baron d'Eder into the aforementioned American private collection. accnum_Qid: Q49133_42.179 url: https://collections.mfa.org/objects/32830/mercury-and-a-sleeping-herdsman Cardinal Giovanni Francesco Falzacappa (b. 1767 - d. 1840), Rome [see note 1]. 1942, A.F. Mondschein (Frederick Mont), New York, 1942, gift of A. F. Mondschein to the MFA. (Accession Date: September 11, 1942);NOTES;[1] His name is inscribed on the reverse of the canvas. accnum_Qid: Q49133_42.422 url: https://collections.mfa.org/objects/32845/virgin-and-child-with-saints Until 1650, possibly the Oneto family, Genoa [see note 1], 1650, possibly brought by Don Giovan Stefano Oneto and Don Agostino Oneto from Genoa to Palermo, Sicily, by descent within the Oneto family to Don Giuseppe Oneto e Lanza (d. 1852), Duke of Sperlinga, Palermo and Naples, 1864, sold by the heirs of Oneto e Lanza to the Count of Francavilla, Palermo, by descent to his son, Luigi Maria Majorca Mortillaro, Count of Francavilla, Palermo, who owned it until at least 1901 [see note 1]. Thos. Agnew and Sons, Ltd., London [see note 2]. Trotti et Companie, Paris [see note 3]. By 1907, purchased in Paris by Cottier and Company, New York [see note 4], April 29, 1907, sold by Cottier to Frederick Bayley Pratt (b. 1865 - d. 1945), Brooklyn, April 3, 1943, sold by Pratt to Knoedler and Co., New York (stock no. A2555) and Pinakos, Inc., New York, 1943, sold by Knoedler and Pinakos to the MFA for $70,000. (Accession Date: April 8, 1943);NOTES;[1] The provenance given here (to 1901) is taken from Luigi Maria Majorca Mortillaro, "Ritratto di Giovan Paolo Baglione, Signore di Perugia, dipinto da Tiziano esistente in Palermo nella Galleria Francavilla" (Palermo: Alberto Reber, 1901), written when the painting was in the author's possession.;[2] According to a letter from Charles R. Herschel, Knoedler, to W. G. Constable, MFA (April 13, 1943, in MFA curatorial file), "Agnew bought the picture in Palermo from the Count of Francovilla" [sic]. Agnew stockbooks (Getty Research Institute, Records of Thos. Agnew and Sons Ltd., 1852-1938, Microfiche no. 32) record a "Portrait of a Man" by Titian, stock no. 2214, that was sold by dealer Arthur Sulley to Agnew on May 6, 1907, and sold by Agnew to the Paris dealer Alexandre Imbert on July 22, 1907. These transactions postdate the documented acquisition of the painting by Frederick Bayley Pratt, making it difficult to identify with the MFA painting.;[3] According to Harold E. Wethey, "The Paintings of Titian," vol. 2, "The Portraits" (London: Phaidon, 1971), p. 106, cat. no. 47.;[4] John C. Van Dyke confirmed in letters to James Inglis of Cottier (April 25, 1907) and Frederick Pratt (April 27, 1907) that he saw the painting in Paris with Mr. Inglis, and that his admiration for it may have influenced Mr. Inglis's buying it for Cottier and Co. Whether it was purchased at Trotti is not known. accnum_Qid: Q49133_43.83 url: https://collections.mfa.org/objects/32870/portrait-of-a-man-holding-a-book 1946, A. F. Mondschein (Frederick Mont), New York;1946, sold by Mondschein to the MFA for $1250. (Accession Date: February 14, 1946) accnum_Qid: Q49133_46.59 url: https://collections.mfa.org/objects/32960/grapes-peaches-and-quinces-in-a-niche Before 1940, probably in an English collection [see note 1]. July 19, 1940, purchased by W.E. Duits, Ltd., London (stock no. 7330), 1946, sold by Duits to Pieter de Boer, Amsterdam [see note 2], 1948, sold by de Boer, through Frederick Mont, New York, to the MFA for $6000. (Accession Date: March 8, 1948);NOTES;[1] The back of the panel bears an old label reading "Interior of a Delft Church. Peter de Hooge." [2] According to Duits stock books and index cards on file at the Getty Research Institute (Accession No. 860290, boxes 13, 21, 36). It is not specified from whom Duits purchased the painting. accnum_Qid: Q49133_48.321 url: https://collections.mfa.org/objects/33161/church-of-saint-odulphus-assendelft Acquired in Holstein, Germany by Georg Ernst Harzen (b. 1790 - d. 1863), Hamburg. Richard Foster (d. 1830), Clewer Park, Berkshire, England, by descent to Edmund Foster (d. 1863), Clewer Park, by descent to Edmund Benson Foster (b. about 1850), Clewer Park, July 13, 1895, Richard Foster sale, Christie, Manson, and Woods, London, lot 70, to Colnaghi. Alfred Beit (b. 1853 - d. 1906), London, 1906, by inheritance to his brother, Sir Otto John Beit (b. 1865 - d. 1930), London [see note 1], 1930, probably by inheritance to his widow or his son, Sir Alfred Lane Beit (b. 1903 - d. 1994), London [see note 2]. 1956, H. J. Spiller, London, July 30, 1956, sold by Spiller to Duits, London (stock no. 604) [see note 3], 1956, sold by Duits to Rudolf J. Heinemann (dealer, b. 1902 - d. 1975), New York [see note 4], 1957, sold by Heinemann to the MFA for $39,000. (Accession Date: January 10, 1957);NOTES;[1] The painting was in his possession until at least 1929, when he lent it to the Exhibition of Dutch Art, 1450-1900 (London: Royal Academy of Art, 1929), cat. no. 100.;[2] Upon Otto Beit's death in 1930, his collection was divided between his widow and his son. See Adrian Le Harivel et al., "The Beit Collection" (Dublin: National Gallery of Ireland, 1988).;[3] According to information on file at the Getty Research Institute (Duits Records, Accession No. 860290, boxes 16 and 37), Duits acquired a half-share in the painting at this time.;[4] Agnew's, London, purchased a half-share in the painting from Heinemann in October, 1956 and sold it back to him in February, 1957. accnum_Qid: Q49133_57.4 url: https://collections.mfa.org/objects/33579/rough-sea 1844, Jeremiah Harman (b. 1764 - d. 1844), London, May 17-18, 1844, posthumous Harman sale, Christie's, London, lot 31, to Mr. Stewart for £294, by descent to his son, Colonel William Stewart [see note 1]. With Paul Bottenwieser, Berlin (?) [see note 2]. By 1954, Rudolf J. Heinemann (d. 1975) and Lore (Mrs. Rudolf J.) Heinemann (d. 1996), New York [see note 3], 1958, gift of Mr. and Mrs. Rudolf J. Heinemann to the MFA. (Accession Date: December 30, 1958);NOTES;[1] At the time of the painting's acquisition, Harry A. Brooks of Knoedler, New York, wrote to Rudolf Heinemann (December 19, 1958) that the it was well-known, having belonged to Colonel Drax and the Royal Collections of France, and having "appeared at an auction in 1911." The dealer Frederick Mont also wrote (December 15, 1958) that the painting was well known to him, and that it had been in the collections of Colonel Drax and Louis Philippe. These details have not been substantiated, however, in 1791, Louis-Philippe-Joseph (b. 1747 - d. 1793), Duc d'Orléans, sold a large group of paintings to Edouard Walkiers, a Brussels banker, for François de Laborde-Méréville. Méréville emigrated to England and sold the collection to Jeremiah Harman in 1793. Whether this painting was among the group of works is not known. It is, however, plausibly identified with Murillo's "Good Shepherd" sold in the Harman auction to Stewart. See Charles B. Curtis, "Velazquez and Murillo" (London, 1883), p. 187, nos. 173g - 173h and p. 385.;[2] A label on the reverse of the painting stretcher from the packing company Chenue, London, reads "Bottenwieser \ (Heinemann)." "P B" (Paul Bottenwieser?) is also written twice on the stretcher. Whether Bottonwieser played a role in the exhibition or sale of this painting is not known. The painting stretcher bears customs stamps from France and Switzerland.;[3] Rudolf Heinemann consigned the painting to M. Knoedler and Co. on December 21, 1954, no. CA4720. Commission book 5a, no. 4720, p. 96 (Getty Provenance Index, M. Knoedler and Co. Records). accnum_Qid: Q49133_581.425 url: https://collections.mfa.org/objects/33628/the-young-christ-as-the-good-shepherd Sold by the artist to Professor Helge Bäckström (b. 1865 - d. 1932) and his wife Rägnhild Bäckström (b. 1871 - d. 1908), Stockholm, Sweden [see note 1]. 1924, with Galerie Commeter, Hamburg [see note 2]. 1926, Paul Cassirer, Berlin [see note 3]. Between about 1927 and 1937, with the Moderne Galerie Thannhauser, Berlin [see note 4]. 1937, acquired by Harald Holst Halvorsen (d. 1960), Oslo, Norway [see note 5], 1959, sold by Halvorsen to the MFA for $35,000. (Accession Date: May 14, 1959);NOTES;[1] In the MFA curatorial file are photographs of the painting hanging in the Bäckströms' home. The couple knew the artist personally, Mrs. Bäckström was the sister of Munch's model, Dagny Juell Przybyszewski, and she herself posed for Munch twice.;[2] According to Gerd Woll, Edvard Munch: Complete Paintings, Catalogue Raisonné (London, 2009), vol. 1, cat. no. 319, the painting was included in an exhibition held October 9-21, 1924, at the Galerie Commeter.;[3] Lent to the exhibition "Edvard Munch: Gemälde und Graphik," Städtische Kunsthalle, Mannheim, November 7, 1926-January 9, 1927, cat. no. 5, as "Mondschein am Fjord." Many thanks to Hannah Krause of the Kunsthalle, Mannheim (correspondence to the MFA, May 18, 2010) for providing information about this exhibition.;[4] According to the exhibition catalogue "Edward Munch" (New York: The Solomon R. Guggenheim Museum, 1965), cat. no. 19, the painting was with the Galerie Thannhauser, Berlin, before it was owned by Halvorsen, though no dates of ownership are given. The gallery opened its Berlin branch in 1927 and closed it in 1937, so if the painting was at the gallery, it would have been there within that decade.;[5] According to a letter from Mr. Halvorsen to the MFA (April 4, 1959). He does not specify from whom he acquired it. accnum_Qid: Q49133_59.301 url: https://collections.mfa.org/objects/33634/summer-nights-dream-the-voice By 1935, Baroness von Isbary, Vienna, by descent to her daughter, Princess Windisch-Grätz, Vienna, sold by Princess Windisch-Grätz to Frederick Mont, Inc., New York, 1959, sold by Mont to the MFA for $9,000. (Accession Date: October 8, 1959);NOTES;[1] At the time of its acquisition, the painting was said to have come from the collection of Baroness Isbary, Vienna. Correspondence from Betty Mont to Kenneth Donahue, Director of the Los Angeles County Museum of Art (August 29, 1968) reveals that Mont had purchased the painting from Baroness Isbary's daughter, Princess Windisch-Grätz. Presumably, it was Princess Windisch-Grätz or her mother who had lent the painting to the exhibition organized by P. de Boer, Amsterdam and Galerie Sanct Lucas, Vienna (of which Mont was director), "Die Jüngeren Brueghel und ihr Kreis" (Vienna, Palais Pallavicini, March 16 - April 15, 1935).;In a letter of September 19, 1968, Mrs. Mont wrote to Mr. Donahue that around 1912 Princess Windisch-Grätz's grandfather had purchased the Schloss Friedau (Austria), including about three-quarters of its large painting collection. It is therefore possible that the MFA painting had come from the Schloss Friedau and was passed on by descent to Baroness Isbary. accnum_Qid: Q49133_59.659 url: https://collections.mfa.org/objects/33642/forest-gorge 1811, Louis Varisco, Paris, 1811, Varisco sale, Paris, no. 8 [see note 1], probably to Joséphine Bonaparte (b. 1763 - d. 1814), Empress of the French, Malmaison, near Paris [see note 2], by inheritance from Joséphine to her daughter, Hortense de Beauharnais (b. 1783 - d. 1837), Queen of Holland, June 15, 1819, Beauharnais sale, Augsburg, lot 33, unsold, 1820, Beauharnais sale, Augsburg, lot 26, unsold, 1823, Beauharnais sale, Vienna, lot 20, unsold [see note 3], by descent from Hortense de Beauharnais to her son, Louis-Napoléon Bonaparte (b. 1808 - d. 1873), Paris and Chislehurst, Kent, August 20, 1840, Prince Louis-Napoléon Bonaparte sale, Christie's, London, lot 142, to Sir John Easthope (d. 1865), 1st Bart., Plas Dulas, Abergele, Denbigshire, Wales, for £33.12, by descent within the family to his great-grandson, Robert McGillivray Dawkins (d. 1955), Oxford and Plas Dulas, November 2, 1955, Dawkins sale, Sotheby's, London, lot 160, to Mr. Johnson. 1960, with Mr. Wright, London, 1960, sold by Wright to Rudolf J. Heinemann (dealer, b. 1902 - d. 1975), New York, 1960, sold by Heinemann to the MFA for $75,000. (Accession Date: March 10, 1960);NOTES;[1] Attributed to Correggio. See Hipolyte Delaroche, "Catalogue d'une Collection Précieuse de Tableaux," Paris, 1811, pp. 11-13. Varisco was a Parisian art dealer. The 1811 sale was not an auction, but rather, the sale of his stock.;[2] Most of the paintings in the Varisco sale of 1811 were subsequently in the collection of Joséphine. The Lotto appears in her inventory of 1814, no. 1166, attributed to Correggio.;[3] The sale catalogues of 1819, 1820, and 1823 do not bear Queen Hortense's name but rather that of the gallery at Malmaison. In each one, the painting is attributed to Correggio, as it is in the Louis-Napoléon Bonaparte sale of 1840. accnum_Qid: Q49133_60.154 url: https://collections.mfa.org/objects/33655/virgin-and-child-with-saints-jerome-and-nicholas-of-tolentin Until 1900, Eugen Miller von Aichholz (b. 1835 - d. 1919), Vienna, May 18-22, 1900, Aichholz sale, Galerie Georges Petit, Paris, lot 368 [see note 1]. By 1909, Henri Heugel (b. 1844 - d. 1916), Paris [see note 2], by descent to his wife, by descent to their son, Jacques Heugel (b. 1890 - d. 1979), Paris. January, 1952, sold by Otto Wertheimer (dealer), Paris, to M. Knoedler and Co., New York (stock no. A4774) [see note 3], 1960, sold by Knoedler to the MFA for $15,000. (Accession Date: May 11, 1960);NOTES;[1] Attributed to Fra Angelico. [2] As published by Bernard Berenson, "Central Italian Painters of the Renaissance" (New York, 1909), p. 178. [3] Attributed to Giovanni di Paolo. Bought in half-share with Pinakos, Inc. accnum_Qid: Q49133_60.536 url: https://collections.mfa.org/objects/33657/the-crucifixion-with-the-virgin-and-saint-john-with-saint-j Robert Zahn (d. by 1917), Plauen, Germany, November 21, 1917, posthumous Zahn sale, Helbing, Munich, lot 38. Private collection, Italy, sold from private collection to Baron Detlev von Hadeln (b. 1878 - d. 1935), about 1931 or 1934, sold by Baron von Hadeln to Rudolf J. Heinemann (b. 1902 - d. 1975), New York [see note 1], 1960, gift of Rudolf J. Heinemann to the MFA. (Accession Date: December 14, 1960);NOTES;[1] A letter from Rudolph Heinemann to Thomas N. Maytham of the MFA (June 7, 1961, in MFA curatorial file) states that the picture had been in his possession "since about 1931 or 1934," when he purchased it from Hadeln, Hadeln was said to have acquired it from an Italian nobleman. accnum_Qid: Q49133_601.475 url: https://collections.mfa.org/objects/33670/portrait-of-a-man Probably commissioned by Giovanni Girolamo Orti (b. 1699 - d. 1772), Palazzo Orto agli Scalzi, Verona, where it remained until the nineteenth century [see note 1], taken from Verona to Venice and, in 1865, purchased in Venice by Louis Auguste (b. 1805 - d. 1889), Baron de Schwiter, Paris, between 1865 and 1867, taken by Baron de Schwiter from Venice to Paris [see note 2], May 3, 1886, Schwiter sale, Galerie Georges Petit, Paris, lot 38, sold for 20,000 fr. to de Schwiter. By 1898, Willy Blumenthal, Paris [see note 3], November 29, 1935, Blumenthal sale, Galerie Charpentier, Paris, lot 65, sold for 200,000 fr. to M. and Mme. Léon Cotnareanu, Paris, December 14, 1960, Cotnareanu sale, Musée Galliéra, Paris, lot 14, to Rudolf J. Heinemann (dealer, b. 1902 - d. 1975), New York, 1961, sold by Rudolph J. Heinemann to the MFA for $210,000. (Accession Date: December 13, 1961);NOTES;[1] Enrico Maria Guzzo, " 'Nota delle pitture degli autori veronesi per farne l'incisione ed altri anedoti' di Saverio della Rosa sul patrimonio artistico veronese," Studi Storici Luigi Simeoni 52 (2002), pp. 376-377, 400-401. Between about 1810 and 1818, Saverio della Rosa (1741-1821) recorded a "Verità svellata dal Tempo" by Tiepolo at the palace. In 1807, Girolamo Orti, nephew of Giovanni Girolamo Orti, also published a notice of a painting of "la Gioventù rapita dal tempo del Tiepolo" in his family's collection. See Enrico Maria Guzzo, "Francesco Lorenzi a Verona tra Tiepolo e Maffei," in Francesco Lorenzi (1723-1787): Un allievo di Tiepolo tra Verona, Vicenza, e Casale Monferrato, ed. I. Chignola, E. M. Guzzo, and A. Tomezzoli (Verona, 2005), p. 7.;[2] That Baron de Schwiter acquired the painting in Venice is according to the 1886 sale catalogue. He was first denied and then granted an export permit, and took the painting to France around 1866-1867. At this time, the painting was said, in documents held by the Archivio di Stato di Venezia, to have come from the collection of a private family in Verona. See correspondence between Angelica Rudenstine of the MFA and Giuliano Sancassani, Director, Archivio di Stato, Verona (June - July 1962, MFA curatorial files). Sancassani suggested the painting might have come from the Palazzo Orto agli Scalzi.;[3] Henry de Chennevières, Les Tiepolo (Paris, 1898), p. 114. accnum_Qid: Q49133_611.200 url: https://collections.mfa.org/objects/33707/time-unveiling-truth Anonymous collection, Spain. Anonymous dealer, Switzerland, sold by this dealer to Frederick Mont, New York, 1962, sold by Mont to the MFA for $7,000 [see note 1]. (Accession Date: February 14, 1962);NOTES;[1] In a letter to the MFA (October 26, 1962), Mont said that "the painting comes from Spain. We purchased it from an agent in Switzerland. accnum_Qid: Q49133_62.172 url: https://collections.mfa.org/objects/33710/still-life-with-sweetmeats 1969, Frederick Mont, Inc., New York, 1969, sold by Mont to the MFA [see note 1]. (Accession Date: September 23, 1969);NOTES;[1] The painting was accessioned with an attribution to Tommaso Salini. accnum_Qid: Q49133_691.059 url: https://collections.mfa.org/objects/34054/still-life-with-flowers-vegetables-and-pigeons |
| Q612530 | 1 | JOHN AND MABLE RINGLING MUSEUM OF ART __________________________________ By 1914, Benno Geiger (1882–1965), Rodaun, Austria, and sold before 1945.1 (By 1962, Frederick Mont, New York), purchased by the John and Mable Ringling Museum of Art, Sarasota, Florida, 1962. accnum_Qid: Q612530_SN744 url: https://emuseum.ringling.org/emuseum/objects/21567/vagrants-in-a-ruin |
| Q657415 | 17 | CLEVELAND MUSEUM OF ART __________________________________ Provenance Rosenberg & Stiebel, Inc. (New York, New York), sold to the Cleveland Museum of Art, 1950. Baron Thyssen-Bornemisza (Schloss Rohoncz, Castagnola) R. Heinemann-Fleischmann. accnum_Qid: Q657415_1950.91 url: https://www.clevelandart.org/art/1950.91 Provenance Before 1959 (Galerie M. Schulthess, Basel, probably sold to G. Vegting) By 1959 G. Vegting, Amsterdam 1 Until 1962 (Duits, Ltd., London, sold to Piet de Boer with Frederick Mont and Newhouse Galleries) 2 Until 1962 (Piet de Boer with Frederick Mont and Newhouse Galleries, New York, NY, sold to the Cleveland Museum of Art) 3 1962- The Cleveland Museum of Art, Cleveland, Ohio;Provenance Footnotes 1 1In 1959 the painting was lent to the exhibition, “Fra Rembrandt til Vermeer,” at the Nasjongalleriet, Oslo by “G. Vegting, Amsterdam.” Little information about "G. Vegting" has been uncovered. A Wilhelmus Gerardus Vegting was a prominent figure in university administration in Amsterdam, however, he died three years prior to the Oslo exhibition, and thus was likely not the owner of the Kalf. 2 1Duits may have sold the painting on behalf of Vegting. 3 1The Kalf painting does not appear in the sales records of Kunsthandel P. de Boer, suggesting that it was sold not through the gallery but privately through Piet de Boer, the gallery's owner. The gallery's archives do contain a photograph of the painting with an inscription written on the back - "Duits→PB+M+N→Mus. Cleveland" - that spells out the joint purchase of the painting by de Boer, Mont, and Newhouse Galleries from Duits, Ltd. and the subsequent sale to CMA.;Provenance Citations;Segal, Sam, and William B. Jordan. A Prosperous Past: The Sumptuous Still Life in the Netherlands, 1600-1700. The Hague: SDU Publishers, 1988.;Niels de Boer, email to Victoria Sears Goldman, Jan. 7, 2016, in CMA curatorial file.;Willem Kalf, Index cards of work sold, A – N, Duits, Ltd. records (1920-1979), box 37, Getty Research Institute. accnum_Qid: Q657415_1962.292 url: https://www.clevelandart.org/art/1962.292 Provenance Thyssen, Schloss Rohoncz, Lugano (1930 collection catalogue) Private Collection, Italy (Information supplied by Heinemann-- once cited as Prince Umberto of \tItaly) accnum_Qid: Q657415_1963.500 url: https://www.clevelandart.org/art/1963.500 Provenance 1964- The Cleveland Museum of Art, Cleveland, Ohio Probably 1964 (Frederick Mont, New York, NY, sold to the Cleveland Museum of Art) 1963-1964? (C. Duits, London)1 1 1963 (Sale, Sotheby’s, London, July 3, 1963, no. 17, sold to C. Duits)1 2 Until 1963 Violet Sassoon, Heathfield Park, Sussex, consigned to Sotheby’s 1938 (Sale, Galerie Charpentier, Paris, March 31, 1938, no. 45)1 3;Provenance Footnotes 1 1The exact role played by C. Duits, a London dealer, in the sale of the painting to CMA is unclear, but it is possible that he purchased it at Sotheby’s on behalf of Mont, or that he sold it to Mont following the sale. Duits is listed as the buyer of the painting in the price list accompanying the Sotheby's sale catalogue.;2 1This sale included the property of "Mrs. Derek Fitzgerald," née Violet Sassoon. 3 The painting is among those listed as coming from the collections of "divers amateurs," a term auction catalogues used in the past to refer to various private collectors. The buyer is not recorded.;Provenance Citations;Galerie Charpentier, and Henri Baudoin. Tableaux anciens, gouache, dessin, objets d'art et d'ameublement... March 31, 1938.;Sotheby's (Firm). Highly Important Old Master Paintings. July 3, 1963.;Mary Suzor, email to Victoria Sears Goldman, March 25, 2014, in CMA curatorial file. accnum_Qid: Q657415_1964.419 url: https://www.clevelandart.org/art/1964.419 Provenance (sale: Sotherby's, London, June 30, 1965, no. 21, repr. p. 20 as by Berlinghiero) R. Heinemann, New York, 1966 Mme. Michele Stoclet, Barcelona Adolphe Stoclet, Brussels--aftr 1938-- (Peter Matthiesen, Matthiesen Gallery, London, until 1938) (Theodore Bonjean, Paris) accnum_Qid: Q657415_1966.237 url: https://www.clevelandart.org/art/1966.237 Provenance Pinakos, Inc., (New York, New York), sold to the Cleveland Museum of Art, 1967. Charlotte Barreiss (Zurich, Switzerland), sold, Sotheby's, London, June 24, 1964, lot 5,) Counts von Harrach, Schloss Rohrau and Vienna (inventories of 1889 and 1897, no. 218) accnum_Qid: Q657415_1967.16 url: https://www.clevelandart.org/art/1967.16 Provenance Kuno Kocherthaler, Berlin;(Pinakos, New York) accnum_Qid: Q657415_1968.20 url: https://www.clevelandart.org/art/1968.20 Provenance?-? with Jacques de Mons, Paris (?)?-? with Frederick Mont, Inc., New York?-1968 Mr. and Mrs. Charles and Leona Prasse, Cleveland 1968- The Cleveland Museum of Art, Cleveland, Ohio accnum_Qid: Q657415_1968.66 url: https://www.clevelandart.org/art/1968.66 Provenance [Pinakos, New York], sold to the Cleveland Museum of Art, 1969. accnum_Qid: Q657415_1969.1 url: https://www.clevelandart.org/art/1969.1 Provenance Frederick Mont (New York, New York), sold to the Cleveland Museum of Art, 1969 - Private collection accnum_Qid: Q657415_1969.18 url: https://www.clevelandart.org/art/1969.18 Provenance 1969- The Cleveland Museum of Art, Cleveland, Ohio Late 1950s-1969 (Pinakos, Inc./Rudolf J. Heinemann, New York, sold to the Cleveland Museum of Art) 1 1 Probably 1955-late 1950s Family of Contini-Bonacossi, probably consigned to Pinakos, Inc. 1 2 1930-probably 1955 Alessandro Contini-Bonacossi [1878-1955], Florence, by descent to his heirs 1 3 1928-1930 (Galerie Heinemann, Munich, sold to Alessandro Contini-Bonacossi) 1 4 Until 1928 Marques de la Cueva del Rey, sold to Galerie Heinemann 1 5;Provenance Footnotes 1 1I n the 1940s and 1950s, Pinakos, Inc. was the firm name used by Rudolf Heinemann. 2 1 Contini-Bonacossi’s heirs likely consigned the painting to Pinakos, Inc. after his death in 1955. 3 1 Contini-Bonacossi began collecting and dealing works of art around 1918, after settling in Rome. While he acquired the Goya prior to the war, Contini-Bonacossi did engage in wartime art dealing with Hermann Göring. Contini-Bonacossi sold a large number of works to Göring through art dealer Andreas Hofer, the OSS Consolidated Interrogation Report No. 2 contains a list of 49 artworks purchased by Hofer on behalf of Göring from Contini-Bonacossi (Saint Ambrose was not among them). In 1927 Contini-Bonacossi met Samuel H. Kress in Rome and began to sell him works of art. He continued to do so during Kress's annual trips to Italy which lasted until 1941, when both Italy and the United States ceased to be neutral nations in the war. Contini-Bonacossi resumed his art business dealings with Kress in the late 1940s and 1950. He also sold hundreds of works to the Kress Foundation, most of which were later donated to the National Gallery of Art. Contini-Bonacossi promised to bequeath his entire collection to the Italian state, but ultimately, only 144 works were actually given to the Italian state, they are now part of the Uffizi collection. Saint Ambrose was among those works not bequeathed to Italy, the painting instead remained in his family at least until the late 1950s. 4 1 The painting’s Heinemann inventory number was 18609. 5 1 The title of the Marqueses de la Cueva del Rey was created by Carlos II of Spain in 1690, and so it is possible that the family were the original owners of the painting, and that it remained in their possession from its execution in the late 1790s until 1928.;Provenance Citations;Cleveland Museum of Art. European Paintings of the 16th, 17th, and 18th Centuries. Cleveland: Cleveland Museum of Art, 1982.;Fundación Goya en Aragón, accessed March 14, 2014. http://www.fundaciongoyaenaragon.es/goya/obra/catalogo/.;Fulvia Zaninelli, email to Victoria Sears Goldman, Jan. 22, 2014.;Galerie Heinemann Online, accessed March 16, 2014, http://heinemann.gnm.de/en/search.html.;Gassier, Pierre, Juliet Wilson Bareau, and François Lachenal. The Life and Complete Work of Francisco Goya, with a Catalogue Raisonné of the Paintings, Drawings and Engravings. New York: Reynal, in association with W. Morrow, 1971.;Gudiol, José. Goya, 1746-1828. New York: Tudor, 1971.;Morales y Marín, José Luis. Goya: A Catalogue of His Paintings. Saragossa: Real Academia de Nobles y Bellas Artes de San Luis, 1997.;Fulvia Zaninelli, email to Victoria Sears Goldman, Jan. 22, 2014, in CMA curatorial file.;Accounts Payable Voucher, Pinakos, Inc., to the Cleveland Trust Company, Jan. 29, 1970. accnum_Qid: Q657415_1969.23 url: https://www.clevelandart.org/art/1969.23 Provenance Baron Kjeld Thor Tage Otto Reedtz-Thott (died 1923), by inheritance to Baron Otto Reedtz-Thott;Baron Otto Reedtz-Thott (died 1927), by inheritance to Baron Axel Reedtz-Thott;Baron Axel Reedtz-Thott (GaunØ Castle, Denmark) (sold, Sotheby's, London, July 10, 1968, no. 78);Agnew & Sons, London;Pinakos, Inc., New York, sold to the Cleveland Museum of Art, 1970. Otto Reedtz-Thott (doed 1862), by inheritance to Baron Kjeld Thor Tage Otto Reedtz-Thott;Holger Reedtz-Thott (died 1797), by inheritance to Baron Otto Reedtz-Thott;upon his death, held in trust by the estate, 1691;Estate of Juergen Ovens, 1691;Possibly Count Otto Thott (GaunØ Castle, Denmark), (died 1785), by inheritance to Holger Reedtz, grandson of Otto Thott's maternal uncle, who took the name Reedtz-Thott in honor of his benefactor, Count Otto Thott, who had no male heirs;Juergen Ovens accnum_Qid: Q657415_1970.32 url: https://www.clevelandart.org/art/1970.32 Provenance 1974- The Cleveland Museum of Art, Cleveland, Ohio 1973-1974 (Frederick Mont and Newhouse Galleries, New York, NY, sold to the Cleveland Museum of Art) 1973 (Sale, Christie’s, London, June 29, 1973, no. 21, sold to Frederick Mont/Newhouse Galleries) 1 1 1952-1973 Sidney J. Lamon [d. 1973], New York, NY 1952 (Rosenberg and Stiebel, New York, NY, sold to Sidney J. Lamon) 1 2 By 1925-1952 David David-Weill [1871-1952], Paris 1 3 1904-1909 Alexis Vollon [1865-1945], Paris 1904 (Mame sale, Galerie Georges Petit, Paris, April 26-29, 1904, no. 7, sold to Alexis Vollon) Until 1904 Alfred [1811-1893] and Paul [1833-1903] Mame, Tours 1 4 Possibly 1860-by 1881 Henri Viollet [1849-1926?], Tours 1 5 1860 (Monsieur R. collection sale, Rouillard, Paris, April 28, 1860, no. 12, possibly sold to Henri Probably 1857-1860 Monsieur R., Paris 1857 (Benoist sale, Hôtel Drouot, Paris, March 30, 1857, no. 12, probably sold to Monsieur R.) Until 1857 Dr. Benoist;Provenance Footnotes 1 1 The buyer listed in the catalogue is "Newhoune" [sic]. 2 1 Rosenberg and Stiebel purchased this painting from Lazard Frères, the financial firm of which David-Weill was chairman. 3 1 David David-Weill was a prominent art collector in Paris. In 1937 he sold many objects to Wildenstein & Co., and then in 1940, he fled Paris. At this time, much of his collection was seized by the Nazis, and many of these items were returned to him after the war. This painting, however, appears to have remained in David-Weill’s collection throughout the war and until 1952, it appears in no databases of looted objects or in NARA’s archival records. 4 1 Alfred and Paul Mame were father and son. 5 1 Viollet may have purchased the painting at the 1860 Lecocq sale of the collection of Monsieur R. The 1881 sale at Hôtel Drouot of Viollet's collection does not include this painting, and thus, it was most likely no longer in his possession by that point.;Provenance Citations;Wildenstein, Georges, and Daniel Wildenstein. Chardin. Greenwich, Conn: New York Graphic Society, 1969.;Henriot, Gabriel. Collection David-Weill. Paris: Braun & Cie, 1926.;Galerie Georges Petit. Tableaux anciens et modernes. April 26-29, 1904.;Hôtel Drouot. Tableaux anciens et modernes de l'école franc̦aise. March 30, 1857.;Rouillard. Tableaux anciens. April 28, 1860.;Galerie Georges Petit. Tableaux anciens et modernes. April 26-29, 1904.;Gerald Stiebel, email to Victoria Sears Goldman, Sept. 19, 2013, in CMA curatorial file.;William Talbot, telephone conversation with Eric Stiebel, Jan. 29, 1980.;Gerald Stiebel, email to Victoria Sears Goldman, June 26, 2013, in CMA curatorial file.;Christie, Manson & Woods. Highly Important Pictures by Old Masters. June 29, 1973;Purchase order, Jan. 3, 1974, Director Lee, Box 47, 5. Mont 1967-83, Archival Files, Ingalls Library, the Cleveland Museum of Art, Cleveland, OH.;Gerald Stiebel, email to Victoria Sears Goldman, Sept. 19, 2013, in CMA curatorial file accnum_Qid: Q657415_1974.1 url: https://www.clevelandart.org/art/1974.1 Provenance Monastery of Miraflores, Spain?-1975 (Frederick Mont, New York, sold to the Cleveland Museum of Art) 1975- The Cleveland Museum of Art, Cleveland, OH accnum_Qid: Q657415_1975.3 url: https://www.clevelandart.org/art/1975.3 Provenance 1774-1975 [Frederick Mont, New York), sold to the Cleveland Museum of Art, 1975 -1974 Charles Meynell, sold, London, Sotheby's and Company, 03/27/1974, no. 7, pl. 7 - Hon. Frederick George Lindley Meynell accnum_Qid: Q657415_1975.76 url: https://www.clevelandart.org/art/1975.76 Provenance Vicomte de Breteuil, Paris, by 1923. Paris sale, Pavillon Gabriel, 17 June 1977 (lot 46, repr.), Autoportrait, to Frederick Mont, New York. Purchased by the CMA in 1977. accnum_Qid: Q657415_1977.171 url: https://www.clevelandart.org/art/1977.171 Provenance Major Corbett Winder, Vaynor Park, Berriew, Montgomeryshire. London sale, Christie's, 17 June 1905 (lot 25), 1823, Sportsmen on Horseback, and Other Figures-A Pair, panel 9½ x 7½ in., to Kenderick, with pendant. New York sale, Sotheby's Parke-Bernet, 14 June 1973 (lot 353), Two Riders in a Landscape, and The Afternoon Ride: A Pair of Paintings, with pendant, to Ira Spanierman, New York, and German dealer. Rudolf Heinemann, Lugano. Artemis, Fine Arts Ltd., London, 1980. Purchased by the cma through Eugene V. Thaw, New York, 1981. accnum_Qid: Q657415_1981.11 url: https://www.clevelandart.org/art/1981.11 |
| Q731126 | 8 | J. PAUL GETTY MUSEUM __________________________________ Provenance about 1872 - 1887;Edgar Degas (L.657, L.658, L.658bis), French, 1834 - 1917 (Paris, France), sold to Durand-Ruel & Cie, Paris, 1887. 1887 - 1888;Durand-Ruel & Cie (Paris, France), sold to Henry Lerolle, 1888. 1888 - 1929;Henry Lerolle, French, 1848 - 1929 (Paris, France), by inheritance to his wife, Madeleine (Escudier) Lerolle, 1929. 1929 - 1937;Madeleine (Escudier) Lerolle, French, 1856 - 1937 (Paris, France), probably by inheritance to her son, Guillaume Lerolle, 1937. 1937-;Probably Guillaume Lerolle, French, 1884 - 1954;Source: Archives of American Art, Jacques Seligmann & Co. records, Collectors: Lerolle, Guillaume, box 192, folder 37, p. 6, 'Inventoire de la Collection Lerolle'. - 1954;Captain Edward Molyneux, 1891 - 1974 (Paris, France), sold to M. Knoedler & Co. and Pinakos Inc., 1954.;Source: GRI, M. Knoedler & Co. records, stock book 10, p. 132, no. 5756. 1954 - 1958;M. Knoedler & Co. (New York), founded 1846, dissolved 2011 (New York, New York) and Pinakos Inc., sold to John L. Loeb, January 2, 1958.;Source: GRI, M. Knoedler & Co. records, sales book 17, p. 361, no. A-5756, box 148 (sold alphabetical artists, 1907-1973), card for Degas, "Port. of Desiree Musson." 1958 - 1996;John L. Loeb, 1902 - 1996 (New York, New York), by inheritance to his son, John L. Loeb, Jr., 1996. 1996 - 2002;John L. Loeb, Jr., born 1930 (New York, New York), sold through Gagosian Gallery (New York, New York) to the J. Paul Getty Museum, 2002. accnum_Qid: Q731126_2002.57 url: https://www.getty.edu/art/collection/objects/198568/edgar-degas-the-convalescent-french-about-1872-january-1887/ Provenance - 1933;Jakob Oppenheimer, German, died 1941 and Rosa Oppenheimer, German, died 1943 (Altkunst, Antiquitäten, Berlin, Germany), confiscated by the Nazis, 1933. 1933 - 1937;In the possession of the Nazis [sold, Auktionshaus Dr. Walther Achenbach, Berlin, September 30, 1937, lot 823, plate 20] 1937 -;Gebrüder Heinemann (Wiesbaden, Germany) -;Dr. B. Griebert (Constance, Germany) by 1955 -;Unknown;Source: the sculpture was lent to the Kunsthaus in Zurich in 1955. - 1985;Private Collection (Switzerland) [sold, Skulpturen, Auktionshaus Galerie Koller, Zurich, November 22, 1985, lot 1405, to Württembergisches Landesmuseum, Stuttgart] 1986 - 2011;Landesmuseum Württemberg (Stuttgart, Germany), restituted to the heirs of Jakob and Rosa Oppenheimer, 2011. 2011;Heirs of Jakob Oppenheimer, German, died 1941 and Rosa Oppenheimer, German, died 1943 [sold, European Sculpture and Works of Art, Medieval to Modern, Sotheby's, London, December 6, 2011, lot 23, to The J. Paul Getty Museum] accnum_Qid: Q731126_2012.1 url: https://www.getty.edu/art/collection/objects/259176/master-of-the-harburger-altar-st-john-the-baptist-german-about-1515/ Provenance by 1899-1903;Tobias Edward Rosenthal, American, 1848 - 1917, sold to Galerie Heinemann, October 23, 1903. 1903-1906;Galerie Heinemann, sold to Dr. Hermann Eissler, October 10, 1906. 1906;Hermann Eissler, Austrian, 1860 - 1953 -;Private Collection (Switzerland, and later England) by 2011;Jean-Luc Baroni, Ltd., sold to private collection, St. Peter Port, Guernsey, by January 2011. by 2011-2018;Private Collection, St. Peter Port, Guernsey, sold to the J. Paul Getty Museum, 2018. accnum_Qid: Q731126_2018.53 url: https://www.getty.edu/art/collection/objects/298171/giovanni-segantini-study-for-la-vita-italian-1897/ Provenance about 1621 -;Agostino Pallavicini, died 1649, by inheritance to Ansaldo Pallavincini. -;Ansaldo Pallavicini, by inheritance to Anna Maria Pallavicini. -;Anna Maria Pallavicini, died 1732, by inheritance to Paolo Francesco Doria. - 1732;Paolo Francesco Doria, died 1732, by inheritance to Maddelena Doria. -;Maddelena Doria, died 1824, by inheritance to Paolo Francesco Spinola. - 1824;Paolo Francesco Spinola, died 1824, by inheritance to Giacomo Spinola di Luccoli. -;Giacomo Spinola di Luccoli 1841 -;Andrew Wilson, sold to Joseph Hawley. -;Sir Joseph Henry Hawley, 3rd Bart., 1814 - 1875, by inheritance to Henry James Hawley. by 1879 -;Sir Henry James Hawley, 4th Bart., 1815 - 1898 (Brighton, East Sussex, England);Source: Exhibition of Works by the Old Masters [...], Winter Exhibition, Royal Academy (1879), no. 168, lent by Sir Henry Hawley, Bart, Fredericksen. Catalogue of the Paintings in the J. Paul Getty Museum (Malibu: 1972), no. 87. - 1887;Martin H. Colnaghi, 1821 - 1908 (London, England), sold to Arthur Pemberton Heywood-Lonsdale, 1887. 1887 - 1897;Arthur Pemberton Heywood-Lonsdale, 1835 - 1897 (Shavington, Shropshire, England), by inheritance to Henry Heywood-Lonsdale, 1897. 1897 - 1930;Lt. Col. Henry Heywood-Lonsdale, 1864 - 1930 (Shavington, Shropshire, England), by inheritance to Arthur Heywood-Lonsdale, 1930. 1930 - by 1962;Lt. Col. Arthur Heywood-Lonsdale, 1900 - 1976 (Shavington, Shropshire, England, Walker Art Gallery, Liverpool, England), sold to a private collection, by 1962. by 1962 - 1968;Private Collection (London, England), sold to Pinakos and Thomas Agnew & Sons, Ltd., August 1968.;Source: "A Van Dyck on Loan." Times [London] (June 8, 1963), National Gallery Archive, archive reference numbers NG 19/1, Loans to the Gallery, and NG23/1963, Press Releases. 1968;Pinakos Inc. and Thomas Agnew & Sons, Ltd. (London, England), sold to the J. Paul Getty Museum, October 1968. accnum_Qid: Q731126_68.PA.2 url: https://www.getty.edu/art/collection/objects/524/anthony-van-dyck-portrait-of-agostino-pallavicini-flemish-about-1621/ Provenance by 1880 - 1907;Cyril Flower, 1st baron Battersea, 1843 - 1907 (London, England, The Pleasaunce, Norfolk, England), by inheritance to his wife, Constance de Rothschild Flower, 1907.;Source: Exhibition of Venetian Art, exh. cat. (London: The New Gallery, 1894), p. 5, no. 20. Exhibited as Moroni. 1907 - 1931;Constance de Rothschild Flower, baroness Battersea, 1843 - 1931 (London, England, The Pleasaunce, Norfolk, England), possibly by inheritance or by gift to her first cousin once removed, Anthony Gustav de Rothschild, 1931. 1931 - 1939;Anthony Gustav de Rothschild, 1887 - 1961 (Aston Clinton, Buckinghamshire, England) [sold, Rothschild sale, Christie's, London, May 25, 1939, lot 251, to Singer.] 1939 -;Singer - 1964;Carl Marks (New York, New York) [sold, Marks sale, Sotheby's, London, December 2, 1964, lot 125, to Frederick Mont, Inc.] 1964 - 1969;Frederick Mont, Inc. (New York, New York), sold to the J. Paul Getty Museum, 1969. accnum_Qid: Q731126_69.PA.25 url: https://www.getty.edu/art/collection/objects/540/jacopo-bassano-portrait-of-a-bearded-man-italian-about-1550/ Provenance about 1333/1345 - 1435;Sant'Orsola (Florence, Italy), commissioned from the artist, about 1333/1345. possibly about 1435 - still in 1792;Convento di Sant'Agata (Florence, Italy), possibly moved from Sant'Orsola when the nuns moved to Sant'Agata, about 1435. - 1879;Frances Elizabeth Anne Braham Waldegrave, countess Waldegrave, 1821 - 1879 (Strawberry Hill, Middlesex, England), by inheritance to her fourth husband, Chichester Samuel Parkinson-Fortescue, 1879. 1879 - 1883;Chichester Samuel Parkinson-Fortescue, 1st baron Carlingford, 1823 - 1898 (London, England) [sold, Carlingford sale, Venton, Bull, Cooper & Strawberry Hill, July 30, 1883, lot 908.] - 1923;Aimee Geraldine Almy Bradshaw Stern, baroness Michelham, English, 1882 - 1927 (London, England, Strawberry Hill, Middlesex, England, Paris, France) [sold, Michelham sale, Knight, Frank & Rutley, Strawberry Hill, May 30, 1923, lot 579, to Durlacher Brothers, 1923.] 1923;Durlacher Brothers (London, England, New York, New York), sold to Adolphe and Suzanne Stoclet, 1923. 1923 - 1949;Adolphe Stoclet, 1871 - 1949 (Brussels, Belgium) and Suzanne Stoclet, died 1949 (Brussels, Belgium), transferred to Immobilière SAS, 1949. 1949;Immobilière SAS (Brussels, Belgium), by inheritance to Michèle Stoclet, 1949. 1949 - 1965;Michèle Stoclet (Brussels, Belgium, Barcelona, Spain) [sold, Stoclet sale, Sotheby's, London, June 30, 1965, lot 18, to Hodder and Stoughton.] 1965;Hodder and Stoughton, sold to Frederick Mont, Inc. and Newhouse Galleries, 1965. 1965 - 1970;Frederick Mont, Inc. (New York, New York) and Newhouse Galleries (New York, New York), sold to the J. Paul Getty Museum, 1970. accnum_Qid: Q731126_70.PB.53 url: https://www.getty.edu/art/collection/objects/568/bernardo-daddi-arrival-of-saint-ursula-at-cologne-italian-about-1333/ Provenance by 1939 -;André Seligmann, French, died 1945 (New York, New York, Paris, France) -;Baron Robert de Gendébien (Brussels, Belgium), sold to Frederick Mont, Inc. - 1971;Frederick Mont, Inc. (New York, New York), sold to the J. Paul Getty Museum, 1971. accnum_Qid: Q731126_71.PA.19 url: https://www.getty.edu/art/collection/objects/577/simon-vouet-venus-and-adonis-french-about-1642/ Provenance about 1733/1734 - 1747;Count Johann Matthias von der Schulenburg, 1661 - 1747 (Berlin, Germany, Venice, Italy), commissioned from the artist, about 1733/1734, by inheritance to his nephew, Adolph Friedrich von der Schulenberg, 1747. 1747 -;Adolph Friedrich von der Schulenberg - 1952;Prince Schwarzburg-Rudolstadt (Thuringia, Austria) 1952;Antonio Morassi, Italian, 1893 - 1976, sold to Knoedler & Company and Pinakos, March 29, 1952.;Source: GRI, Knoedler & Company records, stock book 10, p. 77, no. 4886. 1952 - 1958;M. Knoedler & Co. (New York), founded 1846, dissolved 2011 (New York, New York) and Pinakos Inc., sold to Walter P. Chrysler, August 1958.;Source: GRI, Knoedler & Company records, sales book 18, p. 23, no. A-4886. 1958 - about 1972;Walter P. Chrysler, Jr., 1909 - 1988 (New York, New York), sold to Eugene Thaw, about 1972. about 1972 - 1972;Eugene Thaw, American, 1927 - 2018 (New York, New York), sold to the J. Paul Getty Museum, 1972. accnum_Qid: Q731126_72.PA.18 url: https://www.getty.edu/art/collection/objects/621/giovanni-battista-pittoni-the-sacrifice-of-polyxena-italian-about-1733-1734/ |
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